9 to 5

This musical is based on the 1980 film of the same name with book by Patricia Resnick and music and lyrics by Dolly Parton. It premiered in Los Angeles in September 2008 and Broadway in April in 2009, receiving 15 Drama Desk nominations and 4 Tony noms. The UK premier was 2012 and West End 2019.

UOC’s Set was a generic city backdrop, a star cloth and an office corridor tab cloth which was regularly utilised during scene changes behind (quite old fashioned on present day stages.) As the Opera House has flying facilities, a number of pieces were flown in but many pieces such as settees and office desks were swiftly and efficiently moved by stage crew and sometimes cast members. Wigs, hair and make-up were mainly authentic for the period, as were costumes. There were some great glitzy costumes for dance numbers. Sound was generally good with well chosen sound effects. Lighting cues were on time with lovely colour washes and light beams although I questioned the use of dry ice in the opening bedroom scene and split scenes needed more careful lighting.

From the moment the curtain rose, the cast burst into life with “9 to 5”, featuring different morning routines

involving the whole cast including children. Throughout the show the enthusiastic ensembles played a huge part in the slick pace of the action, with every individual very well rehearsed.

The leading trio - Violet, Doralee and Judy - did ‘shine like the sun’ and were at the very heart of the show.

Violet, played by Liz Wilson, was a polished and accomplished performer. As a single mum who stands up for what she believes in, Liz was a strong and ambitious woman who brought both authority and warmth to the role. Niamh McAuley played Doralee, a sassy young woman who, in rejecting the advances of her boss, showed that there is more to a woman than just her looks! Niamh maintained her sunny southern accent throughout and her comedic timing was good. Her solo “Backwoods Barbie” was a highlight. Played by Aideen Fox, Judy was new to an office environment, having been abandoned by her philandering husband.  She portrayed an insecure, tearful character to begin with and it was lovely to watch her transformation into a determined character, with her powerhouse number “Get Out and Stay Out!”

The role of leading man Franklin D Hart was taken by Samuel Moore in hilarious ‘over-the-top’ manner. Employing a certain amount of  ‘slap-stick’  humour, Samuel was convincing as the chauvinistic and arrogant boss who continually faked charm as he honed in on his sexual victims! His wife Missy (Hayley Campbell) was completely unaware of his true nature and very naïve about his interaction with office ‘girls’. Serena Smart gave a memorable performance as Ros – the office snitch and queen of gossip. Being hopelessly smitten with her boss, her solo number “Hart to Hart” was a brilliant dance concept of gender swapping – 8 girls were dressed as Hart and boys as Ros with hilarious result! Aoife Corr played the office lush, Margaret. She just escaped turning her role into a caricature! Mark Comer was handsome young office accountant Joe, who was smitten with older woman Violet and took every opportunity to persuade her that they should be together! He seemed like a nice young man who eventually achieved his goal!

As Violet’s son Josh, Neal Mullin was a typical grunting teenager and Sean Harkin was Doralee’s attractive and supportive husband, Dwayne. It was good to see Sean, as well as several other accomplished actors, taking minor roles (eg.Karen Hawthorne, Simon Pyper, Jordan Rosborough, Caroline McMichael, Michael McDowell.)

The latter played Tinsworthy, the Chairman of the Board of Consolidated Industries, with his normal charm and humour.

Tony Finnegan did his usual job of directing a quirky and pacy show! With some novel ideas, he perhaps missed a chance to create chaos from Judy’s malfunctioning xerox machine by spitting out multiple paper copies! Also, we missed the surprise element of revealing Hart strung up above the bed. The lighting allowed the wires and harness to be seen which somewhat spoiled the effect.  Matthew Watson’s choreography was excellent – innovative and well rehearsed. The 12 piece orchestra under the baton of Wilson Shields was very well controlled and mostly well balanced. The orchestration is heavy on brass to drive the energetic signature sound but sometimes I found it a bit much.

A standard part of the musical is Dolly Parton herself appearing in a recorded introduction and finale ‘clock’ on the wall. She obviously doesn’t want us to forget that it’s her show!

As this was the last show I will review for UOC, I want to thank the company for the great productions I have attended over my 20 years. I promise you a worthy successor in Kerry Kane who was delighted to attend 9 to 5 with me to be introduced to you all.

 

 

The views in this report are solely of the author.

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