9 to 5 The Musical – the Dolly Parton-infused musical – unfolds as a dazzling cabaret of hope for the future of women in the workplace. It’s an inspiring story about three women in the same workspace, dealing with different versions of discrimination driven by men, coming together to dismantle sexism in the workplace with high-energy numbers, cabaret-style performances and plot-twists that’ll make you say “that’s showbiz, baby!” Go get your tickets, NOW.

The stage design (Mark McEntyre and Rosie Gilmore) and overall tech choices (Rachel Marlow and Brad Gledhill – Lighting Designers; Glen Ruske – Sound Design) are immaculate, and the 1950s/60s costuming and hair takes me back to how I felt watching Hairspray for the first time at the movies. The star of the show (ironically) is called Mr Hart, played by Roy Snow. Snow plays the role effortlessly. His numbers are fantastic – he fully embodies a douchey sleaze-bag of a boss, while still able to hit those comedic moments; you forget you’re supposed to not like him.

Musicals at times can over-cast the productions and a lot of names or people filling the stage with very little contribution, especially company sections. Something I appreciate about Ben Freeth’s direction is that there is no such thing as a small role. Everyone in the cast (and band, led by Richard Marrett) all play vital roles – no role feels too small or too big. Even when you think you’ve met the lead character, another comes around, and then another, and suddenly everything comes together because each character has their own number and moment to shine. 

Everyone also has their signature colours. For example, Violet wears a lot of purple and violet-toned colours, and Mr Hart wears a lot of red. At one point in the show where a power dynamic crossover happens, Violet has a red skirt on while still wearing her signature colour. Small details like this could go over anyone’s head, but they show the attention to detail that Costume Designer Elizabeth Whiting had in mind.

Regarding the stage play out, I feel that the intermission could happen sooner, or be removed entirely. The first act takes up two-thirds of the whole production and most of the plot has been explained by this point. You can already predict how the show is going to end so, if you’re someone who already feels like they know what is going to happen, the second act plays out everything you have already learned.

Overall, it has been a night to remember at The Court Theatre – we felt so taken care of and had the best time. Definitely go get your tickets – I couldn’t recommend this production more.

I give it a 9.5 kidnapping lawsuits out of 10.

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