9 to 5: The Musical -- Broadway Comedy Based on the Film
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The last date listed for 9 to 5: The Musical was Saturday April 6, 2013 / 3:00pm.
Reviews & Ratings
Featured review from Steve-o
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9 to 5, the Musical- An Review
Last night, I hopped in the trusty, old Huffmobile, and journeyed to the Land of Pear, and the glorious Pearl Jam Theater to catch an Aeros hockey game. Imagine my chagrin, when I not only found out that 9 to 5, the Musical was the current bill of fare, but that my tickets had been for the previous evening! After enough string-pulling to make a marionette dance the Mazurka, and one well-timed “bitch slap” (they had to…I was hysterical!), my intimate party of twenty (or so) collectively picked our seats (not a pretty visual) and waited like schoolgirls on a bumpy bus for the magic to begin.
We were not disappointed. Soon after the lovely red-haired pianist, Heather Tipsword, began to “tickle the ivories” (seriously, who were those two elderly gentlemen?), the fun (as they say) began. Now I shan’t regale you with all of the character names (although I am certain there was a “Reggie” and a “Brünhilda”), as my theatrical programme remains locked in the car (along with one or two members of my entourage) and would require effort on my part to retrieve.
However…the lovely and talented Donna Dagley (no relation to Jason) was as effervescent as denture cleaner, and was in top form (kudos to Betty Ford and Promises!) as she sang, danced and, quite literally, stole the hearts and wallets of the entire audience. Next up, the charming Renee Hinojos…a (sorry, hand cramp!) whom, while she may not hit a B-flat, will never “be” flat (I must have had an extra cup of “pith” this morning!). After the show, I chanced upon Ms. Hinojos..a (damn, that cramp!) at a local bistro, nibbling on a large Meatball. Rae Lynn Cuddihy stole the show with her “charmont Français”, and, IMHO, no one has worn a beret better since Jerry Lewis in the 1970’s!
The noted dance team of Edwards and Johnson contributed terpsichorean splendor (as well as dancing) to this phenom. They have syncopation tighter than a fat man’s pants at an all-you-can-eat buffet. Which brings us to Brandon Del Castillo, who left the role of Hippie #3 in “Hair” to play young window washer-turned-executive “Ed” (possibly “Dewey”…oh, why didn’t I bring in that programme?) in this production.
This joyful mélange was whipped into shape in the oh-so-capable hands of Nathan C. Hand (pardon the pun!), who will next be seen in Victoria directing “The Producers”. I hate to throw around time-worn clichés such as “theatrical genius”, but no one strikes a stage with glow tape like Nathan (he’s from old Jewish money)! Managing the stage was the gifted William Lundgren, who kept the bloodshed down to a minimum.
In the audience was true Fort Bend royalty in the persons of Ms. Erika Bundy and Ms. Chantel Helbig of the recent smash “Barely Legal Blondes”(?) . Speaking of “Smash”, the kitty jumped out of the handbag last night, as Chantel let slip she will be replacing Kat McPhee on the series, dumping the “bitch” boy-toy, and demanding that Angelica Huston re-cast her as both Marilyn and Joe DiMaggio! Ms. Bundy is maintaining her golden tresses to star in an all-girl production of “Gentlemen Prefer Blondes”.
Other notables in the crowd included Steph Politte (pronounced: wrong every time), manager of canine star of stage and screen, Kovu; foreign exchange student, Parth Patel and Norma Dardon, star of the Food Network’s “Are You Hungry, Honey?”. There were other members of the 9 to 5 cast, but they’re not my friends on Facebook! The two casts delighted the sophisticated after-theater crowd when they broke into a spirited and completely spontaneous game of “Red Rover”.
Take my advice…walk, run or hail a taxi to the Pearl Jam Theater, and catch these seasoned vets (well, someone did smell a little of garlic!) in 9 to 5, the Musical- eight hours well spent.
Music and Lyrics by Dolly Parton
Book by Patricia Resnick
Based on the 20th Century Fox Picture
Originally produced on Broadway by Robert Greenblatt, April 2009
Directed and Choreographed by Nathan C. Hand