REVIEW: 9 to 5 — The Musical

The Caffeinated Musical

From the first downbeat, the stage at the Marriot Marquis explodes into motion. There are things popping up and down out of the floor, sets tracking on and off, huge scenic elements flying in and out, and a back wall that looks like one of those gigantic electronic signs in Times Square. Once the show starts, the set does not stop moving until after the bows. It creates the frantic pace and atmosphere appropriate for this java-buzzed musical.

9 to 5 is a fun show—it’s not great theatre, but it’s fun. The audience has a great time, and it seems that the cast is having a great time too. This show brings in a crowd equally fun to watch. I love that people refer to the show’s three stars by the names of the actors who played the same roles in the film version of the show. When they refer to Megan Hilty (who is phenomenal as Doralee), they don’t call her Megan or Doralee. Rather, they say, “That precious little girl who plays Dolly sounds just like her.” Or they say, “I just love the one playing Jane Fonda, and that gal playing Lily is wonderful.” But then again, these are the people that 9 to 5 was written and created for.

I saw a Wednesday night performance. My next-seat neighbors arrived in NY from their home in Tennessee on Tuesday and saw 9 to 5 that night. They saw both performances on Wednesday. After the show as we walked by an usher, they squealed, “We’ll see you tomorrow. We have one more.”

These are the same people who are devastated by the news that the show is closing and have made it their mission to trek to New York en masse to support it. Over and over, these folks lamented the show’s fate. I smiled as they said to each other (but loud enough for everyone to hear), “It’s almost a full house! Why are they closing it?” It was as if they were trying to convince the rest of us to join their crusade to keep the show running. Their dedication is inspiring.

By contrast, the people sitting on the other side of me, a girl and a boy (both late teens) clearly there with their parents, were so busy texting that they had no time for the show. Texting is annoying in general—but it’s even more so (not to mention illegal) in a Broadway theatre. Have I mentioned that I hate people?

The show’s director, Joe Mantello, has assembled a cast that looks and sounds great. The stars are perfect for their roles. Megan Hilty is the blonde with a brain. Stephanie J. Block brings down the house in her solo “Get Out and Stay Out” and Allison Janney is delightful as the want-to-be CEO. Mark Kudish is dastardly as Mr. Hart—the self proclaimed sexist, egotistical, lying, hypocritical bigot. But the real star of this show is the ensemble who is put through an incredible workout at each performance by choreographer Andy Blankenbuehler. Every office work-simulating movement—filing a file, delivering a package, typing a memo—is punctuated in syncopated perfection. The visual effect is exhausting and wonderful.

9 to 5 is a crowd pleaser, but not necessarily for the New York audiences. It is pure fun. There’s no great message, no high art, no deep meanings. It is entertainment and for that, it’s great. I’m not surprised that the show is closing in New York after the summer tourist season, and launching its tour in Nashville. I expect the show to be a huge, sell-out as it treks across the country.

I’ll bet those devoted fans sitting next to me will be first in line to buy tickets when 9 to 5 plays their hometown. Good for them!