Review: Given The Musical Theatre Treatment, Dolly Parton's 9 TO 5 Remains The Feel Good Female Empowerment Story With A Stellar Australian Cast

Thursday 24th February 2022, 7:30pm, Capitol Theatre Sydney

Dolly Parton (Music and Lyrics) and Patricia Resnick's (Book) musical adaptation of Resnick and Colin Higgins 1980's 'labour film' 9 TO 5 bursts onto the Sydney stage with a fabulous and fun celebration of female empowerment. Utilising the updated West End version which includes guest "appearances" from Dolly herself, the Australian cast delivers a captivating performance that proves how timeless the story of three women reinventing how the workplace is run is and how important its message remains.

Inspired by the stories Jane Fonda, who played Judy in the movie, heard from women working in offices in the late 70's, the movie of 9 TO 5 was an aspirational fictional comedy about friendship, female camaraderie, feminism and restructuring how workplaces ran, removing the patriarchy and old boys clubs. It saw Dolly Parton's film debut and its theme song, also written by Parton, became one of her biggest hits in the 80's, holding #1 position on the Billboard Hot 100 for two weeks and earning an Academy Award nomination for best Original Song. Because of this musical connection, and Parton's indefatigable drive it seems only natural that Parton has taken 9 TO 5 and turned it into a musical. Retaining much of the original story line with a few exceptions, possibly for ease of translation to stage and making more contemporary references even though the setting remains in the 1980's, the story of three rather different women working at Consolidated Industries remains easily recognisable. While the character Parton made famous, Doralee Rhodes (Erin Clare) remains relatively unchanged, "veteran" office worker, the widowed Violet Newstead (Marina Prior) only has one son and is initially deflecting the advances of the thirtysomething Junior Accountant Joe (Ethan Jones). The newly single and highly emotional Judy Bernly (Casey Donovan) eventually discovers her strength and independence and boss Frank Hart Jr (Eddie Perfect), modelled off America's 45th president, is into something more 'adventurous' and scandalous than hang gliding while his devoted sycophantic assistant Roz Keith (Caroline O'Connor) is harbouring her own secret side.

This is a delightfully self-aware work that has Parton providing an introduction and references that 'foreshadow' real developments in the social and corporate landscape that are still yet to emerge beyond the 1980's setting. It references other musicals, the future careers of the original movie's stars and some of the iconic workplaces of the 21st century. The characterisations manage the balance between pure and honest sincerity of emotion and a degree of realism whilst drawing on the stereotypes to present immediately identifiable characters that still have depth and substance. Jeff Calhoun's direction ensures this work has the classic big Broadway and West End musical theatre feel while remaining fresh and vibrant. It has classic big ensemble dance numbers, choreographed by Lisa Stevens, and glorious costumes that have themes running through for bold colour references that help support the story as another nod to the 'classic' musicals. Refreshingly, the full West End staging has been translated to the Sydney stage as often only pared back touring productions are 'shipped' out to Australia. Tom Rogers' set and costume design has clean lines that capture the essence of the 80's while exuding a contemporary innovation, from the stage borders of now retro desktop computers, who's opaque screens add to Howard Hudson's lighting aesthetic, to the transition from the dull and mundane world of black, white and highlights of red that makes way for the bold colour and personality of the mid 80's. An unobtrusive LED backdrop adds depth to the interminable typing pool, a vista over the Manhattan skyline and an amusing collection of clocks in reference to the title's focus on time without having the technology overwhelm the performance.

The casting for this production is perfect. Marina Prior and Caroline O'Connor give the more mature roles of Violet and Roz the requisite depth while proving that their position as leading ladies of musical theatre hasn't diminished with phenomenal dancing, singing and acting. Prior has the requisite gravitas tempered with a sensitivity to ensure that the hard-working single mother is both formidable but relatable and easily viewed as what many would like to see in a modern manager but are still often finding hard to find in the 21st century. O'Connor's Roz is a brilliant comic foil to the ultimately serious office politics that she also plays a significant role in. She does batshit crazy and obsessive brilliantly and her dancing is a delight to watch.

Relative newcomers Erin Clare and Casey Donovan as Doralee and Judy round out the quartet of strong women as they make their mark in leading roles in a major musical production. Both Doralee and Judy are delightfully sweet and somewhat innocent characters and Clare and Donovan express this with the right balance to ensure the audience see that there is more to these two. Clare handles the suggestive physical comedy with a naturalness, so it doesn't feel like Doralee's trying to use her sexuality to get ahead but its more just part of her innate personality. Donovan is captivating as the highly emotional Judy. She pushes the boundaries of creating a caricature while still ensuring that the character remains lovable. Her performance exudes an air of understanding her character well so the nuanced movements particularly her facial expressions are priceless and her textured and powerful rendition of Get Out And Stay Out where Judy finally gains her confidence to dismiss dodgy ex-husband Dick (Joshua Mulheran) was a well deserved show stopper on opening night, earning a spontaneous standing ovation. While Donovan has done a few musical theatre roles in the past, it is wonderful to see her in a leading lady position and hopefully this will be the start of many more as if the audience response is anything to go by, Sydney audiences definitely want more of her.

Dolly Parton's 9 TO 5 THE MUSICAL is brilliantly contemporary and relevant while retaining the nostalgia of the 1980's movie and aesthetic. Using a 40 year old work to highlight the change and lack of change of gender politics and the corporate world strikes a good balance between referencing the past without it being the dismal depressing expression that many other 'labour' stories are. Its great to be reminded of how far we've come, how far we haven't and where we've reverted back to old ways. While there are more women in management positions, it can still be a 'boys club' or the women are expected to 'play' by the masculine rules, often stepping on the 'sisterhood' on the way. Concerns for work life balance are washed over with gimmicks that make people think they are getting looked after but the mentality often remains that people are judged for job sharing or having family commitments. The old 9 to 5 strict work hours have gone and people are judged for not being available 24/7 via technology. Dolly Parton's 9 TO 5 THE MUSICAL makes one wonder, is it time for another group of women to shake up the system.

https://9to5themusical.com.au/

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