Dolly Parton's 9 to 5

As I waited for ‘curtain up’ I was able to take in the symmetrical SET.  It is becoming quite customary for companies to have the tabs open and the set on view before the performance, which gives the audience time to appreciate what is sometimes overlooked, or taken for granted, once the action begins.  HTC is very fortunate to have a talented in-house team who can design and build its own sets even for big musicals, unlike many groups that have to hire.  Much thought had gone into creating a working space that had to cater for the multitude of settings this show requires as the storyline moves from typing pool to boss’s office to bedroom and various ‘home’ settings.  The abstract permanent structure representing filing cabinets was a suitable backdrop for the office scenes and the matching staircases upstage allowed for different levels of action and gave a variety of pictures.  A number of trucks ably focused our attention onto smaller areas of the stage once the versatile central screens had opened to reveal the full stage.  The large backing for Hart’s office caused a little problem stage right as it was clearly a tight fit between the flats but was itself a realistic centrepiece with its portrait, trophies and files, and it rotated surprisingly to reveal a full sized double bed.  The addition of a large leather sofa gave a very luxurious appearance to the office of a successful managing director. The typing pool desks and chairs, domestic and office kitchens and restroom wash-hand basins came and went speedily, moved efficiently by the cast.  The photocopy machine was impressive displaying a digital readout, flashing lights and working paper tray - was someone hidden inside it, I wondered!  The attention to detail for pieces that had only a fleeting appearance gave a most professional look to the production.

The props on each desk were accurately representative - not easy finding enough old word processor style typewriters, I imagine, and the various files, notepads and telephones were handled sensitively by the cast so that they looked busy but without drawing the eye from the main action in a way that would steal the scene.   No effort was spared and the overall effect was to give the audience a fully immersive and comfortable sense that we were in the ‘80s.  It’s interesting to note how easily one or two iconic pieces of costume can instantly signal an era and here the pussycat bows on the ladies’ blouses did the trick. 

The LIGHTING plot was, as usual, created by the family in-house designer.  The close bond between director, set designer and lighting designer results in a cohesive presentation that always pleases the observer.  There were sharp changes and contrasts throughout punctuating the ‘everyday’ lighting of many of the scenes - a flood of lustful red illuminated Hart’s sleazy song of desire for Doralee, set changes were effected under a soft blue glow and an effective break up gobo kept Hart inconspicuously in the picture as he lay in bed while Judy and Dick had their dialogue on the high bridge.  Pools of light stage right and left allowed for the playing of two scenes simultaneously in the households of Violet and Doralee, while the low lights of the informal meeting of the three looked suitably hazy as they got stoned together, and follow spots were skilfully operated on the production numbers to provide full-on pizazz. 

SOUND - it surprised me not to see the band somewhere on stage peeking through a window or gazing over scaffolding as has been the custom for many of HTC's shows, so the short film showing each player and giving individual credit at the finale was such a good idea to inform your audience of their live presence.  The balance of instruments in this talented band came across well and for the most part was in balance with the vocals.  The overall sound was full and tuneful and the singing had precise first notes and disciplined cut-offs with no missed intros because of either performer error or technical failure.  

Much of the movement around the stage relied on guidance and placement rather than full on CHOREOGRAPHY and this deceptively simple style was rewarding to observe.  There was little in the way of complex dance routines that are out of the comfort zone of many amateurs untrained in dance technique so to see the whole company performing with confidence and skill is a pleasure.  The Boys Club effectively and hilariously supported Hart’s Here For You and gave a very convincing backing to Violet’s One Of The Boys.

What gave this show the ‘wow’ factor?  My answer would be very largely, if not wholly, the casting - there was not a weak link.  So very often in amateur shows the performers, however good, don’t look right - I ask would s/he have been cast in the West End?  We indulge ourselves playing roles for which we’re frequently too old or too young, too tall or too healthy looking, so partnerships sadly can look unbelievable or lacking in chemistry because we don’t have hundreds of auditionees from which to select.  This cast was like Baby Bear’s porridge - just right!  With harmoniously blending voices, your three leading ladies were completely convincing in appearance and age, with a quite outstanding Violet and your Hart was a realistic looking lecher, smart and attractive enough to be believable as an office manager and to believe himself to be an Adonis.  And because the other roles and the ensemble were filled by performers who have taken leads so admirably in their time, you had a very high standard of support.  I briefly considered that Joe was a little young for Violet but the script knocked that on the head by acknowledging an age difference.  The office workers displayed a mix of genuine characters, as did the hospital scene with its silent ‘extras’ each having his or her own identifiable back-story, so these scenes became credible.  The pace never faltered and the energy and evident love of what they were doing from everyone on stage was engaging leaving us with a joie de vivre.   The staging was slick throughout and clearly planned for minimal manoeuvring of furniture, and the symbolic introduction of a rainbow of huge chrysanthemum heads was an attractive and simple way to indicate the new office ethos that caught my eye.  The comedy value of the hospital scene was cleverly exploited to much laughter from the house while being played onstage with total concentration.  A massive well done to the production team and the entire company for a thoroughly entertaining evening that will long be remembered.

 

 

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