By Susannah Whitman–reviewing the MWF cast and Jennifer Mustoe–reviewing the TTHS cast
Susannah Whitman
It’s all girl power in the corporate world of 9 to 5 at Centerpoint Legacy Theatre! Based on the 1980 film of the same name, the show is packed with toe-tapping musical numbers written by Dolly Parton, and plenty of girl power to boot.
The year is 1979. Recently divorced Judy (Annie Ferrin), widowed Violet (Wanda Copier), and “Backwoods Barbie” Doralee (Lori Rees) all work for Consolidated Industries. Unfortunately, their boss, Mr. Hart (Mike Brown), is a “sexist, egotistical, lying, hypocritical bigot,” and that makes work pretty miserable. But when Violet makes an innocent mistake, the girls find themselves with more power at work than they bargained for. Joined by a hilarious cast of fellow office workers, Judy, Violet, and Doralee sometimes stumble, and sometimes dance, up the corporate ladder.
Susan DeMill’s choreography opens the show with energy, and continues to shine throughout the show. Each number had great stage pictures. Scene changes were occasionally accompanied by dancing female secretaries in all their 1970s glory. Ricky Parkinson’s set design was innovative and versatile. An elevator (with working doors!) sits stage right, and a staircase beside it leads to a second level. Two separate office spaces were created by rotating one large set piece around a pole—it starts as the general office space, then swivels to reveal Mr. Hart’s office. Costume design by Janell Roundy was fun, and her work celebrated the late 1970s with everything from plaid skirts to velour tracksuits. I was attending a preview performance, so the sound still had a few wrinkles to iron out, but I’m confident the show will be smooth come opening night. Maurie Tarbox did both the direction and music direction for the show, and her work shone beautifully.
The script for 9 to 5 isn’t the strongest in the world, but in the hands of these capable producers and actors, it shone. Ferrin has a voice of gold, and her number “Get Out” in Act II was a showstopper. As Doralee, Rees is funny and likable—this is the role that Dolly Parton herself played, and it’s almost written as an homage to her. But Rees does her justice and holds her own as a charming “Backwoods Barbie.” In the hands of a capable actress like Copier, we come to love the character of Violet. As the “sexist, egotistical, lying, hypocritical bigot” Mr. Hart, Brown is two parts creepy, one part pathetic, and one part hilarious, which is exactly what the character needs. One of my favorite performances came from Jan Smith, who plays Roz, a secretary who is hopelessly, inexplicably in love with Mr. Hart. Smith is an incredible comedienne, with fantastic timing. Her number, “Heart to Hart” brought the house down.
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<<Jennifer Mustoe
As Susannah said, the set is wonderful, and the four featured dancers who twirled and danced during scene changes was a wonderful way to deal with those awkward moments in the dark. Not to say the scene changes were slow. They were quick, and with the dancing–delightful. The choreography was fantastic. Whatever sound issues were experienced the first preview were cleared up completely for our preview the next night. Sound was wonderful, though the music was a little too loud for some singers and the lower notes were lost under the soundtrack.
We loved the costumes and my friend said with delight, “There’s a lot of polyester on that stage.” The final number has a fellow in a blue leisure suit and high wedgies shoes and my friends I were laughing pretty loudly at that get up.
The stand out performances for the T, Th, S cast were Jana Plowman as Judy Bernley. Plowman has the biggest character arc–going from mousy to strong, inept to capable, destroyed by her (rather creepy) husband leaving her to a happily single woman. Plowman sold me on Judy completely, has a beautiful voice, and I was happiest when she was onstage. Another stand out was Gary Pimentel as the sleazy, unscrupulous, womanizing Frankin Hart, Jr. Pimentel is hilarious, obnoxiously loud and sexist throughout the play. His cowardly wimpiness once he is trapped is vindicating. Go girls! Finally, Holly Reid‘s Roz in her big musical number “Heart to Hart” is sublime. An unlikely seductress, she simpered and sleazed through this number to the delight of the audience. What utter fun.
Director/Musical Director Tarbox created some lovely harmonies–all the ensemble numbers and when the three main “girls” (to use the horrible Hart’s term), Plowman and Ally Sweeney as Doralee, and Melinda Cole Welch sing, it is inspiring and delightful. >>
Finally, underneath the catchy songs, funny jokes, and polyester of 9 to 5 is a powerful message about transformation. More importantly, there’s a powerful message about the power of women. When women are given respect and space to work on their own terms, incredible changes can take place. It’s a message that was at the forefront of America’s mind when the show was first created, but it’s a message we still need to hear now. We’ve made a lot of progress as a culture, but we’ve still got a ways to go. And if shows like 9 to 5 help pave the way, well then, consider my timecard punched.
Centerpoint Legacy Theatre presents 9 to 5 by Patricia Resnik and Dolly Parton CenterPoint Legacy Theatre Barlow Mainstage, 525 North 400 West. Centerville, UTAugust 4–September 2, Monday–Saturday 7:30 PM, Saturday matinees 2:30 PMTickets $14 – $25.50 Available online, by phone, or at the box office Contact: 801-298-1302
Music directed by Arianne Hellewell, not Maurie Tarbox.