How long will it be before the folks at the Ogunquit Playhouse put together a show featuring both Carson Kressley and Sally Struthers? Of course, cost may be a factor, but there’s no doubt that the two likeable stars have taken turns drawing audiences to the venerable summer theater in recent years.

For this year, Kressley has just left after a run in “Damn Yankees” while Struthers has returned to the stage in a production of “9 to 5: The Musical,” directed by Keith Andrews. It’s her second appearance this season, after starting things off in “Always … Patsy Cline.”

The familiar story of “9 to 5: The Musical” concerns three female co-workers who gradually summon the courage to do something about their obnoxious, sexist boss. The 1980 film helped to raise issues of workplace rights, which were then somewhat new to the public. It succeeded on the basis of the way it was able to present its message through some pretty broad comedy.

Add new tunes by Dolly Parton to the unforgettable title song and you’ve got yourself a musical comedy that brings back a not-too-distant era for another amusing go-around.

Not only in spirit but (unnecessarily) on a large oval video screen, Parton looms over this 2009 Broadway show based on the movie that the country diva starred in with Jane Fonda and Lily Tomlin.

You might think of Struthers for the Parton role of the shapely secretary whose considerable brain power is not as recognized as are certain of her other assets.

A few years ago, yes, but though we may always think of her as the irrepressible blonde cutie Gloria from TV’s “All in the Family,” Struthers now gets the more mature roles, in this case the lusty office kiss-up Roz. She has a lot of fun with the part and is often hilarious.

Though there were kids in the audience, this show is primarily for adults, and at no time more so than in Struthers’ take on “Heart to Hart,” a number in which she rather graphically demonstrates her feelings for her boss. It was an over-the-top hoot at Sunday’s matinee.

Becky Gulsvig, who was so good in last year’s production of “Legally Blond” on the same stage, takes the Parton role. Though she might be downsized a trifle from the Parton silhouette, she comes across well as the misunderstood “Backwoods Barbie” who dreams of a “Cowgirl’s Revenge” and ultimately sets off an office rebellion. Having to sing through a Parton-esque accent may limit Gulsvig’s range a bit, but she still conveyed the spunk of her character.

Carrie McNulty was excellent as Violet, the Lily Tomlin character, a highly competent woman held down by the glass ceiling hanging over corporate America 30-plus years ago. McNulty was particularly good in a big, flashy number in which she ironically declares a hope to become “One of the Boys.”

Erica Aubrey, in the Jane Fonda role, completes the trio of first-rate female leads. She very credibly has her character make the transition from newly divorced mouse to forcefully independent career woman when she finally advises her ex to “Get Out and Stay Out.”

Ed Staudenmayer, perhaps seeming a bit young for the role, nonetheless slithers as the slick and slimy boss who’s abducted by the rebellious office ladies.

Talented ensemble singers and dancers contribute, as does a good pit band, in helping the audience take this fun trip back to a workplace from an era we would like to think is behind us.

Steve Feeney is a freelance writer who lives in Portland.