9 to 5

Based on the successful 1980 film, the musical 9 to 5 was launched in 2008. Garnering a host of awards on Broadway, it transferred to the UK in 2012; and, in 2019, opened in London and ran until the pandemic turned the lights out. 

The Harlequin Theatre has a modern, welcoming foyer with an efficient bar and box office. Plenty of Front of House staff to assist the patrons. The auditorium was nearly filled with an enthusiastic audience. Hospitality was very friendly and generous. We received an attractive programme; with plenty of detail and excellent colour photographs. I recommend that ESPA enter it in the NODA Programme & Poster Competition.    https://www.noda.org.uk/programme-and-poster-competition

Kevin Hogg’s set pieces were attractive; and had a smart, period feel. Good use was made of trucks…they were moved slickly and silently by cast and crew. Unfortunately, there were some instances of stage crew moving, from wings to behind flats, during songs. Very good use was made of lighting. Follow-spots were used particularly well, with individuals and groups appropriately lit. Radio mics were used well and sound amplification was good. Voices were clear and loud enough.

The band, led by Musical Director Jamie Cordell, gave very good accompaniment, though percussion was sometimes a little loud.

A good range of appropriate costumes were worn by all cast members (principals, dancers and ensemble). This helped greatly to reinforce the ‘80s vibe. Props were also well chosen & created; and gave more veracity to the production.

A great feature of this show was the powerful characterisation displayed by the principals.

Melanie Dunn had a good accent and sang beautifully on Around Here and One of the Boys. She showed great authority as Violet; and her office take-over became believable.

Philippa Kennedy’s Doralee had a sweet singing voice, especially on Backwoods Barbie, She skilfully kept her boss and husband sweet; and maintained a great country-gal persona.

Judy, the new girl, was delightfully played by Emily Buck.  She had a lovely singing and speaking voice; and the character’s growing confidence was well played; and highlighted in songs like I Just Might and Get Out and Stay Out. The drug-induced scenes of these three ladies, in Violet’s Living Room, were extremely funny and very well realised.

Damien de Roche’s Franklyn Hart Jr. was a gloriously sleazy monster. He sang well (Here for You), had a great accent and excellent comic timing.

Roz, Hart’s admin assistant, was very well executed by Tracey Brammer. Totally sycophantic to her boss and spiteful to her colleagues, she rendered a fantastic solo Heart to Hart.

Michael Saunders’ Joe was a well-rounded character. He sang beautifully with Violet on Let Love Grow.

Jayne Hogg’s Margaret was a comically believable character. Chris Powell made Dwayne a fine and fitting spouse for Doralee. Helen Haydock gave sprightly life to Maria; and maintained a different accent to everyone else…not easy. James Turnbull’s Dick was controlling and chauvinistic. Kathy and Missy were well played by Julia Rogers and Clare McFadden. Phil Taylor looked good as Bob, Hart’s protégé…with a secret. And Mark Nicholson made Tinsworthy dominate the stage in his flying visit to Consolidated’s offices.

The ensemble work was excellent. The extent and quality of the cast’s manoeuvres added such richness to the scenes. Lindsay Swift had drilled the dancers and they integrated well with the principals and chorus.

The opening number, 9 to 5, was beautifully choreographed…fast, funny and rude. Everyone was where they needed to be; and were totally in character. The same was true of Around Here. All of the chorus numbers made great use of the stage, moving cast skilfully and attractively. Even the Hospital scene was enlivened by believable walk-ons that were living scenery.

Vanessa Chambers’ direction, assisted by Lindsay and Jamie, supercharged this musical. The energy, precision and sheer quality made for a fast, fun evening.

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