Review: A Lively Time At Toby's 9 TO 5 In Columbia

If you’re a Dolly Parton fan, you’ll like this show. If you’re not a Dolly Parton fan, grab your nearest Dolly-fan friend, invite them to the show, and instantly raise your status in their eyes. Dolly Parton’s 9 To 5 plays at Toby’s Dinner Theater in Columbia MD through March 16th, 2025. 

Toby’s once again proves itself to be on topic with its production of 9 TO 5, music and lyrics by Dolly Parton, book, (dialogue), by Patricia Resnick, based on the screenplay by Resnick and Colin Higgins. The musical ran on Broadway April 2009 through September 2009. 

The movie 9 To 5 was originally the brainchild of Jane Fonda, who had formed a film company. Fonda brought in Lily Tomlin, then cast Dolly Parton. During filming, Dolly wrote what turned into the theme song for the movie. Dolly’s song was released one month ahead of the movie, earned multiple Grammy awards, and hit #1 on the pop chart. The movie, an artifact of early 80s fashion, is the cinematic equivalent of Gloria Gaynor’s anthem “I Will Survive.” Despite workplace conditions having made significant progress from 1980s standards, the plot of 9 TO 5 remains shockingly relevant. 

“Around Here,” the first song after the opening number (“9 To 5,” naturally) sets to rest the notion that maybe we’ve already heard the best song in the show. National treasure Dolly Parton, who may be incapable of writing songs that are not brilliant and wonderful, as far back as 2005 had begun writing songs for the musical, and was in rehearsals with the cast revising them when adjustments due to plot, character or staging issues made them necessary.

“I Just Might” and “Shine Like The Sun” are powerhouse songs for the three central characters, Violet, Doralee, and Judy. Act II’s “Let Love Grow” is a beautiful duet and “Get Out and Stay Out” has a cathartic feel. All the songs are hummable, full of power and harmony. The lyrics, written in the aughts, relevant to the 80s, are uncomfortably relatable right now.

Director Mark Minnick’s excellent casting is criticial. Not only do the leads shine individually but also as well-tuned elements of group interactions. Movement and dialogue are snappy and precise. Minnick’s sure-handedness developing this period piece highlights great moments in the show, while the seasoned talent of each cast member shores up weaker or less relevant sequences.

Instrumental to the show is the detestability of its villain, Franklin M. Hart, Jr., and the game-ness of the actor portraying him. Jordan B. Stocksdale, who won a Helen Hayes award for his portrayal of Nostradamus in SOMETHING ROTTEN in 2024, is 100% that game guy. Scenery chewing, secretary chasing, chauvinist nonsense-spewing physical comedy seem to be among Stocksdale’s natural aptitudes, and his singing voice is also stellar.

Janine Sunday, a four-time Helen Hayes award nominee, playing Violet, (Lily Tomlin’s character in the movie), has the proper sass, sarcasm and spice of a woman awaiting a promotion after years of deserving one. Her delivery in every scene is spot-on. She and Joey Ellinghaus, who plays Violet’s teenaged son Josh, have an authentic connection. Her interactions with Carter Crosby’s Joe are awkward, tender and heartwarming. Playing Judy, (Fonda’s character) MaryKate Broulliet makes us despise her ex-husband Dick, smarmily performed by Jeffrey Shankle, then makes the transition from underdog to empowerment in a satisfying manner. Her rendition of “Get Out and Stay Out” in Act II is a huge audience-pleaser. As Doralee (Dolly’s character), Rachel Cahoon has the vocal chops to keep up with Sunday and Broulliet, the acting chops to be convincing as a sweet thing with a well-hidden steely spine, and believable chemistry with her onstage husband Dwayne, played with heart and buffalo plaid by Adam Grabau. 

Tina Marie DeSimone delivers a tour de force of comic timing and slapstick action as Margaret, and, in a deliciously farcical performance, Diana Alonso gives us Hart’s besmitten assistant Roz. Leela Dawson plays Maria Delgado, a small but significant role, with bewilderment and vulnerability. Playing office-savvy Kathy is the always-watchable Patricia ‘Pep’ Targete.

Choreography for 9 TO 5 is by female Swing Performer Christen Svingos, and, though it’s not a big ‘dance’ show, there’s plenty of very entertaining creative movement. Male Swing is Benjamin Campion, who played Nick Massi in Toby's JERSEY BOYS and is an elegantly graceful dancer. For those in the dark about the word “Swing” in the program, I learned recently (from a cast member, because I asked) that a Swing Performer memorizes ALL of the parts which don’t have specific understudies, and fills in wherever a gap appears. 

The sound quality is high, with no mic issues, and Sound Designer Mark Smedley keeps ambient sounds at appropriate levels. Lighting Designer Lynn Joslin creates dramatic lighting which fosters swift set changes to keep the pacing rapid. Scenic Designers David A. Hopkins and Shane Lowry create a modular set which is active, nimble and delivers some lovely surprise moments. Costume Designer Heather C. Jackson gives each character an individual look, while ensuring they are visually harmonious together. Each piece, while not necessarily vintage, promotes the 80s sensibility, though occasionally the fit is imperfect or lumpy. A couple of sneakly onstage changes add to the fun. Wig and Hair Designer Jason Kueberth contributes to the authentic look with hair that is “way out THERE,” just like we liked it in the 80s. Music Director Ross Scott Rawlings pumps up the power harmonies and the live band, conducted tonight by Catina McLagan, sounds swell. 

9 TO 5 at Toby’s is a treat for all your senses, with color-saturated visuals, harmonious, heartwarming vocals and characters you’ll adore. It’s just the thing to pull you out of the winter ‘blahs’ and get your toes tapping to the beat of fair treatment and well-deserved retribution. The buffet is as ample as Doralee’s bosom, the service as sharp as Violet’s wit and the devotion to a quality experience as strong as Judy’s gumption. Enjoy this candy-coated bite of real substance. 

If you think you know your way around Toby’s, having been there one or more times in the past, a word of warning.  Construction of the New Cultural Center has begun, and the entrance is not at all as it used to be. The parking is also temporarily altered. Toby’s has suggestions about these alterations.

Dolly Parton’s 9 TO 5 runs at Toby’s in Columbia through March 16, 2025.

Tues- Sat Doors 6 PM, Buffet 6-7:20, Show 8 PM; Sunday Brunch 10:30 doors & buffet; showtime 12:30; Sunday evening doors & buffet 5:00 PM, Showtime 7 PM.

$79-86.00 adults; $60-$63 children

Toby’s Box Office is open Monday- Saturday  10:00am- 8:00pm, Sunday  10:00am – 7:00pm.

Please call the box office at 410-730-8311 to purchase tickets. Toby’s has no online ticket purchase option through their own website, though you can purchase tickets from Ticketmaster if you’re unable to do it over the phone with the very friendly live human staff members at Toby’s.

Photo, L to R: MaryKate Broulliet, Janine Sunday and Rachel Cahoon as Judy, Violet and Doralee.

Photo Credit: Jeri Tidwell Photography

Toby’s 2025 season continues with Meredith Wilson’s THE MUSIC MAN, THE LITTLE MERMAID in summer and SATURDAY NIGHT FEVER in the fall, then ELF runs from November 7 to January 4, 2026. ROCK OF AGES finishes the season January 9 - March 8, 2026.

Final Factoid: With the exception of the title track and “Backwoods Barbie,” all songs were created especially for the show, though it could easily have been a jukebox musical, as Dolly has written and recorded literally hundreds and hundreds of songs, her first at age 11, with her uncle, Bill Owens.

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