Review of the Sunday, November 9, 2025 evening preview performance at the Longacre Theatre in New York City. Starring Sam Tutty and Christiani Pitts. Book, music and lyrics by Jim Barne and Kit Buchan. Orchestrations by Lux Pyramid. Scenic and costume design by Soutra Gilmour. Lighting design by Jack Knowles. Sound design by Tony Gayle. Direction and choreography by Tim Jackson. 2 hours, 15 minutes including one intermission.
At first blush, Two Strangers (Carry a Cake Across New York) the new musical that opened yesterday seems like a trifle of a thing. Part sit-com, part Hallmark rom-com, this two-hander goes down easy and feels light as a feather. But after seeing it almost two weeks ago, I find myself thinking back to it and the two characters who tell this story.
With a book and score by Jim Barne and Kit Buchan, we are presented with a culture clash of sorts: a hardened New Yorker, jaded by life and pragmatic by necessity meets an impossibly optimistic Brit who loves all things New York (and beyond) by way of his adoration of American cinema. Like water and oil, the two spar and taunt each other. Of course, the circumstance that has brought them together - the marriage of his older father to her somewhat younger sister, is what keeps them together. He helps her - you guessed it - carry the wedding cake across New York City. Through their adventures, they get to know each other, and by the end of act one, most of the cake gets there. The first act is light as air, very funny and really tuneful. (The opening song, "New York" is catchy as hell, "Be Happy" is thought-provoking, and the act closer, "American Express," is a joyous romp and ode to excess.) I, and everyone around me, howled with laughter and sat with a goofy grin plastered on our faces.
The second act is still funny and tuneful, but has a decidedly more serious tone. As uncomfortable truths are revealed and some questionable choices are made, we find ourselves surprised at just how invested we've become. The first half of the show we were all about that cake; the latter half was all about wanting to know what was going to happen to these people, not only as the show progresses but, as it turns out, what might have happened to them long after the story ends. Here, the songs, like the script, take a more serious tone, including a pair of stunning solos for the girl, "He Doesn't Exist" and "This Year," both of which are destined to become part of the 21st century musical theater canon and audition circuit.
The design team has created a setting that is just as surprising and delightful as the show it supports. Soutra Gilmour's ever revolving set made up of stacks of luggage allows for a variety of locales and playing areas. Every time it spins around a la Wheel of Fortune you never know that will be revealed or where the action will take place. Gilmour's costumes are pretty straightforward, and tell you a lot about the characters wearing them. The lighting design of Jack Knowles is both conventional and surprising, too. The lighting of the set itself is part of the set itself - every seam and latch of the suitcases are loaded with LED lights that change color and add so much to the mood and whimsy of the piece. Happily Tony Gayle's sound design is crystal clear (including some realistic effects) that makes the singing and orchestra perfectly balanced, and the Lux Pryamid orchestrations fill the Longacre with clarity and nuance.
Tim Jackson's direction (and modest, but appropriate choreography) is really a third character here. Laser sharp and fat-free, he makes the stage seem full even with just two people, and yet focuses things so specifically, it feels like we are seeing cinematic close-ups, broad, sweeping landscapes and intimate, deeply felt duo scenes. Best of all, it never gets in the way.
But it is the two actors that really sell this familiar-yet-unique show. And boy, are they good. Christiani Pitts dazzles - her singing is as fantastic as her acting range - as the no-nonsense New Yorker Robin, who is busy and does not want to get involved in anything more than the errands she's been tasked with. She is tough as nails, until she isn't; remarkably, she's just as captivating no matter Robin's state of mind. Funny and world-weary, she practically makes us beg to get to know her, not unlike her charge for the day. That charge is Dougal, young and eager as a puppy to eat up everything American, played by Sam Tutty in a thrilling Broadway debut (he is an Olivier winner for playing Evan Hanson in the West End). He is as charming as he is maddening. There isn't a boundary - personal or otherwise - that he won't cross or challenge. Tutty's singing voice is spectacular as is his acting. With a look or a change in tone, he has us laughing at his silliness and rapid fire delivery one second, and aching with despair at his moments of realization and introspection the next. Separately, they amaze. Together they are musical comedy bliss.
It occurs to me that part of what makes Two Strangers so intriguing is that it can be all things to all theatergoers. It is easy to follow, wears its heart on its sleeve, and is delightfully entertaining. The perfect date night, and a show that even musical resistors can enjoy. For those of us who like a little more meat on a musical's bones, that is there, too. As I said, it has stuck with me all these days later. I find myself thinking about these characters, relating to them both. Understanding Robin's need to self-preserve by building up walls, yet being motivated to please everyone in her life. Being envious of Dougal's exuberance at finally being in the city, refusing to see the ugliness, yet wanting to protect him from every curve ball he doesn't see coming. After all, who hasn't made questionable personal choices and had to deal with the consequences? Who hasn't hoped against hope that our family won't let us down? Suffered heartache? Dreamed big? Wanted more?
And why was the whole audience so invested in that cake?
📸: M. Murphy
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