BWW Interviews: Jeff Calhoun, Director/Co-Choreographer of 9 to 5: The Musical at Atlanta’s Fox Theatre, September 28 – October 3, 2010.

"Tumble out of bed and stumble to the kitchen, pour myself a cup of ambition…" You would be hard pressed to find anyone out there who hasn't heard these iconic lyrics that start the classic Dolly Parton hit song, 9 to 5.  The song (and the film) may be approaching their 30^th anniversary, but the story has taken on brand new life in the form of a new musical (with music by Dolly Parton and book by Pat Resnick) that will be arriving at the Fabulous Fox Theatre September 28 – October 3, the second stop on the national tour. Directing and co-choreographing this reimagining of the recent Broadway production of 9 to 5: The Musical is Jeff Calhoun. Jeff's recent credits include direction and choreography for the critically acclaimed and award-winning Deaf West productions of Big River and Pippin, as well as the world premiere productions of Disney's High School Musical and HSM2: On Stage. Jeff took time out from his busy schedule (he is prepping his next production, the pre-Broadway production of Bonnie & Clyde at the Asolo Repertory Theatre in Sarasota) to talk to us about 9 to 5, his vision for the show, and of course, working with the legendary Dolly Parton. 

BWW: Hi, Jeff! How are you?

Jeff Calhoun: I am great!

Let's start by talking a little about the show. Many people should be familiar with the source material, obviously the movie and the song, but what can audiences expect if they come out to see 9 to 5?

Well, there are two things: One is the classic story that we all remember from the movie. Second, you are going to hear tunes from one of the country's preeminent songwriters and it's her debut writing for the theatre, and we are all the better for it. It's a really good score, because few people write tunes better than Dolly. So, it is a combination of a great story with a great score.

I know Dolly Parton was very involved in the original staging, has she been equally involved with the tour? What's it like working with her?

Absolutely. She was there for callbacks and approved every actor. They flew me down to Nashville so I could meet Dolly and get her blessing and pitch her my take on the show. I don't make any musical decisions without talking to Dolly. She is very hands on, as you would expect with your child. That's what this is – her child. And she has done such a good job, and she has been so generous, both she and the writer Pat Resnick have been really generous with making changes to conform to my vision of the show. I have cut songs and she has graciously allowed me to do that, and I have moved songs to other places within the show, and it has just been a dream job.

Let me ask about the great picture (left) we have of you and Dolly back when you were both part of the The Best Little Whorehouse in Texas movie (Calhoun was the lead Aggie dancer in the movie). When you first connected with Dolly at the beginning of this show, did she remember working with you on the movie?

No, she didn't remember, but when they told her and she saw the picture she knew that I was the right person for it. She said it "was a sign from Jesus" and it has been great ever since.

What would you say is the biggest challenge when you take a show that needs to have your stamp on it. It sounds creatively exciting, but what really comes into play there?

I have to say that it was not challenging - everything sort of fell into place. It was a very easy reinvention. Like I said, the story is so good, the score is so good, all the elements are there. Sometimes you have to muscle a show out and this hasn't been that. I know that sounds silly, I can't remember a show that was this easy. It really did take care of itself, and I think that's just because it had such great ingredients for me to work with. The characters are well defined, the story is classic, the score is wonderful, and we have got an amazing cast! Our three women, what are the chances you could find three Broadway divas like that to tour.

I was actually going to ask you about that. Looking at your cast, with Dee Hoty, Kristine Zbornik and Diana DeGarmo leading the cast, that's just some amazing talent right there. Even if the show wasn't already building buzz, that would.

That's a testament to Dolly and to the material - that actresses of this caliber would want to do this show. They recognized that it is good material and that what my job is with the reimagining, to not let anything get in the way of telling this wonderful story.

Now, I am curious, how exactly does that work? Did you basically get clean slate, or did you try to take some of the things from the previous production?

Yes, the producers called me and asked me to re-imagine it and they gave me carte blanche - what a dream for a director! Not only that, of course, all ideas had to be approved by Pat and Dolly and they have just been so supportive from the very beginning. 

So, It is a true creative collaboration?

Absolutely, and so far it has been one of the highlights of my career. It is as much fun as I have ever had making up a show, I can honestly tell you that. But, like I said, working with Dolly - how lucky can I get.

As the co-choreographer (with Lisa Stevens), tell us what we can expect in terms of dancing? What serves as your inspiration?

