After a brief five-month run on Broadway that resulted in four Tony nominations, 9 to 5: The Musical began its national tour earlier this week in Nashville.  Also serving as TPAC's first Broadway Series production of the 2010-2011 season, the touring company debut continues its run in Music City through Sunday before heading across the country.  
9 to 5 was first a popular 1980 movie starring Dolly Parton, Lily Tomlin, Jane Fonda and Dabney Coleman.  The film, which featured the now-iconic theme song, written and performed by Dolly, presented a comical look at the changing role of women in the workplace.  Shortly after the success of the film, the story enjoyed a less-than-successful single season as a mostly forgettable TV series.  Then, 9 to 5: The Musical debuted on Broadway in April of 2009 starring Megan Hilty, Allison Janney, Stephanie J. Block and Marc Kudisch in the roles originated by Parton, Tomlin, Fonda and Coleman respectively.  After a brief five-month run and four Tony nominations, 9 to 5 closed its Broadway run in September.  Like gossip at an office water cooler, it wasn't long before talk of a national tour was all the buzz.
For the musical tour, the action once again takes place in 1979 as girls from the secretarial pool bond over what to do about a less-than sympathetic boss. Perhaps because of the dated material and overly-simplified plot, 9 to 5: The Musical--at its best--is little more than a page straight out of Broadway Musicals 101.
Don't get me wrong, it's a fun show.  Thanks in part to Parton's contribution to the show's soundtrack. In addition to reworking the theme song, and including a cleverly placed recent hit, Backwoods Barbie, Dolly wrote all of the show's seventeen songs.  The show also serves as an enjoyable ride in a time machine with some fun retro costuming and decidedly late seventies-inspired sets. Another factor contributing to the show's success is that there's not a miscast actor in the company.  From Diana DeGarmo-as the unwitting office bimbo-Doralee, to Jane Blass-who plays workplace boozehound Margaret-each and every actor in the show is a joy to watch.
I have to admit, when I saw a promotional video clip featuring DeGarmo as Doralee, I really didn't give her performance much hope.  In the clip, her over-the-top syrupy accent, and exaggerated facial expressions were more a parody of Dolly, than anything resembling the likable character of sweet, but sassy Doralee that I remember from the film.  Having only been cast in the show in late July, DeGarmo is apparently a quick study.  To borrow the title from Act 1's final number, DeGarmo manages to Shine Like the Sun. DeGarmo's Doralee, with her curve-hugging sweaters, giggly southern drawl and blonde locks, would give Dolly herself a run for her money. Not to spoil anything, but Yes, Doralee utters the film's famous line, "I'll turn you from a rooster to a hen with one shot," much to the audience's delight. Joining DeGarmo for the tour are multiple Tony-nominees Dee Hoty and Mamie Parris as Doralee's co-workers Violet and Judy.
Hoty is great as Violet Newstead, the role created by Lily Tomlin in the film, and then by Tony-nominee Allison Janney in the Broadway production.  While she physically resembles Janney, thank God she's got a better singing voice.  She plays the role somewhere between Tomlin's nervousness and Janney's assertiveness, making it her own.  For fans of the film, there's a brief moment, when she utters the words Maui Wowie that she totally channels Tomlin.
Parris has arguably the most difficult role in the show, that of mousey Judy Bernley.  Difficult because it's just a boring role. While Jane Fonda had the benefit of close-ups in the 1980 film as Judy, who is returning to the workforce following a recent separation, Parris is on her own in the mostly snoozy role.  Not even the expanded role of her future ex-husband, the appropriately named Dick (played by Wayne Schroeder) is enough for the audience to really care about her.  It isn't until the end of the show, when Parris performs the show's only true show-stopper, Get Out and Stay Out that Parris is allowed to truly breathe life into the character.
Joseph Mahowald plays Franklin Hart, Jr., the male chauvinist boss.  Aside from Dolly's Doralee, Dabney Coleman's portrayal of Hart is among the film's most memorable characters.  To his credit, Mahowald, who previously starred on Broadway in the dual roles of Jekyll & Hyde, seems perfectly at home playing such a nasty role.  He's also very adept at physical comedy, as evidenced during the scenes where the girls fantasize about how they'd do in their pig of a boss.
Another highlight of the show comes in the form of Kristine Zbornik as Roz Keith. While the girls dream of doing in the boss, Roz dreams of simply doing the boss in one of the show's funnier numbers, Hart to Hart. Zbornik brings to mind Audra Lindley's Helen Roper from Three's Company.  Every line is delivered with purpose and perfect comedic timing.
Speaking of comedic timing, the aforementioned Jane Blass in a scene-stealer.  While she's limited to mostly background scenes with the occasional slurred line, as the office drunk, Margaret, she's hilarious.  Towards the end of the play, when Mr. Hart stands near her desk with a bottle of champagne, she practically salivates.  My friend Suzanne and I laughed out loud during the scene as she frantically picks up her phone and makes a call, obviously to her AA sponsor. All this is simply background to the dialogue and actions taking place center stage. Brilliant!
From a technical stand-point the show goes almost without a hitch.  The one glaring exception: during the show's opening, which featured a cute, albeit self-serving video cameo by Dolly, the audio dropped as she was explaining the backstory of Judy's character.  There were a few missed lines, but then again, it's the first stop on a brand-new national tour.  
Musically, the songs are fun, uptempo, typical of modern Broadway.  I Just Might, Hart to Hart, Shine Like The Sun, 5 to 9 and Get Out and Stay Out are highlights. While Change It, which serves as the lyrical accompaniment to what should be a climactic moment in the plot, is unfortunately a bit anti-climactic and needs to heed to its own title.
Overall, 9 to 5: The Musical lives up to the silliness and fun of the movie upon which it is based, and the talented cast and peppy soundtrack is enough to make audiences wish for overtime.
9 to 5: The Musical continues its premiere performances at TPAC throughout the weekend with shows Friday at 8pm, Saturday performances at 2pm and 8pm and Sunday 1pm and 6:30pm.  A limited number of tickets remain.  To purchase tickets, CLICK HERE.  
Following its Nashville premiere, 9 to 5 continues its national tour with stops in Atlanta (9.28-10.3), Des Moines (10.12-10.17), Huntsville (10.22-10.24) and dozens of cities across the country throughout the 2010-2011 theatre season. For more about the tour or to purchase tickets to future cities, CLICK HERE.