What I liked
Manson’s Girls keeps us engaged from the very beginning. A swift-moving 90 minutes, the audience is deftly guided through a rapidly-escalating sequence of events that keeps us on the edge of our seats. Hats off to Writer/Director Scott Guy, Lyricist Mitch Glaser, Composer/Musical Director Ron Barnett, and Choreographer Heather Castillo for a splendid show that exemplifies the art form. Their collaboration has resulted in that mysterious synergism that occurs when the sum is greater than its parts.
This is not to say that the parts are inferior; far from it. It’s just that no matter how great the individual components, there is no guarantee that everything will work when it finally comes together. In this case it does, and does it well. It has that magic that reminds us why we love the theater, and especially musical theater.
The show succeeds in its mission to explain the unfathomable: How can one individual, however strong-willed or charismatic he might be, get so many people to willingly participate in crimes, misdemeanors, and downright evil acts? They have misgivings, but they do it anyway. They know it’s wrong, but somehow it’s right. And every justification sends them further down the road to ruin.
The songwriting shines, with crafty, thought-provoking lyrics, skilled arrangements and tight harmonies. I loved the choices made by the composer: a sweet ensemble of talented musicians, various timbres, sound patches and musical genres that instantly transport us back to the turbulent world of the 1960s.
The amount of hard work put in by the ensemble really shows, with polished performances, plenty of money notes, fluid and nuanced body flight and poses, and effective, seemingly effortless, well-executed choreography. The actors all really own their parts, resulting in nuanced characters, far from the cardboard cutouts sometimes found in the genre. The costumes are wonderful and add authenticity to complete the illusion of time travel.
There’s more I could add, but I’ve got to get to the next show!
Congratulations to Producer Elise Dewsberry, the writing team, and the entire ensemble.Very well done.
What I didn't like
The front mike was a little hot; some high notes had me pressing back against my chair. A lower level, or individual pulling back from the mike might help. Some singing was a bit shrill or sharp, technique issues easily amended. Marioche’s solo is a little low in range for her, perhaps a key change would help.
My overall impression
Everything you want in a musical, and so much more: Conflict, action, humor, irony, toe-tapping melodies, tight arrangements, superb solos, clever lyrics, compelling characters, yummy choreography, a satisfying ending that somehow leaves us wanting more. Thought provoking. Polished performances. GO. GO NOW.
