Well they’ve got dreams and you know they matter— they’re doing their own show and climbing that ladder— that show is finally here it’s on their stage. Two years in the makin’ with the Tidewater Players, it’s a Dolly Parton show and it’s got layers, the spring finale is here and it’s all the rage! Yes it’s 9 to 5; it’s all dancing and all singing— makes you feel alive— with toes tapping and joy ringing— through the audience— get your tickets or you’ll regret it! If you don’t it’ll drive you crazy if you let it! 9 to 5. Directed by Dickie Mahoney with Musical Direction by Suzette Burgess, and Choreographed by Leslie Perry, this iconic film turned stage show may struggle against the test of time (what with modern sensibilities and lenses making it difficult to digest at times) but Tidewater Players received a joyful reception from the audience for their efforts and you will too if you go and get tickets.
The show’s problems are few— primarily with sound balance (Sound Designer Dickson Teel). While the opera house space has always had problems with microphone to canned-music ratio and vice versa, the balancing at 9 to 5 seemed to be really out of whack. The opening number features almost the entire company singing and dancing in some clever routines, doing the iconic titular number and it was hard to hear them. (Even when you know the lyrics to the song it was difficult to understand what they were saying and not for a lack of articulation on the cast’s part.) This was a consistent issue throughout the performance and their only major hurdle, but it was enough to be off-putting to anyone who isn’t intimately familiar with the lyrics of musical numbers and the dialogue of the show.
Set Designer Benjamin Marsh has put the spinning— are they periaktoi when they have four sides? Probably not— but he’s put the quad-faced spinning pillars to excellent use in this production, making scenic shift from in the main office, to the restroom, to Hart’s office to outside the office a smooth one (for the most part, we had some pesky panels that just wouldn’t stay shut in a few scenes but nothing overly distracting.) And the old-school roll-in desks for the secretarial pool was a nice touch and nod to the era of the show— 1979. Working with Lighting Designer Thomas Gardner to strike the balance between the reality of the office and some of those more fanciful musical moments (there’s a whole dreamscape sequence where the principal trio plots to kill the main antagonist) and emotional ones. Gardner’s lighting is balanced and well-executed (again barring a ‘too-soon’ cue or too from the booth once or twice.)
The show’s Director, Dickie Mahoney, doubles up as the show’s Costumer, and the sartorial selection for the show really represents that bygone era of the ‘working class woman’ in 1979. The outfits featured on Doralee, which paint her up to be the most glamorous ‘backwoods Barbie’, are just perfection— particularly the ocean-turquoise lace dress, and her mint-cream and peony-pink floral print dress with mini ruby cardigan and killer racy red high heels. Mahoney strives to give each character their own identity with these outfits. (It would have been nice to have an additional costume-prop piece for the Judy character during the “Dance of Death/Cowgirl’s Revenge/Potion Notion” fantasy block, especially as the other two characters featured in that run-on fantasy number got accoutrements to set themselves apart from their ‘dream-fantasy’ selves.) Overall, Mahoney does a good job sticking with the period, keeping the actors in clothing that suits their characters’ personalities, and enhances the show without detracting from it in a distracting way. As the show’s director, despite a few minor scene changes where faulty scenery or missed booth cues drag them out just a bit, the show runs along at a swift clip, keeping the audience engaged. Shout out to his detail orientation with the “Skinny & Sweet” and “Rid-O-Rat” boxes. They’re exacting and almost identical.
Bringing out the fun and the joy with this bunch is Choreographer Leslie Perry. The entire opening number, which is the show’s title-song, is one big block of group choreography that features the actions of the beloved lyrics. You’ve got a wave of actors in pajamas robes marching forth as they vertically ‘tumbling out of bed’, followed by another wave of actors in towels and shower caps, and so on. It’s a clever way to block the opening number with the space provided. Perry showcases a variety of styles with her choreography, all of which align to the varying styles of the musical numbers; keep your eyes out for the dancing background ‘Rozettes’ during “Heart to Hart” (featuring Madai Chardon, Arissa Lagano, Emily Machovec, Adriana Mahoney, Karena Mason, and Lisa Rigsby.) Perry’s work really shines in “One of the Boys”, which features Violet and the ensemble (everyone in male CEO-style business suits) doing shuffle walks, cake-step-n-strides, and a whole bunch of other fine movements that really work with the beat and rhythm of that number.
Stealing all the scenes she’s in and really earning the booming laughter of the audience, Barb Snyder as the office lush, Margaret, is just too hilarious for words. Watch her marching about in the opening number with her hidden flask and her facial expressions are a variety of humor that are worth their own laughter. All of her comic moments, which are often happening in the background of a scene or at the tail end of one, are executed with a half-second’s pause, creating that natural “step behind” feeling which heightens the humor of her character. Another performer of note in the ensemble is Aaron Oh playing Violet’s son Josh. While the libretto doesn’t give the Josh character much to do (it could even be argued that apart from the “joint-passing scene” the show could be achieved without the character’s existence) Aaron Oh is incredibly present, has a keen sense of how to make his two moments on stage really pop, and is well worth watching for those few moments where he does play that minor character.
