NYC REVIEWS:
“A tremendous success.”— Peter Filichia, Broadway Radio, November 3, 2019
“The craft of the score is really quite fine.”— Peter Filichia, Broadway Radio, November 3, 2019
“I thought it was terrific! One of the best shows to open this season in the musicals category.”— Peter Filichia, Broadway Radio, November 3, 2019
“What can I say? I loved it. Don’t miss it.”— Peter Filichia, Broadway Radio, November 3, 2019
“The score incorporates the lilting measures of waltz and the upbeat rhythms of ragtime”— Deb Miller, DCMetro, November 7, 2019
“With lyrical melodies, both wistful and sparkling, An Enchanted April captures the spirit of this era of relief, quiet desperation and wonder.” ––Sarah Downs, Front Row Center, November 8, 2019
“It is such a pleasure to hear women and men sing in their natural ranges, allowing their voices to move through their registers without stress” ––Sarah Downs, Front Row Center, November 8, 2019
“An Enchanted April – Charming!” ––from the column Women About Town on Playing Around by Alix Cohen, November 8, 2019.
“Elizabeth Hansen and C. Michael Perry have manifest the story’s light-handed sensitivity and sentiment without treacle.” ––from the column Women About Town on Playing Around by Alix Cohen, November 8, 2019.
“An Enchanted April’s gentle heart is unimpeachable.” ––from the column Women About Town on Playing Around by Alix Cohen, November 8, 2019.
“Every one of Perry’s attractive, supple melodies suits the moment.” ––from the column Women About Town on Playing Around by Alix Cohen, November 8, 2019.
“Group numbers interweave with high craft.” ––from the column Women About Town on Playing Around by Alix Cohen, November 8, 2019.
“Lyrics are both wonderfully literate and singable.” ––from the column Women About Town on Playing Around by Alix Cohen, November 8, 2019.
“Hansen’s book is deftly economic, offering just enough dialogue not to feel changes are abrupt, rendering each character distinctive.” ––from the column Women About Town on Playing Around by Alix Cohen, November 8, 2019.
“A witty book.” — MARK KAPPELL, Blog, November 2, 2019
“Music and lyrics that evoke the period in which the story takes place.” — MARK KAPPELL, Blog, November 2, 2019
“Moments when you might think of a play by Chekov or even Sondheim’s A Little Night Music.” — MARK KAPPELL, Blog, November 2, 2019
“This version of An Enchanted April has much of its own to offer.” — MARK KAPPELL, Blog, November 2, 2019
“An Enchanted April…succeeds in capturing the sense of longing, burgeoning camaraderie, and emotional transformation interwoven through the original source material.” — James Wilson, November 4, 2019, Talkin’ Broadway
“The musical offers a pleasant return to San Salvatore.” — James Wilson, November 4, 2019, Talkin’ Broadway
“An affable show, the score contains… an appropriate mix of operetta and musical comedy songs. Some evoke motifs from popular songs of the 1920s.” — James Wilson, November 4, 2019, Talkin’ Broadway
“Lottie’s standout number, “Right As Rain!,” playfully integrates ragtime rhythms…‘Endless Rain’ is the plaintive quartet.” — James Wilson, November 4, 2019, Talkin’ Broadway
“This is a score…that cries out for lush orchestrations to match the nostalgic mood and sumptuous European setting.” — James Wilson, November 4, 2019, Talkin’ Broadway
“The show is similar in tone and aura to Stephen Sondheim’s A Little Night Music.” — James Wilson, November 4, 2019, Talkin’ Broadway
“There are many pleasures to be had in the course of the evening.” — James Wilson, November 4, 2019, Talkin’ Broadway
“An Enchanted April is a genial respite from New York’s typically cold and damp November.” — James Wilson, November 4, 2019, Talkin’ Broadway
“A radically old-fashioned romantic musical.” — Marc Miller, November 3, 2019, OffOff Online
“It’s light on its feet and pleasing to the ear.” — Marc Miller, November 3, 2019, OffOff Online
First things first: The singing is absolutely superb, and, better yet, unmiked, rendering even the complicated contrapuntal vocal passages utterly audible and often beautiful.” — Marc Miller, November 3, 2019, OffOff Online
“It’s agreeably retro, there’s even a genuine overture and entr’acte.” — Marc Miller, November 3, 2019, OffOff Online
“Neat, well-rhymed, bountiful with the waltzes, and refreshingly plot- and character-specific.” — Marc Miller, November 3, 2019, OffOff Online
“You’ll leave humming, and generously reminded of the ancient pleasures of hearing real voices unaided by elaborate audio engineering.” — Marc Miller, November 3, 2019, OffOff Online
“An Enchanted April may feel archaic to the few younger folks in the audience—imagine, a new musical without a single disaffected teen singing endlessly about his/her problems.” — Marc Miller, November 3, 2019, OffOff Online
“It’s comfort food, constructed according to the old standards of literate dialogue, literate lyrics, and lush melody supported by chords that resolve naturally into one another.” — Marc Miller, November 3, 2019, OffOff Online
“The enduring resonance of its source material is evident in An Enchanted April.” — Darryl Reilly, November 4, 2019, Theatre Scene
“The piece’s emotional power is palpable.” — Darryl Reilly, November 4, 2019, Theatre Scene
Co-lyricists Elizabeth Hansen and composer/co-lyricist C. Michael Perry’s score, with its appealing melodies and artful lyrics, recalls the manner of Jerry Herman.” — Darryl Reilly, November 4, 2019, Theatre Scene
“Ms. Hansen’s book is faithful to its derivation, has wit and dramatic heft.” — Darryl Reilly, November 4, 2019, Theatre Scene
UTAH REVIEWS:
“It was absolutely worth the experience—the story got my mind thinking about the 1920’s and how the experience of the Enchanted April female characters translates to contemporary women in the 2010’s.” —Katie Sullivan Porter, Utah Theatre Bloggers
“Elizabeth Hansen said she wanted to write a show that was beautifully simple and lyrical. With the help of C. Michael Perry, who wrote and directed the music, she succeeded.” —Heather Jones, Backstage Utah
“One of my favorite songs in the show, which is altogether too short is “Solicitors Wife”. It reminds me a bit of “Hymn to Him” from My Fair Lady in tone—a song that shows a very limited point of view and is ripe with sexism, but in a way that the audience knows how very misguided the singer is being. It’s a very clever song, perfectly illustrating Mellersh’s character and I wanted more!” —Kara Henry, Front Row Reviewers Utah
“Mellersh…transforms himself, while still keeping the essence of his original character. This is something I was quite impressed with throughout the production, and I praise director Elizabeth Hansen for. It’s not easy to have nearly every one of the characters go through that much of a transformation while not having them seem too different to have it out of bounds for the character. As the writer and the director, Hansen hit this balance well.” —Kara Henry, Front Row Reviewers Utah
“Hansen’s book was quite good too. There were so many unexpectedly funny moments in a show that could have been dowdy and slow. Overall, I felt this was a solid, solid show and certainly worth seeing.” —Kara Henry, Front Row Reviewers Utah
“Grab a Friend and Go Celebrate the Power of Friendship and Love!” —Kara Henry, Front Row Reviewers Utah