Well, for me, the 70's were the most impressionable decade. From 10 to 20 I think are the most impressionable years in one's life. That's the decade where I sat in front of the TV and watched the Carol Burnett show and wanted to be a dancer, I wanted to be an Ernie Flatt dancer. Then there's the Sonny and Cher show, and Tony Orlando and Dawn, and so on. It was my favorite decade and that's where this show takes place. So for me, I want to capture the sensibilities and the tone of variety in the 70's. It keeps it a true period piece. The set does the same thing. We are surrounded by iconic images of the 70's, you never wondering "when" you are. You are looking at Burt Reynolds, or Lee Iacoca, or Jimmy Carter or Margaret Thatcher, the Marlboro Man, shag carpet, the pet rock. All those images form a collage that houses the whole evening.

Speaking of the sets, have they changed significantly from the original Broadway production?

Absolutely. Those were different designers and a different director. We weren't allowed to use any of that. It is a completely new show. You know, the original simply could not tour. So, when they needed to figure out how the show could tour, I think it was easier to get someone with baby eyes to re-imagine it than to ask the same guy to do a second take, he already did his take. And as wonderful as it was, it just realistically couldn't fit into trucks and tour every week.

When I spoke with Nick Manos last year when the season was announced we talked about 9 to 5 and discussed how he thought this was one of those shows that will do comparatively better on the road than say, on Broadway. Do you think audiences "out here" will connect better to the material? 

I think this show is geared for America. It's a wholesome, family musical.  For example - I wanted a show curtain that made you smile when you walked into the theatre, and my objective is to keep that smile on your face until you leave the theatre. It's just an unpretentious, witty, piece of entertainment from another time - of a time when things were more innocent. And that's the joy, I think, of this, and I think audiences around the country will appreciate that, because they are hard working people and that's what this show is about.

And I think some of the underlying themes are timeless too - standing up for yourself, the power of friendship, all those things that were in the movie.

I think the movie was probably one of the first female buddy pictures, because it preceded Thelma and Louise. It's a classic story, it's timeless. I think it resonates today, especially today, with hard working people who know what it's like to be a secretary or to work for somebody and feel like they are not getting their due, or fantasize about torturing their boss. Well, these ladies get to do it.

I know from your past credits that you have worked at The Fox Theatre before. I know audiences are looking forward to you coming back.

It is one of my favorite places to come. One, because of Chris and Nick and also because it is one of the most glorious theatres in our country. It is absolutely a pleasure to play there.

You have had quite a wide variety of experience (Deaf West, Revivals, Original works, adaptations). Are there things you have learned during the course of your career that you feel like you are able to draw from and directly apply to this production?

Absolutely. I should be better at my job with every show that I do. So, this being the most recent, should be my best work. The culmination of everything. And this one even more so, because of my affinity for the period it's set. I really feel like I live in that time. Me doing my best choreography will look like I am doing a period piece, unintentionally, of course! It is the perfect marriage of talent and material.

And you are opening in Nashville the week before you play Atlanta, right in Dolly's back yard, that has to be very exciting.

It doesn't get much better than that, does it? It's just great.

Is there anything else we haven't gotten to talk about that you would like our readers to know?

In terms of the show, I think audiences will want to know that there is a special participation in the show from Dolly Parton that they won't want to miss!

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9 to 5: The Musical will play the Fabulous Fox Theatre in Atlanta from September 28-October 3. Performances are Tuesday-Friday at 8 pm, Saturday at 2 pm & 8 pm, and Sunday at 1:30 pm & 7 pm. Tickets are on sale NOW at Ticketmaster outlets, 800-982-2787 and www.ticketmaster.com.  Ticket prices range from $25-$70.  Special group rates are available through the Fox Theatre Group Sales Department at 404-881-2000. 

Theater of the Stars celebrates its 58th Anniversary as one of the nation's premier regional theater companies.  A civic not-for-profit cultural treasure, Theater of the Stars is dedicated to presenting and producing the best in musical theater.  To learn more about our history of excellence, visit www.theaterofthestars.com. 

9 to 5: The Musical is based on the 20th Century Fox Picture and was Originally Produced on Broadway by Robert Greenblatt. The tour is produced by special arrangement with Music Theatre International and by Blumenthal Performing Arts Center, Fox Theatricals and Theatre Under The Stars. For more information visit www.9to5themusical.com

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