Show: 9 to 5
Society: Cambridge Operatic Society
Venue: Cambridge Arts Theatre. 6 St Edward's Passage, Cambridge CB2 3PJ
Credits: Music and lyrics: Dolly Parton. Book: Patricia Resnick Co-directors/Choreographers: Helen Petrovna and David Barrett Musical Director: Jennifer Edmonds
Type: Sardines
Author: Paul Johnson
Performance Date: 18/01/2024
9 to 5
Paul Johnson | 20 Jan 2024 03:57am
Photo: Peter Buncombe
Review by Ken Lucas
9 to 5, based on the film of the same name, follows the story of three women in a 1970s office battling against the ingrained everyday 70s sexism (men run the company; women make their coffee, work in typing pools and are overlooked for promotion) that forms their daily lives.
Emma Vieceli gives a completely convincing, fully rounded performance as Violet, the supervisor, at turns feisty and at others showing her character’s deep insecurities, particularly in a sub-plot romance with Micheal Broom’s wholesome Joe, the accountant. Her warm vocals and instantly likeable portrayal set the tone for the rest of this high-quality production.
Judy, the new, inexperienced employee develops from a nervous out-of-towner to a confident, integral part of the trio, a fully believable journey in the skilled hands of Ellie Baldwin.
Vikki Jones, meanwhile, brings real depth to Doralee (the Dolly Parton part). Having mastered the irrepressible giggle and Tennessee accent with aplomb, she brings moments of real pathos such as in the beautifully sung Backwoods Barbie to which she brings an unexpected twist.
Roger Lloyd is a suitably odious Frankin Hart, the office boss, whilst Katie McArthur’s Roz, his infatuated personal assistant, is glorious in her out-of-the blue pole-dancing number, Heart to Hart.
The show is an ideal company piece, with numerous small cameos for CaOS’s rich and deep pool of talent, allowing superb choreography from co-directors Helen Petrovna (also responsible for the excellent video projections) and David Barrett. The high level of energy set in the opening number was maintained all the time the lights were on, though it dropped a little through the frequent use of blackouts to cover scene changes. Transitions may have worked better on occasions. No such problem seemed to affect the costume department, however: rarely can I remember seeing such deft changes at seemingly impossible speed.
The slick 11-piece band directed by Jennifer Edmonds underpinned the entire piece and left the audience dancing in the aisles at the conclusion of a thoroughly entertaining evening.