A single mother constantly passed over for promotion. A sexy, big-chested secretary tired of being harassed. A divorcée on her own for the first time. A lecherous and unscrupulous executive who runs his office with an iron fist. And a cast of downtrodden, put-upon workers singing and dancing to Dolly Parton songs when they’re not trying to dodge the boss or his sycophantic office manager.

Theatre Lawrence opened its 36th season (and the last in its current building) with the working-class musical, “9 to 5” Friday night. Set in 1979, the show tells the story of Violet (Erin Fox), Doralee (Jennifer Foreman), and Judy (Melia Stockham) as they struggle under the yoke of Franklin Hart, Jr. (Charles Goolsby). Meant to capture the spirit of the women’s movement of the 1970’s and of “The Little Guy” in general, the show tries very hard to be endearing and uplifting. As talented and as hard-working as Theatre Lawrence’s cast is, a weak script keeps them from realizing their potential.

http://www.lawrence.com/users/photos/2012/sep/22/241599/

Based on the 1980 film, the story concerns the three main characters kidnapping their boss after Violet accidentally poisons him. Forced to take matters into their own hands, they keep him locked up at his house while his wife is away on a month-long cruise, and they then turn the office upside down by making improvements in his name.

But Patricia Resnick’s script meanders aimlessly for most of the first act, which lasts for over an hour and a half and has 11 songs. When the women finally kidnap Hart and it looks like things are going to get moving, it’s time for intermission.

In the second act, a twist emerges, deus ex machina-like: Hart is cooking the books, but the women don’t have enough evidence at first to put him away. Rather than developing that story line, though, Resnick and Parton spend most of the second act having each of the women sing a song of her own personal empowerment.

None of the show’s problems is the fault of the actors. All three of the leads work very hard to try to pull it off. In particular, Stockham is both sweet and funny as the naïve and inexperienced Judy. Her personal lament in “I Just Might” is moving. Foreman shows plenty of spunk and a powerful voice as Doralee. Fox is hilarious in a Snow White costume, singing “Potion Notion” in which she fantasizes about killing Hart.

There were strong performances throughout the ensemble. Goolsby was clearly having a ball playing the despicable Hart. Every time he came on, he owned the stage, and his number, “Here for You,” in which he reveals his lust for Doralee, is one of the highlights of the show. But his character almost completely disappears in the second act, and we miss him.

Likewise, one wishes Kim Scarbrough had more stage time as the rules-loving office manager, Roz. She perfectly captures the role of petty tyrant – the person everyone who’s ever worked in an office hates. She sings “Heart to Hart” with gusto, and her lament in the second act, “5 to 9” is both sweet and funny.

Cristoph Cording gave a fine performance in another role that was too small. As Joe, the junior accountant, he created real chemistry with Fox. It’s obvious from their first interaction how much Joe wants them to be together, and Cording plays the anguish to the hilt without overdoing it. His duet with Violet, “Let Love Grow,” is easily the best moment in the show.

http://www.lawrence.com/users/photos/2012/sep/22/241600/

In the end, you find yourself rooting for these people, but it’s because you want talented actors to succeed, not because the script is uplifting. Before the performance, director Doug Weaver told the crowd at the pre-show reception that “9 to 5” went through several rewrites while it toured. It’s a shame there wasn’t at least one more.

“9 to 5” runs September 22, 23, 27, 28, 29, 30, and October 4, 5, 6, and 7. Sunday performances are at 2:30pm. All other performances are 7:30pm.