“9 to 5”

by Dolly Parton

9 to 5: The Musical is a stage musical with music and lyrics by Dolly Parton and a book by Patricia Resnick, based on the 1980 movie Nine to Five. Resnick had co-written the screenplay with Colin Higgins, the director of the film, in which Parton had her first screen role.

The musical premiered at Center Theatre Group/Ahmanson Theatre in Los Angeles in September 2008 and opened on Broadway on April 30, 2009. It was nominated for 15 Drama Desk Awards, the most received by a production in a single year. It was also nominated for four Tony Awards. The Broadway production closed on September 6, 2009, and a National Tour began in September 2010.[1]

Productions

Workshops (2007)

A reading of the musical was given on January 19, 2007, with a cast including Tracey Ullman, Allison Janney, Megan Hilty, Stephanie J Block, Norm Lewis, Marc Kudisch, Amy Hohn, and a supporting ensemble. A revised draft was tested in a week-long workshop beginning on June 20, 2007, with an industry presentation in New York City on June 28, 2007. The workshop cast included the previously mentioned performers, along with Bebe Neuwirth and Andy Karl.[2]

Los Angeles Tryout (2008)

The musical began previews at Center Theatre Group/Ahmanson Theatre in Los Angeles on September 9, 2008, officially opened on September 20, and ran through October 19.[3] It won two Los Angeles Drama Critics Circle Awards, for Parton for Musical Score and for Andy Blankenbuehler for Choreography.[4]

Following the Los Angeles run, a lawsuit was filed by the estate of Colin Higgins, the film’s co-screenwriter and director, against Higgins’ former attorney, now representing Resnick, for the musical’s failure “to secure Mr. Higgins’s stage rights for the musical project,” among other issues.[5]

Broadway (2009)

The musical began previews on Broadway at the Marquis Theatre on April 7, 2009, and officially opened on April 30, 2009.[6] Joe Mantello is the director, with choreography by Andy Blankenbuehler, scenic design by Scott Pask, costume design by William Ivey Long, lighting design by Jules Fisher and Kenneth Posner, and projection design by Peter Nigrini and Peggy Eisenhauer. The opening night cast included Allison Janney, Stephanie J. Block, Megan Hilty, and Marc Kudisch. 9 to 5 closed on September 6, 2009, after 148 performances and 24 previews.[7]

1st National US Tour (2010 – 2011)

A national tour started at the Tennessee Performing Arts Center Nashville, Tennessee, on September 21, 2010. The tour was directed and choreographed by Jeff Calhoun, with co-choreography by Lisa Jones, scenic design by Ken Foy, and costume design by William Ivey Long.[8]

The tour cast includes: Dee Hoty as Violet, Mamie Parris as Judy, Diana DeGarmo as Doralee Rhodes, Joseph Mahowald as Franklin Hart, Kristine Zbornik as Roz, with Jane Blass, Patrick Boyd, Paul Castree, Holly Davis, Janet Dickinson, Madeleine Doherty, Marjorie Failoni, Gregg Goodbrod, K.J. Hippensteel, Jesse J.P. Johnson, Michelle Marmolejo, Ashley Moniz, April Nixon, Ryah Nixon, Rick Pessagno, Wayne Schroder, Micah Shepard and Travis Waldschmidt.[8]

According to Calhoun, in preparing the musical for the tour, “Believing that a short show is a happy show, we jettisoned a second act song for the character of Mr. Hart, repositioned Roz’s song in Act One and tried to make invisible cuts to the book.”[8]

Cast

Role	Original Broadway Cast	Original National Tour Cast
Violet Newstead	Allison Janney	Dee Hoty
Judy Bernly	Stephanie J. Block	Mamie Parris
Doralee Rhodes	Megan Hilty	Diana DeGarmo
Franklin Hart, Jr	Marc Kudisch	Joseph Mahowald
Roz	Kathy Fitzgerald	Kristine Zbornik<

