9-5 The Musical

9 to 5 the Musical is based on the 1980 comedy film, starring country diva Dolly Parton, Lily Tomlin and Jane Fonda, inspired by Dolly’s hit song of the same name.  Director Matt Roddis and Worksop Musical Theatre Society take us back to a time where being chased around the filing cabinets by sexist bosses was a daily occurrence for pretty secretaries and the ‘glass ceiling’ was an impenetrable forcefield preventing women from climbing the corporate ladder which was privy only to the boys’ club.

The voice of Dolly Parton herself introduces the show and the trio of women who tell the story.   Violet (Zoe Nelson), an ambitious single mum to Josh (Jaz Curzon) and widow, who has been promised the chance to become a management executive at Consolidated Industries.  Doralee (Fern van der Vliet), the unwittingly sexy and slightly naïve Personal Secretary of Frankin Hart Jr. the Company President, and Judy (Ruth Lockwood), the insecure, soon-to-be divorcee hoping for job at the company. 

9 to 5 highlights the daily drudge of working in an office in the late 1970s and this is displayed by the full ensemble dressed as the office workers preparing to start another dreary day.  The cast used the stage well, and the choreography (Matt Roddis and Becca White as Dance Captain) was full of movement and changes in direction to add interest.  I liked the choice of black and white palette for the costumes which contrasted perfectly with the signature-coloured outfits of the principal ladies – Violet in shades of purple, Doralee in sunny yellow and Judy in perky pink, which they continued to wear throughout representing their diverse personalities and increasing confidence. 

We are also given a snapshot of the other characters, Roz Keith (Jo Dewberry) the frumpy Office Manager nursing a secret passion for her boss and Franklin Hart Jr. (David Warren) the arrogant smug object of her affections, Margaret (Amy Coxhill) the office ‘lush’ with a dazed expression and untucked shirt and Joe (Tom Garnett) the sweet shy Junior Accountant with a crush on Violet. 

Before the show commenced, the audience were warned of the adult content of this show and this was highlighted in a cringe worthy scene with the lecherous weaselly Hart lusting after the oblivious Doralee.  Hart rubbed his legs lasciviously and vigorously pleasured himself as he fantasised over Doralee’s assets.  His cruel dismissive attitude to his wife, who was blissfully oblivious to her philandering husband, further evidence of his odious character. 

I loved the fantasy scenes where each of the ladies high on as Judy says ‘mar u ana’ united in a mutual hatred of Hart as they thought up devious ways to dispose of him.  Judy, sang Jessica Rabbit style as two cast members (Emma Parker and Mark Thompson) acted out a violent dance of death, Doralee, in homage to her country roots, emasculated Hart giving him a taste of his own medicine, and Violet as Snow White and a host of woodland creatures cooked up a potent potion. 

Ironically, fact imitates fiction and a distracted Violet believes she has accidentally poisoned Hart’s. coffee with rat killer and, fuelled by Roz’s gossip, the vindictive Hart plays along with them.  This results in the furious Doralee trussing him up just like in her fantasy and Judy pulling a gun on him. The ladies stash the struggling Hart suspended from the wrists and ankles on a sex swing, where he was left pitifully swinging and shouting through most of the interval. 

The girls use his absence to make some sweeping changes to the company resulting in higher productivity and a morale boost to the once miserable employees reflected in their change to bright clothing and a party atmosphere. 

In one highlight, the stuffy stickler for rules Roz releases her pent-up feelings for Hart.  Accompanied by a host of ginger wigged, spectacled ‘Roz alikes’ she stripped hilariously down to her bra and pantie girdle spreadeagling herself on his desk.

Jo Dewberry was fabulous in the part of Roz, I especially loved her popping up throughout the fantasy scenes.  Jo also has good comic timing and is an excellent physical comedy actress using her whole body to create this character.  Obviously revelling in her unpopularity among the other girls, she eavesdropped on their conversations in the rest room writing notes on a roll of toilet paper.  Her obvious devotion to her boss came across well especially when he called her ‘his girl' simpering in delight.

I was initially worried that such a young actor was playing the role of Franklin Hart Jnr. as I did not think that he would be able to put across the truly unpleasant nature of the ‘sexist, lying, egotistical, hypocritical bigot’ but I need not have worried.  David Warren was wonderful as Hart dripping with malice as he sexually harassed poor Doralee and berated and abused Violet and the other employees.  His interactions with the unsuspecting Doralee would have got him a restraining order and possibly a mention on the sex offenders register nowadays and were truly toe-curling!  I loved his appearances in the fantasy scenes especially as the meek character in Doralee’s branding scene and his comeuppance dangling on the sex swing.

