Performance Preparation Academy – 9 to 5 The Musical

9 to 5 The Musical by Performance Preparation Academy 3rd years continues at the Eve Lyons Studio Theatre, Guildford until 25 February.

Star rating: four stars ★ ★ ★ ★ ✩

The Dolly Parton musical, based on the 1980 comedy movie of the same name, lasted less than six months on Broadway in 2009 and a UK touring version three years later never made it to the West End but it’s hard to see why.

It’s no musical masterpiece and the story is scatty, but Dolly’s big hit ‘9 to 5’ is as catchy as ever and not the only good song by any means. Not only that, its theme, of downtrodden female office workers rebelling against a lecherous, unfair male boss, trussing him up like a turkey and getting him sent to Bolivia, is relevant today with #metoo and the exposure of Harvey Weinstein.

The appeal of Patricia Resnick’s book is more to gals than guys but they are the superior species (as they keep telling us!) and PPA give it plenty of welly under Lucy Stewart’s pacy direction which grabs hold from the get-go with a stunning ensemble routine and never slackens.

Rachel Baker’s thrilling choreography has much to do with the show’s success, while PPA principal Louise Pieri’s flair with costumes is given full rein in this handsome production, played with the audience on either side of the traverse stage and bold use of a back-screen.

The five main parts are rotated over the eight performances and the team I saw on opening night featured the pneumatic Alisha Bond in the Parton role of country girl Doralee, Sarah Spence was the older Violet, unfairly passed over yet again for promotion, and Alice Mills was new girl Judy who hasn’t a clue how to do the job but wants to better herself after being an abused housewife.

Spence’s ‘Let Love Grow’ duet with junior accountant Joe (Jack Osmond) is one of the few quieter moments of a loud, brash show and all the more effective because of the change of pace. She is a fine singer and actress.

Mills’ big number ‘Get Out and Stay Out’ is flawlessly delivered, she is a very warm performer and the three leads work well together, although Bond, who has a strong belt, occasionally loses words when she overpowers her big numbers.

Matthew Michaels as the odious Franklin Hart Jr could allow himself to be more unpleasant and domineering, while DeeArna McLean, as the office nark Roz, sings ‘Heart to Hart’ and ‘5 to 9’ nicely but could develop her secret passion for Hart more.

The four main female parts are taken by Georgia Imrie, Emma Turtle, Joely Barbour and Rachael Chomer at four performances and I was sorry not to see them.

The ensemble dances up a storm and musical direction is in the capable hands of Kevin Oliver Jones, assisted by Jack Tanner.

Using piled-up white boxes instead of furniture is a trick PPA have used before with happy results and it works here.

An engaging show with a country and western flavour to the music, as you would expect with Dolly Parton, who knows how to write a song, and a triumph for girl power.

Notice has been taken of complaints about uncomfortable seats and the new ones are an improvement.

* PPA’s in-house Bellerby Studio has been renamed the Eve Lyons Studio Theatre in memory of the brave 11-year-old who died of a rare cancer last year. Her older sisters are PPA students and Beth Lyons took the lead in their last show Dames At Sea.

Jeremy Chapman