9 to 5 On Broadway, why did it flop?

Not sure why but I've somehow fallen in love with 9 to 5. Both the show (which is on Youtube) and the score. But why did it flop? It only ran for four months when it had a triple threat powerhouse leads (Allison Janney, Megan Hilty, Stephanie J Block) and great supporting cast and it was super funny. And yes the ensemble was super big and with those HUGE sets (like omg how big is the Marquis theater backstage???) and there were so many costumes those weekly costs were definetly uber high. And yeah the reviews weren't great but it was a solid show and you would think it would call tourists because of the movie but I guess not. And Dolly Parton? She's a pretty big name?? Anyways did you guys like it? Why didn't it survive??

A few things probably but mostly the story was thirty years old and maybe a little more relevant in the 80's. Also, the only somewhat memorable song was "Get Out and Stay Out".

It's too bad it wasn't more successful, if only for the sake of Dolly Parton. She is one of the most genuine and talented performers of our time. Heck, as the author of hundreds of songs -- including mega-hits like 'I Will Always Love You' and '9 to 5,' she is one of the greatest song writers of our time.

Dolly is one of the few people I always root for to join the EGOT club. She's been nominated for all four, checked the 'G' and 'E' off the list and, in my opinion, was robbed of the Oscar the year her beautiful song "Traveling Thru" from TransAmerica lost to "It's Hard Out There For a Pimp." Oy.

Updated On: 9/2/17 at 08:26 AM

I never saw it, but one of the reasons I kept away was I did have the feeling it was 'dated', as the movie was relevant in 1980. 35 years later? Not so much. Plus, the reaction I got from others at the time who did see it was "Skip it".

I'm sure it seemed like a 'natural transfer' from movie to stage on paper, but in reality - not so much?

I'm sure the show took a big loss.

The score is quite good, but as stated above, the book was the weakest link. A dated, strange story, with a too quick ending that ties everything up just perfectly. They should have had Dolly in it from the start (but she wasn't added, in video form, until the tour).

But the show should have run longer, it wasn't bad enough to close as soon as it did. I mean if SJB can't keep a show open with Get Out and Stay Out, there is no hope for the future of musical theatre. :P

It didn't run longer because the producers didn't want to lose any more money and in the Golden Age it would have closed after a week.

No, flops tended to run for a few months in the Golden Age as well.

Zamedy154 said: "It's too bad it wasn't more successful, if only for the sake of Dolly Parton. She is one of the most genuine and talented performers of our time. Heck, as the author of hundreds of songs -- including mega-hits like 'I Will Always Love You' and '9 to 5,' she is one of the greatest song writers of our time.

Dolly is one of the few people I always root for to join the EGOT club. She's been nominated for all four,checked the 'G' and 'E' off the listand, in my opinion, was robbed of the Oscar the year her beautiful song "Traveling Thru" from TransAmerica lost to "It's Hard Out There For a Pimp." Oy."

Robbed of her Oscar. agreed.

^Yet it had one of the best video designs on Broadway to date. And a HUGE physical production to accompany it.

Not a complete fiasco, just dated and boring.

Mister Matt said: "It didn't run longer because the producers didn't want to lose any more money and in the Golden Age it would have closed after a week.

No, flops tended to run for a few months in the Golden Age as well."

Some flops did, but most closed instantly. You can't name me a one-performance flop from the last decade I don't think. But go back from the 50s forward and you will find tons of one-night closers, plenty of three-night closers, and PLENTY of one-week closers. Hundreds. That's the way it was back then because producers were a different beast. Today it's all about their egos, investors be damned.

Was working for a production company at the time that worked for the show, so I saw it a few times, and really enjoyed it. I can't say why it didn't work, but having no prior knowledge, I really enjoyed it. I do think it would have helped to take a different approach. It didn't need to be a carbon copy of the film because no one really held the film to such a regard. And I think the choreography - the popping and locking of "In The Heights" - didn't work with the rest of the show. It felt a little misguided. And the video screens, etc. The opening was silly. It was kinda messy. But I think a great show is in there.

Oh see quite to the contrary, I think much of the music is the best part of the show, especially the edits since the cast album. "Get Out and Stay Out" is very powerful in context, and "Shine Like The Sun" is a very nice Act I Ender. Of course putting 9 to 5 to start the show is exaclty correct, and Backwards Barbie also fits very well within the show. It's not a perfect score, but it works well within the show...and it's stronger than a lot of scores of recent flop show's (i.e. Finding Neverland and Tuck Everlasting)

This is the type of show that does best on tour, because tour audiences tend to be more forgiving of book flaws that make a show insufrible on Broadway. We saw it on a New York trip thanks to TKTS and I couldn't get past the plot points that annoyed me. A year or two later it was part of our Broadway Across American subscription in Houston and I just let the fun take over. I never thought about the ridiculous plot. Two highlights: Diana DeGarmo was a joy as Doralee, and Dolly Parton surprised everyone by joining the cast onstage to sing the title tune during the curtain calls.