Peter Mills and Cara Reichel's highly entertaining morality comedy transports J.M. Synge's 1907 "Playboy of the Western World" to Depression-era hillbilly country, with an unlikely blend of smart, dark comedy and foot-stomping country music.

—The New York Times

Joyous, tuneful, and a barrel of fun... The songs are delivered by a truly talented cast with not one weak link... This small, delicious musical deserves a longer life.

—Backstage

Golden Boy shimmers thanks to its engaging, on-stage bluegrass band and the grit and gusto of its capable cast… What sets Golden Boy apart are its unique, irresistible songs; composer Peter Mills has created an enigmatic, evocative score that tells the story better than any dialogue could... there's something immediately engaging about the shivering guitar chords and casual camaraderie of this music.

—CurtainUp.com

Mills' gift for infectious melodies and his singular brand of super-smart word play make him a realistic successor to the mantle of Stephen Sondheim.

—Theatermania

The work's musical high points—big, sweepingly lovely ensemble numbers—catch this [Japanese] shared spiritual element perfectly, while others snag Shakespeare's low-comedy sense in a way that's pure kyogen.

—The Village Voice

Lovely and literate... Peter Mills and Cara Reichel are among our most talented new theater artists.

—Peter Filichia's Diary

At its best, the show simply rocks... [the songs] show off the vocal power of the ensemble, making good on the premise that rock opera just might be the best way of conveying the intensity of Greek tragedy to a modern audience.

—The Village Voice

A sexy good time up until the inevitable bloody end... that leaves you in thrall to the rock 'n' roll god of wine and ecstasy.

—Backstage

A rock musical that's not only rock, but actually a musical, too. And a sizzling one... with an erotic, go-for-broke urgency strong enough to make you want to join in the reveling yourself.

—Talkin' Broadway

Like The Producers (with Soviets filling in for Nazis), Iron Curtain simultaneously parodies and pays loving homage to old-school musicals, and deserves to be as big a hit. It’s springtime for Khrushchev!

—The Village Voice

Iron Curtain is a heart-shaped box of theatrical candy for every fan of the genre… There is something in this show for everyone to enjoy: clever historical references, clever theatrical references, silly jokes, groan-inducing puns, and delightful songs… If you want to see the future of American theatre, head over to the West End Theatre.

—BroadwayWorld

Fizzy show tunes, dizzy shenanigans and amorous subplots... this is one curtain not to miss.

—Time Out New York

Anyone interested in the future of musical theatre should hightail it down to the East Village and catch the Prospect Theater Company’s wonderful new production, The Pursuit of Persephone. Musical aficionados will be heartened to see that it lies, in part, in the capable hands of Peter Mills and Cara Reichel, a talented composer-lyricist-bookwriter-director team who would make several of their musical predecessors—Cole Porter, Comden & Green, Stephen Sondheim—proud of their accomplishments here.

—NYTheatre.com

This is the show New York has been waiting for: a genuinely intelligent, witty, clever, heartfelt, exciting and original musical... a thought-provoking gem...

—BroadwayWorld

Raw talent isn't visible to the naked eye, but you sure know it when you see it -- and hear it. Songwriter Peter Mills has it. He's up to his eyeballs in it... Right now, he's showing his astonishing abilities in a musical titled The Pursuit of Persephone

—Theatermania

Peter Mills is a prodigiously talented songwriter. The slick, funny, tuneful music and lyrics in his new song cycle Lonely Rhymes are near the high level of his songs for his OOBR-winning Taxi Cabaret as are the performances by Jason Mills, Tracey Moore, Liz Power, and Noah Weisberg. It's glorious icing, complete with sprinkles and candy roses...

—Off-Off-Broadway Review

What is it about musicals that make you a little bit, well, if not happier, then less unhappy despite a sudden chill in the recently spring-like breeze and whatever other unpleasantries may enter your life? I don't know, but they do, and Prospect Theater Company's new musical revue, Lonely Rhymes is no exception.

—Off-Off-Online

Regency England receives a fresh lease on life in the intriguing new musical The Alchemists. This literate, tuneful show revisits the era when Byron, Keats and Shelley flowered, and the unpredictability of romance and passion clashed with the strictures of religion and the logic of science.

—The New York Times

Reichel and Mills have a gift for writing period dialogue that is natural and witty... the show is filled to bursting with incidents of intrigue and character-revealing songs...

—Theatermania

glorious musical theater... numbers that progress the plot, reveal character, and entertained tremendously... . It was a pleasure to see so much accomplished musically and dramatically...

—Off-Off-Broadway Review

This high-spirited, utterly engaging musical adaptation of Shakespeare's Twelfth Night is an intergenerational winner that deserves an unequivocal thumbs-up. Peter Mills and Cara Reichel, who adapted the show, have managed to do the near impossible. They have taken Shakespeare's comic masterpiece, kept its Elizabethan spirit, voice and wit, yet created a new, accessible work that brashly and, at times, poignantly speaks to contemporary musical theater.

—The New York Times

Genuinely witty, inspiring new life to Shakespeare’s characters as the actors of Prospect Theater Company ally touching ballads with burlesque numbers, and revamp Shakespearean innuendos.

—The Village Voice

Thank heaven for Peter Mills... take it from someone who's now seen six musical Twelfth Nights, this is the best of the bunch.

—Star Ledger

Peter Mills and Cara Reichel offer a stark and stirring portrayal of courage and conviction in The Flood. This study of the anticipation and aftermath of a natural disaster features down-to-earth dialogue and situations that give the show a slice-of-life quality rarely found in the musical theatre genre.

—Backstage

Awash in heartfelt emotions and glorious songs... Surging anthems and rapturous hymns crown a collection of complex character songs that detail the inhabitants of this small Midwestern town...

—Talkin' Broadway

Reichel and Mills have fashioned a folk opera about how the events affected the lives of the people of this typical American town and ignited the get up and go spirit that's part of our pioneer mythology...The Flood is a serious and seriously impressive musical.

—CurtainUp

...Peter Mills, who provided the book, music, and lyrics to this revue, could win this year's Stephen Sondheim Successor Award in a walk.

—The Village Voice

Mills's songs were so good, no, make that superlative, that the theme shone like new, and the silly title couldn't hide the freshest, most tuneful, heartfelt, and well-sung musical in ages. With luck, it will be remembered as an early talent explosion that led up to what will be, if there's any justice, a superlative career.

—Off-Off-Broadway Review

Mills provides intelligent lyrics, edged with a controlled wit — just what those who've started to follow his career would anticipate he'd craft.

—Backstage