Presentation

A versatile structure around the edge of the stage established the setting and provided a spacious playing area for the large cast. Metal grid-effect railing and the bright yellow blocks established the functional office, but also brought warmth to the visual picture of the production. Further cabinets, blocks and a photocopier were placed and replaced cleverly and quickly by cast members. This versatility was further increased when larger blocks were transformed to sofa and desks. The upper SR level , with wall lamp and beanbag, provided a fluent transition to Violet’s house and the flight of steps SL became Doralee’s home.

Lighting/FX was strong, disciplined and brought such atmosphere to the show. Lighting so cleverly captured the journey of the characters. The moody washes of the initial scenes allowed the performers to be lit – but not in full light. As the production developed, so the stage grew lighter. The increasing brightness and distribution so cleverly symbolised the gradual liberation of characters. Clarity on faces was consistent throughout however, and cues always very well timed. Some effective moments of strong colour added impact to varying scenes – such as the red light during the ‘shooting’ moment and Roz’s final moment in ‘Heart to Hart.’ Timing was excellent – for example the very sharp cue after Hart’s concluding line to Missy: ‘I won’t flinch.’ Orange and blue tones for ‘I Just Might’ added a strong combination of ambiguity and hope to this pivotal moment of the show.

Effective use of back projection added so much to the setting. From the initial typewriter and window, varying images that complemented the scenes were evoked with humour and impact on the screens. Again the colours used – such as the yellow typewriter – contributed to the moods of varying scenes. Neon strips around the top edge of the set, which changed colour as the production progressed, gave an effective definition to this attractive and flexible set.

Costuming added such texture and interest. The initial shades of brown and beige for the office attire gave a sense of uniform - woollen tank tops, tight and pleated skirts, slacks and wide ties all evoked the era. Judy’s oversize hat was fun and her frills and bows suited her personality. Doralee’s bright colours and tight tops were appropriate and Violet’s sharper dress presented the ‘leader’ with effect. Wigs for both Doralee and Judy were fitting, although Doralee’s face was overshadowed at times. Hart’s pleated slacks and braces suited his tall frame and confident personality. As the show progressed, so the costuming depicted the changing feelings of the characters with looser, flowing, brighter attire and hairstyles. Fantasy costumes evoked each fantasy and the dancers striking blue and black suits for ‘One of the Boys’ emphasised the confident mood of this number. Attention to detail for the costuming in this large cast was excellent and certainly contributed to the immersive experience of the show.

Direction

From the onset, this company drew us into the first outstanding number with energy, commitment, focus and pure joy. The slick presentation of every aspect of the show propelled the audience through the journey of three well-cast women finding their feet, their freedom and their identity. Disciplined and energetic singing was matched by well-shaped and consistently well-timed delivery of lib’ – such as the smoking scene amongst the girls, when tight timing underlined their ease with each other. Transition between song, speech and scenes was seamless. Pace only lagged a little during the tricky ‘fantasy’ scenes, but soon picked up to shape the strong rendition of ‘Shine’ before the interval.

Every inch of the playing area was used to depict characters and text, and this was matched by strong physical characterisation of individual characters; the three lead girls depicted this in their contrasting postures, but Roz’s animal-like subservience to Hart was so effective, as was the menacing physical presence of Hart himself. There were just a few moments when characters were a little upstaged – set quite deep in the set when the girls were plotting for example – and we lost their faces and focus just a little. Otherwise, some strong positioning underlined the mood of scenes - I loved the ‘trapping’ of Roz at the top of the stairs as she was positioned between Judy and Doralee. Very inventive ‘capturing’ of Hank using stage rope and back projection, and the straddled, upright ‘crucifixion’ of this man was another example of the production’s effective dark humour.

However the standout quality of this production for me was intention. You took this script and these characters and made every moment to underline the unsettling ideas within it. Normally an audience finds these ideas mainly funny. This was not the case in this production. The characterisation of Hart as humorous but ultimately predatory was very powerful. The latent violence of ‘Here for You’ was breathtakingly troubling and the gang-like physical position of the male chorus at the end of the number pointed to a world where violence against women has been passively accepted. However as the female leads burst out of their stereotypes into a new found identity and freedom we believed in their future, and totally routed for Violet as CEO! This idea of equality was also pointed in the careful direction of every single member of this cast. It was evident that both thought and time had been given to each character, resulting in an interesting range of personalities amidst the ensemble (I loved the swaggering gent) who all became ‘free’ and empowered by the end of the show.

