The musical is based on the 1980 comedy smash hit of the same name that propelled country singer Dolly Parton into movie stardom alongside Jane Fonda and Lily Tomlin. The title song became one of Parton's biggest hits and an ear worm I won't be able to shake for the next few days! I vaguely remember the movie and it's interesting watching this tale of office revenge unfold in musical form over forty years later.
The production is well sung and well played but I admit I was struggling a little with the story itself which is pretty thin and follows a, by now, well trodden trajectory. What did grab my attention though were the imagined sequences which are far more theatrical than the familiar office politics. This is where the show shines as it frees itself from the straight jacket of representing an everyday work environment, even one beset with inequity and misogyny. When the show launches into its own "He had it coming..." sequence of The Dance of Death/Cowgirl's Revenge/Potion Notion the production hits its straps as the three leads bring the sass and vibrancy that the long office set-up had largely denied them.
Timid new employee Judy (Stacey Gobey), high on pot, transforms into a film noir-style femme fatale, all glamour and gun toting bravado. Doralee (Jen Gadeke) who is the object of Hart's lust and victim of unsavoury office gossip, turns the southern belle into a formidable cowgirl; and Violet (Sarah McCabe), overlooked and underappreciated, morphs into a murderous Snow White who's brewing up a potion to off the biggest rat of all.
Hart himself, played by Aaron Lucas, shrinks before their wrath as they imagine ways to end his tenure in terminal fashion. These startling character changes are supported by clever costume reveals; complete switch in lighting palette; and the ensemble playing up to the inherent absurdity of it all, most amusingly in the fairy tale setting.
Other imagined scenes that pop - the one that sets the template as Lucas embraces the lecherous nature of Franklin Hart as he objectifies Doralee in Here For You which is both funny and repulsive at the same time; in some ways the reverse perspective as the obsequious assistant Roz (Mary Carter) pines for Hart in Heart to Hart; and Violet getting her Roxie moment early in the second act with One of the Boys.
Gobey is excellent as Judy, giving the divorcee a real sense of vulnerability as she adjusts to new circumstances before breaking out of her shell culminating in the impassioned Get Out and Stay Out.
Gadeke brings the southern drawl, the swagger, big hair, and bigger voice in the role Parton made famous. It's an eye-catching performance with Backwoods Barbie an early highlight.
McCabe's office-bound Violet is very straight-laced and almost underplayed so the change up for the imagined scenes is a welcome contrast. She has a tender moment with Joe (Liam Tickner) in the ballad Let Love Grow.
The three leads complement each other vocally with numbers such as I Just Might and Shine Like The Sun while embracing the increasingly screwball nature of the revenge arc. I also liked the variation in costumes to signpost their character traits with Gobey in dowdy outfits; Gadeke in figure hugging dresses; and McCabe in practical office attire.
Lucas revels in the lewd nature of Hart before submitting meekly in the revenge fantasies including a fun costume choice that deflates Hart's ego in delicious fashion. This may be an odd thing to say for such a slimy character but his presence is missed for most of the second act.
Carter impresses as Roz though the character, through today's eyes, is a little problematic in her fawning over a cad like Hart. Carter almost makes me feel sorry for her in 5 to 9 which is an achievement in itself. Tickner lends Joe a fundamental decency and there is a large ensemble that spice up the big dance numbers and provide comedic beats; notably Keri-Rose Baker as office lush Margaret, Terence Smith as the oblivious Dick, and Rp van der Westhuizen as salt-of-the-earth Dwayne.
Musical directors Tara Oorjitham and Jasper Cruden marshal a 12 piece band who play the upbeat score with brassy flair. My initial concern about that size band situated in front of the stage with no pit was quickly alleviated as they accompany the mic'd up actors well.
It's a busy set with lots of transitions but a large team of stagehands did so effectively and I liked the fold-out flats that were cleverly designed to present multiple configurations. Those and rear screen projections gave us a clear sense of place and, I must say, there was an impressive array of office props including a full-size office printer at one point.
Director Lys Tickner has drawn out some very strong performances here, however, I was far more engaged with the imagined sequences which are full of energy and creativity. The music is infectious and the songs are well performed. In the end our heroines triumph in toe-tapping fashion.
9 to 5: The Musical is on at the Don Russell Performing Arts Centre until 10 November.
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