9 to 5

With music and lyrics by Dolly Parton, based on the 1980 film, it centres on the downtrodden working lives of three women at Consolidated Industries presided over by the sexist, lecherous and pompous boss. The three women unite in their hatred, they imprison the boss in his own home and run the company themselves to great effect, applauded by the Chairman who sends the boss to run an overseas office, to everyone’s delight.

The fact that the production has been staged at this time is a credit to the company, for starting the preparation in January, auditioning via Zoom and rehearsing in carparks, before finally coming together.   The scene is set by Dolly herself via a monitor in the auditorium. Advantage is taken of the deep stage area, by putting the band at the back of the stage which released the pit area for acting.

The show opens with the title song, a rousing and slick number with the full company and we are introduced to the three main principal girls, ‘Violet’, ‘Doralee’ and ‘Judy’. Lorna Tipple, Holly Hay and Louisa Ford respectively, lead from the front with some excellent performances. Lorna portrayed the downtrodden character always being overlooked for promotion with great skill, Holly was every bit the loud and brash Dolly Parton character and Louisa’s portrayal of the totally inexperienced employee was just right, with a beautiful voice to match.

Dean Bayliss as the sleezy boss ‘Franklin Hart Jr’ could not have played it better and his number ‘Here for you’ was outrageously good and very funny. He has a secret admirer in ‘Roz’ played by Sophie Handy who appearing quite a dower efficient character was one of the surprises of the show and almost stole it, with her fantasising ‘Hart to Hart’. The three girls come together at the end of Act 1 with a plan and sang ‘Shine like the Sun’ effortlessly.

Lorna led a cracking opening number to Act 2 with ‘One of the Boys’ and later she is joined by ‘Joe’ (Nathan Wilde) who is constantly chasing ‘Violet’ epitomised in a lovely duet ‘Let Love Grow’. Nathan’s performance was completely natural and sensitively portrayed when the moment needed it. But there was not a week link in the principal line-up and all minor roles gave first class support. Another surprise transformation was ‘Margaret’ played by Amy Howell changing from an inebriated secretary working for ‘Hart’, followed by a complete ‘make-over’ under the ‘new management’.

The costumes were excellent and the Company sang and moved well throughout. There were numerous well-constructed scene changes but all were handled smoothly and the lighting cues were spot on. I would have preferred the amplification to have been a tadge lower, but this was an excellent production directed by Nathan Wilde which it was obvious both cast and audience enjoyed. And so, did I.

Bruce Wyatt

 

 

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