NODA Review: 9 to 5

Centre Stage’s continuing celebration of their 50th anniversary seems to be delivering show after show which not only allows us to see their talent but also the wide range of musical styles undertaken. Following Evita and Ragtime we have 9 to 5, a comedy musical based loosely around the iconic film which threw a light on the reality of sexual inequality common in the workplace of the 1970’s. Given that for most of the cast such an organisational culture would be unthinkable they delivered it perfectly.

The scenes where the three female leads visualise how they will deal with their boss were particularly good.

Players -Leading

Claire Linney (Violet Newstead) as the office manager overlooked for advancement because of her sex, gave a strong and commanding performance that was at the heart of the plot. Clearly she is an accomplished actress and right for the role which she delivered with confidence from start to finish.

Gemma Zirfas (Judy Bernly) reminded one of the young Jane Fonda who played the part in the film. As someone with low self esteem in a situation where she was clearly out of her depth she delivered the character with precision and credibility. This was an excellent piece of work.

Camilla Burnside (Doralee Rhodes) complete with an iconic wig, strong make-up and genuine sounding accent played the Dolly Parton character and carried it off superbly. A real strong stage presence and an excellent singing voice were all used to great effect.

Luke Leahy (Franklin Hart) as the sexist boss again gave a strong performance drawing on stereotypical attitudes to paint the character well. Working well off the other characters this role was both central and pivotal to the shows plot and he did not disappoint.

Alexis Rose (Roz Keith) as the sexually repressed Roz gave us a fantastic and well crafted comic performance which was a real highlight of the show. Her singing and movement during “Heart to Hart” was excellent bringing the house down with some real and unforgettable comic flair.

Ed Curry (Joe) again gave a good solid performance in what was a supporting role that showed how male attitudes were starting to change.

Lewis Simington (Dick) as Judy itinerant husband again gave a well worked performance being both arrogant and self centred. His attempts to reconcile with his wife were classically clumsy and showed the characters flaws off well.

Ann Bosanko (Margaret) playing a drunk transformed by the change in regime, gave the part a real presence and was instantly recognisable in the role.

Emma Fyson (Missy) as the wife of Franklin gave us a rather flighty character which was just right for the role. Although not a large role it helped explain and perhaps define Franklin’s attitude to women.

Nick Fyson (Mr. Tinworthy) as the big boss of the outfit was again well cast in the role. A large man with a strong stage presence as you would expect he delivered the authority character well.

Support

A strong and well drilled chorus gave the show real impact some excellent singing and dancing which all helped deliver an excellent piece of musical theatre.

Director

Chris Adams used all the elements at his disposal well. Blessed with a strong cast of excellent performers he moulded them well to deliver an excellent show full of good vocals and strong visuals.

Musical Director

Sophie Wright led the band well giving good and balanced support to the singers across the board.

Choreographer

Paul Brooklands Williams devised some stunning dance routines and drilled the chorus to perfection. Always in sync and energetic throughout the dancing really added to the shows considerable impact.

Stage Management

The stage management was well worked with the additional factor of co-ordinating the usual elements with a taped narration by Dolly Parton herself. This added to the overall feel of the show and firmly embedded her influence at every stage.  The need to move lots of items around between scenes meant sometimes these gaps slowed the pace down. However given the resources available and the needs of the show this was perhaps inevitable.

Sound

The sound was excellent well balanced and clear throughout it again added to the shows not inconsiderable impact.

Lighting

The lighting was used well and helped emphasise many of the key points in the plot.

Make-up

The make-up was used well and defined the characters to a large extent.

Set Design

An open set was used well though the need to move in and out of an office situation meant there was quite a need to move furniture on and off. The openness of the stage space worked particularly well in the big dance routines and given what a small space it is showed real planning.

Props

The props were all used well. Always to hand and in period this was an example of the attention to detail so important in creating the overall atmosphere.

Costumes

The costumes were all firmly embedded in the 1970’s. Its hard now to believe what was worn in those days but this show captured both the feel and the style perfectly.

Programme

The programme was excellent giving us copious details on the cast and the thinking behind the show. A must for the NODA competition it shows how slick the production values of the group are and that they extend to every facet of the production.

Front of house

The front of house arrangements were excellent and well worked out. The Bridewell’s tiny lobby continues to make managing the audience prior to entry problematic but this time it did seem smoother.

Tony Sweeney

Regional Representative

NODA London