Savoy Court, London WC2R 0ET 0844 871 7687
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NOT SUITABLE FOR THOSE AGED UNDER 12. CONTAINS COMIC ADULT REFERENCES, DRUG USE AND STRONG LANGUAGE.
DOLLY PARTON DOES NOT APPEAR IN PERSON IN THIS PRODUCTION.
The story of Doralee, Violet and Judy - three workmates pushed to boiling point by their sexist and egotistical boss. Concocting a plan to kidnap and turn the tables on their despicable supervisor, will the girls manage to reform their office - or will events unravel when the CEO pays an unexpected visit? Inspired by the cult film this hilarious new West End production is about teaming up, standing up and taking care of business!
Currently, Bonnie Langford plays ‘Roz Keith’, with Caroline Sheen as ‘Violet Newstead’, Chelsea Halfpenny as ‘Judy Bernly’, Natalie McQueen as ‘Doralee Rhodes’ and Brian Conley as ‘Franklin Hart’.
David Hasselhoff plays Franklin Hart Jnr until 8th February 2020.
Louise Redknapp will return to the show on Monday 10th February 2020 and play the role of Violet until the show ends its West End run on 23rd May 2020, (excluding 12th to 28th March). Caroline Sheen, who is currently playing the role of Violet Newstead, will play her final performance on Saturday 8th February 2020.
Brian Conley will return to the show on Monday 2nd March 2020. Between Monday 10th and Saturday 29th February 2020, the role of Franklin Hart Jnr will be played by Sean Needham. Sean played the role on the recent UK tour of the show.
The cast is completed by Victoria Anderson, Alexander Bartles, Stephanie Chandos, Conor Crown, Alexander Day, Rhiane Drummond, Demmileigh Foster, Ross Lee Fowkes, Molly-May Gardiner, Llandyll Gove, Ben Irish, Jenny Legg, Sean Needham, Jon Reynolds, Ricardo Spriggs, Antoine Thomas-Sturge, Sasha Wareham and Emily Woodford.
The show is written by Patricia Resnick, with music and lyrics by Dolly Parton. It is directed by Jeff Calhoun, choreography by Lisa Stevens, design by Tom Rogers, lighting design by Howard Hudson, musical supervision, arrangements and orchestrations by Mark Crossland, musical direction by Andrew Hilton and casting by Victoria Roe.
(seen at the afternoon performance on 27th February 2019). Some actors have now left the cast.
We have all become accustomed to being shouted at whenever anyone wants to raise an important issue like, as here, overt sexism in the workplace. The major fascination for the monkey at this show is that, well, it didn't. The points were made but, one (cheer-worthy) speech late in the second act, aside, they were raised with intelligent humour - and had all the more impact for it.
The result is a fun evening with a nicely pointed kick to it. Something of a slow-burn to start, even title number "9 to 5" doesn't quite land right at the top of the show, and "Around Here," introducing the characters fully, seems to take more time. Stick with it, though, as it all kicks into gear when Doralee (Natalie McQueen) gives "Backwoods Barbie" with deep understanding. Suddenly, the other characters become three-dimensional as director Jeff Calhoun has the space to really open up the script with the musical numbers that follow.
Next up in that vein is Roz (Bonnie Langford), stopping the show and makes every person in the house wince at just how amazingly flexible she is. Truthfully, she's worth the price of the ticket on her own, and with evil boss Franklin Hart Jnr (Brian Conley) reminds us just how far experience still takes the best performers. Conley hangs around, literally, for much of the show and is on fine form in a role that becomes better written as the evening continues.
As the show continues, Violet (Caroline Sheen) and Judy (Amber Davies) also become our friends and have us willing them on. Sheen's ambitious yet frustrated budding executive and Davies's downtrodden newcomer burst into life and Davies's "Get Out and Stay Out" is finely played.
There's good supporting work too from Lucinda Lawrence (Margaret) who knows how to go from drunk to dry. Sasha Wareham (Candy Striper) is an amusing turn, and the ensemble dance up a storm under the Lisa Stevens choreography.
Sure, there's a few odd diversions - though the hospital scene is worth it - and maybe having Ms Parton herself appear on screen to hold things together suggests something missing in the construction. Also, there's sometimes a slightly heavy touch where some humour should be and vice-versa, but that's a minor quibble and may be down to timing as much as the writing.
Far, far more than a light-hearted romp, yet not too heavy given the subject matter, and with a cast on its absolute top form, this is an impressive show suitable for anyone who isn't a chauvinist pig... or perhaps a chauvinist pig who needs a warning...
10th April 2019. I took my second coach load yesterday to see 9 to 5.
I told them on the coach that the first 20 minutes were a bit slow and reminded me of my days working in the bank but on the coach back there were seven who worked for the same bank. They were asking me which branch I worked in as they had never known a branch like it!
It was almost like seeing a new show. It was a full house and more responsive than last time (or perhaps it was just me). Louise Redknapp was excellent, not that her understudy last time was not good, she was but Louise was better...
It was just one of those shows that are even better the second time around, but everyone loved the first half and it seemed to flow much better. It was funny the first time, but hilarious the second time.
It might have helped too that I was sitting with some of my group who absolutely loved it.
