Stage Review - 9 to 5 (Village Theatre)
Stage Review - 9 to 5
Presented By: Village Theatre - Issaquah, WA
Show Run: November 18 - January 04, 2026 (Everett run Jan 10 - Feb 8)
Date Reviewed: Saturday, November 29, 2025
Run Time: 2 Hours, 30 Minutes (including a 15-minute intermission)
Reviewed By: Greg Heilman
When a musical based on a successful film hits the stage, it’s always a gamble. Will it live up to the film, fall short, or surpass it entirely? If you read my review for Village Theatre’s production of Legally Blonde last season, it’s clear that, in my opinion, that one fell short of its cinematic cousin. I found it diluted by comparison. With 9 to 5, I wouldn’t necessarily say that it surpasses the original film starring Dolly Parton, Lily Tomlin, Jane Fonda, and Dabney Coleman, but it most certainly matches the film in its humor, heart, and characterizations. And I’ll go one step further: Dolly Parton’s songs give the stage version a little extra sparkle that nudges it ahead for me in overall enjoyment. Of course, with a cast like the one that director Katy Tabb has assembled, it’s easy to enjoy this musical. The songs bring Dolly’s heart squarely into the production, and the cast seems in complete understanding of what she’s trying to accomplish with the music.
For anyone unfamiliar with the stage version, the musical follows the same storyline as the beloved 1980 film: three overworked and underappreciated office employees—Violet, Doralee, and Judy—find themselves pushed to their limits by their sexist, egotistical, lying, hypocritical bigot of a boss, Franklin Hart Jr. What begins as shared frustration becomes a burst of empowerment as the trio take matters into their own hands, turning the workplace on its head and imagining a more equitable—and functional—future. With a score written by Dolly Parton herself, Patricia Resnick’s book retaining the spirit of the original screenplay, and themes of workplace equality that remain surprisingly current, 9 to 5 has become a staple of contemporary musical theatre, known for its humor, heart, and its unabashed celebration of women supporting women.
The first thing that is striking about this production is the set, from scenic designer Paige Hathaway. This component is nicely done, from the stark office—so reminiscent of late–20th century work environments, where employees felt like they were cattle having their spirit drained by overhead fluorescent lights—to Franklin Hart’s office and the many other locations that pop up throughout the show. Most of these spaces are achieved by rolling in smaller pieces: bedrooms, living rooms, a Xerox machine (that revolts against Judy during her eventful first day in a nice bit of stagecraft), or the office water cooler. But it’s the Consolidated environment that stands out, both the open area where the secretaries reside and Hart’s executive office, two spaces presented in clear visual contrast. Hart’s office bursting with color, though the tones are unmistakably those of upper management, while the workers’ area is a deadened gray, that is until the trio takes control in Hart’s absence. At that point, color and personality begin to seep into the space, and the lighting (from designer Yael Lubetzky) becomes a partner in the transformation. Instead of sucking the life out of the workers, the space suddenly breathes life into them.
Katy’s staging throughout is very creative. One memorable moment is the number “I Just Might,” where Doralee, Violet, and Judy appear in separate locations, each sharing their frustrations and determination to rise above them. The way Katy and Paige arrange these spaces through modular set pieces is particularly effective. Set changes are also extremely fluid, with the movement of props and furniture becoming part of the choreography itself. It keeps the pace sharp and the energy high.
The performances from the cast are also extremely memorable. “Backwoods Barbie” is as genuine a Dolly moment as one can find, and Kristin Burch sings it beautifully. Kristin is an excellent Doralee—she captures the soul of Dolly’s character from the film while layering in her own flair and spunk. Her accent is consistently delivered from start to finish, and her vocals are strong and expressive. Sarah Rose Davis’s Judy shows all the timidness and naïveté of a new worker with no experience, and Sarah charts her transformation convincingly as Judy grows from fragile to determined, strengthened by her developing friendship with Violet and Doralee. And speaking of Violet, Beth DeVries brings the confidence and presence of someone who runs the company in all the ways that matter, even if she doesn’t hold the title. Beth plays Violet’s frustration at being passed over for a promotion with believable fire, and her leadership in crafting a plan for change gives the character a satisfying arc.
