Review: 9 to 5 The Musical

Review: 9 to 5 The Musical | Vintage Theatre | Aurora, CO | Curtain Up! | Eric Fitzgerald

“What a way to make a livin’.” Dolly Parton’s unmistakable lyric sets the perfect tone for 9 to 5 The Musical, now playing at Vintage Theatre in a spirited, good‑natured production co‑directed by Dana Hart Wright and Paul Page, with musical direction by Tanner Kelly. Fueled by Parton’s signature blend of wit, warmth, and country‑pop sparkle, this staging leans into the show’s humor and heart, delivering a lively evening that celebrates friendship, resilience, and the sheer joy of a Dolly‑powered score.

9 to 5 first entered the culture as the 1980 film starring Dolly Parton, Jane Fonda, and Lily Tomlin—a sharp, funny workplace comedy that quickly became a classic. Nearly three decades later, it returned as a Broadway musical, opening at the Marquis Theatre in April 2009, with Parton providing an all‑new score. The show earned praise for expanding the film’s themes of solidarity and empowerment. That movie‑to‑musical lineage still fuels the story’s spark, and Vintage Theatre’s production embraces that legacy with clear affection.

At the core of 9 to 5 The Musical are three women whose journeys shape the story: Violet Newstead (Nancy Evans Begley), the sharp but overlooked office manager; Doralee Rhodes (Sarah Kit Farrell), the big‑hearted secretary misjudged as her boss’s plaything; and Judy Bernly (Abby McInerney), recently divorced and finding her footing at work for the first time. All three serve under the tyrannical Franklin Hart, Jr. (Keith Hershman), a sexist blowhard whose abuses spark their rebellion, complicated by the fierce loyalty of his assistant Roz Keith (Jennifer Burnett) and buoyed by Joe (Matthew Combs), the accountant who sees Violet’s worth. Their plan to topple Hart unspools into a string of comic misadventures, capped by the surprise arrival of CEO Tinsworthy (Rick Long), whose entrance ties the whole escapade off with crisp satisfaction.

The musical’s foundation is built on Patricia Resnick’s clever, brisk book, which keeps the film’s lively satire while giving each woman a clearer story arc and a stronger emotional payoff. But it’s Dolly Parton’s unmistakable score that ultimately gives the show its pulse. Her songs don’t just decorate the story—they drive it, lifting each character’s journey with melodies that shimmer on the surface and carry real emotional weight underneath. The whole production feels like a backstage gift from Dolly to the everyday workers who show up, stay strong, and keep everything running, a warm‑hearted tribute wrapped in her signature mix of humor, hope, and rhinestone‑bright generosity.

9 to 5 The Musical is, at its core, the story of three women whose personal awakenings power the show. Their growth, professional, emotional, and deeply personal, forms a kind of collective reemergence, each of them stepping into a fuller version of herself as the plot unfolds. Nancy Evans Begley leads that charge as Violet, the whip‑smart office manager whose competence keeps the place humming even as she’s routinely underestimated. Her performance gains real momentum with “Around Here,” a number that crystallizes Violet’s authority and the quiet frustration simmering beneath her professionalism.

Sarah Kit Farrell brings warmth and grit to Doralee, whose sunny charm masks a spine of steel. She turns “Backwoods Barbie” into a reclamation moment, using the song to peel back the assumptions others have made about her and assert her own truth with humor and heart. Farrell’s blend of sparkle and sincerity gives Doralee’s journey real texture, revealing the depth beneath the rhinestones.

Abby McInerney gives Judy a tender, searching presence, capturing the character’s tentative steps into independence after a life spent in someone else’s shadow. Her evening‑defining moment arrives with “Get Out and Stay Out,” a number she unleashes with clarity, conviction, and emotional lift. It’s the kind of performance that stops the show, sending the night out on a triumphant high and sealing Judy’s transformation with undeniable force.

L to R: Abby McInerney, Sarah Kit Farrell, Nancy Evans Begley | RDG Photography

Keith Hershman makes an unapologetically bold meal of Franklin Hart, Jr., delivering an unwavering portrait of a misogynistic, tyrannical boss whose every smirk and power play lands exactly as it should. Matthew Combs brings an easy, earnest charm to Joe, offering Violet the kind of steady, good‑humored encouragement that feels like a lifeline in a workplace built to diminish her. Combs’ presence adds a welcome note of sincerity to the chaos, grounding the show’s hijinks with a quietly appealing warmth.

And then there’s Jennifer Burnett as Roz, who turns a supporting‑track role into a comic highlight reel. Her fierce, single‑minded devotion to Franklin Hart, Jr. becomes a running delight, and she tears into “Heart to Hart” with a gusto that lands every joke and flourish. Burnett gives Roz a gleaming star‑turn edge, proving just how much fun can erupt from a character who refuses to stay in the background.

L to R: Keith Hershman, Jennifer Burnett | RDG Photography

The ensemble—an engaging mix of new faces at Vintage and returning favorites—adds real lift to the production. They bring crisp vocal clarity across every group number and move through Dallas Slankard’s always imaginative choreography with a unity and sharpness that keeps the stage in constant, lively motion. Their collective work deepens the show’s world, giving each scene an extra charge of energy and character.

The co‑direction by Dana Hart Wright and Paul Page keeps 9 to 5 The Musical moving at a brisk clip, shifting from scene to scene with clarity and momentum that suits the show’s comic engine. Their staging has a clean, fast‑paced rhythm—never rushed, but always ready to land the next joke or emotional beat. As musical director, Tanner Kelly guides the cast through Dolly Parton’s score with assurance. The vocal work remains strong across the board, with the company hitting the big moments in songs like “9 to 5”, the soaring “Shine Like the Sun”, and the tender “Let Love Grow.”  Kelly’s musical stewardship gives the evening its lift, ensuring the vocals match the show’s bright, good‑natured spirit.

Andrew Bates’s set offers a clean, adaptable framework for the story, creating a spacious playing area that easily holds the full cast during the big musical numbers while keeping the action fluid. Cole Emarine has outdone the costume design with pieces that are sharp, character‑specific, and perfectly tuned to the early‑1980s setting, giving the production both period flavor and personality. As lighting designer, Emily Maddox bathes the stage in warmth and gentle shifts of color and focus, adding a touch of visual storytelling that supports each scene’s emotional beat. Russ Kirby’s sound design ties it all together with a balanced, well‑shaped mix that keeps every voice and musical moment landing exactly as it should.

Under the assured co‑direction of Dana Hart Wright and Paul Page, the production moves with confidence and a keen sense of character, giving the story both momentum and heart. At its center, Nancy Evans Begley, Sarah Kit Farrell, and Abby McInerney anchor the evening with performances that shape its emotional core and give the show its lasting impact. It’s a vibrant, crowd‑pleasing night at the theater—one well worth catching before it wraps up its run on March 29 at Vintage.

For information and tickets: https://www.vintagetheatre.org/performances/9to5