Female power rules in Diamond Head Theatre’s stage production of the 1980 hit movie "9 to 5" starring Dolly Parton, Jane Fonda and Lily Tomlin.

Librettist Patricia Resnick tweaked her film script three decades later for "9 to 5: The Musical." The show ran on Broadway in 2009, followed by a U.S. tour in 2010 and a current tour in the United Kingdom. The infectious theme song — a No. 1 hit on pop, country and adult-contemporary charts — will likely spark recognition, and the prolific Parton provides more than a dozen country-tinged pop songs as a bonus.

Jennifer Sojot (single mom Violet), Jody Bill (recent divorcée Judy) and Jessica Cruz (happily married Doralee) portray secretaries struggling in the sexist environment of Consolidated Industries. They unite in friendship after sharing frustrations about their "sexist, egotistical, lying, hypocritical bigot" boss, Franklin Hart Jr., played by Mike J. Humerickhouse (doing double duty as the sound designer). While enjoying an evening of female bonding, each conjures up a revenge fantasy about killing the boss, and in a farcical turn of events, the fantasies take over, taking us along for the ride.

Though the opening moments need energizing, the show quickly shifts into high gear. Parton’s songs get inside the characters’ heads, and the performers deliver vocally. The leading ladies have great chemistry as the tight-knit trio, demonstrated in the numbers "Shine Like the Sun" and "Change It."

Sojot’s character and strong acting abilities propel the plot, sweetened by the hilarious Cruz, who sings like a real country star. Vocal ace Bill unleashes her soul in her final number.

Stacey Pulmano connects best with her character Roz when singing — "Heart to Hart" is a winner — and Humerickhouse gives a solid and believable performance as the loathsome boss.

New York guest director and choreographer Tammy Colucci makes full use of the stage and keeps the traffic flowing seamlessly, and musical director Emmett Yoshi­oka and the orchestra accentuate the zing and twang in the score. The multitalented ensemble deserves special praise for sustaining solid vocals while executing energetic dance moves, assuming a plethora of smaller roles and working as stagehands during set changes.

The technical crew brings the period piece to life. Costumer Karen Wolfe provides both gray suits and vibrant ’70s office attire, and Friston S. Ho‘o­kano has a field day creating 40 wigs and the colorful makeup palettes for the ladies.

Set and props designer Willie Sabel details myriad period sets, even constructing 1970s-style desks, an overstuffed black leather couch and large handset telephones. Dawn Oshima sets the mood with lighting effects for 21 diverse scenes. Finally, stage manager Leigh Marcello deserves a round of applause for holding the whole thing together.

Resnick and Parton have created a laugh-out-loud musical about women’s rights. Though working environments have improved since ’79, perhaps the show will remind us that even more must be done.

Mature themes may make the show inappropriate for children, but all others should clock in at DHT for an utterly delightful office romp.

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Jane Kerns is completing a doctorate in musicology at the University of Hawaii, holds degrees in theater and vocal performance, and has performed as an actor-singer in New York City.