“9 to 5: The Musical” at the Ordway Center for the Performing Arts

The Ordway has picked a light, summertime treat with the national touring production of “9 to 5: The Musical.” Based rather faithfully on the 1980 movie, with over-the-top aw-shucks humor it tackles, somewhat literally, a very serious subject indeed: gender inequity and discrimination.

Diana DeGarmo as Doralee, Dee Hoty as Violet, and Mamie Parris as Judy in the National Touring Production of "9 to 5: The Musical." Photo credit: Joan Marcus.

But when the workplace is commandeered by a character like Frank Hart, played convincingly by Joseph Mahowald, everyone and everything suffer from his outrageous egocentricity. It’s up to Violet, played with stone-faced aplomb by Dee Hoty; Judy, the freshly divorced and high-strung workplace novice played with absolute finesse by Mamie Parris; and Doralee, a role in which Diana DeGarmo out-dolly-partons the original, to save the day, themselves and the company.

This, of course, is the setup for classic comedy, and if humor played broadly is your thing, you’re going to love this show. The book zips along, the ever-changing set is part of the fun, and the 70s office attire is even funnier when they’re dancing and singing.

But it’s Dolly Parton’s songs, particularly the iconic theme, that power this show. Although the foray into something more like standard musical theater (Hart’s “Here for You”) doesn’t quite hit, the country and pop-flavored up tempo tunes are wonderfully crafted—lively and great fun. It is her simple ballads, however, that absolutely shine. She’s a master at saying precisely the right thing, musically and lyrically, with nothing extra attached to it (“Let Love Grow”).

Parton has always been able to poke gentle fun at herself, too, shown in this production with the “Backwoods Barbie,” a sweet, clever and gently satirical solo for Doralee, the character Parton played in the movie.

Hart’s faithful – and dumpy – assistant, Roz (Kristine Zbornik) reveals her passionate love for her boss in “Heart to Hart,” a song with naughty nuances that would have been much funnier left to our imagination. Parton put just the right amount of suggestive lyric in it; the director/choreographer unfortunately thought we should be hit over the head with it.  

Parton herself bookends the piece in a video-narrator role that isn’t really necessary but it works because it’s her doing it. There’s just nobody like her.

In the end, this is all about having a crazy story to tell, that backs up a darned worthwhile message, so go! And have a great time!

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