Review: 9 to 5 - Ulster Operatic Company

Society Name: Ulster Operatic Company

Show Name: 9 to 5

Adjudicator Date of Attendance: 11/10/2025.

Ulster Operatic Company’s 9 to 5 was a high-energy, polished, and hugely entertaining production that captured the humour, empowerment, and nostalgia of this beloved musical. Brimming with confidence and professionalism, it balanced sharp comedy with a genuine sense of heart and camaraderie. From the opening number to the final bows, it was a slick, joyous evening of theatre that never took itself too seriously but always took its craft seriously. The creative team worked in clear harmony, ensuring that the show’s message of solidarity and resilience shone through while keeping the audience laughing throughout.

Director Tony Finnegan approached 9 to 5 not merely as a musical comedy, but as a fully realised piece of theatre with emotional depth and clear storytelling. His attention to detail was superb, evident in the natural rhythm of dialogue, the clarity of storytelling, and the cohesion among the characters. Tony’s greatest achievement lay in his mastery of tone, allowing the show’s humour and absurdity to sparkle without ever tipping into farce. He made space for both belly laughs and quiet moments of sincerity, ensuring the audience laughed with the characters, never at them.

The pacing of the production was particularly strong. Scene transitions flowed seamlessly, and Tony’s understanding of momentum meant that energy was never lost, even during quieter scenes. The ensemble work was tight and alive, each performer contributing to a fully populated world where everyone’s presence had purpose. Most impressive was how the three leading women were balanced; Tony gave each her own emotional journey, while crafting believable, supportive relationships between them. Their camaraderie felt effortless, a testament to the trust he built within his cast. The direction was both intelligent and joyful, filled with moments of subtle observation and sharp comic timing that made this production a complete success.

Musical Director Wilson Shields ensured the show’s musical heartbeat was vibrant and cohesive. The orchestra under his baton provided a full-bodied, polished sound that captured the distinctive pop-country sparkle of Dolly Parton’s score. From the punchy opening chords of “9 to 5,” the band established a sense of drive that carried through the entire evening. Wilson drew confident performances from both cast and chorus, diction was clean, harmonies were beautifully balanced, and tempos were perfectly judged to keep energy high without rushing the emotional beats. There was a clear sense that the cast trusted him implicitly.

Numbers like “Let Love Grow” and “Shine Like the Sun” benefitted from his fine control of dynamics, moving effortlessly between tenderness and exuberance. On a few occasions, particularly under spoken dialogue, the instrumental balance leaned slightly heavy, but this was a small quibble in an otherwise excellent sound picture. The consistency of musical tone throughout was a highlight, Wilson captured the essence of the era while giving it modern theatrical freshness. The orchestra’s energy and precision kept the production buoyant and cohesive from start to finish.

The choreography, designed by Matthew Watson, was another highlight, dynamic, playful, and perfectly tailored to the show’s world. His routines were never mere decoration; every movement served the story, advancing characterisation or supporting transitions with flair. His sense of space and formation was exceptional, creating continuous visual interest without chaos. Each dance number had purpose and personality, whether it was the jazzy confidence of “One of the Boys” or the dreamlike theatricality of “Dance of Death / Cowgirl’s Revenge.” The choreography remained faithful to the style of the period while maintaining a crisp modernity that kept the audience engaged.

Matthew’s collaboration with Finnegan was evident throughout. The movement complemented the comedy rather than competing with it, enhancing emotional moments and giving the production momentum. The cast executed his work with precision and enthusiasm, resulting in choreography that was always character-driven and never gratuitous. This was choreography that elevated the show’s storytelling while celebrating the joy of performance.

At the centre of the production were three exceptional leading women whose chemistry and individuality carried the emotional and comedic weight of the show.

Aideen Fox’s Judy was endearing and refreshingly real. She captured Judy’s awkwardness and vulnerability early on, letting her gradual empowerment unfold naturally. Her expressive face, gentle humour, and crisp vocals made “Get Out and Stay Out” one of the evening’s most affecting moments, a number that combined emotional truth with vocal strength. Aideen’s performance was quietly powerful, and her transformation felt earned and uplifting.

Liz Wilson’s Violet was commanding and assured, a portrayal rooted in intelligence, wit, and quiet authority. She balanced sarcasm and sincerity with expert precision, her timing impeccable, and her vocals both strong and controlled. She anchored the show with warmth and poise, her connection with both Judy and Doralee entirely believable. She exuded the grounded energy of a woman used to holding everything together while subtly letting the audience glimpse the heart beneath the professionalism.

Niamh McAuley, as Doralee, brought Dolly Parton’s iconic role to life with charm, confidence, and striking authenticity. Her accent was pitch-perfect and sustained consistently throughout, and she radiated charisma from her first entrance. Niamh balanced humour and heart perfectly, infusing Doralee’s resilience and generosity with effortless ease. Vocally she was outstanding, and physically she moved with confidence, embodying the role in both energy and presence. Together, the trio were electric, distinct yet harmonious, funny yet sincere. Their friendship scenes, particularly their smoke-filled plotting session, were a joy to watch and epitomised the show’s message of unity and empowerment.

