Members Area
Members Area
9 to 5
Yeovil Amateur Operatic Society
The Octagon Theatre
Yeovil
Friday 13th October 2017
Maybe its just that I am ancient and care-worn but Friday evenings are generally a rather low-key affair: feet up and relax, knackered at the end of the working week. So schlepping out to the theatre, to watch a show I don’t know does not necessarily float my tired old boat. Yes, YAOS always deliver well and yes, the Octagon is a great venue but surely my time would be better invested in Gin and Tonic and rest and recuperation in my recliner at home….
Nope! From the first dum, dum, dum, dum of the bass line opening for the title song to the sharply coordinated watch-checking arm move accompanying the last word of the finale there was no place I would rather have been.
YAOS’ 9 to 5 was a triumph of all the great things that light musical theatre offers: Great humour, great music, great pace, complete escapism and some great performances. I was entranced and enlivened. This grumpy old git left the theatre with an ear-to-ear grin and a Dolly Parton song on his lips. What a perfect start to the weekend.
As far as I can recall this was my first exposure to professional Director Martyn Knight’s work and I have to say that I am impressed. For me YAOS have lifted their (already strong) game under Martyn’s leadership (and the remarkable Sheila Driver’s support). There was a sure-footed slickness to the production, a cohesiveness and plainly visible joy-in-performance that fully engaged and entranced the full-house audience. Stage management and scene transitions were amazingly smoothly and slickly accomplished (kudos to the backstage team). Pace was beautifully managed, choreography was unfussy but attractive and the look and feel of the production was very easy on the
eye.
Musically under the always-excellent Musical Director Lynne Merrifield there was not a note out place. The band was spot-on (and when you notice that one of our region’s top MD’s, Matt Holmes is playing keyboard, this is clearly a high-class bunch) and singing from ensemble and principals alike, was of the highest order.
Rehearsal room sweat must have been measured in gallons for this production: The Ensemble’s co-ordinated and sharply delivered routines and songs were impressive in the apparent ease with which they were delivered. The work involved in making something look so comfortable is considerable. They should all be very pleased with themselves.
The original film of 9 to 5 was conceived, in (hopefully) different times from today, as a feminist satire and a something of a star-vehicle for Dolly Parton, Lily Tomlin and Jane Fonda. Many of the anti-sexist sentiments still ring true today but so does the requirement for three remarkably strong performers to match up to those original, starring roles. YAOS clearly have strength in depth in their membership as three, frankly brilliant women stepped up to the mark.
I am very familiar with the work of Jennifer Holland-Brewer who played Judy Bernly. Jennifer has the classic triple-threat of expertise in dance, song and acting, which she delivers with apparently effortless ease. Add her talent for comic timing and charming audience engagement and it is hard to take your eyes of her performances. I particularly loved her Get Out and Stay Out as her character visibly grew into independence.
Less familiar to me were Karen Pankhurst and Sarah Symcox who played Violet Newstead and Doralee Rhodes. I was not to be disappointed. Karen’s long-suffering but resilient Violet was perfectly pitched: dry and funny, her relationships with her son, younger suitor and the other two members of the lead trio were natural and believable and the gradual blossoming of the strong woman Violet becomes was all impressively performed. Karen’s song and dance was terrific too!
The almost iconic Dolly Parton role of Doralee Rhodes must be a daunting prospect to any performer: The blonde, bubble-headed, big-boobied babe who actually has morals, brains and wit is challenge enough. Then add the requirement to speak and sing like Dolly…. Enter Ms. Symcox! Sarah inhabited the part with amazing chutzpah. This was more an homage to DP than a straight impersonation, managing to capture all of Dolly’s charm but retaining enough of Sarah Simcox to make this a memorable performance.
Leading supporting players: Liz Stallard as Roz Keith was great to watch, her metamorphosis moment as she emerged from the grouchy office manager caterpillar into the stunning in-love butterfly for Heart to Hart was funny and very impressive. A great character part given the ‘full beans’ by a talented performer; Jay Westaway’s odious Franklin Hart Jnr was believable and just the right side of fun without loosing his vile essence and Alan Fergusson as young accountant with an eye for Violet was natural and demonstrated a very good singing voice.
All other supporting roles worked very well too: Matt Parker, Sarah Andrews, Dave Grosvenor, Michael Francis and Ernie Thomas all looked and sounded great. It was very pleasing to see young Vini Lloyd continuing to develop as a convincing character actor as Violet’s son, Josh.
No this wasn’t an utterly perfect performance: unfortunately the otherwise silky smooth running of the production had a slight hiccup when a certain character failed to appear (might have got away with it but an open mic let us hear a certain strained expletive from said character….) This having been said, the cast coped fantastically and slick, smoothness was almost instantly regained; One or two accents veered slightly closer to this side of the Atlantic and a suit or two was rather more 2017 than late Eighties. But on the minor negatives, that was about it.
This was a terrific production. It brightened a Friday and left a full house audience wanting more.
Thanks for inviting me
Ian