Theater review: Dorset Players put in overtime shift in ‘9 to 5’ (2024)

DORSET — To fully deserved hoots and hollers and standing ovations, the Dorset Players is wrapping up its 96th season with the modern classic “9 to 5: The Musical,” with music and lyrics by Dolly Parton and book by Patricia Resnick. The show is directed by Christy Vogel, with musical direction by Matthew Steckler and choreography by Lina Cloffe.

Set in the late 1970s, and based on the hit 1980 movie, this story of friendship is hilarious but brilliantly takes on a slew of serious issues, with gender equality in the workplace coming front and center.

Pushed to the brink by their insufferable boss Mr. Hart, three female coworkers formulate a strategy to get even with him. Violet, Judy and Doralee live out their wildest fantasy — giving their boss the boot by way of quasi-kidnapping/detainment. As such, while Hart remains under wraps, the women give their workplace a dream makeover, taking control of the company that had always kept them down.

It’s clear that director Vogel had her army of a cast ready to go, and musical boss Matthew Steckler did masterfully in weaving the provided/copywritten music from the original production throughout the show’s progression.

And what a job the cast did! As is my practice for these grand musical spectacles that only the Dorset Players seems able to produce year after year, I must name every member on stage. Their synergy, coming from veterans and rookies to the Players, in creation of the whole was truly sublime. The actors and their respective roles were:

Joey Blane (Judy), Rayleen Carnagio (Doralee), Megan Demarest (Violet), Richard Grip (Hart), Laura King (Roz), Joe Mozer (Joe), Colin Hill (Dwayne), Eoghan Sailer (Josh), Kristen Kimball (Missy), Dana Haley (Maria), Chris Restino (Dick), Renee Wymer (Kathy), Becky Nawrath (Margaret), John Lugar (Tinsworthy), Morgan Hanson (New Hire), John Lee and Michael Wymer (Men’s Ensemble), and Mary Jo Greco, Debbie Warnock, Samantha Watson and Marlee Wymer (Womyn’s Ensemble).

Along with the collective excellence of the opening “9 to 5” and the “Finale,” two numbers which stole the show for their clever lyrics and lively delivery were “Heart to Hart” and “One of the Boys.”

Production details once again were impeccably tended to by Paul Michael Brinker. Stage management and costumes under the expert hand of Suzi Dorgeloh, and assisted by Cherie Thompson, dazzled to fine effect. The intelligently modular set design of Errol Hill (and his band of builders) yet again was the envy of professionals, and was adeptly complemented by Annie Nash’s prop mastering. Lights by the venerable David Groupe and executed by Peter Witter, along with sound by Cory Mayer were the perfect mesh of coalescing these vital effects into the dazzling displays on stage.

And to that end, a mention must go to the choreography of Dorset Players rookie Lina Cloffe. I say this as someone who grew up as an athlete and has stayed physically active in later life, but who has never had anything but two left feet on a dance floor. Cloffe was recruited by Vogel for her past dance design on two musicals and her acute body movement awareness and expertise as a yoga master.

It was a masterful marriage of person to purpose. To take that size of an amateur cast, many with little dance background, and hone them into a well oiled movement machine in just a few months of intermittent rehearsals, was nothing short of a miracle. Take a bow, Ms. Cloffe!

It’s no accident when an artistic organization is still going strong after nearly a century in existence. The current members of the Dorset Players were not even born when their forebears gave birth to the notion of community theater in the Northshire.

And yet, here we are, walking out into the late spring night, wondering how these amateurs, neighbors and friends continue to march on toward an inevitable 100th birthday bash with such a sustained run of excellence — and professionalism.

The house was packed when I took in “9 to 5: The Musical” and tickets are going fast for the last three shows. On the promise of the laughter and joy it delivers, this production is vastly undervalued. No need to wonder, though, just go see it for yourself, and let the spectacle take you in.