Plot

Act I

As the clocks ring and the characters wake up Violet, Doralee, and Judy prepare for work (“9 to 5”). The characters begin another mundane and hellish day at work under Franklin Hart Jr, president of Consolidated Industries. Judy and Violet meet for the first time and Judy reveals she does not have any work experience, but Violet states she will be proud to train her and gives her a few tips and pointers for surviving office life (“Around Here”). Franklin Hart Jr, is a domineering and equally lecherous man, who lusts after his secretary, Doralee, and has no shame in making those feelings known, which discomfits Doralee (“Here For You”). Judy is having major issues on her first day (such as being unable to work a Xerox machine) and feels there is something more inhibiting her. All three women, in separate settings, share mutual feelings, but all feel they can overcome it and make it all work out in the end (“I Just Might”). A new day rises upon the begrudged workers of Consolidated and life resumes as normal. Around the lunch hour, Doralee and Judy speak for the first time as Doralee asks Judy to go to lunch with her, but Judy subtly refuses and Doralee doesn’t know why. She then reflects on her whole life, about just being a pretty face and nothing much more (“Backwoods Barbie”). Violet is passed over for yet another promotion, which angers her since it is somebody that she personally trained. After a heated confrontation in Hart’s office, Doralee finds out about Hart’s rumor about their supposed ‘affair’, which infuriates her to the point of threatening him. All three of the women, who are now seemingly united in their contempt for Hart, go back to Violet’s house and light up a joint. Suddenly, each woman lapses into a murderous fantasy involving Mr. Hart; Judy as an unforgiving femme fatale (“The Dance O’ Death”), Doralee as a crack rodeo star (“Cowgirl’s Revenge”), and Violet as a deranged Snow White (“Potion Notion”). All of these sadistic fantasies soon culminate into a celebration of Hart’s death, which is quickly nixed after Hart is discovered alive (“Joy To The Girls”).

The next day at the office, Violet unwittingly acts out her fantasy and believes she put rat poison into Hart’s coffee. They all go to the hospital in panic, but learn he was never there. Roz overheard the ladies in the bathroom and tells Hart, who concocts a plan to scare them by pretending he was actually poisoned and to threaten them with the police. After Hart leaves, Roz sings a song confessing her obsessive love and fantasies for him (“Heart To Hart”). Hart confronts Doralee with the information and Doralee, acting on a fight or flight instinct, rips the phones out and ties up Hart with the wires, which he seems to get a quasi-sexual pleasure from. The women are seemingly puzzled as to what to do with Hart, but Judy and Violet create a plan in which they will imprison Hart in his own house. As they are carrying out their plan, they sing to Hart their issues with him and the problems in their own lives, but will begin to make the changes in their lives and have confidence to succeed (“Shine Like The Sun”). The women, empowered, have restrained Hart to a mechanical harness above his bed.

Act 2

After the Entr’acte, in Hart’s office the three women are pondering on how they can keep the office in the dark about Hart’s disappearance, when Doralee’s skill of being able to forge Hart’s signature comes into play. Judy and Doralee both point out to Violet that she is, in a sense, the new Operating Officer of the company. Violet then lapses in a fantasy and sings a song about she is now a hard-hitter like the rest of the male employees (who seems to rank above the women) (“One Of The Boys”). Roz begins to get nosy and wonders where Hart actually is, which creates a new obstacle for the ladies to rid of. Judy formulates the idea to send Roz to a one month language seminar to learn French, which isn’t necessary and is only a way to rid of her. Roz receives the memo from Violet and is heartbroken, because she believes that Hart doesn’t like her, and that the time she isn’t at work is lonely and boring (“5 To 9”). As Hart is still strung up in his bedroom, he passes time by watching countless hours of soap operas. Doralee enters to give him a meal and Hart lashes out at her saying that he still has the control and will use it when he is free. Doralee brushes him off and leaves the room. Hart begins to recount how most of the men in history had “downfalls” by women and that he is no different, which angers him (“Always A Woman”).

Back at the office, the new changes the women have made under Hart’s name have seemed to ease the workers’ lives and changed their outlook on work (“Change It”). Joe, who has shown admiration toward Violet through the show, asking her out many times, confronts her and asks why she rebuffs him. She claims she was a “one-man woman” and that her husband’s death three years before has prevented her from dating again. Joe tells her that it is time to move on and possibly give someone new a chance (“Let Love Grow”). Violet accepts, as they walk out of the scene holding hands. Later on that evening, Judy’s ex-husband, Dick, shows up at Hart’s house and asks her to take him back (since his secretary girlfriend dumped him). She rebuffs him and states she is a changed woman who will not crawl back to someone who broke her heart, showing strength as she orders him to leave (“Get Out And Stay Out”).

