9 to 5 The Musical

I have a liking for this musical as I directed one of the earliest SW productions after its initial release to amateurs back in 2017.

Based on the non-musical movie of the same title, it is certainly a beast of the 80s (from whence the movie dates) and the themes contained in the story might not rest easy with some, these being sexual harassment within the office environment, male domination at work, women's equality (or lack thereof) in the workplace and how our three female lead characters turn the tables on their boss and turn the show into a fantastical feminist revenge story. To ensure these themes are palatable to the audience, the show sometimes descends into comic lewdness with broad brash splashes of humour and, as one critic said, it takes the view that it is OK to leer if you wink at your own prurience.

The star of the show is very definitely the musical score by Dolly Parton, closely followed by the grandstanding roles of the three leading ladies.

There are many scenes in this show, and Shaldon once again came up trumps with a superbly designed multi purpose set which allowed the production to move very swiftly from scene to scene at a great pace with only a very few pauses here and there. I was told this was the biggest production the group has ever mounted in terms of amount of scenery. They also successfully managed to fly Hart when he is held captive at his house, something many groups are unable to do.

Music was to backing tracks. I did miss a live band, but this arrangement (apart from saving costs) worked well and only occasionally was spontaneity slightly lost when the principal cast were visibly waiting for a music cue.

This show allows for much company work in the office scenes and although only a relatively small company they filled the stage with good movement. Ryans choreography showed good imagination with much activity and business and great characterisation among the company. There was absolutely nothing static or uninteresting about this production.

The show relies very heavily on the three female lead characters and when I saw the cast announcement earlier in the year I knew Shaldon had struck gold. Violet, the long serving staff member with a chip on her shoulder, was played with great energy and strength, but also affording us a look at the more sensitive side of her character in her growing affection for, and relationship with, a much younger male colleague, Joe, and this is the dramatic ploy that stops Violet becoming too strident.

Judy, the green gilled new recruit, newly divorced and hesitant about starting out alone was a nicely judged performance. This character gains in confidence as the show progresses. Her final rejection of her philandering ex crowns her re-invention with her show stopping number “Get out and stay out” which garnered great applause.

The role clearly based on Dolly Parton is that of Doralee, mistaken for the bosses bit on the side, but ultimately showing that there is more than just blond hair and an ample bosom. This actress was perfect for this role.

All three characters have grand standing musical numbers and all three delivered in spades.

The seedy unlikeable office boss Franklin Hart who eventually gets his come comeuppance, is a difficult role to play.  There is much comedy to be extracted from this role but he also captured perfectly the rather nasty side as well. The 1980s chauvinism caused the audience to gasp more than once as he captured this sly nasty undertone. My, how far we have come since the 1970s/80s.

Franklin Hart has an unlikely admirer in the office busybody Roz, the office snitch. Here, every ounce of humour was grasped and her big number in which she reveals an unexpected sexy side was very well done.

Joe, the younger colleague who ends up with Violet, was given a nice gentle touch by this experienced performer. The lovely solo with Violet (Let Love Grow) was nicely judged. This is one of my favourite numbers in the show.

The more prominent office characters of Kathy, Maria and Margaret were all well played and given much more prominence than usual.

All the other roles were well handled and there were no weak links at all in a very strong cast. There weren't many men, but there were enough and, in any case, it mattered not as this is principally a women's show.

My only small gripe was that I wasn’t a fan of many of the women’s wigs being used in the show, but I am being fussy there.

Shaldon can always be relied upon to provide first class entertainment prepared by very able production teams and this show was no exception at all. Creative staging was very evident, and I enjoyed it all immensely. The joint direction team of Linsie and Jackie are tried and tested with a good track record, so I fully expected the great production they delivered. Ian is a great musical director and while it was shame he didn’t have a live band, he had clearly drilled the company within an inch of its life.

Congratulations of another success for Shaldon.

 

 

 

 

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