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Alex serves a Christmas cracker
9 to 5 – The Musical The New Alexandra Theatre ***** THE resurgent Alex, given a new lease of
life by Ambassador Theatre Group, has come up trumps with a Christmas
cracker of a musical which is slick and has all the glitz and pazzaz of
a Broadway show, and, most of all, it is entertaining and packed full of
fun. So if you are looking for an alternative, or even
an addition to a trip to the panto over the festive period then look no
further. And don't be afraid you won't understand the musical if you
never saw the film. This is a new show which, although based on the
storyline of the film, is a high quality musical in its own right, up
there on merit with the best of them. Directed and choreographed by Pittsburgh-born
Broadway big-hitter Jeff Calhoun, this is a show that just oozes class
from the big opening number, 9 to 5, to the rousing finale of . . . . er
. . . 9 to 5. Not that there aren't plenty of songs and big
numbers in between. Dolly Parton is a much underrated songwriter with
many lyrics which would stand alone as poetry. The show includes 13
songs, new as well as old favourites from the film of the same
name, with every style from country to showtunes.
One of the highlights was Backwoods Barbie
from Amy Lennox who plays Doralee, the part played by Parton in the
film. Lennox, who has a lovely soft Scottish accent offstage, manages a
convincing Tennessee country girl accent onstage and showed a fine voice
in Parton's bittersweet ballad – a song that can hold it's own in any
company. Doralee has had enough of dealing with her
lecherous boss, Franklyn J Hart, who lies to everyone he is sleeping
with her, while Violet, who runs the office, played by comedy star
turned musical theatre star Jackie Clune, has had her own run ins with
Hart, particularly when he passes her over for promotion for a top job
because she is a woman. Then there is Judy, the newbie, played by Natalie
Casey, who has no office experience, is in a messy divorce, and is
picked on unmercifully by Hart who was probably a founder member of the
society of male chauvinist pigs – although remember this is 1979, the
film came out in 1980, when equality for women was as alien as say,
mobile phones. So when our three scorned women get their chance
to wreak vengeance . . . hell and fury come to mind with Hart left sort
of hanging around waiting for the outcome. The three gel together well and don't waste a
line, particularly if there is a laugh to be had in a performance which
is a joy to watch. Meanwhile, back at the ranch, or at least the
office, the only person at Consolidated who actually likes Hart is his
personal assistant-come-lapdog Roz, played beautifully by Bonnie
Langford who is so desperately in love with her boss, as well as sending
out memos about memos. She has another bittersweet ballad in 5 to 9
about unrequited love as well as the raunchy Hart to Hart –
all brass and basque.
Hart is one of the boys, 1979 style, when women
in the workplace were there for decoration or carry out the more mundane
tasks. Their job was to either get coffee or take dictation or, with a
little persuasion, provide services not exactly covered in the company
benefits plan, and Ben Richards has him down to a tee. It is all rather
tongue-in-cheek and Hart is never allowed to get too far above his
station, whenever he tries his chair collapses which doesn't help. There is good support to from the office lush
Margaret, played by Lori Haley Fox, and Mr Tinsworthy, played by Marlon
Moore, the big, big boss who is a dead ringer for Col Saunders and his
performance was finger lickin' good – come on, it is panto season. We even see Dolly herself on a video screen
setting the scene and then telling us what happens to everyone at the
end. The ensemble, including Hart's mates the boy's
club, are well drilled in some classy dance numbers and even do a
splendid job in scene shifting in a cleverly designed set by Kenneth Foy
that can be office, corridor, hospital, lift, Hart's office or his
mansion just ny a few shoves and pushes with no break in the action. Lighting, by Ken Billington is also excellent and
praise must go to Gareth Owen the sound designer and the Alex sound crew
for exceptional sound quality. And still on sound the eight piece band are
superb whether belting out blousy brass or sliding into soft, country
ballad. Put all the elements together and you have a lively show with
sad bits and joyous bits and a feel-good factor big enough to carry you
through at least to the next payday Roger Clarke
HOW the ladies in the audience love this
rousing Dolly Parton musical as three female office workers turn the
table on their sexist, bullying male boss and even make the company more
efficient in he process. A group of women fans of the show sitting a
couple of rows behind me in the stalls were singing along from the word
go and at times seemed just a shade ahead of the action.
But it's easy to understand why as the cast belt
out a string of lively songs, and at the finale on Press night hardly
anyone was still seated for the stunning hit number, 9 to 5. Filling the role of Doralee Rhodes, made famous
by Dolly in the film, busty blonde Amy Lennox is a joy, fighting off the
attentions of lecherous boss Franklyn J. Hart (Ben Richards) and earning
howls of support from the customers when, pretending to point a gun at
his groin, threatens: "I'll turn you from a rooster to a hen". A terrific performance, too, from Bonnie Langford
as the shy, plain office worker Roz Keith who has the hots for the boss
and suddenly strips to undies, stockings and suspenders to show another
side to her personality. Jackie Clune is excellent as Violet
Newstead, the secretary who leads the revolt, with the help of Doralee
and Judy Bernley (Natalie Casey), and there is some sparkling
choreography delivered by the cast who even act as scene shifters. Paul Marston
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And
on the second shift . . .