I know this is a funny and uplifting show – and your direction always sustained an underlying warmth and ultimately upbeat mood - but your strong, intentional shaping of a production that shone a strong light on unacceptable and potentially dangerous behaviours, and shaped the rise of three women to a position of emotional strength and determination, was so arresting, very moving and full of hope.

Thank you.

Musical Direction

Standard in numbers was consistently high amongst chorus and soloists. The eponymous opening number set the bar for unforced and strong ensemble singing – when I sensed the players were releasing their voices with such joy after this period of artistic isolation. Impactful changes of volume here captured the intensity of the commute, and the company managed to sustain a sense of bustle and purpose without losing clarity. Hart’s breath support and controlled pitching added to the impact of the very memorable physical and vocal delivery of ‘Here for You’. Strong harmonies and focus captured the feminist anthem ‘ I Just Might’ with such power – stripped back grouping certainly contributed to the impact of this number. The standout number for me was ‘Heart to Hart’ which was outstanding in both vocal and physicality, and seemed, by the extremely engaging presentation , to depict so much of a repressed woman finding freedom – as well as being very, very funny.

Support from the orchestra was balanced and unobtrusive, adding a consistent texture to the atmosphere of the show. This aspect of the show was obviously very well rehearsed – entry into songs and time changes in numbers were very polished.

Choreography

From the initial bustle of the opening number, you set the bar for the high standard of this aspect of the production. Such attention to detail for the varying characters as they travelled to work; their movement was disciplined – but there was always a sense of personality amongst the players. The effective use of stage space by your large cast continued – and even in the numbers in office scenes, characters moved so very well amongst the furniture with both purpose and ease, that contributed such a sense of life to the show. Flexibility and rhythm amongst all the dancers was impressive; the range of styles - ballroom, jazz- were also well executed. Excellent use of levels and a vibrant energy added such life to ‘One of the Boys.’

Acting

Violet Newsted

From your initial supervision of Judy’s incompetence and your beautifully pointed line to her about Doralee - ‘We don’t like her’ - you established the sense of a leader from the start. Your resonant delivery in both lib’ and song was enhanced by a wonderful pitch range and excellent clarity: very good shaping of spoken vocal as you responded to the idea of having poisoned Hart, contrasting with your extraordinarily powerful belt of murderous glee as Snow White. Your confidence was always underpinned with compassion – shown in the tender scene with your son and your growing feelings for Joe. The relationship with the latter is barely delineated – but because of your very secure and confident shaping of lib’, you made it work. This outstanding performance was consistent throughout the show – but your rendition of ‘One of the Boys’ was my favourite moment as you handled the boys with such authority and warmth and drew this compelling performance to a wonderful climatic line:

‘I’m a woman and proud of it!’

Judy Bernly

‘No head of a company would fake the books and steal from its stockholders.’ Well-timed and secure delivery of lib’ helped you shape Judy’s personality initially, and then your naivety was shaped into a growing confidence, always underpinned by compassion. You also brought humour to this character – which helps us to connect with her: lovely curtsey to Roz. Tender singing delivery in ‘I Just Might’ enabled you to show an effective glint of your growing change of mindset and you certainly brought energy and determination to the final number, ‘Get Out And Stay Out’. This is a huge number and you worked hard to pitch the higher notes whilst sustaining the drive and emotion behind these powerful words.

Doralee Rhodes

Effective physicality of Doralee as the stereotypical blonde bombshell – you managed to keep swaggering in those high heels and wore your colourful clothes with appropriate confidence and ease. Doralee’s naivety was then contrasted with a clear and confident rebuff to your colleagues about your relationship with Hart, establishing her integrity firmly; we also saw her heart in her relationship with Dwayne. You captured the spirit of ‘Backwards Barbie’ with vocal attack and secure phrasing; understated movement here shone a firm light on this number. Strong listening contributed to the timing of the dialogue with your two friends – just be careful of a long side profile when wearing a wig – facial expression was lost at times.

Roz Keith

I have already mentioned your physicality in relation to Hart – you established a sickeningly obsequious stance, and equally sickeningly flattering delivery – that also sustained humour, to establish the dynamic here. Lovely moment when as you leant into Hart, your face ending up in his crotch! You have an extremely pliable face and you used this so well to share your feelings with us; and then came ‘Heart to Hart’. This was a show-stopping number that captivated your audience. The transformation to a liberated, sensual woman was so confident, relaxed, funny, warm and totally mesmerising. Body language supported the impressive singing delivery here, when you drew on your extraordinary vocal range, tight diction and perfect pitch to deliver a very memorable number. The humour of this characterisation continued in your portrayal of the French Roz and we also saw her tender side in the understated emotion of ‘5 to 9.’ Very well done indeed.