The next day, Hart storms in to the office with Judy hostage, which shocks the women, who have collected evidence about Hart’s “creative accounting” and embezzling practices to use against him. The women, seemingly defeated, prepare to submit to Hart’s wishes when they learn that the CEO of Consolidated, Mr. Tinsworthy, is paying a visit. The women and Hart meet Tinsworthy, who, after noting the changes in office life, gives the credit to Hart. Violet and the others step up and say they made the changes, but are shot down. However, in a comedic twist, Tinsworthy sends Hart to manage the South American branch in Bolivia. Violet is then promoted to Hart’s position as President of the company and a celebration ensues, while Roz is devastated over the loss of her obsession. The characters deliver epilogues about what happened after the events of the story (Finale: “9 To 5” Reprise). Hart was captured by natives in the jungles of Bolivia and was never seen or heard from again. Roz found a new love – Hart’s wife. Violet and Joe have been together for the past 30 years and are very happy together. Doralee went to Nashville and became a successful country western singer. Judy is single and loving it and wrote a bestselling book, “Life Without Dick.”

Opening & Closing Dates	Type & Version	Theatre
Apr 30, 2009 – Sep 6, 2009	Musical, Revue, Original, Broadway	Marquis Theatre, NY, USA

Video Clips

Musical Numbers

Act I

Act II

9 to 5 — Violet, Doralee, Dwayne, Judy and Ensemble

Around Here — Violet and Ensemble

Here For You — Franklin Hart, Jr.

I Just Might* — Judy, Doralee, Violet

Backwoods Barbie — Doralee

The Dance of Death — Judy, Hart and Ensemble

Cowgirl’s Revenge — Doralee, Hart and Ensemble

Potion Notion — Violet, Hart and Ensemble

Joy to the Girls* — Judy, Doralee, Violet, Hart, and Ensemble

Heart to Hart — Roz and Ensemble

Shine Like the Sun — Doralee, Judy, Violet

Entr’acte — Orchestra

One of the Boys — Violet and Boys

5 to 9 — Roz

Always a Woman* — Hart and Men’s Ensemble†

Change It* — Doralee, Violet, Judy and Ensemble

Let Love Grow — Joe, Violet

Get Out and Stay Out — Judy

Finale: 9 to 5 — Company

†Removed for the US National Tour.
* Added to production after Los Angeles Pre-Broadway run

Other 9 to 5 Songs

The following songs were in the Los Angeles pre-Broadway run and have since been cut from the final version of the Broadway production.[9]

“Out of Control“: This song took place during the scene where Judy is using the Xerox machine. The song begins after Violet leaves Judy alone with the copy machine, having instructed her on how to use it. As the song progresses, Judy begins to feel confident that she is finally doing something right. Then suddenly the machine begins to go crazy; papers flying all over the place, etc. The aforementioned is what is currently present in the musical.

“Tattletales“: A song performed in the office cafeteria when Judy is eating lunch with Violet and the girls. They ask Judy to “spill her story” and she refuses. Kathy (Ann Harada’s originated role) urges her to tell them and the cafeteria patrons all begin to explain how they “learned to gossip”. Doralee enters in the middle of the song, wearing Judy’s scarf, and the girls continue to spread rumors.

“9 to 5 (Reprise)”/”The One I Love“: In the current and final version of the show a song called “I Just Might” takes place over these two songs. “9 to 5 (Reprise)” was a small song that takes place as the Consolidated employess head home at 5PM after a long day of work. “The One I Love” comes shortly afterwards and involves each of the three women at home either chatting with their husbands or with their children. Judy explicates that she may still love and have feelings for her ex-husband Dick, Violet with her son, and Doralee with her husband.

“I Killed the Boss!”: As Judy, Violet, and Doralee are at the hospital, they hear a doctor explaining to someone that “he is dead”. Violet, believing that the doctor was speaking of Hart, has become overly dramatic and thinks that she has killed Hart by putting the rat poison in his coffee.

“Mundania”/”Mundania (Reprise)“: The song basically has the same message as “Always a Woman” which replaced these songs. Hart is “hanging around” bored doing nothing and is finally sick and tired of the trio of girls and attempts to escape. He finally escapes during the reprise.

“Willin'”/”Well-Oiled Machine“: Was replaced by “Change It” and has the same meaning. The Consolidated employees are puzzled and concerned by all of Mr. Hart’s changes and the girls urge them to continue working as a team.

