9 to 5

Covering for a colleague I attended Bishop Auckland Town Hall for the first time in about twelve years to see a musical within the venue, and what a treat it was. I was warmly greeted by FoH volunteers Judith and Sharon who, with gentle probing, appraised me of the society’s history. Although new to NODA North (having joined after the pandemic in 2021) they are quite an established group being formed in 1932. However, ‘9 to 5’ is their first foray into the world of musicals having performed only plays and pantos previously.

Their first musical has opened up a new stream of members for them who came into the society and it is to be hoped they retain them and, judging by audience numbers, it was warmly received.

For those that don’t know the Town Hall it is not your traditional stage, and all action was performed on the floor with raked seating providing an excellent view of the action. 9 to 5 is not an easy show to stage technically due to its multiple scene areas which require ‘sets’ for each and swapped multiple times between Hart’s office; the Bullpen; Violet’s home; Hart’s home; plus, various areas in hospitals, lifts, toilets and others. The society had made its own set on triangular trucks which served to fulfil all areas depending upon its orientation with additional props and set brought on and removed smoothly by the stage crew.

The opening scene fronted by a video insert of Dolly Parton herself introduces the three main ladies of Violet Newstead (Emma Westwood-Fulcher), Doralee Rhodes (Jude Carney) and Judy Burnly (Ruth Stapleton). Each lady had their own personalities and characteristics in their roles, and all sang and acted really well from the confident but ‘put upon’ Violet to the vivacious but feisty Doralee and the nervous and timid Judy. The harmonies between their voices were superb especially in the trio ‘I Just Might’ which for me was a highlight of the show. Enter ‘Hart’ (Matthew Pegden) whose demeanour, one liners and all-round obnoxious personality made me ashamed of my gender. His actions and delivery in his superbly performed number ‘Here for You’ was a masterclass in sleaze. (Thankfully I met him at the end of the production and a nicer man you couldn’t wish to meet.) They say there is someone for everyone and Roz Keith (Danielle Beck) was besotted with her boss and demonstrated it in intimate personal manner with her wonderful performance and singing of ‘Heart to Hart’.

Love interest for Violet was in the form of Junior Finance director, Joe (Adam May) who impressed with their duet ‘Let Love Grow’ - which we saw personified throughout the staging of the musical.

Making the most of their respective cameo roles were Graham Rispin as Tinsworthy;  Lucas Byrne as Josh; Jodie Upton as Missy; Clare Steed as Maria Delgardo; Daniel Riches as Dick; Ellies Pettit as Margaret (the office lush); Michelle Longstaff as the Doctor; Emily Scott as the nurse; with Iyla Westwood-Fulcher and Suzanne Rainbow as speciality dancers.

Performing a musical for the first time with a cast of only twenty, a director (who also had a main role) having to step in with three months to staging is not something to be encouraged. However, BATS did just that and they did it proud.

It was perhaps fitting that in such a show about the misogyny of Hart to the female gender that the whole production team (assisted by Brenna Finn as Costume and Props) was female – and all had lead roles within the production. As ‘Margaret’ would say ‘Atta Girls’.

Being the last night, the cast took a photo from back of the stage to include their audience and the question was posed to that same audience by Ruth ‘Did they want BATS to do another musical’. I think the audience’s reaction spoke volumes by their standing ovation, but I will formally articulate the answer to Ruth and to the society – YES we do – and I look forward to seeing it.

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