"9 to 5 can be categorized as an absurdist piece of musical theatre. Its elaborate hallucinated dream sequences, slapstick situational comedic moments, and archetypal characters make this show a particularly comical affair– so what better aesthetic to unify this production than that of a graphic novel? The introduction of the graphic novel concept was meant to be apparent from the moment an audience member entered the student center, as the proscenium depicted comic book panels that showcased key moments from the musical’s plot. Employing monochromatic primary colors for the costuming of our three leads enabled us to create uniformity within this concept as well as distinguish our characters from each other visually. Framing the production this way permitted our cast to lean into their “larger than life” character archetypes and enabled the audience to accept the absurdist nature of the storyline. The inclusion of mixed media was a key component of my vision for this production. Coming from a filmmaking background, I was interested in employing the skills I have accumulated from my academic endeavors to further the aesthetic and comedic beats of this production. For example, to enhance the comedic nature of the number “Let Love Grow,” we created a video reel that was projected behind the actors as they performed. The reel depicted moments of Violet and Joe roaming around Rutgers University’s most romantic destination: Passion Puddle. They spun the camera (it appeared as though they were spinning each other) as cheesy eighties editing with added hearts and screen wipes montaged their fantastical first date. The flats in this production were meant to present as empty comic book panels that framed our actors in their scenes and gave us the ability to manipulate the setting in a two-dimensional way. 9 to 5 has over forty scene transitions, making this show particularly challenging to stage. In creating additional two-dimensional panels that filled in our blank comic book flats, we were able to convey every setting effectively. These panels also gave us the opportunity to interject more humor into the visual fabric of the production. Including elements like Mr. Hart's self appointed "Employee of the Month" awards on the walls, allowed us to create a more holistic understanding of the character and his values outside the confines of the plot. The goal I had for this project was to ultimately push the boundaries of audio-visual entertainment that we were typically capable of within the Livingston Student Center. Utilizing mixed media to highlight the absurdity of the plot as well as to honor the message of the musical was paramount to the uniformity and cohesion of this production. Employing the comic book aesthetic as a means of communicating a message of empowerment within the workplace helped to ensure that I remained cognizant of the feminist themes that permeated 9 to 5."