If “9 to 5: The Musical” is any indication, there’s still hope for the careening Broadway musical “Spider-Man: Turn Off the Dark,” which is now on hiatus and undergoing creative repairs in a high-stakes bid to salvage it.
“9 to 5” punched out early after just four months on Broadway in 2009. But it wasn’t given a retirement party and put out to pasture. Instead, it underwent remedial training, and a much-improved version helmed by Jeff Calhoun was sent out on the road. It’s a safe bet that if New York audiences had seen the infectious and uplifting version that charmed the Liquid Paper off Denverites at Tuesday’s opening performance at the Buell Theatre, “9 to 5” might still be working overtime on the Great White Way.
Audiences are greeted by a pop-culture curtain collage that instantly transports them to the days of Billie Jean King, pet rocks and “Charlie’s Angels.” But as the stage adaptation of the runaway hit 1980 movie makes plain, it’s also an icky return to glass ceilings, chauvinism and unequal pay in the workplace.
You’d be hard-pressed to find any woman over 50 who won’t shudder a bit at that reminder — and then cheer giddily along as secretaries Violet, Judy and Doralee string up their pig of a boss Franklin Hart with garage-door-powered ropes. And, during his captivity, transform his archaic office into a forward-thinking workplace utopia with job-sharing and day care.
You’ve come a long way, baby.
The conversion of this iconic time-capsule comedy into a bona fide stage musical works surprisingly well. And it’s the best of both worlds: The musical faithfully replicates the story that Jane Fonda, Lily Tomlin and Dolly Parton turned into a blockbuster film. (The dope-fueled revenge fantasy sequence is particularly well-suited for the stage.)
And it has most everything musical-theater fans love, too: knockout lead performances, scene-stealing support players, gymnastic dance numbers and 18 new songs written by Parton herself.
Most of all, it’s got heart.
Parton’s well-written and at times even powerful score deepens our ready-made affection for Violet, the capable veteran always passed over for promotions in favor of less capable men; Judy, the dumped housewife and workplace newbie; and, of course, ditzy Doralee, the married Southern belle everyone wrongly thinks is sleeping with the boss.
After the first few minutes, you’re no longer looking at the great Dee Hoty as Tomlin or Mamie Parris as Fonda. They make these roles their own. But as the well-endowed country sexpot Doralee, Diana DeGarmo obviously has big . . . shoes to fill. She presents to us as a swivel-hipped Dolly clone, from her golden locks to her elevated lumbar . . . and yet, those sweet pipes are all her own. Parton’s presence is made plain in other clever ways.
When the three belt the anthemic lyric, “There’s a great new world out there for those who care to claim it,” “9 to 5” is pure “Wicked,” or even “Legally Blonde,” with their timeless girl-power messages.
Which is not to say this is a musical for the ages. For a story that spotlights gender inequities in the 1970s, “9 to 5” presents itself with a contradictory kind of racial harmony that ignores the equally insidious skin-color injustices of the day.
The first act is too long, culminating in Parton’s only songwriting misfire — the three women stringing up Hart in his bedroom while singing the oddly anachronistic lyrics, “When the lying’s all done . . . we’re gonna shine like the sun.” And while the movie was clearly made during its time, this new musical can’t resist indulging in the cheap writing trick of telegraphing the future — such as Violet responding to the expression, “Just do it!” by saying, “That would make a good slogan for something!”
And for all the movie-star wattage of the film, the presence that’s most missed on stage turns out to be Dabney Coleman, whose drippingly comic arrogance as the bossman just can’t be fully replicated here.
On the other hand, the musical allows us to develop an abiding affection for smaller characters like Roz (Kristine Zbornik), the frumpy foot soldier who’s blindly in love with her horrid boss, and office drunk Margaret (Jane Blass).
“9 to 5” is not so much a coming-of-age story as it is the coming of an age. It’s pure fun. But when it’s over, it’s sure nice to walk out on 1979 and back into 2011.
John Moore: 303-954-1056 or jmoore@denverpost.com
“9 to 5: The Musical” *** (out of four stars)
Retro musical. National touring production at the Buell Theatre, Denver Performing Arts Complex. Written by Dolly Parton and Patricia Resnick. Directed by Jeff Calhoun. Through May 8. 2 hours, 25 minutes. 8 p.m. Tuesday-Fridays; 2 and 8 p.m. Saturdays; 7:30 p.m. Sundays. $20-$105. 303-893-4100 (800-641-1222 outside Denver), at all King Soopers or
This week’s audio podcast: Jesse Johnson of “9 to 5”
In this week’s audio podcast, , who returns to Denver next week to play the son of Violet, among others, in the national touring production of “9 to 5,” playing through May 8 at the Buell Theatre. Running time: 8 minutes. To listen to their conversation, .
