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Two Strangers (Carry A Cake Across New York) (Longacre Theatre, Broadway) - ★★★★★ REVIEW
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Mickey Jo
Do you know what, and this may or may not surprise you, I too have carried a cake across New York. And by New York I mean the subway. And by carried a cake I do mean eaten a cheesecake. But that valuable life experience, coupled with the fact that I have seen this particular musical go from off West End to West End to an American regional theatre, finally to Broadway, I hope qualifies me somewhat to tell you that it has never been better. Oh my God. Hey, welcome back to my theatre themed YouTube channel. Or hello to those of you listening to this Broadway review on podcast platforms. My name is Mickey Jo and I'm obsessed with all things theatre. I am a theatre critic and content creator here on social media. I am based in the UK but occasionally throughout the year I fly across the Atlantic to go and see as many Broadway and Off Broadway shows as possible. I was just there last month on a trip that deliberately coincided with the opening night of Two Strangers Carry a Cake Across New York at the Longacre Theatre on Broadway. I will say that again. That is the Longacre. It is opposite the Walt Occur. It's across the street from Hadestown. It is right by Times Square. Just because you can't see it behind the scaffolding doesn't mean it's not there. Honestly, someone needs to do something about that. Two Strangers, as it is often affectionately referred to, is a British written musical set in New York, following two characters who meet for the first time and then spend a whirlwind, I guess like 36 hours together. Perhaps I'll tell you a little bit more about the show as well as its history, starting life with an entirely different title. The show used to be called the Season and we'll talk a little about its development and the way in which it's been honed from the earliest production that I saw at the Kiln Theatre in London. But in a very quiet season for new musicals on Broadway, we will also talk about about this fantastic original score, these performances, the other creative elements, as well as the show's identity as perhaps a rom com on stage, and whether that is part of a growing trend following on of course, from the success of last year's Tony Award winning Best New Musical. Maybe Happy ending. There are definitely parallels to be seen. After all, what really is the difference between a boxed wedding cake and a jar full of fireflies? Beyond gluten. So get comfortable for a full in depth review of this newly opened Broadway show and if you've had the chance to see it already, or perhaps on one of its previous runs elsewhere where feel free to share all of your thoughts about the show in the comment section down below. And if you enjoy listening to what I have to say and you would like to hear more of my theatre reviews, make sure to subscribe right here on YouTube or follow me on podcast platforms. In the meantime, let's talk about Two Strangers Carry a Cake Across New York. Now, as promised, a little about the history of the show and also a little expansion on the synopsis. Helpfully, it does tell you what is going on right there in the title, which I think is a formula that would actually be a great way of marketing a whole bunch of other Broadway shows. And it works for almost anything. I don't have to tell you which current Broadway musicals I'm talking about when I describe them as Three Dads arrive to a wedding in Greece, two witches carry a love triangle across a magical realm, or my personal favorite, two poor and hungry youths break up in hell. Honestly, Hours of fun. But as I mentioned, that was not always the name of this show written by Kit Buchan and Jim Barn, because when it was originally pitched as part of the UK's largest new musical Theatre writing showcase Beam. It was called the Season, though it still told the story of an American woman named Robin and a British man named Dougal, who meet each other when he travels enthusiastically to New York for the very first time in order to attend the wedding of his largely estranged father, who is getting married to her sister. In spite of the fact that Robin and Dougal are pretty close in age, in fact, his initial assumption is that she is going to become his sister in law because he believes that it is her mother who is marrying his father, this being just one part of the initial awkward conversation that they have when she's picking him up from the airport. I also always interpreted the day, the first day of the show, as starting very early in the morning and she has to go straight to work. I think that's what it was. And they now have it as him arriving late at night and then she is at work the next day. I think this is a change. Either that or I just wasn't paying good enough attention while it was in London. But it works much better, logistically speaking, that this is the next day. And before we even get to the part where they have any kind of cake carrying to do, the two of them already have this comically awkward dynamic with him being so wildly excited to see New York and desperate to do kinds of stereotypical touristy activities like going to see the Statue of Liberty and using all of these American phrases in spite of having a demonstrably limited knowledge of the city. Something that we learned about in the first musical number