“A playful homage in a return to the turbulent era of sexism and chauvinism. Superb-sounding harmony vocal work. A chance to laugh at historic workplace issues that would not be tolerated today. But does that make it okay by today’s twenty-first-century standards?”
It’s 1980, and the era of big hair, bright pastel colours, and a lot of male chauvinism about workplace equality and women’s empowerment.
9 to 5 features widow Violet Newstead (Louise St. Cyr), newly separated Judy Bernly (Cailin Stadnyk), and married office ‘eye candy’ secretary Doralee Rhodes (Kelly Holiff), who all work at Consolidated Industries under their chauvinistic and sexist boss, Franklin Hart Jr. (Kent Sheridan). The women have all been denied promotions and advancement opportunities within the company. They have also been sexually harassed while on the job. Meanwhile, it is the men who are promoted and earn higher salaries than the women.
Because Violet, Judy, and Doralee are fed up with this office favouritism, they devise a plan to hold Hart accountable for his actions. The women find some background information about Hart that would most likely lead to his firing from his position.
What follows is an absurdist and comical look at how these sexist issues are resolved.
Visually, Joe Pagnan’s fluid set design facilitates smooth traffic flow through set pieces and props, which are wheeled in and out quietly. Upstage on a scrim is a compelling artistic rendition of an office window overlooking an implied urban setting. A fancy-looking institutional clock (without the two hands) sits in front of the window. Stage right is a door that serves various locations outside the office. Stage left is the office elevator. Louise Guinand effectively incorporates institutional and commercial tubular lighting in the office scenes.
One of the production’s highlights is Michelle Bohn’s splendid recreations of 80s clothing styles in the men’s and women’s costumes. She clearly has done her homework, paying close attention to the minute details of the era.
Another highlight of the performance is Brian Kenny’s outstanding sound design. The pre-show 80s music selection (Donna Summer is just one among many) evokes many memories for people my age. Additionally, other important sound cues are beautifully executed for comic effect. Listing them all here would spoil the hilarious moments.
Under Sarah Richardson’s solid musical direction, the cast sounds heavenly in several musical numbers, where harmonies are gorgeously highlighted. Two that particularly stood out at this performance were I Just Might (sung by St. Cyr, Holiff and Stadnyk) and the opening company number of the title song, sung by the entire company. Lovely work in these two numbers.
Julie Tomaino directs with a playful and respectful nod and homage. This production marks her fourth time working on it, and she mentions in her Programme Note that there is so much to learn and discover. Each actor’s interpretation of the characters will bring something different and new. I’ve seen a few versions of the musical and appreciate what Tomaino has envisioned. Her choreography complements several of the musical numbers nicely, especially in Here for You and Joy to the Girls. I noticed a couple of missteps in one number from one actor, but she recovered nicely and continued.
As Hart’s office stool pigeon, Jessica E. Sherman’s Roz Keith is delightfully nutty. Her ‘Heart to Hart’ is a standout in Act One. Darren Burkett’s nice guy Joe (who shows an interest in St. Cyr’s Violet) shares a heartfelt duet with St. Cyr in Let Love Grow in Act 2.
Kent Sheridan is terrific as the smarmy and sleazy Franklin Hart Jr. He handles beautifully what Doralee, Violet and Judy dream they would do to him in ‘The Dance of Death’, ‘Cowgirl’s Revenge’ and ‘Potion Notion.’
Kelly Holiff, Louise St. Cyr and Cailin Stadnyk are the reasons to see this 9 to 5.
They’re terrific singers who can belt the hell outta songs. These ladies create likeable, personable, strong women. By the end of the musical, they have learned to accept who they are and how they got to where they are. They each have their stand-alone number and deliver the moment with strength, passion and flair. You can’t help but root for them by the end.
Final Comment: The question still hangs in the air when I heard last summer that the show would be part of this summer’s slate.
Why would any company want to stage Patricia Resnick’s Book, knowing some of the devastation caused by #MeToo, Prince Andrew, Jeffrey Epstein and Harvey Weinstein?
Julie Tomaino is involved with the show again for her young nieces —her motivation: the next generation for whom we must build a better world.
I look to my role model as my sister and my late brother would.
Our late mother became the President of a Tool and Die shop after our father passed away in 1962. Our mother was a unique role model in the 60s, 70s and 80s who ran a company with 25 men. She did it with firmness, fairness, equity and precision. She also knew when to have a good laugh at work in the office and in the plant. Yes, there were complicated times, and they had to be faced with dignity and professionalism.
My mother also taught my family not to take things so seriously all the time. She practiced that at work as well.
That’s the reason why 9 to 5 works at Thousand Islands Playhouse. It doesn’t negate the complicated issues of Prince Andrew and the others listed above. It was awful what happened.
But sometimes in the face of this complication and hardship, one has to laugh.
This 9 to 5 allows audiences to do that.
Running time: approximately two hours and 30 minutes with one interval/intermission.
The production runs until November 9 at the Springer Theatre, 185 South Street, Gananoque. For tickets: 1000islandsplayhouse.com or call the Box Office (613) 382-7020.
THOUSAND ISLANDS PLAYHOUSE presents
9 to 5, the Musical
Music and Lyrics by Dolly Parton
Book by Patricia Resnick
Based on the 20th Century Fox Picture
Orchestrator: Bruce Coughlin
Arrangements and Additional Orchestrations: Stephen Ormus and Alex Lacamoire
Director/Choreographer: Julie Tomaino
Music Director/Band leader: Sarah Richardson
Set Designer: Joe Pagnan
Costume Designer: Michelle Bohn
Lighting Designer: Louise Guinand
Sound Designer: Brian Kenny
Stage Manager: Dustyn Wales
Band: Sean Donaldson, Janet MacRae, James D. Taylor, Winston Vinh
Performers: Darren Burkett, Kelly Holiff, Dani Jazzar, Makayla Moore, Teddy Moynihan, Maria Munoz, Drew Plummer. Adriana Ravalli, Kent Sheridan, Jessica E. Sherman, Louise St. Cyr, Cailin Stadnyk, Sarah Lynn Strange, Alex Wierzbicki
