9 to 5 the Musical: Putting ‘the Community’ into Community Theatre

I don’t trust people who don’t like musicals. A bold statement I know, albeit an honest one. There are plenty of arguments to be made for the significance of the genre as a diverse space, political medium, and inclusive community. I would argue further that it is also an accurate litmus test for how much fun someone is willing to let themselves have. With that in mind, on Wednesday 19 February, I attended St Andrews Musical Society’s (SAMS) production of 9 to 5 the Musical at the Byre Theatre. 

The production, running from Tuesday 18 February to Saturday 22 February, came amidst an unusual dry spell of student-led theater at the Byre. Tickets were priced according to a pay-what-you can system between £16 and £20. Whilst this system does make the production more accessible to some, it is still beyond the limit of what most students will be persuaded to part with. 

With only the vaguest idea of the plot as being related to Dolly Parton , I truly had no idea what to expect. In fact, I was swept away by the truly baffling and breakneck plot of the show. 

The performance began, rather surreally, with a disembodied Dolly introducing a chorus of disgruntled office colleagues. The costuming and set department worked wonders to lay the scene of an end-of-its-tether late 70s corporate world, complete with prehistoric looking xerox machines and enough flares to make ABBA nervous. 

Kendra Laird opened the show as protagonist Violet Newstead with all the gumption as somebody who’s had their morning cup of ambition (couldn’t help myself, sorry). Rachel Nee played ‘Judy’ with a charming new-girl nervousness that was both sympathetic and hilarious. Hannah Skene’s ‘Doralee’ had all the drawling, big-haired, southern charm of Dolly herself. Nee brought the Backwoods Barbie to life as she swaggered the boards in stilettos with a sense of genuine heart and camp. 

Noteworthy supporting performances were put in for the show’s antagonists by Mitch Scott-Bell and Carrie Cairney. Scott-Bell plays the despicable Franklin Hart with all the greasy sleaze of the worst 70s slick-back. Cairney stunned in her role as Roz, in only her second ever performance with SAMS, packing a powerhouse voice and undeniable stage presence.

With the trio at the helm, the plot took off at a giddy pace. Often this swiftness could be weighed down by the production’s large ensemble cast. However, Claire Rioch’s intricate direction made for an immersive feel that had both warmth and depth. I found myself distracted at times by the hilarity of the actions happening in the background. Every subtle eye-roll or stupefied reaction made it abundantly clear just how much fun every single person on that stage was having, and it was contagious! One could forgive the lack of commitment to some of the American accents.

The diversity of the cast, drawn together from across many age groups and walks of life, was an inspiring reminder of the necessity of spaces like this, ones that foster a sense of community and give back to it with genuine pleasure. St Andrews Musical Society has been doing this for generations, with a prolific performance history dating back almost 80 years. The cast has welcomed seasoned veterans of the company as well as relative newcomers, such as Cairney, finding their place centre stage. 

Whilst the etiquette of singing along at the theatre is not a hill this article is willing to die on, if you can resist at least clapping along to an anthemic Dolly Parton tune then your willpower scares me! So to any adamant musical haters, I dare you to catch a well-produced production of 9 to 5 the Musical and watch out that you don’t start to actually enjoy yourself.

Photo by John Stewart