Nancy Opel, Alvin Ing, John Conlee, Rob Bartlett, and Deborah Lew also took part in the workshop, which was directed by Gary Griffin.

"[3] Subsequently, the musical premiered at the Paper Mill Playhouse, Millburn, New Jersey on September 26, 2013 (previews), running through October 27, 2013,[4][5] with an expected move to Broadway in 2014.

[10] The ensemble consisted of Matt Allen, Tracee Beazer, Grady McLeod Bowman, Barry Busby, Leslie Donna Flesner, Gaelen Gilliland, Albert Guerzon, Raymond J. Lee, George Merrick, Jessica Naimy, Zachary Prince, Catherine Ricafort, Jonalyn Saxer, Brendon Stimson, Erica Sweany, Cary Tedder, and Katie Webber.

The concert was met with rave reviews from audiences, three standing ovations and a speech and solo performance on piano and ukulele by Brown himself.

The production, produced by Yeoburn and Price for United Theatrical, starred Maxwell Caulfield as Tommy, Samantha Barks as Betsy, Arthur Darvill as Jack, Rosemary Ashe as Bea Singer, Nicolas Colicos as Johnny Sandwich, Simon Lipkin as Buddy Rocky/Roy Bacon, Maisey Bawden as Mahi, Daniel Amity as Raymond, and Hywel Dowsell as Teihutu.

They check into the Milano hotel ("When You Say Vegas"), and Betsy immediately catches the attention of Tommy Korman, a wealthy gambler; she bears an uncanny resemblance to his late wife Donna, an avid sunbather who died of skin cancer ("Out of the Sun").

Betsy refrains from being intimate with him, but Tommy confides in his henchman Johnny Sandwich that he still thinks his plan will be successful ("A Little Luck").

No reasonable travel options are available ("Airport Song"), but Jack manages to join a troupe of Elvis impersonators making a "pilgrimage" to Las Vegas.

Betsy, having sobered up, rethinks her decision ("I've Been Thinking"), and finally rejects Tommy after Johnny accidentally confirms the true amount of Jack's debt.

Marilyn Stasio, reviewing for Variety, wrote that the set of Anna Louizos was "garishly witty" and noted the "breezy score (a tribute to the art of finger-snapping) and the brassy swing styling of the fantastic onstage band under Tom Murray's enthusiastic direction."

Of Brown's score, he wrote: "His songs seamlessly propel plot and define character in the way numbers did in the heyday of Rodgers and Hammerstein.

In The Guardian, Alexis Soloski wrote, "You’d expect a Vegas-set show to be all glitz and glitter, but there’s something a little low-rent about Honeymoon, which stints on sets, on dance numbers and (until the finale) even on sequins.

Much of the most infectious stuff comes from composer-lyricist Jason Robert Brown, whose talent as a songsmith is sharper than his nose for a winning property.