Just listened to "One of the Boys" on Sirius XM. What a great song. In fact, I love the score to 9 TO 5. Backwards Barbie, Get Out and Stay Out, just to name a few. I'm really surprised this show didn't have a better run. And I've certainly heard what, IMO, are lesser scores that have won Best Score. Dolly is truly one of the greatest song writers of our time, penning over 3,000 songs (including one of the best selling singles of all time). It's not fair to say she was 'robbed' of a Tony, but it's a shame she couldn't have been rewarded with one for this empowering creation.
She most certainly WAS robbed the year she lost the Oscar for Best Song (Travelin' Thru) to "It's Hard Out There For a Pimp". While she's still in elite company for being one of the only performers to have been nominated for every award in the EGOT circle (and won two of the four), our dear Dolly deserves to be wearing the EGOT crown.
In my book, Dolly should have two Oscars by now: one for “Travelin’ Thru” and one for “9 to 5.” She was robbed both times.
When it came to the Tonys, this award was always between Next to Normal and Billy Elliot, with Next to Normal winning out. 9 to 5 wasn’t even nominated for Best Musical.
Tag said: "Weren't there rumours at the time that she didn't write most of it? Certainly not any of the incidental or underscored moments."
I don't really remember any rumors (not to say that there weren't), but it's not unusual at all for the composers to have not written the incidental music or underscoring. Those are often created in the rehearsal room by the music team who's handling day to day duties, be it the musical supervisor, musical director, arranger, etc (and that team can vary wildly in terms of job titles and duties, it's far from standardized across the board). Now some composers will be there every day and be actively involved in creating those, but it's not always the case.
I've never been able to listen to the recording all the way thru. Totally turned me off as to wanting to see it or produce it.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
The score to 9 to 5 is something that is constantly listened to in my world. It is light, frothy, and fun. It's not South Pacific or Gypsy, but it's a great listen.
I do remember hearing something that Stephen Oremus "wrote" a lot of the score, in the same way that Glen Kelly "wrote" the score to The Producers. Oremus is listed on IBDB as doing the following for 9 to 5:
Incidental Music Arrangements by Stephen Oremus
Additional Orchestrations by Stephen Oremus
Musical Director: Stephen Oremus
Conducted by Stephen Oremus
Vocal arrangements by Stephen Oremus
Keyboard 1: Stephen Oremus
Now, he also did the same jobs (minus incidental music) on Frozen, The Book of Mormon, and (all less conducting, incidental, and keyboard 1) for Kinky Boots, Wicked, Avenue Q, etc. So, to go by just that, I can see that he probably did a bit more, but when you boil it down, the score is classic Dolly. On her album, Better Day, she recorded 4 numbers from the show and they are done as if she was the original performer and they fit seamlessly with the rest of her album. I'm thinking that she wrote the songs, and Oremus added "Broadway seasoning" to them.
Also, I didn't love the new song...then again after listening to the London cast recording only twice, I am scraping to remember anything about it.
"Ok ok ok ok ok ok ok. Have you guys heard about fidget spinners!?" ~Patti LuPone
In 2009, among the most enthusiastic champions of ''9 to 5'' were the Drama Desk nominators. They gave it a record-breaking 15 nominations, which is even more than they gave ''Hamilton'' (13 ) and ''The Producers'' (14 ) in their respective seasons.
The general Drama Desk membership didn't share that enthusiasm, however. It lost every nomination, except for Allison Janney, who won Best Actress in a Musical. At Tony time, ''9 to 5'' got only 4 nominations and was snubbed for Best Musical.
I missed 9 to 5 on Broadway but saw a summer production of it that was God awful. Sally Struthers played a secondary role--a secretary in love with her boss--and was over'the-top' and downright vulgar. The score was lackluster and so was the rest of the cast. I would have left at intermission but I was with friends who were having a good time.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
Has the London production been more successful at the Box Office than the Broadway production in 2009 ? I haven't heard much about it being a hit or not.
HeyMrMusic said: "In my book, Dolly should have two Oscars by now: one for “Travelin’ Thru” and one for “9 to 5.” She was robbed both times.
As much as I love the song "9 to 5," I can't say I agree it was robbed of an Oscar win. It lost to "Fame" which is not only an equally strong pop song but is an essential and indelible part of the film it was written for. Indeed, the scene in which the song "Fame" takes place is one of the most iconic moments of 1980s cinema.
“I knew who I was this morning, but I've changed a few times since then.”
Unlike most, apparently, I think 9 to 5 is a successful breezy musical comedy. I think the score (except for the endless montage) is a delight and effective.
However. The other scores were much more deserving that year. Without question.
QueenAlice said: "HeyMrMusic said: "In my book, Dolly should have two Oscars by now: one for “Travelin’ Thru” and one for “9 to 5.” She was robbed both times.
As much as I love the song "9 to 5," I can't say I agree it wasrobbed of an Oscar win. It lost to "Fame" which is not only an equally strong pop song but is an essential and indelible part of the film it was written for. Indeed, the scene in whichthe song "Fame" takes place is one of the most iconic moments of 1980s cinema.
"
Both Fame and 9 to 5 have stood the test of time. Both are solid pop songs that when played at weddings, dances, or parties always get a great response. Not bad for songs written 40 years ago.