Suskin was generally happy with the show, except for its leading man, Mr. Broderick (of Ferris Bueller's Day Off fame). His review said, "The newly manufactured 1920s-set musical crams vintage Gershwin songs into a bubble crowdpleaser, enchantignly rendered by thesps Kelli O'Hara, Michael McGrath, and Judy Kaye. Mix in staging and choreography by Kathleen Marshall (Anything Goes) and a cheerfully screwball if somewhat creaky new book by Joe DiPietro, and you've got what might be termed a good new old-fashioned musical. If only its likable, hard-working leading man --a miscast Matthew Broderick -- didn't seem to be painfully concentrating on his next step, all night long."
Ben Brantley of the New York Times had something similar to say. "Every now and then, a bubble of pute, tickling charm rises from the artificial froth of Nice Work If You Can Get It, the pastiche of a 1920s musical featuring songs by George and Ira Gershwin. Most of this show, which opened Tuesday night at the Imperial Theatre, registers as a shiny, dutiful trickle of jokes and dance numbers performed by talented people who don't entirely connect with the whimsy of a bygone genre. But then, all at once, there's a moment of delicate ridiculousness, of utterly credible improbability, that signals what Kathleen Marshall, the production's director and choreographer, must have been aiming for."
Given how late in the season this show opened, it has a decent shot at some Tony nominations, particularly given the fact that it received 9 nominations from the Outer Critics Circle the other day, but I will have to figure out in what categories I think that will be.