of the show, but we'll get to that in just a moment. Something we should talk about first is that this does resemble something of a romantic comedy, a genre which is said to be having like perhaps a limited resurgence on screen, but has been absent for some time now, one which was certainly enjoying its heyday in like the 90s, the early 2000s. And I posit whether the musical comedy is actually having a resurgence on the Broadway stage. Like I said, maybe happy ending, last year's Tony Award winning pleasant surprise to audiences. I think those same audiences will have an awful lot to enjoy about the similarly smart and funny and charming Two Strangers Carry a Cake Across New York. It articulates some of the same ideas, it has a lot of the same kind of charm and scope and structure, only the whole thing is relatable and familiar in different ways. Rather than talking about these big universal emotions, it tells this very small, self contained story, but in a very recognisable city as they navigate very familiar problems. Because these Aren't robots figuring out love decades into the future? These are two people living and trying to survive right now. And certainly if someone is a rom com fan, there's an awful lot that they're going to like about this show. The other big appeal I think it has that it's enjoying right now more than ever on Broadway, is the New York of it all. And to talk about this, we have to talk about the show's history. Now, it was produced when it was called the Season, I think, at the Royal and Derngate Regional British Theatre. It had its London debut under a new title, Two Strangers Carry a Cake Across New York, led by Sam Tutty, who has remained with the show ever since, and the brilliant Dijona gift. The two of them then transferred with the show to the Criterion Theatre in the West End before news eventually came that Sam would be joined by an American actress, Christiane Pitts, for a U.S. regional premiere production at the American American Repertory Theatre in Cambridge, Massachusetts, by which time the show had been tinkered with and adjusted slightly. There were several moments of amended dialogue, some slight musical changes, if I was noticing correctly, all in anticipation of the show's Broadway arrival at the Longacre Theatre where it is currently playing. All of this to say that this show that is set in New York and talks about it extensively, New York is such a character in and of itself in this narrative, has finally arrived for the first time in front of a majority New York audience. And I had so much fun faith that they would be every bit as charmed by it as London audiences were. But there has been, I think, the entire time this question of whether they would appreciate it and whether they would sort of take any issue with this being a New York set and depicting story written by British writers. And I think there are various reasons why that doesn't matter whatsoever. What's been really remarkable is to experience it among different audiences. And even in Cambridge this didn't happen. Not until New York did it become such a comedy with so many new laugh lines, because from very early on he is saying things that anyone who knows basic New York geography well will find funny. So they start laughing so. So early in the show, earlier than audiences have ever laughed before. And when Cristiani's character Robin, says something to him about Hudson Yards and he says, presumably at jfk, is that near here? And the entire audience laughs because Hudson Yards is in sort of lower midtown Manhattan on the west side, and JFK is very much not. When they laughed at that line, I thought, oh, they're going to laugh at everything. They're going to laugh at every single New York reference throughout entire show. And I think they laugh even at more than the writers potentially anticipated. Because the earliest and maybe also the best song in the score, which is a song called New York, sung by Dougal in his enthusiasm to finally be in this dreamy city that he's seen so many times in movies, features a lot of playful, deliberate comedy in its lyrics. But there's this passage towards the end where it slows down and becomes introspective, but it still has, at the start of that, a little bit of mistaken New York knowledge from him, where he's singing like it's the City of Angels, it's the City of Sin. And that, to my recollection, never used to get any kind of a substantial laugh, at least on previous runs. They still laugh at that because he's using terms that I guess reference Los Angeles, and I think Chicago, I guess, is the other one. This is evidence of the British people kind of having a slim and tenuous grasp on the cultural understanding of those places. But my point is the New York audience eat up with delight. All of these jokes around him, loving the city and her feeling slightly fatigued. Fatigued by that. When he says to her, oh, I bet you don't want to go to the Statue of Liberty. You live here, you probably go there all the time. Huge laugh. Huge laugh from the majority New York audience. And what I felt after watching the show on Broadway was that not only does it play better than it ever has before in front of a New York audience, but it feels like, oh, this was always meant to come here. This was always destined to be seen by these crowds in this city. It just makes sense. Not only that, it's also a festive set show, and so audiences seeing it in the months of November and December