9 to 5

9 to 5 the Musical is a comedic and empowering story that follows three underestimated office workers who seize control of their workplace and challenge their sexist boss, Franklin Hart. 

Directed by Megan Jones, Weldon Theatre School’s production of 9 to 5 the Musical was vibrant, engaging, and full of energy. The principal cast handled the adult themes of the script with maturity, confidence, and emotional depth. 

Ellie Holdenback was outstanding as Violet, the widowed mother of Josh. Her performance of One of the Boys was a true highlight—delivered with such assurance and flair that it felt as though the number had been written for her. Rosie Robb gave a thoughtful and compelling portrayal of Judy; her character development was clear and believable throughout performing a powerful and heartfelt rendition of Get Out and Stay Out with ease. Doralee, played by Paige Larner, captured the character’s charm and resilience, contributing well to the dynamics of the three leading female characters, yet showing her vulnerability during Backwards Barbie.

Toby Lever embodied Franklin Hart with just the right amount of sleaze and swagger, capturing both his inappropriate pursuit of Doralee and his desperate attempts to claim credit for the office’s improvements during his “absence”. Evie McGhee was a delight as Roz. Her expressive facial acting and comedic timing were on point, portraying Roz’s infatuation with Mr Hart brilliantly. Her musical number Hart to Hart was full of enthusiasm and humour. The principal cast were supported by a large ensemble who approached their roles with confidence and clear enjoyment. 

Choreography by Abbie McLellan showcased the company well, with full-cast numbers and routines for the intermediate dancers which complemented the musical’s varied styles, especially in Dance of Death, Cowgirl’s Revenge and Joy to the Girls. There were moments where the ensemble struggled to stay in sync; whether due to opening-night nerves or under-rehearsed sections. A few performers also appeared slightly unsure on stage, and further work on ensemble confidence would strengthen future performances. 

The musical direction was provided by Sue Bond. The songs were performed with conviction, the company clearly knew the complex songs and were strong with their harmony vocals. Standout numbers included Around Here and Let Love Grow. The lead characters showcased impressive vocal ability, particulary in Shine Like the Sun and the live band supported the performers beautifully, providing a well-balanced accompaniment. 

The set and props were appropriate and effectively supported the storytelling. Scene changes, however, were occasionally clunky and sometimes extended beyond the musical underscoring. The costumes generally suited the office environment, although some pieces felt too modern, making the intended era slightly unclear—especially given the script’s reference to the 1990s toward the end of the show. 

The sound quality provided was clear and well balanced with the live band in musical numbers. Even though there were some missed cues with the sound, and some of the cast were without microphones, they could still be heard. The lighting design complemented the production effectively and enhanced the atmosphere of key scenes. 

Overall, it was clear the cast had worked hard and provided an enthusiastic performance. I'm looking forward to seeing Weldon Theatre School's next adventure.

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