Majesty Scott, Jessica Coker, and Malia Abayon Photo by Jon Bauer

Though Brantley didn't seem to have a good time, I and the audience at Ray of Light Theatre's current production of the show laughed and cheered at this feminist fable, thanks to a terrific cast performing a two hour and 20 minutes version on a wonderfully flexible set (by Matt Owens), with solid backing from Jad Bernardo's orchestra playing an energetic score with music and lyrics by Dolly Parton. (What can't that woman do?!)

If you saw the 1980 film (#74 on AFI's list of 100 Funniest Movies), you'll recognize all the plot points (the book is by Patricia Resnick, who also co-wrote the film with Colin Higgins), but it's been reinvented with some delightful songs (along with the original movie theme of course) and energetic, imaginative choreography by director/choreographer Christina Lazo. The songs–as they should in a musical–help move the story forward, but they also delve a little deeper into characters' backgrounds and dreams. Roz (Mary Kalita) reveals a secret lust for sexist, bigoted, authoritarian boss Franklin Hart (Will Giammona) in the song "Heart to Hart" (backed by the women of the chorus, all in different little black dresses); office manager Violet (Jessica Coker) imagines a time when she could be CEO in "One Of The Boys"; and Doralee (Malia Abayon) gives us some of her background in the tune "Backwoods Barbie."

Despite Parton's music generally falling into the category of traditional country, she has penned some truly fun numbers that also serve the story well. "Around Here" establishes the toxic work environment at Consolidated Industries: "You gotta get it right on the first try, honey, 'cause each mistake means they're losing lots of money, and we got no time to waste a dime around here," which put me in mind of "Racing with the Clock" from The Pajama Game. The second act number, "Change It," is an appropriate anthem to go along with the women's nascent sense of self-empowerment: "Nothin's gonna change if you don't change it." There is sometimes a country feel to the songs, but most of the time they sound like Parton put on her musical comedy hat when writing the score.

The first thing you notice upon entering the Victoria Theater is Matt Owens' set design, composed of 20 or so large (perhaps 5'x7') frames that resemble a watch's bezel. These not only reinforce the idea of being under time pressure, but also serve as frames for projected images (video design by Erik Scanlon, graphic design by Yrving Torrealba) to help establish locations–and to project videos of Dolly Parton herself setting the scene–and reminding us the show is set in 1979, when typewriters and carbon paper were still in use.

But perhaps the best thing about this production of 9 to 5 is the superb cast Ray of Light has assembled. The three leads work as a smooth unit, even when they are playing chaotic scenes. Jessica Coker is a terrific singer and gets multiple opportunities to show off a strong belt. Abayon gives Doralee the same sort of solid, no-nonsense attitude that Parton herself displayed in the film: she's uber-polite and accommodating–until you push her too far, and then her toughness is revealed in all its ferocity. As the nebbishy noobie Judy Bernly, Majesty Scott is all fluttery and flustered at first, and though her character grows in confidence as the show progresses, Scott manages to maintain just enough flightiness to keep Judy fun to watch. Plus, she has a megawatt shriek that she reserves for just the right moment.

I imagine director/choreographer Lazo got very little sleep during the lead up to opening night, given she had to not only block a large cast on a set that was often being transformed from scene to scene, but also create some wonderful choreography that the chorus seems to absolutely adore, so explosive and thrilling are their moves. I don't know whether music director Jad Bernardo did something right, or Matt Owens' set somehow deserves the credit, but the sound in the normally acoustically-awful Victoria Theater was actually not bad at all.

There's a lot to like about 9 to 5 The Musical, but only a brief time left in the run. The house was nearly sold out the night I went, so get your tickets soon, because this is what musical theater is for: a great night out that lifts your spirits.

Ray of Light Theatre's 9 to 5 The Musical runs through September 27, 2025, at the Victoria Theatre, 2961 16th Street, San Francisco CA. Performances are Wednesdays - Saturdays at 8:00p.m., with 2:00p.m. matinees Saturdays and Sundays. Tickets are $25-$75. For tickets and information, please visit www.rayoflighttheatre.com.