are having, like, the perfect dreamy experience. Here is another reason why the Broadway production of Two Strangers is better than any before. It's not just because the material has been retooled in ways that I think are very beneficial. It's also because audiences now have a means of emotionally accessing both of these characters. Because back in London, we were him and we got to know who she was, but she didn't mean anything to us on a deeper, relatable level, necessarily. I mean, there's not that much difference between trying to survive financially in London versus in New York, which is much of what Robin is going through, coupled with a hefty quantity of emotional baggage that we find out more and more about over the course of the show as she reveals what she's been struggling with and the root of perhaps her slightly frosty personality, but when seen by an audience on the other side of the Atlantic, on Broadway, suddenly they find him deeply charming because he's written to be. He's a very lovable character. But there is bal balance, and she can compete with that because they are her and they know her, and so they have that perspective. They see him through her eyes. They have the same response as she does to a lot of what he is saying. And that way, these two characters, for the very first time, are able to tell this story on a more equal emotional footing. Now, I mentioned earlier that New York almost feels like its own character within the narrative. And they tell us about various places and they experience various different. Different sides of it, not just because they go to Flatbush Avenue and Brooklyn, and there's a great song called this Is the Place, where Robyn sings about what that neighborhood and that community used to mean to her and the authenticity of it and what it was like to grow up there and to know the people there. And there's a great line when he asks her, and this is still really New York. This is still real. And she replies to him, this is Brooklyn. This is the only part that's real. But also because in a moment of reckless decision making, the two of them decide to financially splurge a little before the end. End of the first act, singing together a delightful, swinging song in which they are taking a ride on the American Express and spending money that is not necessarily theirs to be concerned about. And finally, then, audiences get to see a little of and hear even more of a lot of lavish New York activities. They go to the Plaza Hotel and they go shopping for swanky outfits, and they're enjoying lobster cappuccinos, whatever those might be. They go ice skating and dancing and drinking. It's an entire fairly thorough description of New York, but one that is rooted always in an honest perspective of it, delivered by Robyn, who at this time is living in Manhattan and working as a waitress and feeling, as she, I guess, nears 30, all kinds of emotionally disenfranchised, which is a really refreshing point of view, I think, to get to see on stage, because so much of the depiction of New York is nostalgic and fond and perhaps a little romanticized and perhaps minimally diverse in a way that is not really reflective of the people who live there. I saw an Off Broadway play not too long ago that definitely depicted New York in that kind of a context, and these ideas of the American Dream and this city that has always offered promise and reward to immigrants. And in 2025, in the current political and financial and social landscape, there are a lot of challenging realities for younger generations to contend with. Characters like Robin then, are a breath of fresh air, a a woman who is struggling, but who is determinedly self sufficient and whose identity is not defined by a relationship or a desire, who isn't necessarily connected to any sense of ambition or aspiration, but is just trying to get by and remember how to be happy and feel like herself and figure out exactly what it is that she does want to do from one day to the next. Unlike in a lot of other sort of sweeping romantic musicals, the emotional journeys and realizations that these characters have aren't huge and monumental. They are these sort of slight but vital perhaps shifts in perspective that they achieve by knowing each other for this brief time. The whole thing is very down to earth and very honest and very realistic in a way that proves to be compellingly enchanting. One of the show's American producers, Kevin McCollum, spoke to me about New York being both the protagonist and the antagonist in this narrative, which I think is a really interesting of looking at it, and speaks to what I was saying before about these romanticized depictions of the city. But there is a line that sums the whole thing up that Robin has. When Dougal asks what it's really like living in New York and she asks him quite calmly and quickly how much money he has, he replies with an answer that is clearly not enough, and she says then it sucks. And beneath the loaded emotional conversation that they have about his dreamlike vision for this city is her fractured relationship with her sister who is getting married, his estranged relationship with his father, who he has never really known, and from whom he is expecting something in some way. A lot of the beauty of the story, I think, is the way in which they both find something they've been searching for in each other or through the time spent with each other without realizing that they were going.
