Dolly Parton is famously much more than just a pretty face — or, for that matter, much more than an attractive anything else that should happen to come to mind. Just as famously, she is a good sort. As her alter-ego Doralee Rhodes (the delightful Amy Lennox) sings in 9 to 5: “I may look artificial but where it counts I’m real.”

The words come from Backwoods Barbie, one of the great songs penned for this hugely entertaining musical by Dolly herself. Others, in a wide variety of musical styles, show what an excellent composer and lyricist she is.

The show is adapted from the 1980 film of the same name in which Dolly made her big-screen debut alongside Jane Fonda and Lily Tomlin. Its co-writer Patricia Resnick supplies the witty book.

The storyline follows the same course as the movie’s which means, regrettably, that massive suspension of disbelief is required. But what the heck. Who expects credibility from a zipalong musical?

This is a tale of female empowerment from a time when the concept barely existed. We are back more than 30 years to an era of big hair (men too), wide lapels and narrow minds.

The narrowest on view is that of Franklyn J. Hart (Ben Richards). He’s the sexist pig (a term that certainly did exist) in charge of the New York offices of Consolidated (activity unstated).

Subject to his whims, and slaving nine to five at their typewriters — for $2,000 a year less than their male counterparts — are an engaging group of women employees.

Their leader — with an eye on a promotion soon to be denied her in favour of ‘one of the boys’ — is single mum Violet Newstead (Jackie Clune). She proves a brick to newcomer Judy (Natalie Casey), just dumped by her husband, and with a lack of office skills that makes her a natural victim for a bullying boss.

Franklyn’s secretary Doralee is a victim of another kind — to his attempted sexual predations, which she stoutly resists.

As vehement in seeking his attentions as Doralee is in fighting them off is Franklyn’s hero-worshipper of a personal assistant, Roz Keith. Alas, she is doomed to remain unalluring to him, despite proving herself a ‘red hot momma’ in a high-kicking dance routine in which the basque and suspender-clad Bonnie Langford firmly steals the show.

Well, the bit of it not already pinched in the filmed appearances by the lovely Dolly.