In
New York magazine,
John Simon wrote, "It is not often that material moves me to tears, but this was one of those occasions.
The Spitfire Grill has the heart and soul that your
Producers and
Full Montys cannot begin to approach. What even in normal times would be a joy is, in these troubled ones, sheer nourishment." He later included the show in his Best of 2001 list. Other critics also commented on the show's poignancy after the
September 11, 2001 attacks. "If after the events of recent weeks you need any reason at all to embrace life again, the musical you've been waiting for has arrived.
The Spitfire Grill is one of the most heartfelt musicals of recent years, its homespun charms as inviting as a warm winter blanket", wrote Matthew Murray reviewing the show for Talkin' Broadway.
The Wall Street Journals Amy Gamerman wrote, "
The Spitfire Grill feels as if it has been transplanted to Times Square directly from an obscure patch of the American heartland. The longing for a place like Gilead, well removed from the big, troublesome world, is real enough – perhaps now more than ever. The show's creators tap into that longing with unembarrassed directness. At a time when cynicism seems downright unpatriotic, sophisticates may find themselves powerless to resist. Well before the show reaches its conclusion, many of the New York city slickers in the audience may be ready to enter Percy's raffle themselves." Elysa Gardner in
USA Today wrote that the score offered "some of the most engaging and instantly infectious melodies I've heard in a musical in some time. Valcq's resonant, folk-based orchestrations make the fetching tunes even more accessible and poignant. Open your heart and visit the Spitfire Grill." Victor Gluck of the
Associated Press described it as "a lovely new musical in the
Rodgers and Hammerstein tradition." In
Show Business Weekly, David Hurst wrote, "The score by James Valcq is a mixture of country, bluegrass, and Broadway-styled pop ballads that is always stirring and pure Americana in sound with heartfelt lyrics by the late Fred Alley." According to
Billboard, "In a genre known for being big and brassy, it's always a pleasure to come across a musical that revels in its quiet moments. That's why
The Spitfire Grill is like a breath of fresh country air." Jonathan Frank wrote in
Sound Advice, "
The Spitfire Grill has a simplicity and emotional resonance that has become all too rare in musical theater. This is a show that succeeds by not trying: it simply is." He described the score as "simply astonishing, due no small part to Valcq's stunning arrangements, which consist of folk instruments and instrumentations, acting as a character unto themselves."
Varietys Joel Hirschhorn wrote that "Valcq's numbers are consistently exciting, aided by carefully devised orchestrations. More than most musicals, the underscoring feels like an extra character, brimming with creative cello, violin, mandolin, guitar, and keyboard solos. Fred Alley wrote lyrics that contain the ring of plain-spoken, believable truth." In
The New York Times,
Ben Brantley wrote, "The songs are shiny with tunefulness, hope, and all-American inflections of country and folk." He said the score "has a gentle American vernacular charm" and the "lyrics have a matching ease and simplicity." Also in
The New York Times, Alvin Klein declared the show "a soul-satisfying new musical", "a complete work of theatrical resourcefulness", and "[a] story that flows with grace and carries the rush of anticipation". He continued, "The warm, indigenous American folk sound of Mr. Valcq's score is, harmonically and melodically, as theatrical as it is grassroots. On first hearing, Mr. Alley's lyrics touch a deeper chord, accomplishing the considerable feat of poetically offering inspiration while holding the syrup. ... The musical is freeing. ... It is penetrated by honesty and it glows." Of the London production, Stephen Collins in British Theatre wrote, "
The Spitfire Grill is a musical treat. James Valcq’s score is richly rewarding and creates a genuinely engaging musical atmosphere, which helps shape and drive the narrative. He creates a true musical world for the characters and, within that world, each character has tunes and phrases which assist in illuminating them and their part in the story. There are plenty of thrilling musical passages, some gentle and heartbreaking ones, as well as joyful and colourful (and tuneful) numbers. It’s the kind of score which engulfs you with its charm and spirit and, at the end, you just want to listen to it again." In his article "The Best of 2015" for Live Theatre UK, Collins singled out "Union Theatre's magical enlivening of The Spitfire Grill, a heart-warming but difficult American tale of redemption and fortitude which deserves a further, extensive life in the West End." In
The Stage, Mark Shenton found the show "a chamber musical that mines surprising depths in its portrait of the healing qualities of small-town community life. Set to a haunting score, the cast of seven gives it a gritty heart, aching with longing and regret but also hope." In ''
Harper's Bazaar UK, Lucy Halfhead stated, "the songs all hit their emotional marks - whether rousing or heartbreaking - and propel the action along. It’s thrilling that The Spitfire Grill’s
raft of great tunes has been uncovered for a UK audience." Genni Trickett of London Theatre 1 called the show "heart-warming, sincere, thought-provoking, and a jolly good story. Not to mention the original, toe-tapping tunes, which get into your head and refuse to be dislodged, no matter how hard you try." The British Theatre Guide''s
Howard Loxton wrote of the score: "The songs are part of the storytelling smoothly integrated with a gentle folk influence and an almost operatic treatment in the way they colour in the narrative and elaborate phrases. From individual arias to a complex sextet involving all the characters except a silent outsider, they are beautifully crafted." ==Awards and nominations==