9 to 5 as presented by Carrick-on-Suir Musical Society

9 to 5, as presented by Carrick-on-Suir Musical Society. 

Friday 26th April 2024. 

Director, Martin McNelis, combined a very good set design with imaginative movement of props and set pieces to ensure a smooth-running production of 9 to 5 for Carrick-on-Suir. I loved the somewhat abstract set for this show, and how it incorporated good solid set pieces into the neutral background. What I loved even more was the very swift and smooth operation of the scene changes, with everything arriving in its place at just the right moment. This suggests well-thought-out design, and great organization and efficiency on the part of Stage Manager, Michael O’Hara, and a hard-working stage crew. 

With a strong cast to work with, characterizations were well achieved, and relationships were well-handled. Comedy was nicely emphasized, and yet there was good balance with some nicely played emotional scenes, so that the moral of the story wasn’t lost amid the business. 

The very talented Sandra Power took the role of Violet Newstead in her stride, bringing to it a wonderful vocal quality, excellent comedic timing, and good dramatic acting when she is pushed to make a stand for feminism. Her relationship with her son was very credible, and her romantic journey with Joe was very realistically cautious and all the more credible for that. Sandra worked well with Doralee and Judy, but she shone at her brightest with a classy “One of The Boys” number. 

Jordan Freeman, sporting a very good blonde wig, made a charming and Dolly-esque character of Doralee, and proving along the way, that being eye-candy is not what determines a woman’s personality. Very nicely played with good comedy, and very vocally secure throughout. 

Ashley Lonergan got the shy, nervous, and vulnerable first appearance of Judy Bernly just right, earning the sympathy of the audience, who then watching her grow into the very able and quirky feminist that she eventually becomes. This was a nice developmental journey, played with good comedy and accompanied by a nice vocal quality that shone during “Get Out and Stay Out.” 

Tarryn Attlee was as comical as she was scary as Roz Keith, the office snitch, and unrequited lover of her boss. Her romantic protestations, (Heart to Hart) were hilarious to say the least, and I guess we kind of felt sorry for her too. Delightfully played. 

Neill Bourke brought a hint of rock-star charisma to the role of despicable misogynist boss, Franklin Hart, Jnr. Cock-sure of himself and completely derogatory to his employees, he really was the pervy boss we all love to hate. Of course, it was all done with a strong level of comedy, and it was a pleasure to see his comedown at the climax of the show. “Here For You” was as sleazy as he could make it, and very well delivered. 

Bobby Landers was a light-hearted and sincere Joe, wearing his heart on his sleeve in an effort to win the affections of Violet, and quite prepared to bide his time. Their relationship had a lovely natural development, including a very touching rendition of “Let Love Grow.” Jonathan Caulfield gave us a loyal and entertaining cowboy performance, in the role of Doralee’s lovin’ husband, Dwayne Rhodes, while Eoin Sheedy was a creep and ultimately a loser as Judy’s love-rat husband, Dick. Both of these roles were played with good strong character.

Emma O’Leary made a good job of coming across as the ditzy, oblivious wife of Franklin, Missy, while Maria Rayner slurred delightfully as office lush, Margaret. Siobhan Grace Regan was a competent and confident Kathy Cooper, and Claire O’Hara was very good as the unfairly dismissed Maria Delgado. 

Ryan Barnes turned in a neat cameo as Violet’s son, Josh, and company stalwart, Padraig Sheehan, gave a light-hearted gravitas to the role of Mr. Tinsworthy. 

Good support came from Kyle Walsh as Bob Enwright, Ger Breen as the Detective, Jim Kennedy as the Doctor, and Isobel Cooney as Candy Striper. 

Vocally, there were confident harmonies and plenty of strength from the chorus in all their numbers. As Chorus Master, Eamon O’Malley, had his chorus well-drilled. As Musical Director, he had good control of a very respectable orchestra who were spot on with the varied rhythms and styles of the show, from country hoedowns to the jazzier dance numbers. Balance was good throughout, showing good sensitivity in the gentler numbers. 

Keith Dwyer-Greene did his most effective choreography on “One of the Boys” and “Dance of Death” and “Cowgirl’s Revenge,” with great steps and good imagination. The routine for “Heart to Hart” was great fun and most of the choreography of the offices scenes was tidy and efficient. As with the MD, Keith was fortunate to have a chorus who were energetic in their execution of their routines. The enthusiasm with which they performed in the dream sequences showed their appreciation of the comedy of the piece. 

The show was nicely and appropriately costumed, with a nice effort going into the specialist outfits for the dream sequences and for “One of the Boys.” The ladies’ hairstyles/wigs were all very good and make-up looked natural. 

The pace of dialogue was good throughout the show, and stage placings and pictures were very effective. Significantly, Martin, in his direction, ensured that the message that women should be treated with respect, came across loud and clear. Congratulations to him, and indeed to all involved for what was a very tidily directed and enjoyable piece of theatre. My sincere thanks to Carrick-on-Suir for so many most enjoyable shows during my tenure as adjudicator, and I wish you continued success into the future.

Peter Kennedy

Gilbert Adjudicator 23/24