Music & Lyrics by Dolly Parton
Book by Patricia Resnick
Directed by Jeff Calhoun
Let’s just get something straight: too few of us actually enjoy our jobs. Certainly not those early mornings, hiding in the bathroom to play on our phones, avoiding awkward co-workers and superfluous bosses who seem to have obtained their status by what little they have hiding in their trousers. Well, we’ve had enough, you’ve had enough, and sensational matriarch of Country Dolly Parton, has had enough.
Adapted from the 1980 film of the same name, Patricia Resnick’s 9 to 5 sees a trio of women living out their careers under the thumb of a lazy, sexist CEO as they seem to be doing all of the real work. Divorced, widowed and misunderstood Judy, Violet and Doraleen become a force to reckon after ‘accidentally’ poisoning, hogtying and temporarily removing their boss from the picture. To the score and lyrics of Parton, this touring production seeks to revitalise all us weary workers with a dose of energy.
A vastly capable deputy, with Louise Redknapp unwell, Laura Tyrer takes on the reigns for the confident, but vastly underappreciated Violet Newstead, who like one may suspect, is running the company in the absence of any real input from CEO and serial misogynist Franklin Hart Jnr, played by Sean Needham. Strong, but without resorting to the misconception of emotionless, Tyrer carries the role well, but it’s underwritten, with that her angle of fair pay, equal opportunities and positions for women is as relevant as it was in the eighties – a resounding cheer echoing as she has had enough.
From the Island to the big city, Amber Davies’ talent for musical theatre is put to use in her performances of Judy. Patience is a virtue, her solo number Get Out and Stay Out may not occur until the second act, but it cements Davies as a headliner with star-draw and silences any neigh sayers to the performer’s original television background. Arguably a simple role, Judy’s mousier attitude can be lost against Doralee’s personality or Violet’s strong presence, but Davies manages to hold her own with ease.
This brings us to our final leading lady, the ‘blonde bombshell’ of the trio, Doralee. An epitome of deceptive appearances, Georgina Castle’s not-so-subtle take on Parton’s cinematic counterpart is leaps above others on the stage. Her dedication to volatile comedy is inspiring, stripping off the shackles of a stereotypical character, driving a development which goes beyond what one would expect, but still stays in the realms of superfluous. Doralee’s interest lies not in her appearance, but in her sweet manner, country tones and physical comedy. Her control is without question, the most drawing on stage, indeed it’s rather criminal Castle fails to receive top billing despite being the most accomplished of the leads, and a fine tribute to Parton.
Parton’s music makes for the occasional stand-out number, striking a chord with the room, but on the whole many of the numbers feel repetitious, and dare we say, quite mundane. Vocally, there isn’t any particular issue, but the notion to tune out can strike, inducing some mindless, if cheerful, head bobs as you listen more to the composition than the lyrics.
Riding on a risqué note of hilarity of, Act two is a bitter-sweet turn. With notions of standout performances from the aforementioned Davies, it’s a star-vehicle of a second act, serving to heighten our performer’s roles, without emphasizing plot. Things are too tidy and packed a touch neatly, leading to less slapstick or oomph than the previous act.
Indeed, an admirable quality of 9to5 is the apparent lack of rigorous ageing, a film centring on sexism and female empowerment is still a relevant text, but that doesn’t necessarily mean it’s comedic nature has moved along with it. What stands above anything for this production is its humour, it’s quick-fire, intense assault of the funny bone – visual gags, obvious gags, satirical humour and lashing upon lashing of dumps upon Trump. It recognises that with a weaker storyline, it’s strength is reliant on cast and entertainment, and two performers extensively delivering the laughs are; Sean Needham and Lucinda Lawrence.
Needham is every sleazy man who said hello to you with his eyes, before his words. Yet, good lord is this an impressive performance in slapstick. He takes everything on the chin, or indeed, the balls. His timing, while stretching in song routines is no less precise in delivery, and while he may reject the advances of Roz, Lawrence’s performance of Heart to Heart deserves every putrid ounce of sultry praise. Carrying a number which could land flat on its face, Lawrence balances vocal range with physicality, and quick costume changes courtesy of Lisa Steven’s choreography.
Well good golly Miss Dolly, this is certainly a turn-up for the books. Perhaps the only time you will want to stay past your shift’s end, don’t bother clocking out – ignore the world out there, soak in the golden radiance of Tom Rogers design work, as 9 to 5 answers your prayers when work suddenly becomes rather nifty.
9 to 5 runs at The Edinburgh Playhouse until November 16th: https://www.atgtickets.com/shows/9-to-5-the-musical/edinburgh-playhouse/
Photo credit – Craig Sugden
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