Recordings

An original Broadway cast recording was recorded on May 3, and May 4, 2009, at Legacy Recording Studios in New York. The cast recording of the show was available on July 14, 2009 through all digital formats (including iTunes), and through Dolly Parton’s official website.[10][11][12] The hard-copy CD was available on July 28, 2009. It was released ahead of schedule at the Marquis Theatre as of July 2, 2009. The cast recording has 18 tracks; the entire original score minus the Act II entr’acte. On December 4, 2009, when the Grammy Award nominee’s were announced, the cast recording was nominated for Best Musical Show Album.[13]

Critical Response

Los Angeles

The Los Angeles try-outs received mixed reviews from critics. Variety praised the three female leads but suggested cutting act one: “Giant production numbers lose sight of character and quickly wear out their welcome.” Further, the review praised the choreography, design, and Parton’s music, saying that the “score mostly achieves its intended goals of variety, build and likability, at its best nailing character with images as resonant as the title tune’s ‘Pour myself a cup of ambition.'” The review noted: “Joe Mantello consistently indulges business in dubious taste.”[14] The Theatremania.com review, while praising the choreography, costumes, set and performances of the female leads, concluded that “ultimately, the whole enterprise lacks the freshness it needs to make it a truly first-rate musical.”[15] The Ventura County Star praised the director and choreographer, “along with music director Stephen Oremus, whose arrangements add to the texture of the show… the classy Allison Janney and two actor-songbirds, Megan Hilty and Stephanie J. Block, who carry the delightful burden of keeping the faith with much more of Parton’s energizing, warmhearted way with words and music”.[16] The Orange County Register praised the three female leads but wrote that “this production is more tricked out than it needs to be. Director Joe Mantello and his creative team have spent a great deal of time and energy turning a modest story about office politics into a bells-and-whistles Broadway show”.[17]

Broadway

Following the Broadway opening, Ben Brantley of the New York Times described the show as an “overinflated whoopee cushion” and a “gaudy, empty musical” that “piles on the flashy accessories like a prerecession hedge funder run amok at Barney’s.” He thought the stage adaptation turns its “feminist revenge story into an occasion for lewd slapstick (which feels about as up-to-date as the 1940s burlesque revue Hellzapoppin) and a mail-order catalog of big production numbers, filtered through that joyless aesthetic that pervaded the 1970s.” He added, “The comic sensibility certainly feels vintage, rather in the smirky mode of sitcoms like Three’s Company. The governing philosophy seems to be that it’s O.K. to leer if you wink at your own prurience… That’s true of much of the show. Its broad flirtation with tastelessness reminds you of how stylishly Mel Brooks played with brazen vulgarity in The Producers.”[18]

In the New York Daily News, Joe Dziemianowicz rated the production three out of five stars. He thought the “bouncy, big-hearted songs” were “fresh and original,” although “Not every tune is a home run, and some lyrics are too plain-spoken. But enough of them stand out.” He thought the creative team “has struggled to open the show up for the stage.” In conclusion he said, “Is 9 to 5 as hip as TV’s The Office or as joyously hit-filled as How to Succeed in Business Without Really Trying? No, but if you’re looking for a little diversion, it will do the trick from 8 to 10:15.”[19]

Linda Winer of Newsday called it “lavish and harmless entertainment… with a shiny-colored and efficient score” and said “the squarely old-fashioned show fills a tourist-ready Hollywood slot left vacant by Legally Blonde and Hairspray. The thing feels less created than assembled from recycled musical-comedy components, but Broadway doesn’t have one of these right now, and summer approaches.”[20]

Writing for the New York Post, Elizabeth Vincentelli rated the show three out of four stars and called it “goofily entertaining.” About Dolly Parton she said, “It shouldn’t surprise anybody she’s taken so well to the stage: She’s always been a storyteller first and foremost. Her countrified pop, enhanced by fiddle and pedal-steel guitar, fits perfectly on Broadway. Of all the mainstream artists who’ve tried their hand at show music in the past few years, she may be the most convincing.”[21]

Variety critic David Rooney thought that, although the material showcasing the female leads “is an uneven cut-and-paste job that struggles to recapture the movie’s giddy estrogen rush, plenty of folks will nonetheless find this a nostalgic crowd-pleaser.” He continued, “As composer-lyricist of the country-flavored pop score, Parton is a significant presence… not just in the evergreen title tune but particularly in a handful of new songs… [that] reveal the songwriter’s authentic personality,” and concluded, “The pleasures of 9 to 5 are less guilty, but they’re also less satisfying than they should be. The promising material and terrific performers are too often sold short by clumsy story-building, overwhelming sets and unfocused direction.”[22]

Ed Pilkington of The Guardian called the stage adaptation “a triumph” and praised Parton, describing her as “the real star of the show” and adding, “She is not on stage, but her presence fills it. She has composed a set of songs, accompanied with her own lyrics, that complement the original song. The greatest triumph of the night was that the film has been reinvented as a musical so successfully. It seemed improbable, given the cult status of the movie, but the stage show has met it and raised it, rather than being its pale imitation.”[23]