9 to 5 The Musical

Based on the 1980s comedy film of the same name, with music and lyrics by the great Dolly Parton, the musical opened in 2009 for a short run on Broadway, followed by a UK tour in 2012/2013. Set in the late 1970s, it charts the progress of three unlikely friends who unite to take control of their office and learn there’s nothing they can’t do, even in a man’s world. Although it isn’t a musical masterpiece, it is thoroughly enjoyable, with a fantastic blend of feminist indignation, raucous good humour and some genuinely touching moments. Topped off with some gutsy and heart-warming music and lyrics by Dolly Parton, what more could you wish for?

The three female leads were outstanding and worked well with each other. Rachel Dean, in her debut for Players, was Doralee (Dolly Parton in the movie) and absolutely spot-on as the pneumatic, pistol-packing country girl, fed up with being hit-on by her boss.  Her looks, her wig, her costumes, her gutsy attitude and her wonderful voice were 100% Dolly, without ever becoming a parody. Jacqueline Willis as Violet was the perfect capable but down-trodden, promoted-over secretary who ends up achieving her dream of running the company (which she always had done anyway). Georgina-Rose Rust also turned in a great performance as Judy, bringing a real sense of hurt to the role of the divorced wife, forced to return to work and finding she has no relevant skills.

Jo Alldridge, in a very welcome return to the Players’ stage, was in great scene-stealing form as the office nark Roz (what an amazing wig!) She was hilarious in every interaction with Franklin, but excelled in the dream ballet sequence when she fantasised about her beloved boss. Were there some hints of Roz from Monsters Inc., or was that just me?

We mustn’t forget the men – few in number, but big on talent, most notably the ever watchable Stuart Warner, who stepped in at short notice to play the sexist, egotistical, lying, hypocritical bigot boss, Franklin Hart. An outstanding performance – his every move, gesture and leer seemed to have been choreographed to perfection. James Bradbury played the innocent young accountant  Joe, who saves the day, with great truth and Trevor Bratty gave a wonderfully sleazy cameo performance as the ex-husband Dick (by name and nature), who Judy was obviously much better off without.

The large chorus produced a magnificent sound (although perhaps a few more men would have given it more depth – a very minor gripe), were well-drilled in the sparkling choreography and provided some nice background touches – the stream of walking wounded in the hospital scene was particularly effective.

The wonderfully brassy band, led by Robert Douglas, matched the tone of the show perfectly and never drowned out the beautiful solo and chorus singing. Although it can be hard to judge at the front of the stalls, the sound quality and mixing seemed to be excellent. The simple scenery was just enough to set the scene and so redolent of the seventies. Along with furniture (on castors), it was manoeuvred slickly by the cast and costumed stage crew, so that the scenes flowed easily from one to another, maintaining the good pace of the show. The lighting was excellent, and huge praise must also go to the Wardrobe Department for the fabulously colourful costumes. The transformation from drab browns and oranges at the start to the much more colourful and stylish garb as the women took control of the company and the atmosphere changed, was skilfully achieved.

Former Player, Lee Thompson, has made a most welcome return for this, his directorial debut for the company. And what a spectacular show he has given us: colourful, vibrant and uplifting. His crisp direction, imaginative choreography and great attention to detail have provided a magnificent showcase for this very talented company.

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