9 to 5 The Musical

As soon as we walked into the foyer of the comfortable Station Theatre, we knew we were in for a treat. Straw bales and front of house people dressed in cowboy attire really got us in the mood for the country and western origins of 9 to 5 The Musical. Based on the 1980s’ film of the same name, and penned by the undisputed Queen of Country, Dolly Parton, the show tells the story of three office workers who are driven to breaking point by their “sexist, egotistical, lying, hypocritical bigot” of a boss and decide to take matters into their own hands.  They end up transforming the company for the better and increasing profits. Even though attitudes have changed a lot since the 1970s when the show is set, this musical seems to have become an inspiration for many and a bit of a “girl power” phenomenon, if the number of enthusiastic women in the packed audience was anything to go by.

Right from the first note of the iconic “9 to 5” song, we were caught up in the energy of the busy office scene that was created, with projection and just a few flats on the very restricted stage. Furniture was moved on and off very efficiently by the cast and stage crew and, knowing how little room there is at the sides and rear of the stage I could only marvel at how slick the scene changes were – you hardly noticed them happening. Huge credit to Stage Manager Tony Tame and his organisational skills. Lighting by Lee Stoddart was spectacular throughout, really enhancing the picture, and sound by Tom Davison got the balance just right between the performers and the recorded soundtracks – we heard every word. Costumes and wigs (Megan Fisher, Maria Hammon, Zoe Fisher, and Emily Harkness) fitted the mood, period and characters perfectly – with some really stunning outfits for some of the big numbers.

Director Zoe Fisher likes to choreograph her productions as well as directing them and that shows in the slickness of this piece, moving easily between dance and dialogue and maintaining a cracking pace throughout. Zoe has chosen the perfect trio as the disgruntled secretaries Violet, Doralee and newbie Judy. Rhian Gardner was spot on with her portrayal of Violet as the often overlooked, smart, single mother who knows the business and is capable of so much more. We really felt her anger at being passed over for promotion. Megan Fisher shone as the sexy, misunderstood country girl Doralee, and both sounded and looked a lot like Dolly Parton. Sally Goddard was impressive as Judy, the recently separated, meek mouse with no office skills, she transformed the character into a confident and empowered woman. What voices and attitude all three women had, commanding the stage with their performances.

In his portrayal of boss Franklin Hart, Danny Owen demonstrated the power of his acting by convincing me that he was the sleazy, sexist pig that I know he isn’t. Marie Ridley was wonderful as office sneak Roz, toadying up to unrequited love Hart and hated by everyone else in the office. Her vampish performance was just the right side of over the top and all the more humorous for it. As young accountant Joe, Lucas Bradshaw was always interesting to watch, making his attraction to the older Violet totally believable. Their duet together “Let Love Grow” was simply beautiful. I must also mention Helen Castle as office lush Margaret – a nicely judged performance – never too much.

The rest of the cast gave tremendous support, attacking every chorus number with great verve and gusto and making a beautiful sound together. The choreography was executed perfectly, ending in some lovely pictures, and goodness knows how you managed it on such a small stage without any collisions!

What a cracking production this was, pacey and slick with tremendous performances from everyone on stage, beautiful costumes, and stunning lighting. Add to that Dolly Parton’s bouncy music and humorous lyrics and you have the perfect evening out, right on your doorstep. We left the theatre feeling uplifted – what more could we ask?

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