The movie-to-stage-musical phenomena hasn’t experienced unbridled success. For every hit like Hairspray or The Producers, you have misfires like Rocky, Ghost, Almost Famous and Mrs. Doubtfire. Add to that motley crew of titles 9 to 5, the 1980 film comedy starring Jane Fonda, Lilly Tomlin and Dolly Parton that became a Broadway musical in 2008. With book by Patricia Resnick (slavishly following the film script she co-wrote with Collin Higgins) and music/lyrics by Parton, this is truly a musical that never had to be. But there it is now, in a very boisterous production at Norwalk’s Music Theatre of Connecticut, where the audience with me had a blast, clearly enjoying every single minute.
9 to 5 is an office satire about three female secretaries who decide to get revenge on their tyrannical, sexist boss by abducting him and running the business themselves. The trio, played at MTC by a game troupe of singers, include Gina Lamparella as Violet (the Tomlin role), Elissa Demaria as Judy (Fonda) and Hannah Bonnett as Doralee (Parton). Playing their sexist boss, Franklin Hart, is Joe Cassidy, who really seems to relish playing the musical’s villain with gusto. It must also be noted that all three women are pros, singing strongly and giving their all to mediocre material.
Even though it is set in period (1978), 9 to 5 still seems dated, with many of the sexist moments as cringe-worthy as you would expect now after Harvey Weinstein and the Me Too movement. Simply put, it just doesn’t work anymore. Yes, the boss is terrible, but he plays almost as a cartoon now, and the score, which consists primarily of women’s lib (remember that?) anthems about empowerment and revenge against “the man”, is sung shrill and loudly here. With the exception of the catchy and familiar title tune, the score often reminds you of better material. Violet’s celebratory song and dance about being a CEO, “One of the Boys”, instantly recalls Roxie Hart’s eponymous number in “Chicago”. The comparison is not a good one.
Director Amy Griffin does a solid job using the intimate MTC space, with nicely paced scene changes and a strong supporting cast. Zachary Anderson’s musical direction and the choreography by Clint Hromsco also deserve praise, but can I ask why the volume is turned up to 11 on this whole show? I’ve come to expect that actors aren’t expected to project anymore and that miking performers has become the norm. But MTC is a small space and I continually wonder what would happen if we just heard natural voices singing without the sound enhancement. The actors are shouting their songs to the rafters at MTC and are often drowned out by the orchestra.
It is not the critic’s job to review the audience, but I must admit I was definitely in the minority for this particular show. The nice lady seated next to me could barely contain herself with joy and she was not alone. But for this viewer, and following the theatre’s excellent production of “The Irish…and How They Got That Way”, this season finale has to be considered a disappointment at MTC.
9 to 5 continues at the Music Theatre of Connecticut, 509 Westport Avenue, Norwalk, Connecticut, through May 3. For further information, call the box office at: 203.454.3883 or visit: www.musictheatreofct.com.
Tom Holehan is one of the founders of the Connecticut Critics Circle, a frequent contributor to WPKN Radio’s “State of the Arts” program and the Stratford Crier and former Artistic Director of Stratford’s Square One Theatre Company. He welcomes comments at: tholehan@yahoo.com. His reviews and other theatre information can be found on the Connecticut Critics Circle website: www.ctcritics.org.
