This one’s for the Dolly fans. 9 to 5: The Musical is a celebration of female friendship and ingenuity — it’s also a celebration of the original Doralee, who wrote the music and lyrics for the musical adaptation. Dolly Parton’s presence is felt throughout Virginia Rep’s current production of 9 to 5, from flyers in the lobby advertising the Richmond initiative of Parton’s Imagination Library program to a special recording welcoming the audience before the show begins. While fans of Parton and the source material may find particular enjoyment in the tongue-in-cheek nostalgia of this production, 9 to 5 is sure to please with its satisfying revenge plot and very funny cast.
When housewife Judy Bernly’s (Alia Bisharat Glidden) marriage falls apart, she starts her first office job at the comically nondescript Consolidated Industries. She meets Violet Newstead (Susan Sanford), a seasoned and capable employee overlooked for advancement, and Doralee Rhodes (Katie Goffman), who is ostracized in the workplace due to the widespread but misplaced belief that she is having an affair with the company’s president, Franklin Hart (Devon Goffman). The three women don’t click right away, but are brought together by their shared frustrations with the office — especially their mistreatment by the chauvinistic Hart. When an accident in the workplace puts them in a precarious situation, they must work together to solve their personal and professional problems.
9 to 5: The Musical Runs Through Aug 4 at Virginia Rep’s November Theatre
Though the production contains some contemporary elements, like jokes using modern slang, 9 to 5 is a period piece situated in its moment with the help of excellent scenic, costume, and wig design. The elaborate set is fun and visually impactful, and wastes no opportunity to add texture and feeling to the story. Everything from the imposing file cabinets in the Consolidated office to Hart’s ostentatious home decor gives the audience more information about the characters and environment. Each of the three leads are styled with care, using visual cues to reinforce our understanding of the women’s distinct personalities and relationships with corporate work in a specific moment in time.
There are a couple of story beats that may not translate as well for today’s audience — the repeated jokes about a coworker with a substance abuse problem feel a little uncomfortable and one-note — but in general, the musical’s playful approach to its setting pays dividends. The knowledge gap between the characters and audience creates opportunities for fun jokes that signify how forward-thinking and inventive Violet is in the corporate world. Thematically, the show also includes reminders that the challenges faced by its characters are ongoing struggles for women and marginalized workers more generally: discouragement from salary transparency, being overlooked for promotions for reasons of identity. Many of the situations in 9 to 5 are absurd, but they’re also cathartic. I felt a real sense of communal joy and release at the performance as Violet, Judy, and Doralee exacted their revenge on Hart and improved their workplace conditions.
Talent-Packed Musical is Full of Big Dance Numbers and Jokes
9 to 5 is a high-energy musical, jam-packed with big dance numbers and dense with jokes. The fantasy sequence from the film lends itself especially well to musical adaptation, providing an entertaining showcase for the vocal talents of Sanford, Glidden, and Goffman. Judy’s number hints for the first time at new confidence building during her turbulent life change and gives Glidden a chance to demonstrate more of her range as a performer in a stylish flapper-style sequence. Doralee’s revenge song shows off Goffman’s impressive dancing skills. Violet’s is truly irreverent and hilarious, capitalizing on Sanford’s gravitas and understated delivery to maximize its absurdity.
The villains in this production are as gleeful as our three heroines, and they are responsible for some of 9 to 5’s best and most memorable sequences. Canter Irene O’May is amazing as Roz, Hart’s office spy. Her big number is the highlight of the show. O’May is perfectly outrageous, and the payoff is so good because the power and seriousness of her performance contrasts in such a delightful way with the silliness of her songs. Devon Goffman similarly approaches his role with total commitment, portraying Hart as a pouty, Jeremy Jamm-esque fool and bigot. His expressions and movements are hilarious — it feels like he’s having fun being the butt of the joke, and that contributes to the energetic and triumphant atmosphere of the show.
For long-time fans of the film and new viewers alike, Virginia Rep’s production of 9 to 5: The Musical has a lot to offer. Any slightly bloated storylines or generic showtunes can be forgiven considering the show’s high energy, gleeful absurdity, and a talented group of contributors on and off the stage. The runtime is approximately 2 hours 15 minutes, with a longer first act and an intermission. Good for ages twelve and up, there is mild drug usage and some sexually suggestive content, but nothing too over the top.
9 to 5: The Musical runs through August 4 at Virginia Rep’s November Theatre. Visit virginiarep.com for showtimes and tickets.
