Here are excerpts from two of the early reviews for Triumph of Love:
Newsday -- Linda Winer
AT LAST, a musical comedy for people who despair of ever being pleasantly amused again by the form, who tend to shrink from all the mugging, who wince at the mincing and leave Broadway's more celebrated recent laugh riots wishing everyone would work less frantically at the business of entertainment.
Triumph of Love, which opened without much fanfare at the Royale Theatre last night, is a modest but stylish sweetheart of a show. Lovingly -- but none too reverently -- adapted from Marivaux's infinitely more tough-minded French entertainment of 1732, this is a chamber musical comedy/fractured classic that manages to take itself lightly and still plays for keeps.
Egan, known mainly as Belle in "Beauty and the Beast," is thoroughly adorable as the princess -- which means not too adorable at all. Boyish yet delicate, she makes the three disguises -- of varying genders -- she assumes to woo the three intellectuals seem as easy as hopping onto one of the cartoon hedges of Heidi Ettinger's bright, witty set.
BUCKLEY IS priceless as the spinster lured back to romantic feelings again. Her dark, silvery vibrato -- usually used for more solemn occasions -- finds a startling place where sadness and hilarity meet in a show-stopper called "Serenity." It would be easy to name dozens of better singers than Abraham, a serious actor in his Broadway musical debut. But could anyone trade the trapped look he brings to the eyes of a dignified man as he notices passionate unwanted stirrings? Besides, with his shaved head and white makeup, he looks like Mel Brooks playing Kojak and, talk-singing like Rex Harrison, brings a dry precision to "Emotions" that makes the song sound like literature.
Associated Press -- Michael Kuchwara
'"I would do anything for love, anything at all," sings the determined heroine of "Triumph of Love," the delightfully giddy new musical, which opened Thursday at Broadway's Royale Theater.
You had better believe it. Particularly since the song is sung by the enchanting Susan Egan playing a princess obsessed with winning the heart of the studious prince of Sparta -- a young man who happens to be her sworn enemy.
The convoluted shenanigans, lifted by adapter Jim Magruder from an 18th century French comedy by Pierre de Marivaux, could fill several shows. Yet Magruder's book is a model of musical comedy brevity that manages to condense but not compromise the story. A mixture of low comedy and high wit, it illustrates in grand style the things we foolishly do for love.
Aunt and uncle are played by the formidable Betty Buckley and F. Murray Abraham, two performers who know how to take charge of a scene -- and steal it if necessary. Abraham's singing voice exudes earnestness, but the man does have presence. His shaved head and piercing eyes draw the audience to him, and he further hooks them with a melodious speaking voice. Buckley, of course, knows her way around a song. She has a beauty here, "Serenity," a number in which the pinched, spinster aunt explains why she has withdrawn from contact with the opposite sex.