ON THE RECORD: Dolly Parton's 9 to 5 and Leroy Anderson's Goldilocks

By Steven Suskin
19 Jul 2009

ON THE RECORD: Dolly Parton's 9 to 5 and Leroy Anderson's Goldilocks

We listen to the original cast album of the new Dolly Parton musical 9 to 5, along with composer Leroy Anderson's symphonic renderings of selections from his 1958 musical Goldilocks.

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9 TO 5 [Dolly 925-Butterfly]
Let us suppose that you are in the process of musicalizing a popular movie remembered for, among other things, a catchy-and-instantly-recognizable title tune. Yes, you can take that title tune and turn it into a big, scene-setting, all-stops-out opening number; this will presumably get things off to a lively and energetic start. What's more, you're likely to remind the audience of just how much they enjoyed the movie. (If the audience, in general, didn't enjoy the movie, it's unlikely that you'll be musicalizing it for Broadway. Or is it?) But, then what do you do? I mean, for the next two hours.

If the stage score is better than that catchy-and-instantly-recognizable title tune, or let us simply say as entertainingly pleasing as that catchy-and-instantly-recognizable title tune, then you may breathe easy. Otherwise, you are likely to find that you have done precisely what you mustn't do in a Broadway musical: peak at the opening and then fall off a proverbial cliff. 9 to 5, the new musical that reached town after a problematic West Coast tryout and found an equally troubled reception here, does just that. 9 to 5 is one of those brash comedy musical comedies which has followed on the heels of Hairspray. There is a place for musicals of this sort, certainly; a tip-top comedy musical comedy is irresistible, and not to be taken likely. (How to Succeed in Business without Really Trying, A Funny Thing Happened on the Way to the Forum, and Promises! Promises! remain high on my personal list of the funniest nights I've spent on Broadway.) 9 to 5, alas, does not follow in those illustrious footsteps, nor even Dirty Rotten Scoundrels or Legally Blonde.

It has become a cliche for us to unseal our new CD, break off that security tape (and sometimes a fingernail in the process), and proclaim: gee, it sounds much better than it did in the theatre. Not this time, it doesn't. Ms. Parton — Dolly Parton, that is, the country-Western singer/writer who crossed into mainstream stardom with her performance in the 1980 film "9 to 5," not coincidentally receiving an Oscar nomination for the catchy-and-instantly-recognizable title tune — has written the score and apparently served as the sparkplug for the whole shebang. Parton is a celebrated and record-setting songwriter in her field, and a good one. But the songs for 9 to 5, except the aforementioned "9 to 5," don't exactly enhance the theatrical experience.

Comparisons might be in order with Mel Brooks, of all people. Mr. Brooks does not have the musical experience of Ms. Parton; but what he demonstrated, in The Producers, was the ability to write musical comedy songs. Nothing that will cause the ghosts of Styne, Comden, Green and Loesser to tremble in their silver slippers, of course; but within the context of Bialystock & Bloom, and within the context of the two hours we spent in the St. James, those songs positively heliuminated — to coin a new word — The Producers. The Parton songs of 9 to 5 might be better songs, some of them, but they don't heliuminate the show. They don't actually deflate it, either. It's difficult to deflate a balloon that is only partially filled. Especially when half the helium is expended on the catchy-and-instantly-recognizable title tune in the opening spot.

PS: If we were maintaining an honor roll, we would enroll Ms. Alison Janney here and now; and we would issue a special citation to Mr. Marc Kudisch for triumphing over the material handed him. Continued...