"A dream of a show about the American dream; sentimental, hopeful, satirical, ironic and even bitter . . . All the illusions, the errors, the faults which have punctured the American dream of domestic bliss are exposed in hilarity and high spirits."
--Boston Post, 1948
“Love Life is the most intelligent and adult musical yet offered on the American stage . . . a sheer delight . . . Alan Jay Lerner's book and lyrics represent a sharp advance over any work he has yet done for the theater. Kurt Weill has written a knowing and a glowing score."
--New York Telegraph, 1948
"There is an air of high theatrical inventiveness and originality about it . . . A lively and fairly provocative springboard for a show that combines some of the best features of vaudeville, the revue, the dance, the ballad and the girl-and-music show."
--New York Post, 1948
"Novel, imaginative . . . enthralling."
--New York News Record, 1948
"The missing link between the Rodgers and Hammerstein musicals of the '40s, and the Harold Prince, Stephen Sondheim, Michael Bennett 'concept' musicals of the '60s and '70s . . . Love Life contains the great lost score from what is probably the American musical's greatest decade, the '40s . . . Weill's music for Love Life is as ravishing and unique as is his work for Lady in the Dark, Street Scene, One Touch of Venus, and Lost in the Stars."
--TheaterWeek, 1990
"The best numbers combine lyrical catchiness with the keen harmonic and instrumental inventions that give Weill's music its distinctive, 'insidious' quality . . . . Love Life is emphatically a Broadway show."
--The New Yorker, 1990
"‘Years ahead of its time’ may be the hoariest of clichés, but no other words will do. … Lerner's libretto is sharp, knowing, at times unsparingly bitter, but Weill's music oozes with compassion for frail, fragile humanity . . . a powerful combination."
--Times of London, 1996
"For Love Life Weill was inspired to produce some of his finest Broadway music."
--Opera Now, 1996
“Two on the Street,” New York Times, 3 October 1948
Weill and Lerner explain their concept to a prospective ticket buyer.