Most of the male characters in this production are downright lousy. (They’re written that way!) But to the rules come exceptions and in this production the exceptions are the characters Dwayne Rhodes (Matt Peterson) and Joe (Bobby Mahoney.) Peterson, as the supportive and delightfully dutiful husband of Doralee, is quirky and cute and stands behind his woman 100%. You get to hear Peterson’s beautiful voice as a supporting compliment during moments where the couple sings together. Bobby Mahoney as the adorably awkward Joe, is masterfully delivering that nervousness of trying to be “chill and cool” but still geeking out a great deal. Mahoney is sweet, delightful, earnest and sincere, and really drives the comedic exchanges and interactions between him and the Violet character. And he carries their duet “Let Love Grow” with his superb voice.
And if you’ve got only two good guys, you know there must be one big bad guy. Taking up the role of the sexist, egotistical, lying, hypocritical bigot Franklin Hart, Steve Flickinger finds a way to make the character tolerable on stage, mainly by defusing a lot of the character’s atrocious behavior through more acceptable physical comedy (when he’s taken the knocks and the punches that are well-deserved of his character.) This particular character, by today’s standards, isn’t funny or meant to be enjoyed and Flickinger should be commended for being able to take this character and make him something the audience can digest on stage without being completely cringe-uncomfortable in their seats. The animated facial expressions and heightened expressive body language Flickinger uses to convey some of the more humorous moments— getting chased all around and put in his place during the ‘Dream Trio Sequence’— are impressive. And when he’s singing the cringeworthy “Here For You”, most of his singing is blocked outward to the audience rather than in a grotesque and creepy way, even though the song is directed at Doralee.
Of course, there’s always that one woman who is just sycophantically obsessed with the boss, even if he is a sexist, egotistical, lying, hypocritical bigot. And in this show that woman is Roz (Lisa Standish.) Making the obnoxious character loveable in her own right— with her little mining walk and slightly affected character voice, Standish delivers on all the comedic notes of the caricature makeup of the “Roz type character.” And she’s got a strong set of vocal pipes to back it up, which are fully on display during “Heart to Hart.” Standish not only gets to showcase her comedic affectation of the character and full-sounding vocals here, but she gets the chance to really show-off her vocal prowess, hanging upside-down over the desk and belting her lungs out. (And of course when Flickinger’s Hart walks into that moment, his reaction and response is comedic gold.) A delightful bit of humorous shenanigans, even if you want to send the character on a one-way trip to Bolivia, Lisa Standish is a delightful addition to the show’s supporting line-up.
The trio of women who take the bull by the horns, so to speak, and really get the business done are the focal point of the show. You’ve got Violet (Jessica Brockmeyer) with her determination, Doralee (Lindsey McCumber) who is more than just a beautiful blonde in heels, and newcomer Judy (Anne Acerno) who is just trying to find her footing in a world she knows nothing about. We get a lot of moments of trio-singing with these three, particularly during the act one finale, “Shine Like the Sun” and earlier in that same act with “I Just Might.”
Anne Acerno is living the role of Judy. From the moment she appears in the secretarial pool, with the nervous-nelly disposition trembling like a leaf, through to the fully actualized discovery of how to be her own woman, you find yourself on that journey with Acerno’s Judy every step of the way. She’s got a sweet voice but don’t be misled by this delicate sound, she packs the emotional punch hard and fast, particularly when she delves into her portion of “I Just Might.” Vocally versatile, you get to experience the smooth and swanky side of Acerno’s singing voice during her third of the ‘Kill-Hart-Fantasy-Song’ sequence, entitled “The Dance of Death.” Acerno’s overall comic timing is well-delivered and when she comes into the more confident and self-assured version of Judy that emerges as the play continues, she’s sharp and on point with really putting herself out there. “Get Out and Stay Out” becomes the anthem for everyone who’s ever needed to make that sort of change in their life and Acerno delivers this number with the ultimate panache, full of earnest, raw emotions and expressions.
It’s Lindsey McCumber who is shining like the sun in the role of Doralee Rhodes. With the perfect Dolly Parton twang and vocals to give the country western star a good run for her money, McCumber is radiant and radical in this role. When she gives Hart what’s coming to him, her spit-fire delivery of how quickly she’s going to flip him from a rooster to a hen for all of his egregious behavior it earns her a well-deserved roaring ovation from the audience. She is power belting her way into the Act I finale during “Shine Like The Sun” and she brands her mark on her third of the ‘Kill Hart Dream Fantasy Song-set’ “Cowgirl’s Revenge.” Plucky, punchy, and really upbeat, particularly when belting out “Backwoods Barbie”, McCumber showcases a myriad of talents both in singing, comedy, and genuine acting.
So tumble out of bed, stumble through the kitchen— let Tidewater Players be your ambition— and get your tickets to— 9 to 5.
Running Time: Approximately 2 hours and 30 minutes with one intermission
9 to 5 plays through May 8, 2022 with Tidewater Players, the resident theatre company of the Cultural Center at The Havre de Grace Opera House— 121 N. Union Street in historic downtown Havre de Grace, MD. For tickets call the box office at 667-225-8433 or purchase them online.
