Technically, ‘9 to 5’ can stop at 2

It’s easy to see why “9 to 5: The Musical” ran for only four months on Broadway. Because the book is based on the runaway hit film playwright Patricia Resnick co-authored, and with music and lyrics by Dolly Parton, you expect more. Then, you wish for less.

The show contains unnecessary scenes, and the click track, complete with voiceovers by Parton, contains the obligatory title song that opens and closes the show with a finale rendition that goes on much too long.

The production at the Summerlin Library and Performing Arts Center, presented by Broadway Bound and Studio One’s Summerlin Dance Academy and helmed by Michael Vojvodich, runs into technical trouble.

Design of sets, lights, costumes, and sound are un-credited, leading us to believe most everything was rented. Set dressings, props and even some costumes represented a mishmash of periods with no attention paid to details. Sound should augment, not overpower.

Vojvodich’s overall staging is good, but he distrusts himself with set changes. Some are seamlessly incorporated into the action, but others are not.

Ashley Oblad’s high-energy choreography is fitting, though perhaps overly suggestive. For the most part the young cast does an admirable job. There are some very talented dancers in the ensemble who deftly execute the required snap and pose. Musical Director Alex Cheney found some powerhouse voices and put them to good use.

The lead female roles are double-cast, denoted as Red and Blue, and on opening night we were treated to the Blue.

Darby Sorich is a joy to watch and practically steals the show. Her Violet Newstead is wonderfully presented with all the attitude expected of a woman being kept down in the corporate world. Using a look, a beat, a double-take, an unexpected vocal inflection, Sorich’s perfect timing adds to the humor.

Rachel Martinez does her best to mimic Parton in dialect, vocal inflection, and attitude, but lacks the spunk you expect from Doralee. Even before the transition from disliked country girl to co-conspirator there should be a bounce and confidence in her.

Cambry Salway as Judy Bernley is the weakest of the female leads, but only because the acting style doesn’t meld with the rest of the performances.

Jackson Langford portrays smarmy and sleazy to perfection in his role of Franklin Hart Jr., the boss everyone loves to hate. There’s a maturity in Langford’s performance that belies his age. He embraces every moment, every note and every movement with such believability that we hate him as much as his underlings.

Supporting roles feature some standout performances, particularly Christy Ward as Roz, who lusts for Hart with a tremulous voice, and Aviana Glover as Margaret, who is always tipping her flask to get through the workday.

There’s a lot wrong with this production, but it’s mostly on the technical end because the cast is pretty darn good.