9 to 5

9 to 5

Poor 9 TO 5––it didn’t deserve to close so early and it didn’t deserve all of the unfavorable reviews.  The truth is that it is a good representation of he kind of musical that will be identified with the first ten years of the new millennium.  This is a new musical, with a new score (at least the score was actually original, save for the title song), by a celebrity recording/song writing star, based on a hit movie (some of them are based on less than a hit movie).  Screenwriter Patricia Resnick, who also handles the book for the musical, had ideal material to harness Dolly Parton’s songs.  Although the score doesn’t emerge as better than serviceable, it has some fine moments and it really does serve the story.  In fact, it works the way all of the elements of this musical work: slick, clean, ever-moving and with plenty of charm.  A great deal of the charm factor comes from the outstanding three leading ladies who elevate the show above its merely serviceable structure.  Allison Janey as Violet is basically perfect.  She doesn’t challenge our vision of the character as established by Lilly Tomlin and so she’s comfortable, but she also commands the stage and makes the part her own.  Megan Hilty is a replica of Dolly Parton as Doralee and this is obviously by design.  It is also clear that Ms. Parton has shown the most affection for this character, giving her the best songs in terms of character development.  It is clear that Parton is writing autobiographically.  Stephanie J. Block as Judy, the role made famous by Jane Fonda, is nothing like Jane Fonda, but is everything Judy should be.  This is the one casting choice that didn’t smack of the movie at first glance.  Parton has also given her a terrific powerhouse number to show off Block’s formidable belt and at the same time, brilliantly musicalize the character’s breakthrough moment of taking charge of her own life.  The song is “Get Out and Stay Out” and it is a show stopper placed in the spot reserved for the traditional “Eleven O’Clock Number.”  

In its own stylized way, the office set by Scott Pask attempts a kind of realism, but other scenes outside the office can be rather suggestive.  What in the era of THE PAJAMA GAME (a second cousin to this show) would be painted drops, is now projected graphics.  Sometimes they are animated, sometimes they complete the setting of the three dimensional elements that travel in on wagons.  The look is contemporary technology through a LIFE magazine ad of 1980. William Ivey Long’s costumes are not the usual glitz and glamor we are used to from him, but then he’s been completely appropriate to the show and the era.  A fantasy sequence allows him to go a little wild, though he takes his cue from the movie.  Amazingly, the hair design by Paul Huntly and Edward J. Wilson is particularly good, evoking the women’s hairstyles exactly, down to each chorus member.  Even the men’s hair was the right length.

Somehow Joe Mantello directed this un-inventive entertainment in the same season where he directed the rather innovative revival of PAL JOEY.  Andy Blankenbuehler choreographed the show within an inch of its life, which is remarkable when you consider how unsuited to dance the story is.  Outside of the fantasy sequences where a little dance is not only expected, but demanded, the rest of the choreography is given to chorus people making crosses in front of set changes.  This idea was a throwback to the 1920s when a line of chorus girls came out before a drop “in one” for no reason but to entertain the crowd while the big set shifted.  

Shortcomings aside, the show was rather delightful on the whole.  The featured players were completely winning, the script was very funny––even the most familiar jokes from the film played to big laughs.  The crowd seemed to enjoy the show for the rollicking romp it was intended to be.  Isn’t this the case for most of the musical theatre through history?  This kind of show not only has its place, it represents the meat and potatoes of the genre.  Only once in a while does SHOW BOAT, MY FAIR LADY, GYPSY, RAGTIME or BILLY ELLIOT spring forward to surprise us and prove that the musical can be one of the most powerful and affecting art forms. Most of the time it’s LEGALLY BLONDE, FULL MONTY and MAMMA MIA.  9 TO 5 fits in and has its place.  One thing is for sure, the title is licensing gold, so you can fully expect this female centric musical to permeate the community theatre, and high school musical market.