9 to 5

It was a pleasure to attend Preston Musical Comedy Society’s production of 9 to 5 The Musical at Preston Playhouse Theatre, where we were made to feel very welcome by Chairman Mark Howard and Declan Murray. 9 to 5 The Musical, with music and lyrics by Dolly Parton and book by Patricia Resnick, is based on the well-known 1980 film starring Dolly Parton, Jane Fonda and Lily Tomlin. The story follows three women, Violet Newstead, Doralee Rhodes and Judy Bernly, as they take control of their working lives and challenge the behaviour of their sexist and overbearing boss, Franklin Hart Jr. It is a show full of humour, friendship and energy, but it also has important themes of equality, empowerment, courage and finding your voice. This was an entertaining production and one that the audience clearly enjoyed. There were some lovely performances, particularly from the three leading ladies, Hannah Ayres, Paula Carter and Emily Taylor. The company brought plenty of energy to Dolly Parton’s bright, comic and uplifting world, and there was a warm sense of enjoyment from both stage and auditorium.

Director Phil Tomlinson gave the production a clear shape and kept the story moving. The plot was easy to follow, the humour was handled confidently, and the three central women were placed at the heart of the show. This is important because 9 to 5 only really works if the audience believes in Violet, Doralee and Judy as individuals, and then believes in them as a team. Phil allowed the comedy to come through, but he also made sure the friendship between the women remained clear. The production had warmth, pace and a good sense of fun.

Hannah Ayres gave a very assured performance as Violet Newstead. Violet is a demanding role because she has to carry authority, frustration, humour and vulnerability, often all at the same time. She is experienced and capable, yet constantly overlooked, and the audience needs to see both her strength and the unfairness of her situation. Hannah achieved this well. She gave Violet a grounded, believable presence and had the confidence needed for the role. Her scenes with Judy and Doralee developed naturally, and she led the office world with assurance. “One of the Boys” was a strong moment and showed both character and confidence.

Paula Carter was excellent as Doralee Rhodes and was one of the standouts of the production. Doralee is an iconic role, and there is always the danger that the performer may simply imitate Dolly Parton. Paula avoided that and created a warm, funny and likeable Doralee of her own. She captured the character’s kindness, humour and vulnerability, while also showing her strength when she finally stood up for herself. “Backwoods Barbie” was particularly well delivered, as it needs sincerity as well as vocal control. Paula brought heart to the role, and the audience warmed to her.

Emily Taylor gave a great performance as Judy Bernly. Judy’s journey is one of the most important in the show, as she begins unsure of herself and gradually finds confidence and independence. Emily handled this progression well, and her Judy grew as the story developed. “Get Out and Stay Out” is one of the most demanding numbers in the show, requiring emotional honesty, vocal strength and a real sense of release. This number did not feel quite as vocally secure as some of her other songs, but Emily remained committed to the character and the emotion of the moment still came through. Her portrayal of Judy’s growth was clear and believable.

Scott Schiavone played Franklin Hart Jr. excellently and with confidence. Hart is a difficult role because he has to be unpleasant enough for the story to work, while still allowing the comedy to land. Scott gave him the required arrogance and self-importance, and he was suitably unlikeable without losing the comic tone of the show. His scenes with the three women gave them a strong character to push against.

Delphine Walton gave a very enjoyable performance as Roz Keith and deserves credit for one of the funniest scenes in the show. Her solo, “Heart to Hart,” was powerful, funny and full of confidence. The moment where she stripped down to a corset during the number was bold, well performed and completely in keeping with the outrageous comedy of the character. It could easily have felt overplayed, but Delphine handled it with great comic timing and total commitment, making it a real highlight of the production.

Frazer Mundy brought warmth and charm to Joe, and his scenes with Violet were nicely handled. Aaron Owen gave solid support as Dwayne, and Aidan Martin as Josh, brought youthful energy to the production.

Kirsty Chapman as Missy, Eleanor Jolliffe as Maria, Brian Spar as Dick, Lucy Spencer as Kathy, Hattie Pridmore as Margaret and Mark Kendall as Mr Tinsworthy all helped to populate the office world effectively. These smaller roles are important in 9 to 5 because they help create the workplace environment and give the principal characters a believable world to exist in. The ensemble, including Hannah Riordan, Gemma Burns, James Moss, Matthew Whittingham, Rachel Blair, Eli-Mai Waite and Aly Martin, worked with commitment throughout. They brought energy to the office scenes and musical numbers and helped keep the production lively.