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Mickey Jo
So now let's get to know these characters a little better and talk about these performances. Sam Tutty has been starring in the last few runs of this show as Dougal. He is so winningly charming in this role, it's ridiculous. And he is as great as he has ever been in the Broadway run, getting so many laughs. He is a delight on that stage with a heavy serving of emotional heft to arrive in the second act. For audiences who aren't familiar with Sam's career thus far. He was the original West End Evan Hansen in the musical Dear Evan Hansen. And you can get a little bit of a glimpse into that in a song that he sings when leaving a telephone message for his mother in the second act of this show. Also, just to talk a little bit more about the structure of the thing, the fact that I'm saying first and second act might be surprising people because for the scope of this narrative, for it to be a two hander, people tend to expect a one act musical, something in a 90 to 100 minute realm like the last five years, or maybe happy ending itself, I guess, even though that actually has a larger cast. And I've seen a lot of conversation around people saying that it's too long, that it doesn't need to be. And there are a couple of scenes in the first act that feel perhaps a little protracted. I always enjoy living in that dialogue and living in this encounter between these characters. I also don't think that it intermission and a second act is a bad thing. I don't think it makes it, you know, an inconvenience to your evening. If you're going out to the theater, then you may as well want to be there. And I don't think the goal has to be to leave as quickly as possible. But it is, I suppose, in contrast with a lot of other contemporary musical theater writing and structure, unusual to have scenes that feature more than one song as the scene progresses in the same location. There is a scene that takes place outside of Robin's sister's apartment. I don't know if all of the songs that happen there used to all happen in this, but that is perhaps the only one where I feel like we are staying in the same place for just a surprisingly long amount of time. There's also, you know, a little fodder in the score that could be cut in the most streamlined version of this, but then it wouldn't have the same depth of character or quite the same color to it. There's a duet that they sing, kind of poking fun at the likes of Baby It's Cold Outside and romantic Christmas songs while they're in the back of an Uber. There's Another they sing while he's trying to coach her about how to get better at swiping on Tinder and the new world of of online app dating. But even though they aren't progressing the plot, they are contributing to a gradual melting of the relationship between these two. The lowering of guards, the relaxing of walls and baby steps taken towards a place of understanding. And we know this from rom coms on screen, the moment when these stubborn protagonists figure out that they feel differently about each other to how they thought they did, when they're doing some sort of casual activity or having some sort of inane conversation that allows them to realize they had more in common than perhaps they thought they did. And that's what both of those two songs represent. Anyway. I distracted myself back to character. Each of them has something inside of themselves that they take their time to reveal to us. For Sam as Dougal, it's a layer of depth and angst that is secreted behind all of this enthusiasm and this golden retriever energy. He also lands the first huge musical win of the show, New York. His name should be on everybody's lips as the they begin to have potential Tony Awards conversations this spring. Because it's a really wonderful performance that he's giving in this show alongside Christiani Pitts, who's Robin I already enjoyed back at the American Repertory Theatre in Cambridge. I think she's come even further now in the role because she's found a way to be able to smile in the first act, and it's difficult to work out how to do that with Robin. I mean it literally. And as what that represents as well, she's worked out how. How she can let us, the audience, in a little more while simultaneously keeping him at arms length. But as this resolve eases just a little bit and she entertains more of the conversation that he's trying to have with her. And she admits more and more about her personal life while still avoiding certain topics of conversation until she feels ready to tell him on her own terms, which she eventually does. We, the audience, get all sorts of meaningful insights into who she is as a person. And it's this beautifully expressive, heartfelt performance that gives us a real sense of where we're going with these revelations, which by the time that they're admitted, don't really come as a shock. There's also something in the way that her frustration just betrays a pain. And there's a scene that has been added in the second act of the show when she listens