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Two Strangers
A simple rom-com it is not. When New York (a town that’s all about money) figures as a character in the dynamic of a budding relationship, complexity arises. It’s especially so with the musical comedy Two Strangers (Carry a Cake Across New York) by Jim Barne and Kit Buchan. Currently at the Longacre Theater until July, the musical’s fast-paced, joyful tone and youthful cachet appeals.
The show was originally titled The Season in productions at two regional English theaters in 2019. A new title and opening in London at the Kiln Theatre (2023-2024) and on the West End at the Criterion Theater (2024) helped the musical make its mark. Gaining momentum it kept the new title and had its North American premiere at the American Repertory Theater, where Sam Tutty reprized his role of Dougal Todd in 2025. Christiani Pitts (Ann Darrow in King Kong) joined him as Robin Rainey.
A Quirky and Charming Musical
The writers make New York a character viewed through the eyes of two broke, 20-something opposites. Initially, Robin, the cynical, aloof New Yorker, appears to reject everything about Dougal, a kooky, cheery New York-obsessed Brit.
Dougal’s dad’s invitation to his wedding in Manhattan throws him and Robin together. Meeting his millionaire father for the first time in a town he’s seen only on film excites Dougal and pumps up his expectations.
The actors seamlessly inhabit the dialogue as if they had written it themselves. Tutty’s offhanded, throwaway one-liners, perfectly timed, always land. Pitts’ Robin, the perfect foil, picks up steam after she drops her bored, ironic pose and jumps into the pool of Dougal’s freeing enthusiasm. Yet with all their fun, this match is not “made in heaven.”
Charisma and Chemistry
On a deeper level, much recommends this musical comedy as directed by Tim Jackson and authentically performed with charisma and chemistry. The minimalist production sports Soutra Gilmour’s set of variously sized, silver-grey suitcases that hold surprises, aligning old-fashioned and hypermodern tropes. The equally unostentatious lighting design by Jack Knowles adds atmosphere when most needed. Unfortunately, the unbalanced sound design (Tony Gayle) needed tweaking.
The conflict begins when Robin bumps into Dougal at JFK, knocks over his baggage and tramples his passport. Unbeknownst to us, the “stranger” knows many secrets about Dougal. However, neither he nor the audience know anything about Robin’s identity and background. So the trope of strangers meeting and caring about each other after 24 hours runs off the rails of the typical “boy-meets-girl” plot.
Unpredictable Characterizations
The story and characterizations are unpredictable and engaging, with refreshing and unusual twists. Robin is one of the few NYC waitresses who isn’t trying to be an actress or performer. But she circles the edges of struggling, lonely, and confused, an invisible nobody in the eyes of the well-heeled crowd (“Be Happy”). Dougal awkwardly circles the edges of dorkdom, living with his mom as best mates and drinking buddies. These far-from-admirable backgrounds heighten our empathy in this acutely directed two-hander.
Initially, at Dougal’s seedy hotel, we don’t understand Robin’s cool annoyance at his acting like a wide-eyed ten-year-old at Christmas (“New York”). But we come to learn of the marriage of her 30-year-old sister to Dougal’s 57-year-old millionaire dad Mark, who abandoned Dougal before he was born.
Choppy Interplay, Continually Funny
Her dour attitude, combined with his outsized ebullience and film-buff references, make their choppy interplay continually humorous, as in Act II when Robin removes her mask after their wild night (“The Hangover Duet”). The clever script and profound lyrics and beautiful music enhance the perplexing situation of these two strange “family members” growing toward love despite the weird circumstances.
Along the way we learn the truth about Dougal’s conflict (“Dad”) and about Robin’s background. Possibly spurred by passive aggression, Robin fails at her mission to deliver an undamaged wedding cake to her sister.
Escape to the Night Life
With his cheerio attitude and stock of film plots at the ready to reference during this catastrophe, they escape the situation and spend a fabulous evening dancing, eating and blindly drinking their way into the classy Plaza Hotel for a stayover.
How is this possible? Mark gave Robin’s sister Melissa his card, which she improbably gave to Robin to pay for the $2,000 wedding cake. So it’s Mark’s largesse that enables their joyful abandon. But what emotion gives her the license to treat Dougal on Mark’s dime to an adventure in a city that can only really be appreciated if one has money? We discover more in their hotel room.
A Bittersweet Ending
By the conclusion we “get” Robin’s initial cynical attitude toward Dougal, whose boyish, angelic hope eventually rubs off on her. How can it not as they journey up and down devastating emotional mountains (“New York/What’ll It Be,” “About to Go In,” “This Year”) and work through their explosive blowout (“He Doesn’t Exist,” “What Did You Say?”). They reconcile in uncertainty as Dougal suggests, “If you ever need anything, I’ll be 4,000 miles away,” and sing one refrain of “New York,” then return to their lives.
Two Strangers (Carry a Cake Across New York) is at the Longacre Theater.
