MIT’s '9 to 5' Succeeds on Strong Performances

“Is it because I’m a sexist, egoistical, lying, hypocritical bigot?” Franklin Hart Jr. says as he is shot, lassoed, and poisoned in three of his poorly treated workers’ fantasies. Hart is spot-on in his judgment of himself in their heads—and perhaps spot-on about many of the men in the 1960s and ’70s. Inspired by the fight for wage equality and the feminist movement, Jane Fonda created the film “9 to 5” in 1980. Twenty-eight years later, “9 to 5” was brought to life as a Broadway musical composed by Dolly Parton. And now, the MIT Musical Theatre Guild’s “9 to 5,” filled with hilarity, love, and feminist messages, is running Jan. 29 to Feb. 6 at MIT’s La Sala de Puerto Rico. Despite a few technical issues along the way, the MIT Musical Theatre Guild builds a whirlwind of humor and tension in “9 to 5,” thanks to a strong cast, expert costuming, and quality scenery.

“9 to 5” follows three women, battered by the sexist banter and unequal treatment that follows them and others in their everyday lives, who work at a company called Consolidated. Violet Newstead (Hallie Voulgaris) is an ambitious single mother whose well-deserved promotion continually eludes her at the hands of her sexist boss, Hart (Geoff Hegg), who is convinced that his “girl” will never be “one of the boys.” Doralee Rhodes (Chamille Lescott), despite being happily married, is constantly sexually harassed by Hart. Finally, Judy Bernly (Carrie Fowle), a newly divorced, naive, and sweet woman, is just starting off at Consolidated, unaware of the trouble in which she and her coworkers are about to entangle themselves. Desperate to avoid arrest after nearly murdering Hart, the three kidnap their boss, hoist him up in his canopy bed, and hold him hostage for a month as they transform the workplace into a more happy, healthy, and productive environment where women are treated equally and receive the fair share that they deserve.

Although the actors begin the musical by singing slightly off-key at the high notes and dancing off-beat at times, they generally give strong performances. Lescott is bold and unabashed as her character attempts to connect with her coworkers but also vulnerable and hurt when they rebut her efforts. In the song “Get Out and Stay Out,” Fowle strongly develops Bernly’s newfound ambition and independence while retaining her sweet and wide-eyed nature. Hegg and Noelle Colant, who plays coworker Roz Keith, are both hilarious in their roles as they lust over characters they cannot have: In her love song to Hart, Colant crawls on the stage, adding the perfect touch of hysteria to the comical and purposefully awkward performance. Meanwhile, the background actors, who dance, sing, and bustle along in the workplace, create an immersive environment onstage. This effect was especially evident in “Potion Notion,” as Newstead dreams of becoming a magical princess—poofy gold dress and all. In Newstead’s fantasy, as she administers the poison to Hart’s coffee, the background actors smile maniacally at the audience, creating a feeling of delirium.

This cohesiveness extends to the scenery and costumes, despite a few bumps along the way. The MIT Musical Theatre Guild employs a simple set: desks serve as beds, makeshift walls as bathroom doors or elevators. Many pieces are transformed in one way or another, but sometimes with a glitch. Once an unfolding bed was caught in another piece of scenery, and another time actors had to fumble to pull a table backstage quietly. However, these hiccups are offset by excellent costuming. The costumes reflect both the musical’s time period and the character’s personalities. Newstead dons a pantsuit as she steps up to take a leadership role at Consolidated. Rhodes’s vivid pinks mirror her bright personality. Roz’s uncomfortably-tight, pinstriped business-formal wear reflects her uptight nature. And the cowboy outfits, sparkly skirts, and workplace dresses worn by the background actors all add to the musical’s polish.