to a voicemail message from her Grandmother, which has added so much. It's a brilliant addition to the show because she just gets to play the reaction to it all on stage for a prolonged time. It's another great parallel between the two of them and finding a way to make their stories similar. But she, like I said, is this wonderfully relatable character for young women to see on stage. Never more so than when she's singing the song Be Happy and talking about all of these different expectations and all of these different things that you're supposed to do and that people tell you to do, and all of these different plates that you have to keep spinning simultaneously, so many of which I think really strike to the heart of notions that we've all perhaps thought about or struggled with. And this modern day challenge of trying to balance being liked and liking yourself and having a positive image of yourself, while also making sure that that image of yourself is being palatable to society. It's self care, but it's practicing self care in the way in which you are told to and in a way that is also healthy and in a way that is also not going to bankrupt you. And it's balancing that with work and it's balancing that with trying to see your family and trying to see your friends. And it's all of these things that become even more fraught when you're going through something personally challenging. Challenging as Robin has been for some time. She's also, I think, just so fiercely independent. And at the time that we meet her, estranged from any kind of a support system, which she reluctantly, very reluctantly finds in Dougal.
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Mickey Jo
Finally, let's talk about the creative choices that bring this production together from director and choreographer Tim Jackson and creative team. But before we talk about Tim's work, I want to talk about the production Secret Weapon, who has been attached for some time associate director and choreographer Asmarit Gebra Michael, who you might know from her prolific career as a performer on the Broadway stage. But she, I think, has been an important component of how the show has been able to translate charmingly to American audiences and feel authentic enough and honest enough while being a British written show about. About an American character, at least one American character living in New York, as an American herself who has lived and worked there for some years. And we talk a lot about discovering authenticity on stage. I have this conversation all the time. It's my favorite word to use when talking about casting, that authentic performances are so often the best. And obviously the challenges of trying to sustain yourself emotionally and financially as a young woman in Manhattan are also familiar to Christiane Pitts, who is playing the role of Robin, to Phoenix Best, who is an understudy in the role as well. But I think we don't give enough credit to creative authenticity. That's happening offstage, that's happening in the rehearsal room, that's happening in the developmental process with the writing as the show is being adjusted and honed. And, you know, I'd like to see more musicals go on the kind of journey that Two Strangers has gone on where it's really had the chance to be perfected before arriving at one of the most major stages in the world for musical theatre. But back to Tim, who had already debuted on Broadway as a choreographer with the celebrated award winning revival of Merrily We Roll along at the Hudson Theatre. Tim is also this brilliant director with this brilliant eye for staging, but also such a fantastic feel for character and connecting to this really tender, honest, relatable, naturalistic, realistic, heartfelt place. The whole thing. Yeah, it does feel like a rom com tonally, but it also feels like a lot of those two hander plays that are very popular in New York I went to go and see at the Lucille Lortel Theater Gruesome Playground Injuries. And there are a bunch more plays that I could name about a young man and a young woman in similar circumstances to those in Two Strangers. Two people meeting, finding out more about each other through conversation. Their relationship evolves. There is some sort of catalyzing discovery in there. There are shifts. They step towards each other, they step backwards. There is a confrontation, perhaps. All of this delivered to us in this production in a way that is theatrical enough to be compelling and interesting, but also feels genuine enough that there is a truth to it. There is a truth to what is happening on stage. And when this friction sort of resurfaces between them, it doesn't immediately bubble over into a fight. It goes to this place of difficult personal conversation early in the second act. At which point we've come to know these characters so well that we have this fantastic insight into the pain that they're each feeling in the this moment. Now, the way in which this is staged upon an ingenious revolving circular set from the brilliant scenic and costume designer