Music and Lyrics by Dolly Parton
Story by Patricia Resnick
Directed by Ellie Jackon and Max Middleton
Musical direction by Benji Castella McDonald and Eric Rogers
Review by Dominic Corr
One of musical theatre’s most beloved, performed, belted out, and toured, the Edinburgh University Footlights theatre company opened their 2025 season with 9 to 5, based on the original 1980 film which gifted further audiences with Dolly Parton’s presence in this hit-song laden comedic musical which grabs its cup of ambition with one hand, and patriarchy’s shortcomings by the other.
While the office dynamic might differ from the world of the eighties, the chief components of what make this musical a smash hit for creatives remain intact for this chipper and camp performance. It draws audiences back into a world of patriarchal decisions, sexual misconduct, and a crushing business world blind to the impact of women in the workplace. Maybe things haven’t changed that much.
Pushing the Pleasance Theatre into the East Coast of America, Lucy Henderson and Serena Hopkin’s simplistic set is effective – with Tom Beazley’s lighting doing a lot of the lifting (particularly for the musical sequences). While Millie Franchi and Joceyln Law’s costumes are accurate for the most part, the dream sequence numbers for the trio of leading ladies Violet, Doralee, and Judy are knocked right out of the park in vibrancy and impact as the three think of just how they’ll deal with their foul misogynistic boss – just before they might accidently make his leave a permanent one.
The entire cast is utilised and encouraged to give it their all by directors Ellie Jackson and Max Middleton, who maintain the show’s pacing and light-hearted elements amidst the chauvinistic humour and occasional outdated moment. Lyss Britton’s choreography punches with that eighties energy, giving the ensemble some shining moments away from the principal players – utilising the Pleasance space to its fullest, with only a few spacing issues with the set design becoming a minor hindrance.
Our leading trio pull out the stops to keep the pacing firing forward, with Orly Benn’s Violet coming out in spades as the most rounded and accomplished performance, which steps away from the comedy and captures the compelling aggression and frustration of the office manager, turned away time after time for promotion for male colleagues and Hart’s chums. Turning their hand to fantastical comedic moments, genuine charisma and playfulness, and full-blooded anger at the system, Benn is a credit to the production – and works remarkably well with Fiona Foster’s Doralee and Richeldis Brosnan’s brilliant Judy.
As a pair, Foster and Brosnan’s timing and comedic moments are rich and well-timed, with Brosnan having some of the script’s better character turns and eruptive moments of transformation as they become more independent. The sharpness of the sass and delivery from Foster cuts right through Levi Jones Mr Hart, Jones playing the role with a revoltingly authentic deliver. Performed with the vocal range and satirical edge to keep them from being chased out of the building.
Hannah Whelan continues 9 To 5’s runaway character’s appeal, energy, and scene-robbing moments as Roz, Hart’s sycophantic office worker who may be the only woman in the office not targeted by his harassment but mistakenly infatuated with the big boss. Whelan’s presence is exceptional, comedically and vocally so. It leads to moments that lift the entire production away from the grassroots vibe and into professional territory.
While doing a sterling job with the vocals and instrumentals (with a live band, no less), Benji Castella McDonald and Eric Roger’s musical direction succumbs to a few stumbles with the venue sounding. The live band does a brilliant job at never overstepping the onstage talent, but the performers are let down by the audio imbalances—lines either inaudible or fired right up to the eleven on the volume scale.
Though the teams may change, the talent and dedication of those involved with the Edinburgh University Footlights never fail to impress, with a compelling sense of giddy glee and fun for all audiences – familiar with the group or otherwise. With a trio of leads who *get* the entire crux of the performance and some striking choreography to boot, this fun and confidence, drops and issues with the production stagings and audio can be overlooked for a fun-filled experience with plenty of ambition, vim, and just enough bite and heel stomping.
Sense of Giddy Glee
9 to 5 runs at The Pleasance Theatre, Edinburgh until February 15th
Running time – Two hours and Thirty minutes with one interval
Photo credit – Andrew Morris
Review by Dominic Corr (contact@corrblimey.uk)
Lead editor of Corr Blimey and a freelance critic for Scottish publications, Dominic has written for and contributed to several established and respected publications such as BBC Radio Scotland, The Scotsman, The List, The Skinny, Edinburgh Festival Magazine, The Reviews Hub, In Their Own League, and The Wee Review. As of 2023, he is a member of the Critic’s Award for Theatre Scotland (CATS) and a member of the UK Film Critics.
