For further research on the script's specific layout, you can view the official licensing page on Music Theatre International creative sample of a scene rewritten in libretto format? 9 to 5 | Music Theatre International
Then the lyrics: "Workin’ 9 to 5, what a way to make a livin’..." 9 to 5 musical libretto
The libretto’s genius lies in its use of three archetypes as a single, fractured protagonist. (the competent, overlooked single mother), Judy (the vulnerable divorcee discovering her own agency), and Doralee (the sexualized secretary presumed to sleep with the boss) are not just characters—they are the three wounds capitalism inflicts on women. For further research on the script's specific layout,
A libretto is only as strong as its villain. In the , Franklin Hart Jr. is written not as a mustache-twirling caricature, but as a specific type of modern antagonist: the "sexist, egotistical, lying, hypocritical bigot." A libretto is only as strong as its villain
Originally played by Jane Fonda in the film, Judy’s libretto transformation is the most dramatic. Early scenes show her stammering, using ellipses and fragmented sentences. Resnick’s stage directions specify: "Judy holds her purse like a shield." By the second act, her dialogue sharpens. Her song "Get Out and Stay Out" is a classic "I am not that woman anymore" anthem, and the libretto notes a physical change—shoulders back, gaze forward.