If the writers of “That ’70s Show” and “Glee” were to collaborate, “9 to 5,” which is playing at the Fox Theatre until Feb. 20, would emerge. Dolly Parton, the lead in the original 1980 movie, provides the music and lyrics. While energetic numbers and strong lead performances keep one focused on the show, serious weaknesses in dialogue and plot hamper the overall experience.

The musical begins with a projection of Dolly Parton asking the audience to envision 1979, a world of cheap gas, electric typewrites and pervasive sexual harassment. The plot follows three secretaries, Violet (Dee Hoty), Judy (Mamie Parris) and Doralee (Diana DeGarmo), and their boss, Franklin Hart, Jr. (Joseph Mahowald), a “selfish, egotistical, lying, hypocritical bigot.” Violet is head secretary, a widow and mother of a teenage son. Judy falls under Violet’s tutelage after her husband abandons her for a floozy. Doralee, a zaftig Texan, attracts both the attention of the men of the office and the resentment of the women. Once Hart denies Violet a promotion, unfairly fires Judy’s colleague and spreads rumors of an affair between Doralee and himself, the three secretaries resolve to combat his misogynistic regime.

The plot’s reliance on weak puns, poor logic, exaggerated personalities and unbelievable situations culminates in absurdity. For example, when Judy’s former husband unexpectedly returns, he explains his appearance with, “I’ve been following you for several days.” Judy does not noticeably find this creepy and eventually rejects him for a weaker and entirely different reason. The whole scenario seems irrational. While the theme supposedly is female empowerment, a male deus ex machina ultimately saves the day, which feels unsatisfying and completely contradictory to the spirit of the musical.

Despite the show’s inherent weaknesses, the actors behind the characters lend able performances. Hoty provides a strong portrayal of a woman abused by the company too often. Of the three leads, Parris’ performance is best, and her delivery of “Get Out and Stay Out” is the musical highlight of the show. Doralee, the role originally played by Parton, earns mixed reactions. While she exudes sincere warmth as a “backwoods Barbie,” DeGarmo adopts an accent that hails from neither Texas nor anywhere in the English-speaking world. Eventually, the twang grates upon the nerves. A line from “Catch-22” characterizes her uncannily well: “The Texan turned out to be good-natured, generous and likeable. In three days no one could stand [her].”

Other aspects of the production neither help nor hurt the total effect. The set design is a little bland, with nothing impressive or particularly innovative. The songs are upbeat and well-written, but I can today only remember one melody. Supporting actors ham up their performances for comedic effect, though sometimes to an offensive extent.

“9 to 5” will appeal directly to those who love campy productions and flamboyant characters. Whether or not they will consider the ticket prices, $24 to $66, worth their time remains to be seen. If the price is too steep, watch a few episodes of “Glee” on Hulu instead.