“Road Show” is all about the money and this particular feature is obvious in the scenes that let money pour and fly on stage like confetti. Following a rather long road, the enlivening musical by Stephen Sondheim and John Weidman finally has the chance to take a bite out of the Big Apple and follow the American Dream, which is also the target of the play’s persistent heroes (or, better said, antiheroes), who see nothing but big bucks ahead of them.

One of “Road Show’s” previous titles was “Bounce,” but was nevertheless changed after it played at Chicago’s Goodman Theatre and the Kennedy Center in Washington some five years ago.

The musical, which brings to light a thoroughly constructed analysis of American consciousness or unconsciousness and essentially naive ideals, debuted on Tuesday at the Public Theater off-Broadway and showed audiences a side of money-hunters they would have never imagined.

“Road Show” tells the story of a couple of determined siblings whose main problem is represented by the fact that they have not made up their minds with regard to the feelings for each other. However, the 20^th century swashbucklers manage to get on their feet with the help of the energy they mutually offer. Director John Doyle has played an incredible role in the re-embodiment of the show, as he lent Stephen Sondheim and John Weidman a hand in shedding light on the appealing parts of the tale, which include the relationship between Wilson (Michael Cerveris) and Addison Mizner (Alexander Gemignani), as well as their adventures across America from the Alaskan Gold rush to the Florida real estate boom in the 1930s.

The musical begins with Addison’s death and swiftly takes us to the beginnings of the two brothers’ quest, which culminates with a catchphrase by their father (William Parry), who tells his sons to concentrate on what they “can become.” Since Addison understands these last words as an urge to pursue his dreams, he is drawn by unknown places and thus travels across the globe. In the meantime, Wilson, who loves gambling and finds the true pleasures of life in the gift of game, is followed by failure, which is, as a matter of fact, the only thing he has in common with his own brother.

While Michael Cerveris has a spectacular traditional look, spiced up by a sparkly doggedness, Alexander Gemignani’s Addison seems more charming and defenseless, mainly when he falls for a well-off young man, played by Claybourne Elder, who backs their projects.

By examining these two poles apart characters, Stephen Sondheim and John Weidman manage to write at least a small chapter of American history, viewed through the eyes of the American dreamer. Therefore, a more subjective perspective not only helps us enjoy the show more, but also offers us a significant life lesson.