Review: 9 TO 5: THE MUSICAL at Music Theatre Of Connecticut
The fun and the energy run through May 3rd
Music Theatre of Connecticut’s 39th season closes with Dolly Parton’s 9 to 5 The Musical, a fun, energetic show that closely follows the story of the 1980 hit movie.
The show opens with the unforgettable bouncy song “9 to 5” during which the entire cast goes through their morning ritual to go to work. Office manager Violet Newstead (played by Gina Lamparella) instructs Judy Bernley (Elissa DeMaria), the newly hired but unqualified secretary, about the culture at Consolidated Industries (“Around Here”). It’s basically a sweatshop, but everyone needs a job, so they grimace and bear it.
Hart is a chauvinistic, duplicitous, narcissistic boss and their most annoying coworker is Roz (Robin Lounsbury) who worships him. Roz is a petty dictator who is his eyes and ears, and all too happy to tattletale. That’s enough to aggravate Violet, Doralee, and Judy, who have enough to deal with in the workplace and at home. Violet is a widow and single mother. Judy was just dumped by her husband for a younger woman. Doralee who is brainier than her image as a "Backwoods Barbie" whose boobs “are as real as her hair color.” When Hart passes Violet over for a promotion with someone she trained, and he admits that he is the one who spread the rumor that Doralee is having an affair with him, the women are beyond furious.
Violet remembers that Joe (Matt Mancuso), a junior accountant who wants to date her, gave her marijuana. She shares it with Judy and Doralee, who get stoned and fantasize payback. While making coffee the next day for Hart, a stressed-out Violet confuses the box of his Skinny and Sweet artificial sweetener with the box of rat poison she bought to rid the office of vermin. When she realizes her mistake, she panics. Roz overhears them talking in the bathroom and snitches to Hart about what they did. Hart pretends he was poisoned and threatens to turn them over to the police. Doralee rips the phone cords out and ties him up and the three ladies imprison him in his own house. They make positive changes in the workplace, such as offering day care, flexible hours, and job sharing. Doralee has forged Hart’s signature many times before, so she types up new policies and “his” memo to nosy Roz to go to another state for an immersion program. Violet finds out that Hart has been embezzling money from the company – just the thing to hold against him should he call the police on them. Sure, it sounds outrageous, but who hasn’t worked for a tyrant and wants Skinny and Sweet revenge?
Dolly Parton’s country, rockabilly and show music and lyrics are delightful. Patricia Resnick’s book keeps the storyline faithful to the movie yet still relevant. OKAY, so the characters are caricatures, but they have enough depth and relatability that you will still buy into the fantasy. Why? Because well over 40 years since the movie came out, the workplace is still a living hell for many people. They’re short-staffed, the wage gap is wider, and there is still discrimination, especially against women over a certain age.
Director Amy Griffin did a superb job with the ensemble (Scott Ahearn, Emma Kops, Chirstian Libonati, Alyssa McDonald, Tyler Brian Mirandam and Lucy Moon), making their performances in small roles stand out. Clint Hromosco’s lively choreography used the compact thrust stage to its capacity. Starlet Jacobs set design and Kimberly Slosek’s props was perfect for the show. BTW, those manual typewriters on the desks are gaining popularity with some people, even though everyone uses a computer. Analog is back. Scott Borowka’s lighting design presented every performer to perfection. Diane Vanderkroef always delivers the right costumes for the period, right down to the shoulder pads. Dan O’Driscoll did the fight and intimacy direction just right and Stage Manager Britt Kolek kept everything moving at the breakneck speed intended by the book. Zachary Anderson’s music direction was impeccable, but it was impaired by the sound design because the music was too loud. This is a problem in almost every theater and even in concerts. The acting and singing shouldn’t be drowned out by the music. Still, it’s a show that’s worth seeing.
9 to 5 runs through May 3rd. The Sunday matinees are all sold out, but you can email admin@musictheatreofct.com to be put on a waiting list. Tickets to the evening performances are selling fast. You can get them online at www.musictheatreofct.com. Music Theatre of Connecticut is located at 509 Westport Avenue in Norwalk, just before the Westport border.
Plan your Hot Summer Nights with concerts by Frank Mastrone on June 20th, John Arden Music Dueling Pianos on July 11th, Christine Andreas on July 18, Nicolas Dromard and Desiree Davar (“Nic and Desi”) on August 1st, and Katona & Kitteredge on August 8th.
Drum roll, please! Music Theatre of Connecticut has announced its 40th season. Harmony: A New Musical will run from September 11th through the 27th. Always…Patsy Cline is back by popular demand from November 6th through 22nd. Desperate Measures: A Musical Comedy Gone Wild will keep you warm from February 5th through 21st. Clue will start on April 16th and run through May 2nd. If you are a current subscriber, secure your seats for these performances. If you’re not a current subscriber, do it now for the best seats at the best price. There is no better theatre experience with professional performers than at Music Theatre of Connecticut’s intimate venue.
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