There’s always a buzz in the air on an opening night at the Grand Opera House, but few productions have generated quite the sense of excitement that greeted Ulster Operatic Company’s latest offering, 9 to 5 The Musical. Adapted from the 1980 film made famous by Dolly Parton, the show is a celebration of friendship, resilience and female empowerment, all wrapped up in big laughs and irresistible country-pop tunes.
Ulster Operatic have developed a reputation for consistently strong productions. Their recent runs of Legally Blonde and Evita were both high points in the company’s history but this time, they’ve truly raised the bar. 9 to 5 is by far their most polished, vibrant and entertaining show yet, combining first-rate performances with top-notch direction, dazzling choreography and a real sense of joy that radiated from the stage.
From the very first number, the audience was swept up in the energy of the production. The familiar opening chords of “9 to 5” were met with instant applause, and from there the pace never faltered. What followed was two and a half hours of pure escapism and is a musical bursting with humour, heart and toe-tapping tunes, performed with the kind of enthusiasm and precision that would put many professional productions to shame.
At the centre of it all were three outstanding leading ladies who anchored the show with charisma and chemistry. Liz Wilson was sensational as Violet Newstead, the capable and quick-witted office manager who holds the workplace together while quietly battling for recognition. Wilson’s performance was wonderfully nuanced. She is sharp and funny one moment, heartfelt and sincere the next. She brought a quiet authority to the role, matched by a natural comic timing that made her every scene a delight.
As Doralee Rhodes, Niamh McAuley was a revelation. Channelling Dolly Parton herself, McAuley captured every detail of the role, from the southern twang to the confident strut. Vocally, she was exceptional, bright, warm and utterly authentic. It’s no exaggeration to say that at moments, you could have sworn Dolly herself was on stage. Her performance was infused with charm and sincerity, ensuring that Doralee never slipped into caricature but remained a fully rounded, lovable character.
Completing the trio, Aideen Fox delivered a powerhouse turn as Judy Bernly, the timid new recruit who blossoms into independence. Fox’s journey from nervous newcomer to empowered woman was beautifully charted, and her vocals were nothing short of spectacular. Her rendition of “Get Out and Stay Out” stopped the show in its tracks, earning one of the loudest applauses of the night. With the voice of a West End star and the emotional depth to match, Fox was a true highlight of an already impressive cast.
As the despicable boss Franklin Hart Jr., Samuel Moore was perfectly cast. He balanced sleaze and slapstick with comic flair, relishing the villainy of the role without ever tipping into pantomime. His interactions with the trio were sharply played, adding a satisfying sense of conflict to the story.
Director Tony Finnegan deserves enormous credit for shaping a production that was as tight as it was entertaining. The pacing was spot-on, allowing the comedy and character moments to land naturally, while never losing the buoyant momentum that drives the show forward. Finnegan’s direction captured the humour and feminist bite of the original film while keeping it light and accessible, exactly as it should be.
The choreography, by Matthew Watson, was another triumph. Every dance number was meticulously crafted, from the lively ensemble routines to the more intimate character moments. The movement was crisp, imaginative and bursting with personality, perfectly complementing the infectious score. Musical Director William Shields BEM ensured that the music sparkled throughout, with the orchestra delivering a vibrant, full-bodied sound that filled the theatre.
Visually, the production impressed too. Clever use of sets and lighting allowed for swift scene changes without ever breaking the flow, and the costumes captured the colourful flair of late-1970s office life. Every element came together to create a cohesive and visually engaging experience.
By the final curtain, the entire audience was on their feet, clapping and cheering along to the reprise of “9 to 5”. It was a well-deserved standing ovation for a company firing on all cylinders.
Ulster Operatic Company has produced a show that is laugh-out-loud funny, musically thrilling, and full of heart. 9 to 5 The Musical is a joyous celebration of talent, teamwork, and pure theatrical fun, and it reminds you why local theatre in Northern Ireland continues to thrive.
If you only see one musical this year, make sure it’s this one.
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