KATE KINNALLY, Theater Critic  No stranger to sexism in the workplace, Kate Kinnally has encountered it in a newspaper office, off-Broadway, in broadcasting, book publishing, and in regional entertainment venues. But she still loves to write, review, and enjoy the magic of live theater.

When 9 to 5 (the movie) became a cult hit, making the top 20 highest-grossing comedy film list, the next step was a natural. Grammy Award-winner and movie co-star Dolly Parton re-invented the film, creating 9 to 5: The Musical.

With a country and pop flavor, music and lyrics by Dolly Parton and book by original screenwriter Patricia Resnick, 9 to 5: The Musical received its own Grammy nod.

Now on stage at Post Playhouse, the show about women conspiring to change sexism in the workplace maintains its popularity. The ensemble cover of Parton’s hit title song is joyous and energizing, but the requisite opening and closing video clip of Dolly Parton narrating and summarizing events actually detracts from the live on-stage action. Tom Ossowski’s production of 9 to 5: The Musical is so good, it stands on its own.

From the instant the company sets foot on stage, we are wondrously transported to the Feminine Mystique-inspired era—history to some, our lives to others.

The mix of forgotten hairstyles (ultra long, tempered pageboy, bouffant, crisp bun, pixie, and cascade) and costume designer Pheobe Boynton’s wide array of style (three-piece suits and ties, pleated plaids, bellbottoms, mini-skirts, floral prints) bring it all back.

Mark DeLancey’s sets are wholly evocative of the time, from pre-electric typewriters and corded telephones with fast, efficient changes to living room, bedroom, and hospital scenes.

The show’s focus is on three vastly different women who bond in the face of office adversity, when an intolerant and intolerable boss pushes them over the edge and a night of shared fantasizing abruptly turns sitcom serious.

Jorie Janeway is perfect as Violet, the jaded woman who has seen and suffered through it all for the last time. An amalgam of Lily Tomlin (who created the role on the big screen) and Carol Burnett, Janeway runs the gamut from confident to confidante to casualty of circumstance in a credible heartbeat.

As Doralee, the misunderstood and wrongfully labeled (and shunned) boss’s newest conquest, Paige Salter takes a turn as Dolly Parton clone, complete with country twang.

Early on, Salter wins audience approval with Backwoods Barbie, a lament on how a “simple country girl” can be judged on appearance alone. “Where it counts, I’m real,” she protests, inviting all to look beyond the bleached hair, heavy make-up, long legs and short skirt, tiny waist and ample bosom.

Janet McWilliams undertakes Judy’s life journey, which underscores the message of the Mary Tyler Moore theme I Just Might Make It On My Own. Dumped by her husband for a younger woman, Judy enters the workplace with no skills, a strong sense of loss, and a misplaced identity. Going against the Jane Fonda type of the movie, McWilliams’ Judy is more of a Donna Reed reinventing herself without abandoning the pearls. She has us rooting for her from downtrodden discard to self-discovery and independence.

The show is about woman’s empowerment, so with the exception of the evil executive, the male cast members (as excellent and enthusiastic as they all are) play second fiddle, echoing the typical office hierarchy in reverse. It is the women we care about, and the Post Playhouse actresses make the stereotypical characters real.

Britte Steele, once more playing a character who observes and keeps a list, may not be appreciated by Consolidated Companies’ everyday women, but she had the audience on her side with a word and a song (Heart to Hart).

The overly proficient Roz, right-hand “man” to the Big Guy, is a recognizable office type—a woman in love, in vain, with the boss. “I’m in love; I’m in heat,” this red hot mama sings and she—and the song—are showstoppers.

We feel for Annabelle Fox’s Maria (fired on a pretext), Samantha Matthews’ Margaret (who drinks too much—and who wouldn’t?), and even Nicole Blaylock’s poor Kathy, who just plain doesn’t like change. We know these women; we like them, and there’s something about the actresses’ demeanors that hints about their lives, loves, and pain in the hours after five.

Patricia Resnick’s script has good, funny lines—a sharp wittiness that requires tight pacing. The “girls” are right on target. The fun is augmented by Tommy Wallace’s choreography, which adds exuberant and delightfully unexpected moments—notably tap dancing, high synchronized kicks, and a male ensemble rolling beneath a celebratory Janeway. (You have to see it!)

Donald James Fox’s lighting aptly sets the tone for each scene, especially when the show moves back and forth between reality and fantasy. Each layer of the show’s descent into mayhem is greeted by the audience with spontaneous “go-girl” applause and even boo’s and hisses when the villain boss cracks crass, sexist jokes. There’s no holding back and the audience laughs out loud, applauds, and thoroughly buys in to outrageous, no-nonsense surprises.

Music director Aimee Radics guides the company through complex music that has a deceptively effortless feel to it—down-home country and upbeat pop mating seamlessly, supported by John Millerd’s excellent sound design which ensures that no one in the audience misses a beat.

Although one of the many women’s movement points driven home in 9 to 5 is that you don’t need a man to validate you, the show just wouldn’t work without the wonderful actors to complement the “better half.”

At the top of the list is Sean Cleary, whose wicked boss earns the fury of women on and off stage. He is handsome enough and earnest enough in his lust for Doralee with just the right amount of callous arrogance and sense of entitlement…the villain we love to hate.

Sean Barrett exudes the overt sexuality of Doralee’s man Dwayne, a remnant of the post hippy era, while Stephen Beard nails the appropriately named Dick, Judy’s ex-husband, who wants it all but hasn’t a clue what “all” entails.

Dan Denton has sincere untried youth written all over him as Violet’s precocious teenage son. (He has yet to be indoctrinated into the brotherhood of man.) And Don Denton’s Joe reminds us that not all men are bad or grasping or seeking something they shouldn’t have. Denton makes you believe that Violet should let down her guard and trust him.

Andres Robledo manages to play a fleeting variety of characters as if they were full-fledged men and not just convenient props to advance the story. Post Playhouse board president and Alliance resident Wally Seiler brings everything to a head as the genial boss’s boss who is far enough up the food chain to wield a greater power.

In the end, 9 to 5 is about far more than blatant sexism, it is about taking control of your life—and having a rollicking good time at Post Playhouse.

9 to 5: The Musical

Director: Tom Ossowski

Music Director: Aimee Radics

Choreographer: Tommy Wallace

Set Design: Mark DeLancey

Costume Design: Pheobe Boynton

Lighting Design: Donald James Fox

Sound Designer: John Millerd

Stage Manager: Ken Phillips

For Tickets: Call the Box Office at (308) 665-1976 or buy on line at www.postplayhouse.com .