Samuel Moores’s Franklin Hart Jr. was gloriously repellent and hilarious. He leaned fully into the character’s sleaze and ego without ever losing the comedy’s balance. His physicality was bold and unapologetic, and his interactions with the leading ladies showed great trust and comic control. His voice carried authority, and his exaggerated bravado was matched by just the right amount of ridiculousness to make him watchable rather than one-dimensional. Samuel understood exactly what this role required, total commitment and timing, and delivered both in spades.

Serena Smart’s Roz was an absolute scene-stealer. Her comedic instinct was razor-sharp, and she understood perfectly how to balance Roz’s obsessive intensity with vulnerability and charm. “Heart to Hart” was an audience favourite, vocally thrilling and executed with fearless comedy. Serena was an actor in complete control of her craft; her energy, facial expressiveness, and bold choices made every moment she appeared in memorable. Her interpretation elevated the humour without losing its truth.

Among the supporting cast, Mark Comer’s Joe stood out for his sincerity and gentle charm. His duet “Let Love Grow” with Violet was tender and vocally rich, their voices blending beautifully. While his youthful appearance slightly softened the romantic believability of the pairing, his acting choices and warmth bridged the gap effectively. Sean Harkin’s Dwayne was very complimentary alongside Doralee, with a believable relationship between the pair.

He was clearly a loving supporting husband to the strong independent woman. Simon Pyper gave a short but strong turn as Judy’s smug ex-husband, Dick, managing to make the most of his scenes without overplaying them. Aoife Corr’s Margaret was a delight; her tipsy antics and comic timing drew consistent laughter without ever tipping into exaggeration. Michael McDowell brought easy confidence and authentic Southern charm to the role of Tinsworthy, though his key discovery moment could have used a little more emphasis. 

The featured ensemble members, Caroline McMichael - Candystripper, Missy - Hayley Campbell, Bob - Jackson Allen, Kathy - Jordan Rosborough, Maria - Karen Hawthorne, Josh - Neal Mullen, Doctor – Conor Martin, Detective - Stuart Archer, brought individuality and colour to the production. Their attention to character detail made the world feel bustling and believable. The office environment felt fully inhabited thanks to their work, every reaction, every bit of business contributing to the authenticity of the show’s setting.

The wider ensemble impressed in every respect. Their vocals were bright and well-blended, diction was crisp, and their harmonies locked beautifully. Matthew’s choreography was danced with precision and style, yet each performer retained characterisation, ensuring that movement always supported narrative rather than distracting from it. The energy was unflagging, and the ensemble’s commitment to both the humour and heart of the show gave it depth. Their engagement in every scene, even those at the periphery, ensured that the stage felt alive and that no detail was neglected.

Stage management, led by Andrew McKnight, was efficient and polished, ensuring that the pace never dipped. Scene transitions were handled swiftly and cleanly, maintaining the show’s rhythm. The only minor note was that crew visibility during a few live changes occasionally broke the illusion, black clothing or cast-led transitions might preserve continuity more effectively in future. The set itself was an excellent design choice, with modular units allowing for smooth transitions between scenes. Its retro textures and patterns perfectly captured the late-1970s corporate world while also providing flexibility for the more fantastical dream sequences. It was both practical and atmospheric, complementing the show’s tone beautifully.

Lighting and sound were handled with care and precision. The lighting design created a range of moods, from cool office tones to rich, theatrical bursts of colour in the fantasy scenes. Cueing was tight and well-executed, though a few breakup patterns occasionally felt out of place. Sound balance was strong overall, with clear vocal projection and a full orchestral sound, though there were moments during dialogue where the band could have softened slightly. Overall, the technical delivery contributed significantly to the professionalism of the piece.

Visually, the production was a feast of authenticity and flair. The costumes were perfectly era-appropriate, vibrant without being gaudy, and each one contributed to character definition. The attention to detail, from the cut of Violet’s attire to Doralee’s sparkle, demonstrated a deep understanding of period and personality. Hair and make-up completed the picture.

Doralee’s wigs were particularly impressive, styled with care and maintaining volume throughout even the most energetic movement. Make-up was tasteful, evocative of the 1970s but never overblown, helping the audience step seamlessly into the world of the show.

Finally, it must be said that the Front of House team completed the experience beautifully. The atmosphere upon arrival was welcoming and well-organised, setting the tone for a relaxed and enjoyable evening. Staff managed the audience flow efficiently, maintaining professionalism throughout. It was clear that Ulster Operatic Company not only delivers excellence on stage but also values every aspect of the audience experience. Their 9 to 5 was a shining example of what happens when heart, humour, and hard work align, a production as uplifting as it was entertaining.

Overall, Ulster Operatic Company’s 9 to 5 was a resounding success, a joyful, empowering production executed with flair and precision. It was professional in presentation, heartfelt in delivery, and filled with moments of genuine theatrical magic. Every department contributed something vital, from the sharp direction to the lively choreography, the musical clarity to the visual detail. Their 9 to 5 was a shining example of what happens when heart, humour, and hard work align, a production as uplifting as it was entertaining.