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Sorry, the boss is tied up . . .
9 to 5 The Musical Grand Theatre, Wolverhampton IT'S been a very long time since I saw
anything on the stage and, on getting out of my seat at the final
curtain, instantly said `Brilliant'. It is perhaps a contributing fact that 9 to 5 the
musical has a level of ` light hearted ‘expectation based on the obvious
connection to very upfront and visible Dolly Parton and the memory of
the highly successful 80's girl power movie of the same name. It is however an expectation that is unfounded as
this production has so much more to offer. What's special about 9 to 5 is that whilst there
is a strong sense of nostalgia in the opening theme and the inclusion of
Dolly albeit on video, the production and development of the story has
reached such a level that it is in fact a real and credible musical. So given that what's a little surprising, is that
when one of the original writers Patricia Resnick and Parton created
the musical back in 2009, that due to low ticket sales ,its Broadway run
was forced to an early close. Maybe it just needed time to breathe.
Perhaps in contrast the impact of this UK tour is
down to the fantastic performances of the cast. Jackie Clune as
Violet, Amy Lennox as Doralee and Natalie Casey as Judy in the lead
roles all bring such a dynamic vitality to their parts. Then there is
Ben Richards as the chauvinistic boss Mr Hart and the scene stealing Roz
played by Anita Louise Combe who together create a highly original
fantasy moment complete with some great choreography. Or perhaps it is the choreography and staging
throughout with more than a polished nod to the great Hollywood musicals
.Did I mention the vocals, oh they were great too. Maybe though again, it's the new songs that
Parton has created that step outside her known commercial country work.
Songs like Let love grow and Get out and stay out that
when arranged here are very accomplished and pure musical theatre. Whatever it is, the combination of the superb
staging and technical production plus all of the above combines to make
a musical that deserves greater respect than maybe it gets or is
recognised for. It is fitting that one of Dolly Parton's mantras,
and a key theme of 9 to 5, is that of being prematurely judged purely by
the way someone looks. 9 to 5 the musical is a little like that. You
think you know what it's going to be like from the glittery publicity
shots and tinsel text but you come away with something else. Underneath the feel good factor, dance routines,
comedy and slick staging it does have a deeper message but it doesn't
ever preach it. In the end you are left with the memory of some
fine Music and great staging and those pair alone are a couple of
outstanding assets that reveal more about Dolly that the other two she
is often remembered for. To 18-05-13 Jeff Grant And from by the water cooler . . . **** THREE women cleverly turn the tables on
their bullying, sexist boss in this sparkling Dolly Parton musical based
on the hit movie. And the cast complete the job so well that even
men in the audience are on their feet singing and cheering with the
ladies at the boisterous finale. It is a show packed with humour, emotion and
excellent songs delivered by a cast who all have outstanding voices. You
can't fail to enjoy it from start to finish. There is a lovely touch, too, in the way Dolly
herself appears on a clock screen suspended above the stage to open
proceedings, then at the end she leads the singing of 9 to 5, almost as
if she is in the building. The story is far fetched, certainly, but fun
packed and at times hilarious as randy office boss Franklyn J. Hart,
superbly played by Ben Richards, is kidnapped and strung up (not by the
neck) when three of his female staff decide they've had enough of his
antics, and take over the business. Dolly lookalike Amy Lennox is a delight as
Doralee Rhodes, attracting roars of approval when she halts Hart's
over-eager approaches by pointing a gun and threatening to turn him from
a rooster to a hen with one shot. Outstanding performances, too, from Jackie Clune
and Natalie Casey as Violet Newstead and Judy Bernley, the other two
women in the plot, and Anita Louise Combe, playing the plain Roz Keith
who suddenly produces a new image in basque, stockings and suspenders to
sing of her love for the boss. To 18-05-13. Paul Marston
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