9 to 5 The Musical – New Theatre, Peterborough and Touring

(L-R) Karla Tracey, Kayla Carter and Jade Marvin in 9 to 5 The Musical at the New Theatre, Peterborough and Touring. Picture: Louise Waldron

9 to 5 – The Musical was reviewed at the New Theatre, Peterborough. The tour continues until 13 September 2026.

Star rating: three stars ★ ★ ★ ✩ ✩

More than four decades after the original film became an unlikely feminist comedy classic, 9 to 5 The Musical continues to prove that its themes of gender inequality in the workplace remain frustratingly relevant, no matter how many years go by.

With music and lyrics by Dolly Parton and a book by Patricia Resnick, who also co-wrote the 1980 screenplay, the stage adaptation premiered in Los Angeles in 2008 before transferring to Broadway the following year. Although its original run was relatively shortlived, the show has since developed a loyal following through UK productions, including a successful West End engagement. Landmark Theatres’ new production kicked off in Peterborough ahead of a three-month tour, with its cup of ambition at the ready.

Set in the late 1970s, the story centres on three very different women working at Consolidated Industries. Violet (Jade Marvin) is the capable senior employee repeatedly overlooked for promotion, Judy (Kayla Carter) is the newly divorced office newcomer attempting to rebuild her confidence, and Doralee (Karla Tracey) is the glamorous secretary unfairly judged because of her appearance. United by their shared frustration with their arrogant, sexist employer Franklin Hart Jr (Tim Rogers), an unexpected chain of events gives the trio the opportunity to imagine a better workplace.

9 to 5 – The Musical is unchallenging good-hearted stuff, providing entertainment and laughs without ever giving the brain too much to think about. It’s a farcical series of misunderstandings, elaborate schemes and personal revelations, with the friendships between the three women providing the emotional heart of the show.

While Resnick’s plot becomes intentionally outrageous, it wisely never loses sight of its central message about equality, self-worth and collective empowerment, although it does occasionally struggle to balance the broad sitcom-like comedy with the sharper social commentary that lies beneath. The fact that this gender equality gap still remains more than 40 years on is reason enough to amplify this satire rather than dilute it with disposable jokes.

Paul Jepson’s production embraces the musical’s playful spirit and Amanda Stoodley’s colourful office-inspired set efficiently transforms between cubicles, homes and fantasy sequences without interrupting the pace, while her vibrant costumes also accurately capture the exaggerated fashions of the period.

Andy Purves’ lighting effectively distinguishes the more realistic office scenes from the dreamlike comic set pieces, and the production benefits from slick scene changes that keep momentum high. Lisa Stevens’ choreography is energetic throughout, making excellent use of the ensemble, particularly during the larger company numbers where movement and staging create an infectious sense of fun. The overall production values are polished without attempting to compete with larger scale West End spectacles, allowing the characters to remain firmly at the centre.

Parton’s score remains something of a mixed bag. The iconic title number is as irresistible as ever, immediately setting an upbeat tone and not surprisingly receiving the audience’s warmest response. Numbers including ‘Backwoods Barbie’, ‘Heart to Hart’ and the soaring ‘Get Out and Stay Out’ all offer memorable character moments and great vocals, but many of the other songs feel more functional than inspired, advancing the story without leaving a lasting melodic impression.

Marvin brings warmth, authority and commanding vocals to Violet, convincingly portraying both her competence and simmering frustration at years of workplace discrimination.

Carter charts Judy’s journey from nervous newcomer to self-assured woman with considerable charm, delivering one of the evening’s strongest vocal performances during ‘Get Out and Stay Out’.

Tracey particularly excels by avoiding reducing Doralee to caricature, finding both humour and genuine sincerity beneath the character’s glamorous exterior while effortlessly capturing the country inflections synonymous with Parton.

Rogers clearly relishes every moment as the deeply unpleasant Franklin Hart Jr, creating a cartoonishly chauvinistic villain whose larger-than-life performance successfully avoids ever becoming genuinely sinister.

Jessica Martin proves another highlight as the lovably eccentric Roz, extracting every ounce of comedy from her increasingly desperate infatuation with Hart, particularly during the delightfully over-the-top ‘Heart to Hart’.

This new touring production may not entirely overcome the structural weaknesses that have always existed within 9 to 5 The Musical, and its satirical bite does feels softened by an emphasis on broader gentler comedy. Yet there is undeniable pleasure in spending an evening with these characters, helped enormously by an accomplished cast, vibrant staging and Parton’s unmistakable musical voice despite a somewhat unmemorable score.

While it stops short of becoming essential musical theatre, this is an entertaining, good-natured revival that delivers the feel-good escapism many audiences are wanting right now, and reminding us that some workplace frustrations are, unfortunately, timeless.

Rob Bartley