9 to 5 The Musical

A packed Blackburn Empire Theatre created a lively atmosphere for Create Theatre Academy’s production of 9 to 5 the Musical, with the auditorium filled right to the rafters and the audience fully engaged from the outset. Under the direction of Alex‑May Colley and Rebecca Eastham, the show moved with confidence and clarity, making excellent use of the young company and a stage design that shifted smoothly between offices, the secretary pool, the hospital, and the many other locations the story demands. Transitions were handled in full view, with desks, sofas and office units moved by the ensemble in well‑rehearsed patterns. The fastenings beneath the desks, allowing chairs to slot on and travel as one unit, gave the changes a clean, tidy finish. Nothing was left idle; every piece of scenery had a purpose and was incorporated into the movement of the show.

Musical direction from Dave Dossett provided a solid foundation. The orchestra supported the cast with warmth and balance, never overpowering the vocals. Harmonies were well blended and confidently delivered, and the soloists showed vocal strength and control. The technical team at Blackburn Empire Theatre ensured every voice was heard clearly, with no microphone issues or feedback, while the lighting design added depth and atmosphere through a palette of cyans, blues and greens. Spotlights were precise, and the overall look complemented the tone of the production.

Choreography by Emma Soper played a key role in keeping the show moving. The routines were vibrant and expressive, well suited to the company’s energy, and the ensemble handled them with discipline. The umbrella sequence, with its flashing lights creating a rainfall effect, was particularly effective. The typists’ pool scenes were full of rhythmic movement and character detail, helping to show the busy office environment. Under dance captain Mia Mainey, the ensemble worked cohesively and coordinated, keeping energy, precision, and a clear sense of purpose throughout.

Alice Croasdale offered a well‑considered portrayal of Violet, capturing her brisk professionalism, dry humour, and underlying warmth. Her mannerisms were carefully observed, giving the character a clear sense of authority without losing her humanity. Vocally she was strong and expressive, handling the musical demands with assurance. She charted Violet’s journey with clarity, showing both the frustrations of being overlooked and the confidence that appears as the story progresses. Her comic timing was particularly effective in the hospital sequence, where her handling of the “dead body” drew a strong laughter from the audience.

Jena Darley brought Doralee to life with a confident accent, clear stage presence and a vocal performance that carried both power and character. She captured the familiar wiggle, poise and bright composure associated with Dolly Parton, but kept the character sincere rather than exaggerated. The accent carried cleanly into her singing, giving her numbers a distinctive tone. She showed Doralee’s resilience and kindness well, balancing the glamour with a sense of fairness and determination. Her scenes with the other leads were warm and well‑paced, and she handled the comedy with a light touch that suited the role.

Brooke Medhurst portrayed Judy with careful attention to detail, presenting her initial nervousness and prim composure convincingly. Her posture, gestures and vocal delivery all reflected a character trying to find her footing in unfamiliar surroundings. As the story progressed, she allowed Judy’s confidence to grow gradually, making the transformation feel natural and earned. Her vocals were clear and controlled, supporting the emotional arc of the role. She balanced vulnerability with emerging strength, and her interactions with Violet and Doralee helped to solidify the trio’s dynamic.

Isaac Ashcroft gave a confident and well‑shaped performance as Hart, leaning into the character’s bluster and ego with a clear sense of comic control. His physicality was a strong feature, using swaggering posture and exaggerated self‑assurance to show a man convinced of his own importance. His scenes with Doralee were handled with care, keeping the tone light and theatrical. The number on the settee was a particular highlight, performed with commitment as he writhed and gyrated through Hart’s overblown fantasy. It was humorous without being overstated, and it gave the audience a clear sense of the character’s ridiculousness.

Amaan Wardingley brought a calm, grounded presence to Joe, offering a steady counterpoint to the more chaotic office scenes. His vocals were clear and confident, and he handled the musical material with ease. He played Joe’s admiration for Violet with gentle warmth, allowing their connection to build naturally. Their scenes together had an easy rhythm, and he supported Violet’s journey without overshadowing it. His consistent character work in ensemble moments helped to support the sense of a functioning workplace.

India Pilkington delivered a sharply drawn performance as Roz, showing her strict, watchful nature early on. She balanced the character’s officiousness with well‑timed bursts of emotion, particularly in her fantasy sequences. Her vocals were strong, and she handled the sudden shifts in tone with control. The scenes where Roz’s infatuation with Hart took centre stage were performed with commitment, mirroring his exaggerated physicality in a way that kept the humour clear and well judged.

Izabella Baldwin made a brief but memorable contribution as Young Doralee, capturing the character’s early spark with confidence. Her vocals were particularly striking in the finale, where she riffed cleanly and confidently over the full ensemble, adding a bright, polished top line that lifted the number and rounded off the show with real assurance.

Nicola Odelola brought real presence to Margaret, shaping the character with dry humour, sharp timing, and a grounded sense of personality. Maddie Steel as Maria and India Allard as Kathy added warmth and clarity to the ensemble scenes, supporting the musical and dramatic structure with consistent character work. Harry Ford (Josh), Will Oliver (Dick), Joe Baron (Dick), and Theo Nightingale (Bob) each contributed neatly judged performances, with believable, well‑defined figures, adding humour and structure without distracting from the central story.

The wider ensemble delivered cohesive, synchronised, and energetic work throughout. Their movement was disciplined, their transitions efficient, and their character choices clear. They kept the pace of the production and ensured the stage always felt alive, particularly in the larger office and fantasy sequences.

This production showed strong teamwork across all departments, guided by clear direction, confident musical leadership, and well‑structured choreography. The cast approached the material with commitment and clarity, resulting in a lively, well‑paced performance that highlighted the strengths of the academy and the enthusiasm of its young performers.

I would like to thank Create Theatre Academy for inviting me to their production, and the front of house team at the Blackburn Empire Theatre for the hospitality shown throughout the evening. I look forward to many more productions from them in the future.

 

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