Vocally, the company delivered very well. The ensemble numbers had energy, particularly in the larger company pieces, and the principal vocals were generally confident. Dolly Parton’s score may have a bright, country-pop feel, but it still requires clear diction, good tuning, stamina and plenty of character. The cast were clearly well prepared and gave the songs the lift and personality they needed.

Bruce McLaren, as Musical Director, deserves credit for preparing the company vocally. This production used backing tracks rather than a live band, which brings its own challenges. With tracks, performers have less flexibility with tempo, so the cast must be secure with entries, timing and transitions. Bruce had clearly worked hard with the company on confidence, harmonies and musical precision, and this showed particularly well in the ensemble numbers. The musical style was understood, and the score was performed with brightness and enthusiasm.

There were times when the backing tracks were a little too loud, making some dialogue and lyrics difficult to hear. In a show like 9 to 5, where the comedy and storytelling depend so much on clear dialogue, sound balance is especially important. When the balance was right, the vocals came across well and the performers were able to connect fully with the audience. Sound by Sam Robinson-Davies and Matthew Hughes had many effective moments, but a little more control of the track levels would have helped the dialogue land more consistently.

Anne Arkwright’s choreography helped give the production energy and suited the bright musical comedy style of 9 to 5. There were moments where the routines felt stronger and more confident than others, and a little more precision or variety in places would have lifted the overall impact further. However, the choreography supported the storytelling, kept the numbers moving and gave the company plenty of opportunity to perform with character and enjoyment.

The set created a strong first impression. The backdrop gave the stage a colourful and professional look. The use of three sliding doors, through which set pieces were rolled on and off, was a clever idea and helped establish the office environment. The design allowed different locations to appear efficiently and, overall, gave the production a polished feel. There were some practical issues with the sliding doors, which at times appeared to stick or were difficult to open and close. This made some transitions look a little clunky, and on a few occasions we could see hands manipulating the doors. These moments slightly interrupted the flow, but they did not spoil the overall effect. On the whole, the set worked well and gave the show an attractive visual style.

Lighting design and operation by Ella Cochrane supported the production well. The coloured lighting, particularly the LED lights around the proscenium arch, helped lift the atmosphere and gave the office world a bright musical theatre quality. The lighting created focus and mood, especially during the fantasy sequences and bigger musical numbers. Properties by Lauren Twist were well used, and the office items helped ground the production in its setting.

Wardrobe by Lisa Jolliffe and Ruth Phillips was effective and appropriate for the period and characters. The costumes helped distinguish the office workers and gave the principal characters clear identities. Doralee’s look was especially important, and Paula Carter’s costume supported the character well without becoming a caricature. Roz, Violet and Judy were also visually clear, and the wider company looked suitable for the late 1970s office setting. The attention to visual detail helped the world of the show feel complete.

Stage Manager Lucy Baines and the stage crew, made up of friends and members of the society, had a busy job with moving set pieces, doors, props and a large cast. Although some transitions were not as smooth as they might have been, the production kept moving and the overall running of the show was effective. 

The pace of the show was generally good. The comedy landed well, and the audience responded warmly to the characters and musical numbers. The relationship between Violet, Doralee and Judy was the heart of the production, and their friendship gave the show its emotional strength.

The key themes of 9 to 5 came across clearly: friendship, empowerment, standing up to unfairness, and finding the courage to change your own life. These themes remain relevant, and the cast communicated them with warmth and humour. The show was at its best when the three women were working together, and the production succeeded in making the audience root for them.

Audience engagement was good throughout. There was laughter, applause and a clear sense that the audience enjoyed the familiar story and music. The finale brought the evening to a bright and cheerful close, sending the audience out with the title number and a feel-good ending.

Overall, this was a very enjoyable production of 9 to 5 The Musical by Preston Musical Comedy Society. It had strong lead performances, committed ensemble work, movement that supported the production, and a visually attractive set. Congratulations to Phil Tomlinson, Bruce McLaren, Anne Arkwright, the cast, production team, backstage crew, front of house team, trustees, volunteers and everyone involved in bringing this bright and uplifting production to the Preston Playhouse stage.

 

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