BWW Reviews: Hello, Dolly! 9 to 5: THE MUSICAL Takes the Stage in Dickson

Tennessee's favorite daughter-the remarkable Dolly Parton-provides the very heart and soul of 9 to 5, the musical comedy adaptation of the iconic 1980 film of the same name, so it should come as no surprise that the show is going to be on view a lot in the coming years as theater companies across the Volunteer State pay homage to (and capitalize on) Dolly with their own productions of the show that premiered on Broadway in 2008 (was it really that long ago that the Great White Way welcomed Dolly to its ranks?) and kicked off a national tour in Nashville a year later.

Now onstage at Dickson's Renaissance Center, in a professional production at The Gaslight Dinner Theatre helmed by Pacer Harp, and featuring a cast of winning performers, 9 to 5: The Musical has Dolly's unmistakably sunny outlook-exemplified by her tuneful score for the show-and Patricia Resnick's sharply drawn characters and situations which are sure to please even the film's most ardent admirers.  

Telling the story of Violet, Doralee and Judy, the three characters played to such acclaim in the film by Lily Tomlin, Dolly Parton and Jane Fonda (and on Broadway by Allison Janney, Megan Hilty and Stephanie J. Block), 9 to 5: The Musical focuses on the workplace shenanigans and inter-office hijinks that ensue when the three ladies inadvertently come close to killing their bigoted, sexist and repulsive boss only to end up kidnapping him and holding him hostage in his own home. Yes, the plot is convoluted and almost unbelievable, but somehow Resnick (who wrote the film's screenplay) and Parton succeed in creating a vehicle that is entertaining and diverting, set to a score that will leave you singing your way out of the theater, reflecting on how much fun the show is.

Sure, it's slight and silly, but there's no escaping the fact that 9 to 5: The Musical has a briskly beating heart that both warms and delights you. In that way, it's pure escapist fun, although the script effectively skewers workplace politics and the old boys' network that was so pervasive in American business in the late 1970s (the last vestiges of which might well be eliminated by the end of the 21^st century, if we're lucky) and there are enough pop culture references that allow the actors to cast knowing looks and utter the most groaningly bad lines with a genuine sense of humor.

At the performance reviewed, Dolly's sister Stella Parton-as gracious and as lovely as ever-was in the audience, excited to see the changes made for the version now being performed across the country since its Broadway run and national tour ended. A talented singer, songwriter and actress in her own right, I have vivid memories of Stella Parton as Miss Mona in a touring company of The Best Little Whorehouse in Texas, a role she imbued with such grace and warmth (and please don't tell Dolly I said this) that I vastly preferred her performance to her sister's film treatment of the character.

Harp's vision for 9 to 5: The Musical is fairly straightforward and faithful to the show's origins (although there's an added scene from the movie that heretofore I've never seen in a stage version of the musical-and I've seen five different productions at last count), although the show opening performance of "9 to 5," the Dolly Parton song that originated in the film, somehow falls flat. I don't think it's the fault of Harp or his actors; I've had the same complaint every time I've seen it. In the musical's setting, somehow the title song isn't as energetic as it should be.

To his credit, Harp has a crackerjack cast of professional actors who bring the show to life with much charm and an across-the-board sense of comic timing that results in a thoroughly delightful show. Led by Marilyn Fair as Violet, Ashley Wieronski as Doralee, and Jordan Tudor as Judy, the iconic characters are brought to life with colorful and palpable enthusiasM. Fair is wonderful as the efficient and down-to-earth Violet, while Wieronski walks a fine line in her portrayal of Doralee (aka The Dolly Role), adding a fillip of Dollyesque bravado underscored by her own ample talents. Tudor, in the enviable role of Judy (regardless of what anyone else might tell you, this is Judy's show through-and-through), delivers her lines with the skilled assurance of a 1930s "dame," reminding you of Rosalind Russell or Carole Lombard at their very finest.

Each woman is given the chance to shine musically, which each does admirably, succeeding despite the canned sound of the musical tracks to which they perforM. Fair's "One of the Boys," in which she's backed up by four handsome dancing boys, shows off Parton's musical theater skills to perfection. Wieronski is heartbreakingly real in her performance of "Backwoods Barbie." And Judy's big number-"Get Out and Stay Out"-is given an especially ingratiating performance by Tudor, who acts her heart out in the process.

They are given estimable support by the hilarious Greg Frey as the unctuous Franklin Hart Jr., the sexist/bigoted/consummate jerk who heads up Consolidated Industries. Frey's performance is nuanced and somehow unexpected. But it's Linda Sue Simmons Runyeon, as Ros Keith, who very nearly steals the show out from under her comrades with a sublime performance that shows off all her comedic skills and gives her the opportunity to show off her impeccable musical theater voice.

Triple threat Regan Featherstone (He sings! He acts! He dances!) is well-cast as Joe, Violet's younger suitor and junior accountant at Consolidated, while Gaslight stalwarts Nathan W. Brown (as Doralee's adoring husband) and Bryan J. Wlas (as Judy's despicable ex-husband, the appropriately named Dick) add their talents to the proceedings, along with Nick Fair (as Violet's teenaged son Josh), M. Zane Jordan, Shane Kopischke and Jon Kopischke completing the Male Ensemble of the show.

As the leading ladies' co-workers at Consolidated, the versatile Holly Wooten, Alain Runions and Michelle Valenti add their voices and talents to the show's success, while costume designer Rachel Gallup pulls double duty, playing Franklin Hart's wife Missy.

• 9 to 5: The Musical. Music and lyrics by Dolly Parton. Book by Patricia Resnick. Directed and choreographed by Pacer Harp. Musical direction by Nathan W. Brown. Additional choreography by Bryan J. Wlas. Presented by The Gaslight Dinner Theatre, The Renaissance Center, Dickson. Through October 13. For details, go to www.rcenter.org, or call (615) 740-5600 for reservations.

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