Sutra Gilmour, is to have things being pulled out of what look like suitcases. The whole thing looks like this overflowing baggage carousel, basically, but it's also kind of a snow globe at the same time. And they're talking about this ideal image of New York, and it's rotating round and it's spinning on occasion, sometimes it just sits still to allow us to live in the real, true gravity of an emotional scene. On other occasions, it's moving at a fast and exciting frenetic pace, like the city can. But it begins with a solo suitcase slowly revolving around two piles of suitcases, which we come to realize are not just piles of suitcases because you open it up and it's a trash can. You pull that one out and it's a fridge that lowers down and it's a coffee shop that pulls out and it's a bed that opens up into something else. It's so, so clever. It creates every location. We forget quite quickly that what we're looking at is two large towers of grey suitcases. It also doubles for that sort of slightly cold, corporate chrome look of perhaps a skyline, perhaps office buildings, perhaps a subway train. It's ingenious, really. Not just because there's things that you pull out of things and things open. Not just because it's a baggage carousel that's also, by the end of the show, a snow globe, but because it looks like New York and it feels like New York. But that's been created by the image of travel. We're seeing it from his perspective while living in hers. And now the show is playing in New York. There's so many layers, there's so many levels. I could keep talking about this and different ways that you can re examine it from. But really, as you're watching the show, you're not being all that cerebral at all. You are just enjoying the easy comedy of it and the charm of these two individuals getting to know each other. There are some truly outrageously funny jokes in this show as they sort of awkwardly make their way through their earliest conversations and those moments when they ask slightly bolder things and get to know each other just a little bit better each time. There's little praise. Better, I think, that you can give to a show in a story like this than to say how desperate you are to know what it is that happens next. And while I think it's a beautiful and and fulfilling ending all of its own, I am so deeply curious about what it is that these characters get up to subsequently and what the sequel to this musical might look like. In the meantime, though, I can always go back and enjoy their first encounter with each other over and over again. Two Strangers Carry a Cake Across New York is currently playing at the Longacre Theatre on the Broadway. I recommend this thoroughly to just about anyone who loves New York theatre. There is no city I've ever been to in which the people of that city unashamedly love it quite in the way that New Yorkers do, which is so wonderful, I think. And it's exactly why you are going to love Two Strangers Carry a Cake Across New York. It has thus far surpassed the very low bar of being the best new musical of the season so far. There isn't a lot of obvious competition coming over the next few months. That being said, it is playing in one of Broadway's more challenging houses. There is not like celebrity star casting involved with the show. It's not a recognizable title, it's a long title. I don't think they have yet discovered the perfect poster artwork. Just like it took maybe happy ending a little while. That show really didn't set the box office on fire in its earliest weeks on Broadway and that had Darren Criss. So this show is definitely going to need the support of audiences and great word of mouth and the buzz and the acclaim that it deserves. If you've seen it already, if you've loved it already, recommend it to someone. Send your parents, send your friends. This is an easy show for just about anybody to enjoy. Perfect date night material. Oh my gosh. Go and check it out for yourselves if you have a chance. If you haven't already, if you are traveling to New York, especially over the next couple of months, and you want to really see a show that is going to tie a ribbon on the delight of that experience and give you like the perfect night out on Broadway. Broadway. This is a love letter to the exact vacation trip that you might be having. And if you live in New York and you're not on vacation, you're going to love it for even more reasons. I love the show. Thank you so much for listening to everything that I had to say about it. If you've seen the show at the Longacre Theatre, share all of your thoughts and feelings in the comments section down below. Stay tuned for more of my reviews coming very very soon about shows opening on Broadway and in the West End. And as always, I hope that everyone is staying safe and that you have have a stagey day for 10 more seconds. I'm Mickey Jo Theater. Oh my God. Hey, thanks for watching. Have a Stagey Day. Subscribe. 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Mickey Jo
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