The Welsh beauty stars alongside veteran actress Lansbury in the Stephen Sondheim play, which opened in New York's Walter Kerr Theatre on Sunday (13Dec09).
Zeta-Jones has been applauded by trade paper Variety as "bewitching, confident and utterly natural" in her portrayal of middle-aged actress and seductress Desiree Armfeldt, with writer David Rooney adding, "She breathes a refreshing earthiness and warm-blooded sensuality into the part."
The Hollywood Reporter notes her "beautiful" vocals and "terrific stage presence", while Newsday calls the Chicago! star "earthy and poignant".
But reviewers saved their highest praise for Lansbury, whose performance as Zeta-Jones' mother, Madame Armfeldt, has been branded "the production's real jewel" by Variety's Rooney, while USA Today called her portrayal "incandescent".
The Hollywood Reporter's Frank Scheck writes: "Lansbury uses her well-honed theatrical instincts to perfect effect as Madame Armfeldt, generating huge laughs with her expert delivery of the character's piercing comic barbs."
However, the musical's younger stars, Ramona Mallory and Hunter Ryan Herdlicka, have not fared so well - the Associated Press refers to the actress as "particularly grating", while Herdlicka, as the lawyer's repressed son Henrik, is "close behind".
But the youngsters' performances have done little to detract from A Little Night Music's overall review, under the direction of Trevor Nunn.
The Hollywood Reporter says, "Whatever its flaws, it's nonetheless a welcome return of a show."
A Little Night Music was last seen on Broadway in 1974.
In the ever-changing west of 1882 city marshal Virgil Cole (Ed Harris) and his deputy Everett Hitch (Viggo Mortensen) are two tough dudes out to clean up lawless towns a mission that takes them to Appaloosa. This small mining town has been taken over by a ruthless power-hungry land baron Randall Bragg (Jeremy Irons) who along with his band of thugs has run the place into the ground. Although their initial efforts are met with some success Cole and Hitch run into personal and professional conflict when a pretty mystery lady Allison French (Renee Zellweger) blows into town. She complicates the picture walking on the gray line between good and evil and generally making the Marshal and his No. 2 overcome unwelcome obstacles in their fight to bring Bragg and his boys to justice. The film based on the novel by Robert B. Parker smartly details the unique problems inherent in bringing law and order to an unruly West. Guiding his co-star Marcia Gay Harden in 2000’s Pollock to an Oscar Harris the director once again shows he has a natural affinity for steering his fellow actors at least most of them into superlative performances which includes himself. In fact the actor doesn’t seem to be the least intimidated in playing the leading role in a movie he also co-wrote directed and produced. Harris comes off as the embodiment of a dedicated lawman who quietly goes about his business determined to clean up the wild wild West his way with the help of a loyal deputy. Mortensen is wonderfully authentic as Harris’ partner in stopping sagebrush crime looking like he’s lived in those boots his entire life. Mortensen’s demeanor and style in the role of Everett Hitch evokes a true feel for a place and time long gone. Together these two do not seem fake or awkwardly contemporary but instead come off as the real deal. Irons is slippery and fun to watch as the devious outlaw Bragg proving as he did in his Oscar-winning Reversal of Fortune there’s nobody as good at playing subtle shades of bad. Zellweger on the other hand lets her acting show at every turn. To be fair her character rarely adds up but she does nothing to give any dimension beyond the obvious to a woman courting both sides of the law. In only his second outing behind the camera in a decade Harris shows Pollock was no fluke. Clearly enamored with the era he nobly honors the great American western tradition crafting a film that fits in with some of the best examples Hollywood has turned out. Some may complain that Appaloosa is long on talk and short on action but the time director Harris devotes to letting his characters develop is far more satisfying than a lot of pointless violence that many Westerns wallow in. Like Howard Hawks’ 1959 classic Rio Bravo this is an honest tale of the camaraderie between a pair of lawmen simply trying to do a job. This is a director whose emphasis is focused on his cast and he’s picked them very carefully right down to the smallest roles surrounding himself with a lot of terrific character actors. Just as impressive are the top notch production values including cinematographer Dean Semler’s stunning New Mexico landscapes.