9 to 5

Hot on the heels of their resounding successful production of ‘Hairspray’, Rhyl MTC ventured into yet another musical based on a film. ‘9 to 5’ was a musical first for me, and from the opening title number the Company had the audience tapping their feet from the onset. The performance was pacey from the start with slick disciplined, well-rehearsed choreography and ensemble numbers.

The three main female characters, all employees of Consolidated Industries and all from different backgrounds, gave excellent performances. Amy Robinson, as Single Parent Violet Newstead, gave a commanding performance as the Senior Office Manager who had been passed over for promotion by The Boss. Corrine Cherish brought all her experience to bear with a faultless portrayal as Doralee Rhodes, the Boss’s Secretary with ‘Backwoods Barbie’ being an Act 1 highlight. Newcomer to Consolidated and Divorcee, Judy Bernly, was in the capable hands of Jessica Griffiths who coped well with the ‘Oops a Daisy’ blunders of her first day with the Company. It was evident that Judy’s character and confidence grew as the show progressed culminating in excellent delivery of ‘Get Out and Stay Out’ before the finale. This trio of employees blended well together in all musical numbers and led the ensemble individually and collectively, thus confirming their experience in stage craft. What a performance from The Boss, George Kelly, who gave an outstanding characterisation of the lecherous bigot, Franklin Hart. George immersed himself in this role which resulted in his comeuppance at the end of the performance. Kat Hewish gave us a brilliant, believable portrayal as Roz Keith, Hart’s Administrative Assistant who craved attention from her randy boss, but alas her affections fell on stony ground. Loved Roz’s ‘9 to 5’ in Act 2. Solid performance from Wes Wharton as Joe who followed Violet ‘to the ends of the earth’ and I particularly liked their duet ‘Let Love Grow’. Good contribution from Drew Noble as Dwayne Rhodes together with an extensive list of minor roles, each well delivered with the whole cast maintaining their accents throughout the piece.

The expanse of the stage was well used in all Ensemble numbers, and changes of scenery were slick. One or two faux pas with microphones and I would like to have seen a few more props on stage, but lighting, costumes, make up and wigs were of the high standard we have come to expect from this enterprising Company. Another ‘standing ovation’ moment for this Company, well deserved.

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