Review: ‘9 to 5’ co-workers work hard to get you out of the office smiling

If you are looking for an insightful, compelling or even cohesive plot, then “9 to 5: The Musical” is not the place to look. However, if you are looking for an irreverently good time with a stellar cast and toe-tapping beats, then consider clocking in at Out Front Theatre Company. Its season opener runs through Nov. 8, and whatever it lacks in gravitas, it makes up for in enthusiasm and sheer absurdity.

Based on the 1980 movie starring Dolly Parton and featuring a score by the Tennessee legend herself, the musical follows the exploits of three stressed and overworked office employees working under the sexist and bigoted Franklin Hart Jr. (Ben Thorpe).

Our roster of characters consists of Judy Bernley (Allie Hill), a recent divorcee forced to join the workforce for the first time in her life; Violet Newstead (Kayce Denise), a widowed mother who has worked for Mr. Hart for years and is constantly overlooked for promotion; and Doralee Rhodes (Sarah Joyce Hack), Mr. Hart’s spirited secretary who is forced to endure his persistent advances.

The boss, Ben Thorpe (Franklin Hart Jr., center), seems to be tied up. But Sarah Joyce Hack (Doralee, right of Thorpe) and the ensemble seem to be fine with that. (Courtesy of Sydney Lee)

While the inanity of this premise makes for a fun time, the plot is featherlight at best and nonsensical at worst. The pacing is poor, many of the songs lack justification, and the side plots are largely uninteresting. Still, the script is mostly funny enough to keep audiences laughing despite inconsistencies.

The entire show hinges on our ability to both enjoy and sympathize with its main characters, and Hill, Denise and Hack are the shining pearls that justify the entire production. Each of them turns in a layered performance, and their chemistry is the engine that keeps the musical humming.

Denise has a naturally commanding presence and a powerhouse voice. She is perhaps the funniest of the trio but marries that humor with a grounded wisdom and sense of experience that makes Violet the emotional core of the story.

Hack brings an effervescent charm and a versatile voice to Doralee, with a self-awareness that holds the character together and makes her as compelling as she is entertaining. Whether she is plastering on a resilient smile to cope with people talking down to her or hog-tying her boss with a phone cord, she makes Doralee a delight to watch.

Hill initially comes off as over the top but manages to make the audience root for Judy, even if her soprano voice is the most ill-suited to the material. Her rendition of “Get Out and Stay Out” may not be the most vocally stunning, but the emotion she brings to the song will have you cheering her on.

The rest of the cast ranges from solid to excellent. Thorpe is appropriately despisable as Mr. Hart, and Caty Bergmark is a ruthless scene stealer as Roz, Mr. Hart’s sycophantic and love-struck administrative assistant. The ensemble is great in the more intimate office scenes, though director Paul Conroy and choreographer Jonathan Bryant struggle to utilize them effectively in some of the bigger group numbers.

Caty Bergmark is a ruthless scene stealer as Roz, the lovestruck administrative assistant. (Courtesy of Sydney Lee)

Bryant’s choreography is hit or miss. He has fun with “Dance O’ Death,” “Cowgirl’s Revenge” and “Potion Notion,” the back-to-back dream sequences in which the ladies fantasize about getting back at their employer. However, the opening number is bogged down by uneven sound mixing and sleepy choreography. Courtney Locke, who choreographed two numbers, does a great job with “Around Here,” less so with “Change It.”

Visually, “9 to 5″ is bright and colorful while maintaining an ’80s corporate vibe. Scenic designer Cody Russell creates a couple of key spaces, like Mr. Hart’s office, while most other scenes utilize a mostly bare stage. He and Conroy utilize moving flats to give most of these scenes an appropriate sense of space, though there is a scene involving a hospital and a dead body that lacks for a discernible setting.

Costume designer Jay Reynolds does a good job providing period-appropriate pieces for most of the actors but has the most fun with Doralee, while David Reingold’s lighting design is characteristically strong.

Of course, people are most likely to leave the theater talking Brian Jordan’s wig design, which ranges from modest and period-appropriate to comically implausible. Doralee’s hair defies physics, perfect for a character based on the queen of country glam.

If one is satisfied with watching three talented actors give stellar performances while belting their way through a plot that feels like an improv comedy sketch, then “9 to 5″ is a highly enjoyable way to spend a couple of hours.