There are many wonderful songs in the show, and several are laugh-out-loud funny, but none more so than “Heart to Hart,” thanks entirely to Bobbi Kotula. As Roz, Hart’s fiercely loyal administrative assistant, Bobbi is outrageously funny. Roz works behind everyone’s back to report on anything and everything to Hart—whom she is clearly, hopelessly in love with—and in “Heart to Hart,” that obsession unfolds in all its deliriously uncomfortable glory. As Hart, Brandon O’Neill is everything you want the character to be: slimy, sexist, self-important, and spectacularly awful. Brandon nails the role, playing him with the perfect balance of horror and humor. The audience despises him, but they can’t help laughing at what a buffoon he is. In “Always a Woman,” he also shows off his vocal ability and his grasp of the character through crisp choreography and strong musicality.
The ensemble is well cast, providing lively support to the storytelling. Kooper Campbell, in particular, transitions between roles with impressive speed and clarity—there’s an effervescence to his work, a genuine joy that radiates from each character he plays. He’s joined by a strong group of performers who keep the world of Consolidated Industries and the employees’ families bustling, including Ania Briggs, Alyssa Hope Maas, Jeffery Wallace, Trina Mills, Matthew Kacergis, Charles L. Simmons, Jason Weitkamp, Cy Paolantonio, Taylor Niemeyer-Symons, Ethan Carpenter, Ty Willis, and Shelby Willis. Together, they give the production its sense of movement and community, enriching every scene they touch.
The production is strong in nearly every aspect—from its design, to its musicality, to the cohesiveness of its staging—and much of that strength comes from how well the creative team works in concert with Katy Tabb’s vision. Lighting Designer Yael Lubetzky uses light almost as a storytelling partner, shifting the office world from drab, oppressive fluorescence to something warmer and more human as Violet, Doralee, and Judy take control. Their work syncs beautifully with Scenic Designer Paige Hathaway’s environments, underscoring the musical’s themes of transformation not only in plot, but in palette and atmosphere. Costume Designer Esther Garcia adds another layer to this visual storytelling with a wardrobe that perfectly evokes the late–20th century office—muted, structured, and unmistakably beige—while at the same time giving the three heroines colors and silhouettes that reflect their personalities: Doralee’s sparkle, Judy’s emerging confidence, and Violet’s poised professionalism. Sound Designer Elisabeth Weidner and Music Director R.J. Tancioco achieve an excellent balance between the onstage vocals and the live orchestra—no small feat in a show with such wide emotional and comedic range—ensuring Dolly’s music lands with clarity without overpowering the performers. And in a story where workplace boundaries are crossed far too often by its villain, Fight and Intimacy Coordinator Francesca Betancourt deserves credit for creating a space where the actors can safely navigate those uncomfortable moments. If there’s anything I’d level criticism toward, and it’s honestly hard to find anything, it’s the inclusion of the overdubbed Dolly Parton introduction and epilogue; as much as I adore Dolly’s presence in the musical’s DNA, these prerecorded bookends feel a bit contrived and unnecessary in an otherwise completely engaging production.
Ultimately, Village Theatre’s 9 to 5 delivers exactly what this musical should: a bright, funny, heartfelt production that lets Dolly’s music shine and gives its trio of heroines room to soar. Katy Tabb and her team balance nostalgia with freshness, resulting in a crowd-pleasing piece of musical theatre that feels both familiar and wonderfully alive.
The Village Theatre production of 9 to 5 runs on stage in Issaquah through January 4 before moving to its Everett location. For more information, including ticket availability and sales, visit https://villagetheatre.org/.
Photo credit: Auston James
