9 to 5 the Musical revival on tour – review

9 to 5 the Musical bursts into life with the iconic title number as the ensemble storms onto the stage with infectious energy, slick choreography and plenty of playful pastiche.

Landmark Theatres’ production is based on the 1980 film starring Dolly Parton. Directed by Paul Jepson, the show retains the premise of three female office workers taking revenge on their chauvinistic boss, while shining a light on workplace inequality and sexism – albeit in broad, often parodic terms.

The three leading ladies – Violet, Judy and Doralee – are warmly portrayed by Jade Marvin (Violet), Kayla Carter (Judy) and Karla Tracey (Doralee). Their chemistry is palpable, their southern American accents convincing, and their vocals consistently impressive.

As Doralee, Tracey perfectly captures Parton’s warmth and charm. A standout scene highlights the casual sexism of her toxic boss as he ogles her while she climbs a stepladder, before Tracey delivers a superb rendition of “Backwoods Barbie”. She strikes just the right balance between sweetness and frustration.

Carter brings a powerhouse voice to Judy, the newcomer recently separated from her husband. Her second-act solo, “Get Out and Stay Out”, is an undeniable showstopper – a triumphant anthem charting Judy’s transformation from rejected housewife to confident, independent woman. Carter also demonstrates excellent comic timing throughout.

Marvin’s Violet is equally compelling. As the capable office supervisor continually overlooked for promotion, she conveys the character’s weary frustration with real presence. Her number, “One of the Boys”, is entertaining and well-staged, but it also exposes one of the musical’s more uncomfortable messages: that Violet can only succeed by becoming “one of the boys”, rather than simply being recognised for her abilities.

The office tyrant, played by Tim Rogers, is a walking embodiment of toxic masculinity. In great pantomime villain fashion, he spends much of the show sexually harassing Doralee, cracking crude jokes and refusing to promote women. Viewed through a modern lens, the character serves as a reminder of how attitudes towards workplace sexism have perhaps started to evolve since the story was first conceived.

Once the premise is established, however, the plot begins to lose momentum and become a little preposterous. After the boss is kidnapped (and stripped literally of his trousers) he is held captive upstairs, whilst the women seize control of the office.

Yet the transformation they promise never feels particularly revolutionary. Beyond introducing flexible working, job sharing and a friendlier workplace, the reforms lack dramatic impact. The talented cast ultimately finds itself constrained by a story that, although tackling important issues, somehow feels predictable and, at times, absurd.

The first half feels slightly overlong, although it is rescued by a standout comic turn from Jessica Martin as Roz, whose hilariously inappropriate infatuation with the boss culminates in one of the evening’s biggest laughs as she reveals not only her desire for him, but her drawers too.

Visually, the predominantly grey set, from its backdrop of city skyscrapers to the office furniture, offers little variety. While it perhaps reflects the monotony of office life, it leaves the cast with much of the responsibility for lifting the production’s energy. Fortunately, the ensemble remains slick and engaging throughout and, together with the onstage band, delivers plenty of entertainment.

The finale pushes the story into increasingly implausible territory, ending with a revelation that fully embraces the musical’s farcical tone.

Despite these shortcomings, the second half is buoyed by a string of crowd-pleasing musical numbers and performances of genuine quality. The whole cast’s final rendition of “9 to 5“, with much of the audience on its feet singing along, provides a fittingly joyous conclusion.

While the script rarely rises above broad comedy and wish-fulfilment fantasy, the cast’s charisma, vocal talent and infectious enthusiasm ensure this remains an entertaining evening, even if the story itself never quite reaches the same heights.