9 to 5 the Musical
★★★☆☆ Ambitious
Pleasance Theatre: Tue 11 – Sat 15 Feb 2025
Review by Thom Dibdin
From the crisp chords of the live band to the acres of powder-blue eye-makeup, there is no faulting the effort put into EU Footlights’ ambitious production of Dolly Parton’s 9 to 5 the Musical at the Pleasance all week.
There is an equally ambitious set of performers on stage, as well, to bring the vision of joint directors Ellie Jackson and Max Middleton to life – from leads who create strong characters, to a chorus who ensure that Lyss Britton’s choreography is crisp and tight from the top.
Orly Benn (centre, Violet) and Ensemble. Pic: Andrew Morris
It all makes for a most enjoyable production, with an easy attention to detail as it canters through Patricia Resnick’s book, set in 1979 in the offices of Consolidated Industries where three employees kidnap the boss and turn the office on its head.
The trio of leads are particularly effective, led by Orly Benn as overlooked office supervisor Violet, with Richeldis Brosnan as new girl Judy, on her first day of work after her husband leaves her for his secretary.
great presence
Fiona Forster stands up particularly well in the role originated by Dolly Parton herself, Doralee, the slimy boss Franklin Hart Jr’s PA. Forster has great presence and sets about Doralee’s Country numbers with panache, including a notable Backwoods Barbie.
Fiona Forster (Doralee). Pic: Andrew Morris
The whole piece is well set up, with Judy and Doralee setting up their backstories nicely in the 9 to 5 opener while allowing the number to flow around the details. We learn about frazzled widow and single mum Judy, and Doralee content at home with her man Dwayne – a considered Mayokun Dosunmu.
While the chorus give that opening number a great deal of oomph, Judy brings them properly into focus as Violet shows Judy the ropes in Around Here, with their conflict with Doralee made conspicuous.
heavy handed
The band, under co-MDs Eric Rogers with Benji Castella McDonald on Keys 2, are tight and don’t drown the company out. However, the onstage sound is very heavy handed. Charity would put it down to opening night issues – although, were that the case, you might expect some of those to be resolved over the course of the performance.
Richeldis Brosnan (Judy) Pic: Andrew Morris
All of the leads are affected, with mics seemingly turned up to 11, mics failing to come on in time and a general lack of technical finesse from the sound crew, which undoes the subtleties of the singers’ voices. Forster is particularly badly hit, while a tap sequence which should be the highlight of Act 2, is lost in the mix.
As a concept the production also has its own issue in the presentation of sleaze-ball Hart. Levi Jones has all the necessary chops for the role, and acquits himself vocally with flying colours. However Jackson and Middleton have Jones over-egg the comedy of the character to the point where any sleazy menace is lost.
loses its edge
This playing of Hart as solely a bumbling buffoon has an unfortunate concurrent reduction in the impact of the whole piece. The social justice element which elevates the musical from pure entertainment is still there, obviously, but it loses its edge in this reading and doesn’t chime with what else is known about Hart.
Hannah Whelan (Roz) and ensemble. Pic: Andrew Morris
There is no lacking of impact elsewhere, however. Hannah Whelan as Roz, Hart’s infatuated secretary, provides a high point with her dream-sequence Heart to Hart. It’s always a great number and Whelan sells it perfectly, showing off the full range of her considerable voice.
Brosnan, Benn and Forster really get to show off their own musical and performing chops in sequence after they share a joint, when they fantasise what they would do to Hart. The blend from Dance of Death into Cowgirls Revenge and Potion Notion works excellently and to most gratifying effect.
well-drilled ensemble
The success of many of these numbers depends on a well-drilled ensemble. Led by featured dancers Lucy Walker and Daisy Murray, the company add depth to the various fantasies with the likes of Darcey Chong (Kathy) and Sophie Davis (Maria) bringing their characters across.
Orly Benn (Violet) and Mario Gee (Joe). Pic: Andrew Morris
The minor characters are well emphasised. Emma Bland makes the most of her moments as alcoholic Margaret, and Mario Gee steps up well as young Joe, infatuated with Violet. Both provide particularly strong dance work, but their characters don’t always bubble away under the main narrative as they might.
Various ensemble members step up well to add the necessary plot points. Sophie Gent as Violet’s skater son Josh, provider of the joint which sets off the fantasy sequence; Minnie Cross adds a beat as Hart’s wife, Missy; and Tilda Glynn does a nice trousers role as the sycophantic Bob.
nominative determinism
In two speaking-only roles, Huw Turnball gives an appropriately cartoonish take on Judy’s ex, the obnoxious Dick – a case of nominative determinism if ever there was one – and doubles as the big boss Tinsworthy in the final scenes.
The ensemble. Pic: Andrew Morris
Special mention should go to co-costume designers Millie Franchi and Jocelyn Law, who give the whole thing an appropriate late 1970s look. Set managers Serena Hopkins and Lucy Henderson also give good hints at the period, while just about (but not always) keeping the busy set changes clean.
Tom Beazley’s lighting, aided by Lily Goodchild, serves the production well, although it does tend to draw attention to itself, rather than what is being lit.
aiming high
9 to 5 the Musical is a big ballsy piece of musical theatre entertainment and the EU Footlights give a great account of it in a production that is all the better for aiming high.
Running time: Two hours and 25 minutes (including one interval)
Pleasance Theatre, 60 Pleasance, EH8 9TJ.
Tue 11 – Sat 15 February 2025
Evenings: 7.30pm, Sat mat: 2.30pm.
Tickets and details: Book here.
Footlights Website: www.edfootlights.com
Facebook: @edfootlights
Instagram: @eufootlights
The full company. Pic Andrew Morris
