Written by: Elodie Vidal (@ElodieVidal)
Richmond Theatre, London
**
9 to 5 has tremendous potential. As a Broadway musical, it promises
high-energy musical numbers and a charismatic cast; as a piece with the score written
by Dolly Parton, it promises feisty music; finally, as an adaptation from a
1980’s comedy film, it promises humorous nostalgia. In the end however, the
version of the show offered in the UK tour is so stripped down that all this
potential finds itself diluted beyond recognition.
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| Photo: Simon Annand |
It all starts with Dolly, of course.
She is the compensation UK audience’s get for the axed musical numbers and
various modifications to the original show. She appears in footage projected
above the stage, to take the audience through the main developments of the
story. Her contributions might give the show celebrity appeal, but they also
have the effect of preventing involvement with the story. It is difficult to
believe in characters that so obviously take cues from the pre-recorded voice
of a famous singer who, as far as the plot goes, has nothing to do with the
situation at hand. But the use of Dolly Parton’s image is not alone in keeping
the audience at bay.
The cast itself does not appear
involved in the proceedings. Although their skill is evident in the technically
perfect dance routines and potent vocal performances, none of them seems
interested in distinguishing themselves. Gemma Maclean allows Judy’s meekness
to downplay her presence. Her solo, Get
Out and Stay Out, although a success in terms of vocals comes across as so
perfunctory that the gesture of empowerment it represents feels uncertain. Amy
Lennox, in her performance as the charmingly southern Doralee, chooses to
remain nothing more than a younger Dolly Parton. If Jackie Clune stands out
among her co-stars, it’s because she lets Violet’s authority carry her.
It therefore comes as a complete
surprise when secondary character Roz draws all eyes on her. Bonnie Langford
manifests magnetic stage presence and the makings of a true triple threat. No
audience member, male or female, is likely to forget her number Heart to Hart, in which she purrs her
love for her unworthy boss (Mark Moraghan), her suspenders-clad legs in the
air. Unfortunately, her character’s appearances being limited, her excellent
performance only manages to leave the audience hungry for more.
What’s more, in this shorter
format, the story’s 80s setting comes with an anachronism that is difficult to
ignore. In particular, the central theme of sexism being represented through
overtly obscene gestures and extreme insults such as “typewriter with tits”,
the protagonists’ struggle for equality feels too dated to be relevant. The
audience ends up watching the action from the outside.
To sum up, in stripping 9 to 5 down for its UK tour, its
producing team took away its means to entertain, leaving it only able to tease.
With its in-your-face celebrity appeal, its stars that rebuke from shining too
bright, and its outdated message, it only manages to pose as the Broadway musical
it once was.
This production runs until 16 February 2013.
For more information: http://www.atgtickets.com/shows/dolly-parton-9-to-5-the-musical/richmond-theatre/
@RichmondTheatre
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