Rating: ★ ★ ★ ★ ★
Before a single coffee was brewed or typewriter clacked, Edinburgh University Footlights’ production of 9 to 5: The Musical has already made quite the statement. Their marketing campaign, most notably the brilliantly witty tattler-style magazine covers introducing the cast, is a great example of the creative work and talent that oozes from this production, and set the tone for the show’s meticulous attention to detail, which carries through into its impressively slick staging. Rather than overloading the space, the production employs a deft ‘less is more’ approach, using three main dividers to seamlessly transition between office spaces, bedrooms and even a hospital scene, ensuring the show’s frantic momentum never falters. Co-Director Max Middleton explains that the show’s movement, pace and angles were all a deliberate choice to mirror the “frenetic feeling of the quickly changing ‘70s” which I think is encapsulated perfectly in the constant flux created through the choreography, effective blocking and evident theatrical chemistry between all the characters on-stage. Compositionally, the true standout is the ‘9 to 5’ logo, illuminated and encased within the shape of a watchful eye, symbolising the omniscient and oppressive male gaze that looms over Consolidated’s employees, even in their boss’ absence. This sinister motif is made all the more chilling by Lighting Designer Tom Beazley’s expert use of colour, particularly in the eerie red glow that envelops the stage whenever Franklin Hart indulges in his sleazy fantasies.
The story itself, originally penned by Patricia Resnick and based on the classic 1980 film, remains depressingly relevant. Consolidated Industries is your typical patriarchally-structured and productivity-driven corporate office, coming at the expense of the personal and professional lives of the women who work there, for whom the opportunities of a promotion, or at the least fair treatment in the workplace, feel like a pipe dream. They are undervalued, overworked, and subjected to the whims of their “sexist, egotistical, lying, hypocritical bigot” of a boss, Franklin Hart (played with relish by Levi Jones). But this is no gritty ‘office-kitchen-sink’ type realist drama— far from it. Our three heroines, shrewd Violet (Orly Benn), sweet but underestimated Judy (Richeldis Brosnan) and the dazzlingly confident Doralee (Fiona Forster) join forces to exact revenge on their sleazy superior and seize control of the company. Cue mischief, MASSIVE musical numbers, and men getting their comeuppance. With whip-smart dialogue, bold choreography, and a soundtrack brimming with Parton’s signature energy, 9 to 5 is a feel-good riot that brims full of vitality and energy.
Every single one of the women at Consolidated is a star— this is easily the best performance I’ve seen during my time at Edinburgh University! Judy, Violet, Doralee, Roz and Missy, clothed immaculately by Costume Designers Millie Franchi and Jocelyn Law, deliver particularly magnetic performances. Brosnan’s Judy paces her transformation well from timid, recently-divorced wreck into an empowered and self-assured force of nature; her rendition of Get Out and Stay Out is a metamorphic triumph that elicited a raucous applause from the audience. Benn’s Violet is sharp, commanding and oozes a cool-headed and witty gravitas which makes her eventual success feel even more satisfying. And then there is Forster’s Doralee; bursting with the sensuality and charisma of the Southern drawl, razor-sharp comedic timing, and a formidable country voice rivalling Parton’s. Her Backwoods Barbie is an absolute showstopper, reminding everyone that embracing femininity, and being respected in society, aren’t mutually exclusive. Meanwhile, Whelan’s Roz— Hart’s devotedly deranged assistant— steals every scene she is in, bringing the house down with Heart to Hart, a number that playfully toys between disturbing and exhilarating. The ensemble, too, deserve a standing ovation, especially Minnie Cross as Missy, whose smaller role is still packed with forceful wit and personality.
Yet, for all its strengths, there are moments where the show’s strong and empowering message felt slightly at odds with its execution, at which point I argue the production may have chosen to adapt or omit songs/choreography that contradict the vehement rally against misogyny in the workplace. Take She’s One of the Boys, where Violet’s ambitions are visually represented by a chorus of women in men’s suits. While the number is performed with precision and flair, it nevertheless undercut the overarching message that women shouldn’t have to conform to masculine ideals and sacrifice their femininity in order to be taken seriously, especially after “Backwoods Barbie” Doralee beautifully reinforces the idea that strength and intelligence comes in many forms. However, these minor quibbles hardly affect the performance. Every song and dance is performed to an impeccable standard, thanks in no small part to the work of Musical Directors Benji Castella McDonald and Eric Rogers, whose arrangements are as polished as they were punchy.
Overall, this is the easiest five-star rating I’ve ever given! Every element of the sharp and meticulous direction by Ellie Jackson and Max Middleton comes together to create a truly spectacular production, underscored by the ever-relevant fight for workplace equality. So, pour yourself a cup of coffee, spin that Rolodex, and get yourself clocked into Pleasance Theatre this week for 9 to 5: The Musical.
9 to 5: The Musical is playing at Pleasance Theatre until 15th February. Read our Q&A with the cast and crew here!
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