Images and text on this page are courtesy David Mitchell and are used with permission.

 

         Any opening night has an air of excitement, but add Dolly Parton into the mix and it becomes absolutely electrified!  Of course, everyone had heard that Dolly was in the house, so you could feel the anticipation as soon as you arrived in the lobby of TPAC. Your journey back to the play's setting of 1979, begins with the specially designed stage curtain, adorned with 70s Pop Culture images, like Donna Summer, Jimmy Carter and the Pet Rock, with a giant clock in the center .          

         As the house lights dimmed, the familiar opening chords to the title song filled the theatre, Dolly's appeared on video in the middle of the clock to serve as narrator of the show.  Dolly's video appearances introduce the characters and guides the audience through the show, popping up intermittently.          

         The three leading ladies Diana DeGarmo, Dee Hoty and Mamie Parris, stepped into the shoes of their well known characters and mixed the familiar with a brand new take. Dee Hoty's Violet was a convincing performance portraying the struggle within herself to be recognized for her strength, at the same time, exploring her emotional side with an (inexplicable) office romance. Dee 's singing voice was husky and commanding, certainly bringing Violet's strength into the musical score.         

         Mamie Parrish's  portrayal of Judy began with a feeling of the familiar nervousness that we all feel heading into a new job and  wound up a gun totin' independent 1980's woman right before our eyes. Parrish's take on the “getting rid of Dick” tune “Get Out and Stay Out”, had the crowd rallying behind her.          

         All of the performances were fantastic, but, Diana DeGarmo, blew the roof off of the Tennessee Performing Arts Center , with her characterization of Doralee. Though Megan Hilty's timing and vocal ability were great in the original cast, she never seemed quite relaxed in her southern accent and it had an effect on Doralee's effortless likeability. Her awkwardness not only made the made the character's humor and spunk seem forced and a bit awkward, but, the musical performances seemed more of a calculation , than an emotional outpouring.        

         Not so with Diana DeGarmo, her southern accent flowed and bubbled like a mountain stream. Just like Dolly's original, Diana's Dorlaee was bouncy and upbeat, with a heart as big as her hair. Her vocal performances are both powerful and delicate; the tender delivery of “Backwoods Barbie” prompted some audience members to softly sigh “awww” in response to Doralee's musical lament of her treatment  by co workers. Just a few scenes later, her performance of the empowerment anthem “Change It” had the office dancing on the desk , and soon after that , her sassiness elicited cheers as Doralee told Mr.Hart, that she would change him from a “rooster to a hen with one shot !”.  From giggly to heartwrenching, DeGarmo's Doralee had the crowd  in the palm of her hand!                 

         The show was hilarious and the music performances were really exceptional. By the end of the show, the audience had shot to their feet in a thunderous ovation, that lasted well after the curtain dropped. Then , when the curtain came up for a second time, Dolly herself was center stage. Dolly thanked the audience for coming and in true DP style, then went on to introduce and praise not only, 9 to 5's scriptwriter Patricia Resnick and director/choreographer Jeff Calhoun, but the entire cast and crew of the show. She talked of being thrilled that “ 9 to 5” 's national tour kicked in off her very own Nashville and how proud she was especially of Diana DeGarmo portrayal of Doralee Rhodes. Then, Dolly sent everyone out in true  in her typical down home style, by saying . “ Thanks again for coming and I'm gunna shut up now, 'cause I know you're all bustin' to pee! Bye,bye.”       

         A truly great theatre experience.