9 to 5 as presented by Queen's Musical Theatre Society

Society name: Queen’s Musical Theatre Society

Show name: 9 to 5

Adjudicator date of attendance: 01/03/2025

Brief Overview of Show and Evaluation of Front of House

Queen’s University Belfast’s production of 9 to 5 offered an energetic, feel-good evening of theatre. This vibrant musical, set in a 1970s office, celebrates friendship, resilience, and female empowerment. The production leaned confidently into these themes, supported by a dedicated cast and creative team.

Front of House was friendly and professional. The welcome was warm, signage was clear, and there was an excited buzz from the audience before the show. These small but significant details created an encouraging and enjoyable atmosphere, setting the tone for the evening.

Director- Direction and Production

Charlie McCready showed strong potential as a developing director. The show had a coherent flow, and the overall tone remained consistent throughout. Scene transitions were well-paced, and the company demonstrated a good understanding of the show’s style and comedic beats.

Some moments in the staging would have benefitted from more careful blocking. Group scenes in particular occasionally lacked visual clarity or natural movement. Collaborating more closely with lighting and choreography teams could help strengthen these moments, ensuring that physical staging supports the action effectively.

Charlie laid a solid foundation for character development, especially among the three leads. Encouraging actors to explore emotional nuance and character arcs more deeply will help future productions achieve greater subtlety and impact.

Musical Director- Direction and Orchestra

Wyatt Brower’s musical direction was a highlight. Vocal harmonies were confident, diction was clear, and the ensemble singing felt polished. The choice to perform to tracks rather than a live band was handled with care, and the cast stayed impressively in sync with the music.

Wyatt brought emotional depth to solos, supporting each performer to find their own musical style while ensuring overall cohesion. The musical dynamic throughout was strong, and the balance between vocals and track was well managed for most of the show.

Choreographer- Choreography

Russell Unsworth approached this project with enthusiasm and creativity. The choreography reflected a strong understanding of the story and music, and Russell did well to bring variation to each number. The cowboy sequence was a particular standout – lively, engaging, and well-executed by the cast.

There were, however, moments where choreography didn’t quite align with performers’ strengths. Tailoring movement to suit cast members’ abilities will help achieve more consistent results. More use of angled formations, varied levels, and stage spacing could also elevate the visual storytelling. A bolder approach to scenes like the nightclub sequence, for instance, could better reflect the mood and era.

Leading Principals – Singing and Acting

Violet - Clio Byard. Clio delivered a controlled and layered performance. Her quiet confidence grew steadily, and her vocal work was consistently strong. The emotional restraint in her portrayal was effective, though a touch more assertiveness early on could help underscore Violet’s journey.

Judy - Anna Neeson. Anna brought bright energy and warmth to Judy, with lovely comedic timing and vocal clarity. Her solo number was especially well-delivered, showcasing both vocal range and emotional growth. Her natural chemistry with the other leads added greatly to the trio’s dynamic.

Doralee - Megan Byrne. Megan’s portrayal of Doralee was confident and charming. Her accent was consistent, and her vocal power carried easily. Her physical presence, energy, and sincerity made her performance a standout. She captured Doralee’s strength and vulnerability with authenticity.

Franklin Hart - Adam English. Adam leaned convincingly into Hart’s smarmy, villainous persona. He was enjoyable to watch and played well to the audience’s reactions. With more risk-taking – particularly in physicality and comedic timing – the performance could become even more memorable.

Roz - Serena Smart. Serena gave a bold and committed performance. Her vocal strength was striking, and she clearly understood Roz’s comic potential. A touch more emotional nuance could bring out the character’s inner turmoil and heighten her scenes. Technical mic issues slightly impacted her big number, but her strong voice still carried it through.

Supporting Roles – Singing and Acting

Kathy, Margaret, Maria - Amber Monaghan, Emily Lavery, Catherine Pollen. Amber, Emily, and Catherine created a well-balanced trio in the office ensemble. Their interactions were lively and distinct yet blended seamlessly into the show’s overall rhythm. Each had a clear character identity and complemented the leads effectively.

Josh - Ethan McCarron. Ethan brought just the right amount of teenage sulk to his performance. It’s a smaller role, but he made a memorable impression and handled the role’s comedic beats well.

Dwayne - Jackson Allen. Jackson gave a gentle, heartfelt performance. His chemistry with Megan’s Doralee felt genuine and tender – a lovely grounding element in a show full of larger-than-life personalities.

