9 to 5

Nine to Five follows three strong and independent women trying to be respected and heard in their office workplace.  

The opening number introduced us to the three main characters, Judy (Kate Mann), Violet (Charlotte Smith) and Doralee (Katie Proctor). Kate brought a vulnerability to the role of newly divorced Judy, finding her feet within the office, ending with newfound confidence, declining a reunion with her cheating ex-husband. Charlotte as Violet, a middle-aged widow, trying to gain her well-earned promotion whilst raising her teenage son, was played well with confidence. Katie as Doralee, a part made famous by Dolly Parton, was just incredible. Her accent and mannerisms made it feel like it was Dolly on the stage. I was impressed that she was able to maintain the accent throughout all of the songs as some of the other performers lost their accents when singing. 

Franklin Hart Jr., the sexist, sleezy boss was played by Kevin Maltby. He played the character extremely well, making the audience squirm in their seats with his advances on poor Doralee. Kevin’s solo, “Here for You”, was dramatically acted out and effortlessly sung. 

Along with choreographing the show, Siobahn Amos brought to life the character of Roz Keith. Her song, “Heart to Hart” was comical yet serious and really demonstrated how infatuated the character was with Mr Hart.  

Joe, the younger colleague trying to win Violet’s affection was played by Charlie Baciu. Charlie was confident in his role and showed his effortless vocals in “Let Love Grow”. However, when it came to the chemistry between Violet and Joe, it was lacking a little, in my opinion. 

The principal characters were supported by a large cast, all taking on the smaller roles with ease. 

Rod Iliffe provided the musical direction. The show was supported by backing tracks rather than a live orchestra. The tracks were well timed to provide underscores and seamlessly transitioning to the musical numbers. There was plenty of harmony to be heard in the company numbers and was prominent in the songs performed together by Charlotte, Kate and Katie. 

When it comes to the choreography, Siobhan never fails to showcase her musicality. The movement enhanced the musical numbers and didn’t detract from those leading the numbers. It was great to see everyone joining in with the choreography in company numbers however, at times, it appeared to be too difficult for some of the non-dancers. 

Ben Johnson’s direction enabled the musical to stay true to the iconic film of the same name. The cast never faltered and clearly knew what they were doing. It was effective and efficient to use the company members to move the scenery and props, keeping scene changes prompt and fast paced. The set and props were well thought out and provided depth to the piece. 

The sound provided by Phil Bennett and Karan Lamour was the best I’ve heard. All of the characters could be heard throughout the show and the balance between the backing tracks and singing was perfect. 

The lighting by Flic Jones was dynamic and enabled definition with the set. It seemed an odd choice and out of place to use the glitterball in some of the musical numbers. 

The props and costumes were in keeping with the show being set in the 1980s. It was great to see some of the company members embracing the whole era, including hair and make-up however, it would be more authentic if all of the company fully embraced the era, with their hair and make-up, not just with the costumes. 

It was delightful to hear Dolly Parton songs being played in the auditorium prior to the show, providing an atmosphere of what was to come. 

Overall, it was an entertaining evening with some brilliant performances. 

 

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