Sexist boss meets his match as Dolly puts him in his place
A VERY topical theme was taken up by The Tinhatters as they debuted their fast-paced production of 9 to 5 at the Concordia Theatre on Monday, writes Tony Parratt.
The musical based on the classic Dolly Parton film was a hoot from start to finish, showing how a sexist boss meets his match in three sparky ladies.
Here was a man who certainly did not believe in the equality of the sexes in terms of wages, or status, as he tried to ride roughshod over all his female employees.
Paul Lancaster as Franklin Hart demonstrated his perfect comic timing, allied to a fine singing voice and I loved his attempted seduction of Doralee, which certainly did not go according to his plan.
Dolly Parton lookalike Doralee was carried off to a tee by Sarah McAteer and when the real Dolly appeared on a screen above the set to introduce certain segments, it was hard to tell one from the other; and Sarah’s excellent voice meant that she really did turn in a very convincing performance.
Craigie Morrison as the ambitious, no nonsense Violet was very believea- ble and I particularly enjoyed her high kicking version of ‘One Of The Boys’, aided by some great male chorus backing.
Making a welcome return to the Concordia stage was Becky Orton as timid new girl Judy Bernly. Once again Becky demonstrated what a fine actor and singer she is, with a great version of ‘Get Out And Stay Out’.
In fact, several of the show’s best songs featured the trio of leading ladies combining in some beautiful harmonies.
Adding extra comic touches was Jacky Bingley as Roz Keith, a woman who had the hots for her boss. And she proved it with a hilarious striptease, while belting out ‘Heart To Hart’.
Richard Tomlinson as Joe, a keen admirer of Violet shone when he sang ‘Let Love Grow’ to show his ardour, while Ruthie Rock as Margaret and Tia Ferguson as Maria also helped the action and humour flow.
But this show needed a very strong chorus and they certainly did not disappoint, with some great backings, and Sarah Ford in her directorial debut can be congratulated for keeping the action at top speed throughout, with minimal scene changes.