A fun and somewhat surprisingly good production with a great cast and a killer song. Like the film, it tells the story of three women with a sleazy, underhand, misogynist boss and their (almost murder) unplanned takeover of the business. They incorporated Dolly at the start but each of the three lead women could hold their own in the singing department (including Love Island winner, Amber Mills, proving she has the talent to justify her place on the stage). Bonnie Langford’s flexibility was a sight to behold and Brian Connolly appropriately cringeworthy as the odious boss.
The whole production was less frothy than I expected with a serious point to make about equal pay and sexism in the workplace. But it’s charm lies in its sense of joy and the heavy dose of humour. And, of course, that famous musical refrain which echoes throughout building to a show stopping finale.
Stalls seats A1 and A2 - slightly restricted view if you’re small (like me) - none at all if you’re above 5’6 - otherwise great view of stage - not too far away.
Based on the 1980 film (in turn based on the Dolly Parton song), 9 to 5 tells the story of three women, working in a misogynist (weren’t they all?) company in the 1980s, how fate (or a doobie) brings them together and how they turn their lives around.
If you know the film, you’ll know how the story plays out. This musical version is, of course, written more recently, so it takes the opportunity to mock the attitudes of the time. And it does it amusingly and with charm.
Dolly Parton’s songs are worked into the storyline effectively (none more so than when Doralee sings “Backwood Barbie”, adding a tender, gentle touch that counterpoints the comedy).
The jokes all hit their mark. The humour mostly holds back from the brash, in your face approach it could have taken given the timeline (though there are one or two gags that trip over the edge). I was worried the “Dolly” video sequences would be intrusive, but they’re kept to a reasonable minimum (though surely it would have been easy enough for a clearly talented writing team to explain the plot without this device? Does this earn Ms. Parton a performance fee each night?)
Every one of the main cast gets their chance to shine, but get yourself along before Brian Connolly and Bonnie Langford make their final performances. As The Monkey says, experience takes the best performers far, and these two make the most of everything the script gives them. One “hanging around” scene with Mr Connolly had my ribs hurting with laughter and Ms Langford’s lusting after her boss… I see where her nieces get their flexibility from and you’ll wish you had legs like hers, no matter what age you are!
9 to 5 is a fun, lively, entertaining poke at chauvinism that doesn’t take itself seriously.
The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.
Monday to Saturday at 7.30pm
Wednesday and Saturday at 2.30pm and 7.30pm
Runs 2 hours 25 minutes approximately.
Theatres use "dynamic pricing." Seat prices change according to demand for a particular performance. Prices below were compiled as booking originally opened. Current prices are advised at time of enquiry.
Monday to Thursday:
Rows BB to S: £65 except
"Premium Seats" row D 8 to 13: £150
"Premium Seats" row D 6, 7, 14, 15; E 6 to 15: £125
"Premium Seats" rows D and E 4 ,5, 16, 17; F 6 to 19; G 7 to 20: £99.50
"Premium Seats" row H 8 to 21; J 9 to 22: £90
"Premium Seats" row C 5 to 18: £75
Rows R to T: £55
Rows U to W: £45
Rows A to L, plus M 8 to 23: £65 except
"Premium Seats" row A and B 12 to 19: £125
"Premium Seats" row A and B 10, 11, 20, 21; C 8 to 23: £99.50
"Premium Seats" row E 9 to 18: £90
Row M 1 to 8; N 9 to 25 and O: £55
Row N 1 to 8: £45
Rows B (except B26) to E: £45
Rows A, H to L and seat B26: £35
Rows F and G: £20
£75 per seat including "package."
Friday and Saturday:
Rows BB to S: £75 except
"Premium Seats" rows D and E 6 to 15: £150
"Premium Seats" row F 8 to 17; G 9 to 18; H 10 to 19; J and K 11 to 20: £125
"Premium Seats" row C 5 to 18; O 10 to 22; P 14 to 19: £104.50
"Premium Seats" row D 4, 5, 16, 17; E 4, 5, 16, 17; F 6, 7, 18, 19; G 7, 8, 19, 20; L 11
to 20: £99.50
"Premium Seats" row H 8, 9, 20, 21; J and K 9, 10, 20, 21; M and N 9 to 21: £79.50
Rows T and U: £69.50
Rows V and W: £59.50
Rows A to L, plus M 8 to 23: £75 except
"Premium Seats" row A and B 12 to 19: £150
"Premium Seats" row A and B 10, 11, 20, 21; C 8 to 23: £125
"Premium Seats" row E 9 to 18: £104.50
Row M 1 to 8; N 9 to 25 and O: £69.50
Row N 1 to 8: £59.50
Rows A to E: £59.50
Rows H to L: £39.50
Rows F and G: £27.50
£99.50 per seat including "package."
Day Seats: A limited number of seats (minimum 4 per show) will be released at 10am each morning for Monday to Friday performances. These are priced at £25 and only available in person from the Box Office. Please be respectful to hotel guests and traffic whilst queuing. Please note that no day seats are currently available for Saturday performances. Check with the box office before travelling if a day seat policy is still in operation.
RUSH TICKETS: App Todaytix are offering £25 "Rush tickets," located at venue discretion, for all Monday to Friday performances ONLY. Released for the performance on that day, first-come, first-served. Download the App from Todaytix, unlock the "Rush Ticketing" feature by sharing on Facebook or Twitter, and that will allow you to buy tickets.
Some details may change, the monkey will update as available.