9 to 5

When I first started reviewing, some 6 years ago now, my first foray into Community Theatre was Fab Nobs. I’ll admit I was dreading it, but this little company, which always punches well above its weight, opened my eyes and not only made me a fan of their work, but a devotee of all great Community musical theatre – and believe me Melbourne has the best in the country. Fabnobs may not have access to the production budgets of PLOS or CLOC, but there’s the same level of commitment to excellence and talent.

Their new offering is Dolly Parton’s 9 to 5, though in truth it’s Dolly’s music and lyrics, with a book by Patricia Resnick (and therein lies the weakness!). Set in 1979, it tells the eternal story of women’s struggle for equality in the workplace against a “sexist, egostistical, lying, hypocritical bigot” boss whom they eventually, literally, string up.

It’s light-hearted fun with a few belly laughs and, if you can’t get Dolly, Jane Fonda and Lily Tomlin, you could do a lot worse than Rachel Tigel, Alison Coffa and Lizzie Matjacic – surely one of the best and most versatile musical actresses on any stage - she is simply Matjestic (see what I did there?)

The three have a marvellous rapport together which, together with oodles of stage presence and Matjacic’s natural command of virtually every number, grabs the audience in the first five minutes.

Tigel’s Doralee doesn’t have the force of Parton herself, but she brings a certain vulnerability to the role, which is a nice contrast to the necessary feistiness. Coffa’s Judy is always credible, from the uncertain jilted wife trying to find herself, to the self-assured woman who owns her own space. Matjacic’s Violet benefits greatly from the actress herself being a psychologist. She knows all of this character’s baggage, every battle she’s had to fight, and she’s still standing. There’s no sense that this Violet will just lie down and accept what life is dealing her. While Lily Tomlin is a somewhat plain actress, Matjacic plays to her wild attractiveness. She is what Europeans call “Softig” and those physical attributes add another dimension to the character who is reluctant to let any man close to her.

As their nemesis, the sleazy boss Franklin Hart Junior, Ash Cooper is delightfully nasty and always impressive. There’s a great voice that doesn’t get much chance to shine, a natural authority on stage, and a strong sense of comic timing. Far younger than the role requires (Dabney Coleman was at least 25 years older), he still manages to convince us and is a talent to watch out for in the future.

Also impressive is Jen Bush as Roz, the personal assistant who lusts after her boss under a demure exterior. She’s another fine music theatre performer.

And, in the cameo role of “lush” Margaret, Genya Mix is wonderfully convincing and almost steals the show on a couple of comic occasions.

Kim Edwards direction is confident and effective and she designed the clever set. Fabnobs is such a small performing space that it’s always a treat to see how the space will be re-imagined. In this case she’s managed to find room for an elevator and a toilet literally in the closet!

Sally McKenzie, a fine performer herself, takes on Musical Direction this time but she has a few nervous members in the otherwise excellent band – and a few bum notes or a missed chord couldn’t dampen the overall energy or enthusiasm in this production.

Kudos to everyone involved.

The only negative in the night was the consistent problem with sound, but hopefully that will all be settled in a couple more performances.

I am leaving Victoria, but I want to thank this very special company for the pleasure it’s given me over the years….with Next to Normal and The Drowsy Chaperone. I shall miss them immensely (and the licensed bar and nibbles!) Luckily, those of you here in Melbourne will still have the chance to see them regularly, with three productions a year. Thanks and Chookas, Fab Nobs.

Coral Drouyn