Dolly Parton's most famous song - and film - has been a stage musical for a long time now, and is always a popular choice. I do wonder how it will fare once the younger generation start to take over (those who have never heard of her) - but for the time being, we are blessed with this comedic but cautionary tale about male chauvinism and an all hail to 'Girl Power!'. I have to admit to having seen this show several times over the years, both amateurly and professionally, but to my knowledge and remembrance never seen it with the introduction and ending performed by a pre-recorded Dolly Parton herself introducing and closing the show. This was a new innovation for me and I enjoyed it.
This was a high octane production which was faithful to both the milieu and the writers, with a solid through-line, signposting the narrative clearly, with some excellent characterisations which were rounded and hilarious, taking inspiration from the more famous performances of these people, but not producing copies, making them their own, which was both refreshing and excellently placed.
We are in the 1970s in the USA, and a large and successful firm takes on a new employee. the boss is the archetypal misogynist whilst his pool of typists have to behave in 'the company way'. However, three of these ladies have had enough, and between them (and the smoking of some pot!), come up with a plan to get their own back and take the company from strength to strength with kindness, humanity and genuine understanding of the needs of the employees. 'A woman's touch' (oops, that's the second wrong musical quote so far!)
The three 'stars' of the show, each with their own differing characters and reasons for rebellion, were truly outstanding, and they worked superbly together. Sophie Lord played Doralee (the role taken by DP herself!). Lord managed to inject a degree of humanity into this role that is often missing in others' interpretations, and she was a sympathetic and 'real' character rather than a dumb blonde caricature that it could so easily have been. Violet Newstead, the office overseer (for the want of the correct phrase!) was played with a huge burst of creative energy and indeed talent by Kathryn Gorton. Her infrequent but more intense and softer moments on stage showed real insight. The trio was completed with Sarah Thewlis as the willing newbie without a clue, Judy. Again another noteworthy performance.
Jon Crebbin relished his role as the company boss, pitching his character just right as Franklin Hart. Who was, in his own words, a sexist, lying, egotistical, hypocritical, bigot. Another highly noteworthy and lovely performance (with a stunning transformation!) came from Scarlet Dickinson as Ros Keith. We all truly enjoyed her duality. The cast completed with other solid performances from Sam Reid as Joe, Jack Martin as Dick, Gareth Roberts as Dwayne, and an enthusiastic and nicely sounding chorus and ensemble. Accents were generally very good and consistent throughout.
Directed with gusto (Nick Angus) and choreographed with verve (Jennie Miller and Hannah Gent), this was a great and highly creditable addition to the society's accolades. The musical direction was deftly done by David Abendstern, my only criticism would be that sometimes the music overpowered the onstage choral effects, but that has more to do with the sound department than the music I feel. Both director and choreographers had taken into account both the size and shape of the set utilising space well, as well as making sure no-one felt left out and was not tasked into doing something that was beyond their capabilities..
This was opening night and so there were a few obvious hiatuses, but these are completely understandable and forgivable. Overall a feel-good positive and rousing show of which the company should be rightly very proud.
Reviewer - Alastair Zyggu
on - 17.3.26
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