Weekend Best Bet: Season finale of Buntport Theater’s “Trunks”
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Over the past six years, Buntport Theater’s “Trunks” has become one of the most endearing and enduring children’s amusements in Denver. It’s an award-winning live comic-book serial that follows the good works of three delightfully dubious young superheroes – Walter Cosmic (he’ll glow!), Trixie Truddfeldt (she’ll make you sneeze!) and Scott the Parrot (he’s … a parrot!). Written on a tight schedule and based on books suggested by previous audiences, a new story is performed at 1 and 3 p.m. every other Saturday at 717 Lipan St. Now pushing 80 original episodes, Season 6 comes to a close with Saturday’s offering (April 30), inspired by Kathryn Lasky’s “The Capture.” Tickets $5-$7. 720-946-1388 or
Pictured: Jessica Robblee as Trixie Truddfeldt in “Trunks.” Photo by Michael Vinluan.
Weekend Best Bet: Opening of Spark, Cherry Creek theater companies
Two promising new theater companies debut this weekend by taking on daunting creative challenges. The new Spark Theater, performing in an initimate 30-seat space in the Baker neighborhood, presents “Dangerous Liaisons,” the classic story of the the Marquis de Merteuil and his wager with her friend the Vicomte Valmont over whether she can seduce her engaged cousin. The classic play is a glimpse into the minds of two people with a taste for pleasure, regardless of the consequences. At 240 S. Broadway. 303-319-1342 or
The new Cherry Creek Theatre, performing out of the Shaver Ramsey Showroom, 2414 E. 3rd Ave., bows with “Side by Side by Sondheim,” a musical revue celebrating the best-known works of Stephen Sondheim from landmark shows including “Company,” “West Side Story,” “Follies,” “Gypsy,” “A Little Night Music” and “A Funny Thing Happened on the Way to the Forum.” 303-800-6578 or
This weekend’s other theater openings
“Carousel” Rodgers and Hammerstein’s dramatic musical about 1870s barker Billy Bigelow and his pursuit of his love, Julie Jordan. Songs include “If I Loved You” and “You’ll Never Walk Alone.” Through July 10. Jesters Dinner Theatre. 224 Main St., Longmont, 303-682-9980 or
“Hedwig and the Angry Inch” The Avenue brings back last year’s popular musical concert that tells the story of an East German glam-rocker who comes to America hoping to find love and freedom. However, to leave East Germany, Hedwig had to leave a little something behind. Starring Nick Sugar as Hedwig and a live band called “The Angry Inch.” Through May 28. 417 E. 17th Ave., 303-321-5925 or
“Inherit the Wind” Classic courtroom drama based on the 1925 Scopes “Monkey” trial, in which science teacher John Scopes was accused of violating a Tennessee state statute by teaching Charles Darwin’s theory of evolution to his students. Through May 21. Presented by Theatre Company of Lafayette at the Mary Miller Theater, 300 E. Simpson, 720-209-2154 or
“The Music Man” Throwback musical about a con man who comes to a small town intent on making his mark; instead they make theirs on him. Songs include “76 Trombones.” Through May 15. Presented by Performance Now at the Lakewood Cultural Center, 470 S. Allison Parkway, 303-987-7845 or
“The Lady With all the Answers” David Rambo’s one-woman play is set late on a 1975 night in advice columnist Ann Landers’ Chicago apartment, when an ironic twist of events leaves her writing a column dealing with a new kind of heartbreak: her own. Starring Alex Ryer. Through May 22. Arvada Center’s black-box studio theater, 6901 Wadsworth Blvd., 720-898-7200 or
“Murder in Dead Man’s Gulch” Interactive mystery dinner theater comedy set at Lilly Rose’s Saloon and Dance Hall, at which promoter Buckhorn is hosting a fundraiser talent show where murder is inevitable. Through June 25. Adams Mystery Playhouse, 2406 Federal Blvd., 303-455-1848 or
Complete theater listings
Go to our complete list of in Colorado, including summaries, run dates, addresses, phones and links to every company’s home page. Or check out our listings or
The Running Lines blog
Catch up on John Moore’s roundup of the latest theater news, including Boulder Ensemble Theatre Company’s new season announcement, and complete cast lists for Creede Repertory Theatre’s 46th summer season:
