Review: Wacky, Wickedly Funny, and Wonderful, MSMT's All-Star Cast Romps in 9 TO 5 THE MUSICAL

Maine State Music Theatre’s new production of 9 TO 5 THE MUSICAL with Dolly Parton’s pulsating score is a high energy, hilarious madcap misadventure that somehow also manages to ring uncannily true. Both a period piece and a contemporary one, this tale of women in the workplace is propelled by zany humor, but also fueled by the empathetic characters at its core. The trio of women embattled with their narcissistic boss are - as Parton, herself, phrased it “just a step on the boss man's ladder” - and yet they sing and dance their way into our hearts in an evening filled with laughter and warmth. 

Based on the 1980 movie, the 2009 Broadway musical with music and lyrics by Dolly Parton and a book by Patricia Resnick takes a scathing look at gender bias, sexual harassment, and “good old boy” entitlement in the workplace. Parton’s score combines, jazz, gospel, and country songs, peppy tempi and catchy lyrics, with often mordant innuendos. The book is sheer, crazy fantasy - part wishful thinking, part wild hallucinatory trip, part the resilience to dream and survive. While adhering closely to the movie’s script, the musical streamlines the film’s zany capers to make room for the addition of the music and choreography that give the stage version that extra lift.

Kenny Ingram directs and choreographs in his customary high-octane style. There is lightness and joy, even in the darker themed moments, and there is plenty of virtuosic dancing to rouse an audience.  There is a playfulness in his direction - a kind of winking and sharing a joke among the characters and with the audience - that manifests itself, especially in the fantasy sequences, which take on a deliciously over-the-top feel.

Aaron McAllister as Music Director [Erik Wakar, Associate Music Director] inspires the eight- piece orchestra to play with scintillating verve and draws from a cast, with stunning vocal skills, memorable musical performances and exceptionally fine vocal harmony.

The overall visual production is sleek and timeless. William James Mohney’s set is comprised of a relatively open stage masked by portals crowned with large clocks marking 9 to 5 and a series of flies that rapidly make the transitions among the many locales including the office, the various characters’ homes, and the hospital. Hart’s office is the only large set piece, and even that moves with smooth agility, as do the desks and other props, in expertly choreographed changes, largely executed by the ensemble. And once again, the video wall proves to be a major asset in realizing the design vision. Ryan Joyner’s projections are bright, primary color creations with a two-dimensional look that have a child-like fantasy feeling to them.

Annalise V. Caudle’s lighting adds to the bold, linear look and conjures up the change at the office as the women’s colorful energy replaces the toxic vibes of Hart.  Shannon Slaton’s sound design does justice to Parton’s score.

Katie Dowse’s costumes [Kevin S. Foster II, Wigs & Hair Designer] smartly recall the 70s and 80s “dress for success” mantra. Production Stage Manager Amy Bertacini keeps this office moving like a well-oiled machine.

The cast is nothing short of splendid. Lauren Blackman, fresh from her Broadway triumph as Marian in THE MUSIC MAN, gives an incisive portrait of Violet Newstead, savvy, stressed, quietly sarcastic, and completely classy, who masks her frustration as best she can until a series of crazy, improbable events propels her down the rabbit hole. Blackman’s pure lyric soprano is an asset to all the music, but she delivers her duet with Joe, “Love Can Grow,” with particular tenderness and sparkles in her jazzy song and dance number,”One of the Boys.”

Jaden Dominique portrays the initially mousy Judy Bernly to perfection, treating the audience to an intimate look at her journey from powerlessness to self-respect. She uses her creamy, dark, well-modulated voice to find so many nuances in the score. Her big ballad, “Get Out and Stay Out,” is worth the wait and recalls the sheer charisma and power that this young star first demonstrated in her portrayal of Celie in last year’s THE COLOR PURPLE.

Carolyn Anne Miller puts her own stamp on Doralee Rhodes, investing her with a delicious warm sensuality and open, lovable honesty that is an homage to Dolly Parton’s inspiration for the character. Both brassy and vulnerable, she is no one’s fool, and she gives an authoritative and different vocal performance than some of the roles in which we have previously seen her, most notably in the fantasy sequences: “Backwoods Barbie” and “Cowgirl’s Revenge.”

As Roz Keith, Charis Leos works her customary magic, giving us a portrait of a misguided, starry-eyed woman, completely devoted to her boss.  Her two solo numbers are highlights:  the first, “Heart to Hart” laced with explicit yearning; the second, “5 to 9” tinged with a sweet devotion that helps nuance the character.

In the challenging role of Franklin Hart, Jr., Kevin Earley has, not only to play against type, but also to find the balance and – dare I say - even humor in this egregiously egotistical, narcissistic, lecherous character. In a masterfully calibrated performance, he does not shy away from the cold, hard truth of this unlikeable specimen of male entitlement, at the same time that he manages to suggest an element of absurdity that retains the comedy. Vocally he gets to use his exceptional talents to effect in a smarmy rendition of “Here for You” and “Always a Woman.”

Stephane Duret sweetly shines in the role of Joe, who is in love with Violet and offers her the gentle, kind dignity that helps open her heart.  Their duet is a tender moment of lovely contrast to much of the largely upbeat score.  David Girolmo makes the most of his cameo appearance as Chairman of the Board, Tinsworthy, turning in a characterful sendup of the flamboyant Texan.

Among the others in the excellent ensemble are Lucy Godinez as an amusingly intoxicated Margaret, Michael Di Liberto as Judy’s obnoxious ex-husband Dick,  Davon Williams as Doralee’s understanding husband, Sarah Miramontes as an embattled Maria, Collin Flanagan as Violet’s weed-smoking son, and Stephanie Maloney as Hart’s long-suffering wife Missy.

Rounding out the cast are Alicia Babin, Jasmine Gillenwaters, Elijah James, Jalen Kirkman, Michael Olaribigbe, Chelsea Peña , J.P. Qualters, Mandie Rapoza, Camila V. Romero, Albert Sterner, and Cari Walton.

After a long wait to get the rights to 9 to 5 THE MUSICAL, MSMT has lavished on the production all its best creative and technical  resources.  Special kudos to Curt Dale Clark, who has an extraordinary sixth sense in casting, and has here assembled a group of all-stars, a number of whom are playing against type with delightful brilliance.

Add the deft hand of Kenny Ingram guiding this insanely talented company, and the resulting concoction is an irresistible, feel-good cocktail that proves laughter can be a potent weapon.  Not only does MSMT’s 9 to 5 THE MUSICAL offer humor with substance and sunshine,  but the production also serves up a theatrical experience as wacky, wickedly funny, and wonderful as any you’ll ever get!

 

Photos courtesy MSMT, Jared Morneau, photographer

9 to 5 THE MUSICAL runs from July 19- August 5, 2023 at MSMT’s Pickard Theater on the Bowdoin College campus, 1 Bath Rd., Brunswick, ME   www.msmt.org  207-725-8769

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