9 to 5, The Musical
Image courtesy of https://arts.catholic.edu
By Jaylynn Williams
9 To 5, The Musical delivered a fun and vibrant run in the Hartke Theater this past weekend. Based on the 1980 film, 2008’s 9 To 5, The Musical adapted the film for the stage by using the music and lyrics of Dolly Parton and Patricia Resnick’s book. It is a tale of three co-workers- the work-driven widow Violet Newstead (Brigid Wallace), the recently-divorced new girl Judy Bernly (Jyline Carranza), and the ostracized and self-proclaimed “Backwoods Barbie” Doralee Rhodes (Olivia Coniglio)- who team up to get even with their sexist, egotistical boss Franklin Hart.
The choice to put on a production about the story of three women that face sexism and sexual harassment in the workplace as told through the lens of comedy is a very interesting choice for 2019. Thanks to the #MeToo era, now more than ever, women’s voices are being heard, making them no longer silent about the harassment they faced within the workplace and beyond. Given the musical’s plot revolving around themes of sexism and sexual harassment, particularly in the workplace (Hart’s disgusting leering of Doralee’s body immediately comes to mind), it could be a bit startling to the audience when Hart’s behavior is played for laughs. Of course, this is a fault of the script and with the genre being a comedy, it is only natural that these serious topics are occasionally dealt with comically. However, it must be pointed out that for a show that director Jay Brock wrote in the Director’s Note is “pointing out the ugliness still lies beneath the surface,” Hart’s light-hearted and exaggerated comical character almost undermines the threat that men like Harvey Weinstein actually pose on women in the workplace.
For all the criticism of the over-exaggeration of Hart, which in a way de-vilifies him for the audience, Brock took a structurally weak script and transformed it into an infectiously funny production that had a lot of heart and plenty of laughs- fitting for a comedy about three co-workers that take revenge on their boss by kidnapping him. The aesthetic of the musical was strong, its costumes and set adding to the visual appeal. The eye-catching sculptural set worked perfectly for the 1970s corporate America setting.
Even more vibrant was the cast, because of their exceptional vocals and dancing. The choreography was Fosse-Esque with its punctuated hand movements and sideways shuffling in certain numbers, making the dancing of the time period. The actor that stood out the most vocal wise was Olivia Coniglio. Coniglio portrayed Doralee, the lovable but misunderstood woman that was based on Dolly Parton herself. Her tone and accent rung beautifully throughout the theater. She truly embodied the spirit of Dolly, while also offering her own unique spin to the character.
The entire main cast was phenomenal. For example, Wallace’s performance of “One Of The Boys” was particularly noteworthy. Additionally, Judy completed her metamorphosis of a woman that is over her ex-husband and is ready to take control of her life with the beautifully sung ballad, “Get Out And Stay Out.” Joseph Mclonan was energetic and physically comical as Hart, jumping on desks without care and maniacally swinging a gun around at the three heroines. Mclonan’s portrayal of Hart was delightfully over-the-top, though while extremely entertaining, sometimes took away from the disgusting nature of his actions, especially in the number “Here For You” in which after making Doralee bend over to grab pencils as a ploy to leer at her, he goes into a charismatic song and dance to express his lust for her.
One of the major issues with the production was the sound design. The opening number, “9 To 5” was busy, full of movement, dancing, and vocals. Unfortunately for the audience, the vocals were not that audible. From about the middle rows and back, the singers’ voices could barely be heard. This was especially a problem for big numbers with multiple lead singers because only one or two could actually be heard. At one point, it seemed possible that the orchestra had microphones due to how loud it was, but that was not the case. The sound was a consistent problem throughout all the performances, but audiences were not that bothered as it seemed as they just went along with it. Overall, 9 to 5, The Musical was a fun production. The director, actors, and tech did the best they could with the script and the end product was thoroughly enjoyable. The production was full of energy and genuine joy in portraying the characters, making for a great time.
