“a boppy, feel-good show that’s packed to the wings with talent”
“It’s a fun show with some great musical numbers, and you’ll likely shimmy along to the tunes in your seat – as I did. But just remember it isn’t all fiction“
Alana Kaye
4.5 /5 power suits
Dolly Parton’s Broadway sensation 9 to 5 opened to acclaim (and closed to a standing ovation) at Sydney’s Capitol Theatre last night. Featuring a theatrical all-star Aussie cast, it’s a boppy, feel-good show that’s packed to the wings with talent.
But it’s not all sparkles and shoulder pads. Fair warning: some may be triggered by themes of workplace sexual harassment.
If you’ve seen the iconic 1980 movie of the same name starring Parton, Lily Tomlin and Jane Fonda, you’ll know what to expect. It follows the story of three secretaries who have big dreams for equality and a better workplace environment, and team up to get revenge on
their sexist, chauvinistic, bigoted boss. I can get behind that!
The stage production has been adapted by Patricia Resnick (who wrote the original movie) alongside music & lyrics by Parton.
Marina Prior, Casey Donovan and Erin Clare are the leading ladies, each giving nuanced and enjoyable performances (even if there are a few accent slipups). However, it’s Donovan that really shines – Judy is a very different role for her, and it’s a chance to show off her acting chops. But don’t worry… she also gets to show off those incredible vocals we all know and love. Her ‘Get Out And Stay Out’ in Act II is a true showstopper.
Eddie Perfect does a good job at playing the aforementioned horrible boss Franklin Hart Jnr., a man you’ll love to hate. Someone who doesn’t hate Hart is Roz, played by powerhouse Caroline O’Connor. Her ‘Heart To Hart’ in Act I is hugely memorable, and her comedy skills are on point throughout.
The ensemble cast is dynamic and enthusiastic, with many a jazz hand to be seen. Visually, it’s a riot of colour. Costumes by Tom Rogers are effectively 80s, with plenty of peplums, perms and shoulder pads. His set design is also evocative, with computer monitors framing the stage and simple but effective movable set pieces. Lights by Howard Hudson bring it all to life, especially in the second half.
Yes, it’s fun and boppy and colourful. But that’s not all this show has to offer. It’s a social critique on workplaces, gender inequality, sexism – things that are, depressingly, still prevalent even after the 42 years since the movie was made.
Workplace harassment and inequality are still very, very real things for many women. I bet that every woman you know knows someone like Hart. I do. I’ve experienced someone like him firsthand, and I’ve had countless conversations with girlfriends who’ve experienced it
too.
Yes, this show is empowering on one level because a) the women do get recognition in the end (even if it’s via extreme and fantastical measures), and b) Hart is portrayed as an absolute tosser and gets what’s coming to him. But in reality, there are many women who don’t get recognition or the chance to be heard, and there are many men who don’t get the comeuppance they deserve. For as many moments of laughter as there were, there were also plenty of groans, moans and cringes coming from the audience, many of whom I am willing to bet have personal experience with this form of workplace sexism, inequality and toxic masculinity.
When working on the original movie concept with Resnick, Fonda wanted to get across a lot of political ideas but in a comedic way, so people would get the message without being put off by it.
The light-hearted nature of 9 to 5 the musical would say she achieved her goal. The fact that not much has changed in over 40 years would say that people didn’t get the message.
It’s a fun show with some great musical numbers, and you’ll likely shimmy along to the tunes in your seat – as I did. But just remember it isn’t all fiction.
Alana Kaye, Theatre Now
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