Joe  - Callum Tickner. Callum portrayed Joe with charm and sensitivity. His interactions with Violet sometimes felt slightly stilted, but this may have been a character choice. A little more ease and warmth could help the romantic subplot feel more natural.

Bob - Alan Goleac. Alan fulfilled his role adequately. He hit the character notes required but might benefit from exploring more physical or vocal quirks to make the character more distinct.

Dick - Noah Glenn. Noah was an ideal fit for the role of Dick – full of swagger and appropriately punchable. His work as part of the ensemble was equally strong, demonstrating commitment and clarity in every scene.

Russell Tinsworthy - Corey Cowan. Corey brought an imposing presence to the role, though his moment of realisation regarding Franklin Hart didn’t quite land emotionally. A greater shift in energy or tone in this final scene would help the audience feel that change more clearly.

Missy - Hannah Ferguson. Hannah was wonderfully characterised. She struck just the right note of cluelessness, creating a character that was both entertaining and believable. Her vocal and physical choices worked beautifully.

Chorus and Ensemble – Singing, Acting and Choreography

The ensemble maintained strong vocal energy and tight harmonies. Each group number was carried with enthusiasm and musical clarity, adding much to the production’s momentum. Vocally, the ensemble work was one of the show's greatest strengths.

There was a noticeable variance in dance ability, but all performers remained committed and engaged. Continued focus on facial expression and emotional connection will further lift ensemble scenes. In musical theatre, storytelling doesn’t stop when you’re not in the spotlight – using the face and body to react in character helps build a more convincing stage picture.

Stage Management and Set Design

The set was simple but functional. The desks were used smartly in different configurations to help indicate shifts in location. The overall visual impact of the set could be improved with more attention to finish. Masking visible joints and adding subtle paint detailing would help elevate the look from functional to polished.

Repeated use of the same couch in various scenes could be improved with small additions, such as throws or cushions, to signify different settings. Scene transitions were mostly well-paced, though a few moments could benefit from more coordination between cast and crew, especially with timed music tracks. Reducing movement visible in the wings would also help preserve the stage illusion.

Technical – Lighting and Sound

The lighting rig available had great potential, but it wasn’t used to its fullest. Some cast were left in partial or full darkness due to patchy front-of-house focus. Ensuring performers are trained to find their light, and refining cue timing, would significantly improve visibility and impact. Colour usage was minimal, and opportunities for lighting effects – such as gobos or texture in fantasy or dream sequences – were missed. Programming could also be refined to prevent homing issues with moving lights that momentarily lit the audience instead of the stage.

Sound was generally well-managed, with good balance between tracks and vocals. A few mic placement issues were evident, particularly in Roz’s solo. While her vocal strength helped overcome this, better positioning would have improved clarity. Working with performers on mic awareness and projection, particularly when using pre-recorded tracks, will strengthen consistency.

Visual – Costumes, Hair and Make-Up

Costumes were in keeping with the 1970s setting and colour palette. The overall look was coherent, though attention to smaller details – such as ironing and fit – would enhance visual polish. In group scenes, consistency in modesty garments (particularly under red nightclub costumes) is key to maintaining a clean line. Violet’s costume changes could be streamlined to reduce backstage pressure and keep the visual storytelling smooth. Double-costuming or simplifying the wardrobe may help here.

Hair and makeup were serviceable but underwhelming for the era. Bolder eye makeup, more defined lips, and neater styling would better reflect 70s fashion and help characters stand out more distinctly. Some hairstyles felt rushed, slightly diminishing the otherwise well-considered visual aesthetic.

Adjudicator’s Overall Comments and Suggestions for Future Productions

This production of 9 to 5 had real heart. It was full of energy, commitment, and spirit, with clear enjoyment from cast and audience alike. The show’s empowering message was strongly conveyed, and the cast brought a warm and joyful energy to the material.

The trio of leading ladies were particularly well cast, forming a believable and engaging central unit. Supporting roles and ensemble brought solid vocal work and enthusiasm, while the musical direction provided a strong foundation for the performance.

For future productions, refining the technical and visual elements – especially lighting, costume details, and coordinated staging – will help elevate the production to the next level. Deeper exploration of character dynamics and choreography tailored to cast strengths would also benefit the overall cohesion.

Charlie, Wyatt, Russell, and the entire company should be proud of their work. This was a confident step forward and a heartening example of what student theatre can achieve with dedication and care. With continued growth and attention to detail, their next productions are sure to shine even brighter.

Photos are by Catherine Comer Photography