Readers’ Choice in theater 2025: Review: Alliance’s ‘Millions’ is rich with strong performances, needs firmer finish

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Editor’s note: We’re resharing the stories that were the year’s most-read from each of the disciplines we cover. The following article was exceptionally popular with our readers. Thank you for a wonderful 2025, and we look forward to bringing you more of the best arts coverage in Atlanta in 2026.

Alliance Theatre’s latest world premiere musical Millions, running through June 15, comes to Atlanta stacked with a lot of dazzling names attached. But the children onstage enrich the material the most.

The pedigree for Millions is unmatched out of the gate. Its book is by Tony award-winner Bob Martin, who wrote The Drowsy Chaperone and The Prom. It has music and lyrics by Tony winner Adam Guettel, known for The Light in the Piazza and Floyd Collins. It’s directed by Bartlett Sher, who won a Tony for South Pacific. It stars Tony nominee Steven Pasquale, alongside Tony winners Shuler Hensley and Ruthie Ann Miles.

But the names you’ll want to know most from this production are Yair Keydar and Keenan Barrett, who play lead characters Anthony and Damian with a tremendous amount of heart, humor and conviction.

Based upon the novel and film screenplay of the same title by Frank Cottrell-Boyce, the stage version transplants the story from England to Albuquerque, New Mexico, and makes it about a strange duffel bag full of American currency. But it’s still a heartwarming story of poor Catholic boys mourning their mom in different ways.

Damian (Barrett), the central protagonist, is a small child obsessed with saints and getting into heaven so that he can see his mom again. Damian’s obsession with saints is so extreme that he has potentially miraculous visions of them and conducts full conversations about faith with them. Anthony (Keydar) is more jaded, urging his younger brother to try better to fit in at their new school. He also wants to scam folks so that his family never faces financial hardship again.

The family recently moved into a subdivision’s model home, where their dad Ron (Pasquale) works as a handyman. Medical bills have devastated their finances.

One day, while Damian plays by the railroad tracks, a bag of money falls from the sky, and he believes it’s a miracle intended for them to give away to those in need, including to a charity run by a kind woman named Dorothy (Ruthie Ann Miles). Anthony thinks it’s a windfall. They both devise how to keep it secret and debate how to make the best use of it. 

Meanwhile, a monstrous thief (Hensley) comes to the area to get the money back, even if he has to kill for it.

Though Millions is not their first collaboration, Martin and Guettel’s combination of sensibilities can be a bit jarring, as Martin is often zany and random in his humor in past shows while Guettel’s best known music is lush, emotional and warm. 

At its best, this show touches heartstrings and then slyly undercuts any sympathy with good jokes, such as the song “Our Mom Is Dead” in the first act, delivered by the boys to a gullible ice cream man. 

Another good first act moment occurs during a security guard’s chipper presentation about burglary to new subdivision residents, where the terrific Billy Harrigan Tighe delivers a hilariously unhinged song called “Albuquerque Bethlehem.”

But the act concludes with a very strange dance number where Damian mingles with a murderer and an army of Santa Claus visions. It’s oddly paced and leaves the audience with more of a whimper than a bang.

The second act is stronger, tighter and more focused. Here, all the characters connect more to one another, and the chemistry between Pasquale and Miles really shines. And Hensley gets some absolutely terrifying moments.

But Keydar’s performance of the song “Childish Things,” where he sings of circumstances forcing him to grow up too fast, is the most stunning moment of the show.

The climax of the plot after the song pales in comparison. Much of the show’s ending depends upon the arrival of a character we haven’t seen onstage before, which lessens audience investment in the overall impact. The moment functions, but it is not yet the emotional gut punch needed to leave the audience devastated as they exit the theater. (Also, the program’s song list spoils the surprise, much like the original title listing of “Dance 10, Looks 3” gave away the punchline to the best joke to early audiences of A Chorus Line.)

Technically, Millions is a marvel. The model house set, designed by Michael Yeargan, is particularly impressive as it slides on and off the stage. Transitions between the settings are generally seamless, despite the many moving and rotating parts onstage as actors perform. The use of lighting, projections and sound effects enhance key moments, particularly involving the train.

When addressing its biggest thematic question, whether money is good or evil, Millions needs to come up with a more impactful and definitive statement to leave its audience with something more concrete than the pleasant reprise that is currently there. 

The showrunners need to have the conviction, daring and faith of a character like Damian. A show involving this much wild imagination should conclude with a bold, satisfying moment of risk, hope and audacity.

It’s got so much promise already. It can be better.

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Benjamin Carr is an ArtsATL editor-at-large who has contributed to the publication since 2019 and is a member of the American Theatre Critics Association, the Dramatists Guild, the Atlanta Press Club and the Horror Writers Association. His writing has been featured in podcasts for iHeartMedia, onstage as part of the Samuel French Off-Off Broadway Short Play Festival and online in The Guardian. His debut novel, Impacted, was published by The Story Plant.