Franklin Hart

Your insidious intentions were so clear in your humorous, menacing physicality. In your first scene with Doralee, your lounging, leering stance as you knocked over the pencils and handed over the gift, was funny and frightening. Your agility enabled you to establish the idea of hunting and trapping an animal: and this was matched by flexible and focussed facial play. Every inch about your movement – including the man spread stance on the sofa- spoke of a confident misogynist. This was matched by very tight cueing and excellent delivery of both lib’ and song. You sing with an unforced clarity and excellent pitching, ensuing that ‘Here for You’ made a very strong impact. Facial play helped you shape your capture and you brought effective contrast to Hart’s predicament at the end.

Joe

You brought a much-needed alternative view of masculinity to the show, conveying Joe as a strong listener and a sensitive personality. Your hesitance with Violet initially was empathetic and your growth in confidence gave credibility to your final union. Strong harmonies in ‘Let Love Grow’ underpinned your portrayal of tenderness towards Violet. You also brought energy and focus to the dancing in the production – I loved your leap as the Disney Prince!

Maria, Margaret and Kathy.

Clear and focussed support playing in the ensemble here, Margaret’s moves across the stage firmly captured the humour of her drunken state. Strong contrast of her final recovery helped shape the final scene. All three players contributed to the sharp cueing of spoken delivery – and a strong sense of listening from all three too.

Missy Hart

You presented a knowing wife, using Hart’s money to atone for his lifestyle, in a sharp, sarcastic and well-pointed delivery.

Josh Newstead

Lovely combination of ‘awkward’ and ‘outspoken’ helped you shape the cameo of Violet’s teenage son.

Dwayne Rhodes

You obviously enjoyed presenting Doralee’s ‘cowboy’ partner – just be careful to sustain balance of play in terms of vocal delivery.

Tinsworthy

Facial play and vocal delivery helped you capture the knowing boss – you caught just the right tone for this character, so that the final unravelling of Hart was handled with humour and a sense of reassurance.

Ensemble

You all played such a strong part to contribute to this tight, spirited and energetic production. You were disciplined, supportive and engaging players.

What a wonderful re-entry in ‘Rosebowl’ life – thank you for your warm welcome and such an enjoyable evening.

First up a confession, 9 to 5 is one of my favourite shows, so this being the first production I have seen from BAOS meant I was looking forward very much to a fabulous night out. I wasn’t wrong. BAOS embraced the 1970’s world of Consolidated Industries, the sexist, misogynistic workplace of Violet, Judy and Doralee. The performance began with an introduction to the characters by Dolly Parton projected in all her fabulous glory (Yes, I love her too!) Dolly Parton providing the music and lyrics with the book by Patricia Resnick.

The set was simple but effective with most of the set pieces on stage all the time and used in a variety of ways for the different scenes. A balcony area provided some height and ample space which was used to great effect. The cast completed most of the scene changes, clearly well drilled and meaning the multiple scene changes didn’t drag. I was a little distracted from the action at the point that Hart was put in the bed, so wonder if there may have been a less intrusive way to achieve that change.

Costumes and makeup and hair were all in keeping with the era. The lighting design worked very well and there were no issues with Sound, so well done all.

The three leading ladies worked very well together. Emma Griffiths as the head secretary Violet Newstead, continually overlooked for promotion for her less capable male colleagues was played with confidence, a strong vocal and excellent all-round performance. Judy was played and sung beautifully by Sarah Wilkinson, “Get Out and Stay Out” a highlight for me. I noticed that this was Emma May Jones first lead role in the adult group and what a debut. The role of Doralee is very tricky, I don’t like to see just an impersonation of Dolly Parton, and Emma made this role her own growing in confidence as the show went on.

Alex Milner as Franklin Hart, Jr made me feel appropriately uncomfortable especially in his solo “Here for You” suitably chauvinistic. Becky Hennessey as Roz demonstrated great comedic characterisation. Matt Boyle as Violet’s love interest sung beautifully. There were also some great comic moments from Charlie Cartwright as the office lush Margaret, all the different added touches each time she came on, and the pole dancing!

The ensemble all worked well with enthusiasm. I was particularly impressed with the number of men dancing at a high standard. Choreographer Donna Podesta had some great dancers to work with which enhanced the big ensemble numbers.

The orchestra ably led by Brendan Casey was excellent. I always miss seeing the orchestra perform but appreciate that space often means they need to be hidden away.

Director Mandie Love should be very proud of what she has achieved with this production, an energetic extremely enjoyable night was had by all.

Thank you very much for your hospitality I was well looked after by Tina, and I look forward to your next production.

These comments solely reflect the view of the Representative and can only relate to the performance seen.