See it if It bring alive the late 30's, A different time and place. If you like classic and still enjoy them.
Don't see it if It's a straight lace happy end. Read more
See it if You want a classic, old-timey musical
Don't see it if You like modern, contemporary musicals
See it if you enjoy wonderful singing, dancing and a humorous plot. The magnificent accompanying orchestra is an added treat.
Don't see it if you do not enjoy plays where everything ends perfectly.
See it if You love dance and color and joy! Fun, fun evening. Left City Center dancing.
Don't see it if The story is thin and rediculous. No redeeming social significance. Leave your politics at home.
See it if You love ENCORES! The dancing was superb, but the story is too dated and flat
Don't see it if You don’t like musicals
See it if Sara Mearns sparkles in Bergasse ballets, but there is plenty of tap & ballroom too. Flimsy book draped over minor R&H score. Nice costumes.
Don't see it if "Spring Is Here" and title song are the only well-known numbers in the show. Rob Fisher and his orch sound great. Mark Evans & Nikki James!!
See it if You love Sarah Mearns, great choreography, and revivals of old musicals
Don't see it if You are bored by old musicals or turned off by dated gender mores
See it if you treasure musical comedy from the 20s/30s. enjoy excellent dancing/choreography in a variety of styles.
Don't see it if your prefer musicals with strong stories; don't enjoy "silly"
"Not only does it provide an opportunity to watch the New York City Ballet star Sara Mearns perform the choreography of her husband, Joshua Bergasse, and to hear a Richard Rodgers score suavely reincarnated, but it also makes you think about the role musical theater has often played in maintaining odious social norms...Mr. Bergasse has neither the troops for spectacle nor the directing chops to keep the evening from separating like mayonnaise."
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"The plot is flimsy and meandering, and the score is not exactly on par with the best of Rodgers and Hart. Nevertheless, the production is an elegant affair...One hopes the production will receive a cast recording, which will at least preserve the score (which contains some lovely ballads and a lush overture) in its entirety for future generations of musical theater geeks."
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"Even with a newly adapted script by writers Sandy Rustin and Sarah Saltzberg, this dated, mind-boggling musical is far too outmoded in its attitudes toward women...On one hand, it's interesting to see something like this, where the dialogue and topical references are so of a different era, to examine how far we've come socially over the past eight decades. On the other, producing a show that passes such extreme judgment on female behavior isn't a good idea now."
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"The trouble with opening a jeweled candy box that has been collecting shelf-dust for 80 years is—well, the contents can prove to be beyond dusty. And that, alas, is today’s report on 'I Married an Angel.' What can they—songwriters and librettists Richard Rodgers and Lorenz Hart, at the absolute pinnacle of their talents—have been thinking?..Everything is fine at the Encores! 'I Married an Angel,' actually. It’s just Rodgers and Hart who, most surprisingly, let us down."
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"Capturing again the lightning in a bottle that was a vintage Broadway musical is challenging, especially when a work, for all of its period charms, appears flimsy by modern-day standards. Such is the case with 'I Married an Angel'...The most entirely satisfying component of this concert is the visuals...The performances tend to be spotty...Although the visual and musical sides of 'I Married an Angel' are fairly blissful, the unsubstantial book needs sharper staging."
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"As the title angel, who comes down to heaven to satisfy the marital urge of upstanding Hungarian banker Count Palaffi (a fine Evans), Mearns looks heavenly in a series of white costumes (by Viletti, whose work throughout is gorgeous). But more importantly, she graces the stage beautifully, and proves herself a winning actress with a gentle comic flair. Her angel may have come from way above, but Mearns grounds these featherweight proceedings."
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"Has that ebullient, slightly fairy tale charm that characterizes Depression-era musicals...Tap always lifts your spirits, and the show-stopper in 'I Married an Angel' is no exception...The performances vary...It is Sara Mearns, as the show’s angelic star, who has to carry the show, which she does admirably. Some line readings drop, but she lands most of her jokes. She has clearly been well directed by Joshua Bergasse."
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"Encores! is devoted to reviving forgotten pieces of musical theatre, but in the case of 'I Married an Angel,' it’s best to let sleeping musicals lie. The show is so blatant in its sexism that many of the actors on stage looked uncomfortable when delivering their lines...So tone-deaf to our current social climate that it’s actually shocking that Encores! would think it’s okay to produce...The bulk of Rodgers and Hart’s score is bland and forgettable."
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