The Chicago stage production of “9 to 5: the Musical” stars (from left) Diana DeGarmo as Doralee Rhodes, Dee Hoty as Violet Newstead and Mamie Parris as Judy Bernly.

Gov. Pat Quinn took the stage at the Bank of America Theatre Wednesday night to declare it “Dolly Parton Day” in Chicago. Minutes later, the audience cheered as the country star herself walked into the spotlight.

Parton was in town to celebrate the opening of the Broadway production of “9 to 5: the Musical” in

Chicago, the adaptation of the 1980 movie that helped establish Parton as a star.
Parton then announced it was also her birthday – her 65th (but she wouldn’t say that). The audience broke out into a rendition of “Happy Birthday,” bringing a genuine smile to Parton’s face.

My girlfriend, Stacey, is a big fan of the movie, so when I asked her if she wanted to see a performance of the musical, I knew the answer before I finished the question. Despite my initial hesitation, I’m glad we went. It was a thoroughly enjoyable show and Dolly Parton being there made it even more so.

The cast takes ownership of the show and doesn’t spend too much time copying the original. Of the three main characters, only “American Idol” season three runner-up Diana DeGarmo, as Doralee Rhodes, took a few minutes to get into her groove. Who could blame her, though, with Parton watching from only feet away?

Dee Hoty as Violet Newstead and Mamie Parris as Judy Bernly are perfectly cast. There’s a hint of the original starrers, Lily Tomlin and Jane Fonda, in each of the new stars’ performances. Parris seemed to channel Mary Tyler Moore as Violet, a slight tremble in her voice as she learned the ropes of the office.

The highlight of the show, however, was Joseph Mahowald as the “sexist, egotistical, lying, hypocritical bigot” boss Franklin Hart, Jr. He fit the part perfectly. Although, Mahowald’s performance reminded me more of “Evil Dead” actor Bruce Campbell than Dabney Coleman, who played Hart in the original movie. It wouldn’t have surprised me if Hart had exclaimed, “Hail to the king, baby!” during one of his songs.

Like the movie, the songs were penned by Parton. While some of the numbers went on a bit too long, they did flow seemlessly, as if the story was originally written to be a musical and the movie was the adaptation.

I may have been hesitant to see the show at first, but by the time intermission rolled around, I was sucked in, humming “9 to 5” just like everyone else.

By STEVEN J. FERRARI

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