Ruth Lockwood was wonderful as the awkward Judy especially in her office scenes as she tried to master the Xerox machine.  Her facial expressions as she tried to type were hilarious.  I was impressed with Ruth’s character growth from insecure put upon stay-at-home wife, to confident independent woman.  Ruth’s powerhouse vocals were used to maximum effect in the uplifting ‘Get Out and Stay Out’ as she finally asserted herself over her unfaithful husband going from meek mouse to lioness. 

Fern van der Vliet was lovely as the tender-natured Doralee perfectly capturing the country Dolly vibe from her curly blonde wig to the tips of her pink cowgirl boots.  Fern maintained her perfect Texan drawl throughout especially in her song ‘Backwood Barbie’ as she sang soulfully about being judged for how she looked.  I loved her fantasy scene dressed as a cowgirl finally getting her comeuppance on Hart and I was impressed with her sweet vocals.  Fern’s sad face as she ate her sandwich alone was heart-breaking and her fury at realising the rumours about her as Hart’s presumed mistress was very well done.  Her relationship with husband Dwayne (Ben Atkinson) was sweet showing her homeliness and down-to-earth nature. 

Zoe Nelson was superb as sharp and sassy Violet.  I loved her Snow-White fantasy scene and white suited homage to being ‘one of the boys’ finally achieving her dream of becoming a CEO.  She showed good vocals in the funny fantasy scene as Snow White and a sweet duet with Joe.  She was the glue holding everything together motivating the girls and finding out Hart’s dark secret.   Her realisation that she had poisoned Hart was well done as she became overwhelmed with guilt and the consequences. 

Special mention to Amy Coxhill, who gave a well-observed cameo performance as the office lush, Margaret.  I was impressed with her mannerisms - slurred words and clumsiness playing a woman relying on alcohol to get her through her monotonous job. Margaret’s dishevelled clothes reflected her constant state of inebriation, and I loved her odd shoes!  Her change to sobriety following a company sponsored rehab programme and her almost robotic repetition of the mantra was very well done.  Also Tom Garnett as the shy accountant determined to win Violet’s heart who displayed good vocals in their duet and a questionable wig and Mark Thompson who played many parts including the policeman and the Colonel Sanders lookalike Tinsworthy, who seemed to know Hart’s character better than he let on by banishing him to Bolivia. 

The ensemble was used well featuring as other minor characters and office workers but also participated in swift scene changes and the fantasy scenes.  There were occasions when there was a lot of people on stage, but the extra height provided by stools, tables and the elevated platform ensured that everyone was seen especially during dance numbers. 

The set was two level with staircases either side which were used well by the cast to create height.  There was also reversible black panels centre stage which were used as an entrance for office furniture and when pivoted served as lift doors, toilet cubicles, book cases and the hilarious bondage of Hart junior as he dangled on the sex swing. 

Lighting effects for example red flashing lights for alarms were used well and swirling smoke effects for the fantasy scenes although I did worry for the poor MD disappearing under an encroaching cloud of smoke! Props were good in keeping with the vintage theme with corded telephones and manual typewriters although I would have liked to have seen some liquid in the coffee pot for added realism. 

Costumes were good reflecting the 70s period with pussy cat bows, crimplene pinafores, platform shoes and power suits for the office staff and inspired costume choices for the fantasy scenes.  

Accomplished Musical Director, Pete Lack, led a live band of seven musicians through a relentless ever-changing score with panache and dedication.  This featured keyboards, percussion, reeds, guitars and brass instruments creating a country western theme for Doralee and an upbeat jazzy theme for Violet’s CEO fantasy. The music never overpowered the singers, and I liked the way that Pete supported them during solos.  I especially liked the use of music during scene changes which kept the momentum going.

Well done Matt Roddis and your creative team for producing this entertaining story of female empowerment. There were lots of unique touches that obviously came from your input and added extra enjoyment to the show and your influence was apparent from choreography, lighting and costumes showing an overall cohesion to the production.  

It was lovely to meet the President, Janet Marshall and Chair, Luke Ogley Neeve as well as Matt Roddis, Pete Lack and some of the cast members who were waiting in the foyer afterwards to chat about their performances.

The beautifully themed programme (designed by Zoe Nelson) fulfils the criteria and will be entered into the NoDA programme competition. 

Thank you for inviting myself and David, and I look forward to your next production ‘Bake Off The Musical’ in May 2026. 

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