"It took nerve to write the new musical...But 'Death for Five Voices' is not one of their more successful efforts...Unfortunately, 'Death for Five Voices' has little feel for the period or the personalities. The vocabulary and the psychology are contemporary, the characterizations and plotting shallow. The writers mean to suggest a connection between the disturbing innovation of Gesualdo’s works and the dark cast of his mind, but they haven’t yet found a way to put these ideas in tune."
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"Magnetically complex...It's a fascinating blend of music theory and character development...The ensemble members sound beautiful singing choral pieces...While the lyrical cleverness Mills has displayed in past musicals is inappropriate here, his contrast of the way Gesualdo musically expresses himself with that of the world surrounding him is often thrilling...Daring in ambition, exciting in execution, 'Death for Five Voices,' deserves far more exposure than its current limited run."
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"We haven't had a real, honest-to-God floperetta in decades, but here comes 'Death for Five Voices,' which manages to be simultaneously stiff and overwrought: The narrative is filled with forbidden passions, acts of violence, and cynical maneuvers by the Catholic Church, and still it manages to be thoroughly dull...Reichel's production, marshalling a vocally gifted, but dramatically at sea, cast, does the material no favors...Overall, this is a sluggish, unconvincing evening."
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"Mills's most stirring, shocking, and boundary-pushing compositions...One can't help but wish that all of 'Five Voices' was at this level. But, too often, the narrative strength of the score is not supported by the libretto...This is a musical that is at war with itself. But considering that the best of what's here transcends what you'll find in any other new musical in town, that might just be a war worth waging...Even in this not-there-yet incarnation, it is thrillingly, theatrically alive."
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"Mills and Reichel have sweetened and sanitized what likely was a cold-blooded honor killing…A solid, if uninspired, production. The seven singing actors handle both the polyphonic choral sections and their solo parts with operatic aplomb…The mystery of this production is why the authors have elected to depict in relatively anemic terms events that, in reality, outstripped in savagery and bloodthirstiness the revenge tragedies written by Gesualdo's contemporaries."
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"Because so much interest resides in the bloody conclusion, everything preceding it is bound to be anticlimactic. Even as the affair blooms, the stereotypical characters aren’t interesting enough to keep us in thrall...Moreover, the show’s few laughs don’t compensate for the lack of any humorous characters or songs...'Death for Five Voices' never escapes the specter of musty, nineteenth-century, costume tragedies about Renaissance lovers, like Francesca da Rimini."
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"Even while weaving Gesualdo’s musical idiosyncrasies into his score, Mills has crafted a piece that is rooted in the American musical theater tradition...The music in this score may not be all of a piece, but Mills doesn’t let the stitches show. The cast is excellent...Director Reichel deftly moves the characters around Ann Bartek’s evocative set...Mills’ score is the main event here, and he seldom disappoints."
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"Though the music is beautiful and the staging by Cara Reichel haunting, the show never really goes anywhere. The characters are written one dimensionally and when they act out there seems to be hardly any reasoning...The cast is possessed with wonderful voices...If music that goes in interesting places and evokes a sense of mortality send you as they do me, this piece will at least deliver."
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