After a screened introduction by Dolly Parton, her 9 to 5musical pretty much follows the story of the film. It begins with the catchy, titled number sung by waking, exercising, dressing, teeth-brushing, etc. guys and dolls before they dance off to work at their never-quite-defined-business office.
Focus on Sarah Hurd, except for a horrible wig an attractive middle-aged, divorced Judy fearfully reporting for her first job to manager Violet (assured Annie Edgerton). They will eventually be leaders of a revolt, along with Dolly Partonesque Doralee (dynamic Crystal Mosser) who’s not only flirted with but almost raped by boss Franklin Hart, Jr. Andrew Lebon makes the character lascivious as well as generally hateable for cheating on everyone and everything, including the firm.
After a plethora of pleasant, nicely staged but unmemorable songs, the gals capture Hart and take over the business. With Violet in charge, they emphasize teamwork, institute ethical and humanistic changes, and earn respect from the men in the office. (Violet also finds love with one of them.)
The women win praise and promotion from the Chairman. He then shuffles away Hart and loving aide Roz (funny Joanna Krupnick) who spied on everyone to gain favor from him.
Even with Eddie Curry’s fast-paced direction, and Ron Morgan’s choreography to match, the show seems too long. Perhaps that’s the result of all those songs, including at least one each to highlight the leading ladies and their opponents. However, nothing musical is shortened by the fine group of musicians under and including Kristy Templet.
I was a bit surprised by so much sexual overtness, starting with the opening scene of a guy crossing the stage with an erection under his shorts. Beef & Boards stresses its appeal to families, and there was a considerable number of young kids (whose tickets are well discounted) in the audience. They all heartily applauded reel lives come to real life in a pleasant atmosphere after a tasty buffet dinner.
