NINE TO FIVE – Music and Lyrics by Dolly Parton; Book by Patricia Resnick; Co-directed by Dana Hart Wright and Paul Page; Musical Direction by Tanner Kelly; Choreography by Dallas Slankard. Produced by Vintage Theatre (1468 Dayton St, Aurora) through March 29. Tickets available at 303-856-7830 or Vintagetheatre.org.
You can always tell when you’re going to have a good time at a musical production. There’s a certain precision, a certain confidence in the first number that gives you a clue. There’s a “just you wait” attitude in the air that tells you something special is going to happen. It’s in the little things, like the way the costumes fit, the way the chorus hits the high notes, the way the dance ensemble looks the audience in the eye. All that confidence and joy burst forth in the opening minutes of NINE TO FIVE and didn’t let up until the closing number. The Vintage team brought their best to this production.
NINE TO FIVE is a huge production with constant movement on and off the stage of set pieces and people. A well-trained army of dancers moved the office equipment off and on like little soldiers, unobtrusively, smiling, and in character. All part of the gig. Then they moved into their dance positions and carried on. Everyone knows the basic plot of Dolly’s little musical – the call for women empowerment, the fight against existing working conditions, the misogynistic boss, the triumph of the working class. Dolly herself has been a successful businesswoman all her life; she knows what she’s talking about.
Nancy Evans Begley takes on the role of the tough businesswoman who hides her frustration and insecurity under a hard edge (Lily Tomlin in the movie). Nancy, in real life, is a tough, successful businesswoman, so this was a natural progression for her. She brings both fear and gentleness to the role as well as a kickass voice. She gets the rousing “One of the Boys” dance number with the male dancers as well as a love song, “Let Love Grow,” with her younger brand-new boyfriend (Matthew Combs). Judy (the Jane Fonda role) was blessed by the appearance of Abby McInerney. This girl can sing, as she demonstrated in one of the closing numbers when she tells her ratty husband to “Get Out and Stay Out.” It takes a special woman to give her whole heart to that song; Abby was that woman. And, of course, the Dolly role goes to relative newcomer Sarah Kit Farrell, who, since she arrived in Denver, has been cutting a swath through some of the best theatres in town. Her little ol’ twangy self rocked this role and brought a sweet Southern charm to her portrayal, as well as a fiery spirit that you didn’t want to get in front of. The three of them make the six trio songs assigned to them a master class in harmony.
One more crazily talented woman nearly walked away with the kudos of the night. Jennifer Burnett as the lusty, but unsatisfied Roz, who is stupid in love with her bad boy boss, rocks the room with “Heart to Hart.” Then repeats in the second act with “5 to 9.” A totally unexpected sleeper role that Jennifer elevates to a show-stopper.
Not to overlook the men in the cast. If you, as an audience member, didn’t believe that Franklin Hart was the worst boss in the world, none of the bad-boy humor would work. Trust me! Keith Hershman was obnoxious to the point of getting booed during the curtain call. But funny obnoxious. Over the top obnoxious – which enhanced the humor and elevated everything the women did to bring him down. I can’t wait to see him again in a role I can like him in. Matthew Combs plays a sweet and fervent suitor for Violet. Rick Long makes a “don’t blink or you’ll miss it” appearance as the wise “not to be fooled” corporate head that sorts the whole thing out at the end of the show with a few well-chosen words. And – I don’t know about you – but when Cory Klements is on the stage dancing, I can’t take my eyes off him. So, the men upheld their end of this storytelling.
The versatile set pieces provided just enough “stuff” to illustrate easily where you were geographically, without cluttering the space or leaving insufficient room for the wonderful dances. The A-team of musical contributors – Tanner Kelly and Dallas Slankard – brought their magic as well. Dallas has the gift of making complicated dances look like you could get out of your seat and join the dancers on stage. This group was well-schooled and precise; sang beautifully and danced well. Co-directors Paul Page and Dana Hart Wright caught the humor and the intent of the script just right, tempering the laughs with a hard look at the way things used to be for women in the workplace. (Did you see what I did there? Used to be – Ha!)
A WOW factor of 9!!