Review: 9 to 5 The Musical, Savoy Theatre

As 9 to 5 The Musical announces its closing dates and forthcoming cast changes, I go along because I can’t resist Bonnie Langford

“Respected and high class,
I don’t have to kiss ass
For the first time since I’ve been employed”

The pictures above should give you an indication as to who the real star of 9 to 5 The Musical is, no matter how red the trunks (or surprisingly long the legs) of David Hasselhoff. I first saw this cinematic adaptation in 2012 on its UK tour and loved Bonnie Langford’s performance so much it ranked in that year’s best. So her return to the show in its West End debut last year was great to behold (even if it didn’t quite tempt me along to see it again).

It’s a curious one, Patricia Resnick’s adaptation of her own film sprinkles the story with the rhinestone glitter of Dolly Parton’s songbook, far beyond the iconic title track and is possessed of a huge spirit of fun. But the tale itself, of the struggle for women’s equality in the workplace, demands a little more gravity than it ultimately gets here. How seriously are we meant to take sexual harassment when it is accompanied by the Colgate smile and eye twinkle of the Hoff. Continue reading “Review: 9 to 5 The Musical, Savoy Theatre”

Review: The Bubbly Black Girl Sheds Her Chameleon Skin, Theatre Royal Stratford East

“I’ve decided I’m going to be white”

Just a quickie for The Bubbly Black Girl Sheds Her Chameleon Skin as it closes in a couple of days and I have to say, I was a little bit disappointed with it. Kirsten Childs’ musical follows its protagonist Viveca from childhood in 1960s LA to 1990s New York, from a relatively sheltered middle class life to the harsher realities of trying to make it as a dancer on Broadway, plus navigating her way through the racism and sexism inherent in so much of contemporary society.

But though there’s much in the story that resonates (it is partly based on Childs’ own experiences), the show never quite connects in the same way. It picks with a magpie-like glee at a world of musical theatre references without really settling into its own identity, and musically the mix of Motown, pop and r’n’b feels a bit scattershot. Josette Bushell-Mingo’s production has surface glamour but even with Karis Jack and Sophia Mackay splitting the role of the younger and older versions of Viveca, there’s not enough of the grit to really ground the story.

Running time: 2 hours 20 minutes (with interval)
Booking until 11th March