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[0:00] Jeff Malone: Welcome to Half Hour with Jeff and Richie, the podcast where we explore the latest shows we see, sharing our insights and opinions on the performances, storylines, and everything in between. In today's episode, we're discussing the Broadway production of Two Strangers, Carry a Cake Across New York, playing at the Longacre Theatre in New York City. Whether you cannot catch the show in person or you want to expand your thoughts after seeing it, this episode is for you. And as always, we want to inform you that this episode will contain spoilers, so if you're ready to dive into this production, stick around with us. I'm Jeff.

[0:27] Richie Grasso: And I'm Richie, and we're thrilled to be your hosts for this episode. But before we start the conversation about Two Strangers, Carry a Cake Across New York, here are a few words from our advertisers. Welcome, everyone, to a new episode of Half Hour with Jeff and Richie. Today, we're discussing Two Strangers, Carry a Cake Across New York. An original new musical comedy about timing, connections, and unexpected detours. Meet Dougal, an impossibly upbeat Brit who has just landed in New York City for the first time to attend the wedding of the father he's never met. And meet Robin, the sister of the bride and a no-nonsense New Yorker with a lot of errands to do for the bride, including picking up the groom's strange son from the airport. These two strangers begin their journey together, navigating New York City's secrets and second chances.

[1:10] Jeff Malone: All right, theater hot take for Two Strangers, Carry a Cake Across New York. I think that Two Strangers will easily become the cult following hit of the season.

[1:17] Richie Grasso: Wow, you always have the bold statements on the hot takes. I'm gonna slightly argue that and say I liked this. It was cute. It was charming. It was heartfelt. It was well done. I wouldn't say it's the best, most favorite, amazing thing I've ever seen. There's something holding me back from that. We're gonna dive into this so you might hear what that is. It's nice. It's cute. Okay. I'm gonna just leave it at that. I still think it's gonna be the cult following hit of the season.

[1:49] Jeff Malone: So let's just talk basic plot story. Listen, I am all for an original new musical. I'm all for it. Original music, original plot. We're not based on any movie, any book, any TV show. We are just doing original musical theater. So we're gonna start by like, yes, please. Always down for that, especially when you have, and this is no offense to Sam or Christiani, but no named stars in the show. It's only two people in a show. It's what held the last five years back probably from coming to Broadway for so long because it was probably looked at as like too small for Broadway. So here we are taking this like bold step, like an orchestra, two people, one set, go. And I was like, okay. So like there I'm already impressed because I'm like, thank goodness we have such wonderful people in a room putting an original new musical together to be successful in the West End and successful in Broadway.

That already, you know what I mean? And then we take this like idea and we like, from a design standpoint, this like pile of luggage that opens up and has different rooms and levers and drawers and things. Love that. Like it's such a concept, like the piece is so concept. So like to make the spinning, rotating stage and the characters moving and it looks like they're in transit at all times, like love that. So like, this is totally, totally great in that way. And you have two people who are just like strangers meeting. It felt very like Disney Pixar movie-esque. It was light. There were so many times when you're just like smiling and you're giddy and you're laughing and you're escaping to go into this world. Totally works. Yeah. I think all of that as like a base is working.

[3:39] Richie Grasso: Right. So do you agree?

[3:44] Jeff Malone: Yeah. I mean, on the production side of things, definitely. I think there's a lot of great moments in this and we'll get to that in a bit. From the book itself, I think what's really working in this piece here is that we have a book and a sea of books that have been a mess on Broadway for like the last five years. And looking at this, I'm saying, okay, we actually have something that's a little bit more book driven than it is actually score driven with this piece. And I look at this and I say, okay, we have two strangers. It's really interesting. There's a concept here going on. What happens when two strangers meet? Do they fall in love? Do they become friends? Are they going to go on a journey together?

And you kind of get all of that written into what we're happening here with two strangers. And what the book does and the score elevates this as well, but it does allow you to say, we're not going to beat the audience over the head with this plot right away. We don't really know why she's picking him up. We don't really know in the beginning why she's made comments like, I'm not invited to the wedding. Like, what? We don't really know that he's never met the father until later on. Spoiler alert, everyone listening. We don't know what their chemistry is. Are they friends? Do they hate each other? Do they like each other? They have this wild act one finale night out with the Amex card and then they're in the hotel room the next morning.

And what's that? Are they romantic? Are they just friends? The mystery of that is nice that we are able to create our own narrative even at the end. Does he go home? Do they never talk again? Do they meet? So there was some charm with that. At times, my critique with the book is that, and you might disagree, but at times it feels a little gotcha. Like when there's a one-liner, it's literal. It wasn't just one or two people. It's many people in the audience. And I'm like, I just think we can do a little better than that. Just a little. And I'm being really critical, but this whole like, this whole like, these aha moments, these what? What did he just say? It just felt dramatic. It just felt dramatic to the point where I'm like, can we just not have an audience like freaking out on a one-liner like that? I'm not saying it's the book writer's fault per se. It just seems so like, oh, now what? It just seemed a little surfacy at times. Not all the time. Only at times.

[6:04] Richie Grasso: Fine. I mean, I think it was a little bit more fun in the mystery of it all to kind of figure it out along the way. I think this actually became more of a mystery musical than they probably were expecting. And I think that was more interesting. I mean, I will critique the book in some things. I do think that there was some plot that was dropped and not fully fleshed out. I think we don't fully learn everything from why certain things are happening. I don't think we fully learn like why Robin and the grandmother don't talk anymore unless it's told to us and it just went over our head. I think there could have been a little bit more development to with the two of them in like, do they actually continue on or not as in a relationship? I think that's left too ambiguous in like us trying to say what happens unless that's really what the playwrights and the book writer's intention was.

[7:05] Jeff Malone: Right. And that's what I think I'm a little concerned about is I don't 100% know what the book writer's fully intention was because there was such a buildup of Dougal meeting his dad. There was this such excitement. And I'm not saying it needs to be more people in the cast, but to never like really find out. He got so excited and he doesn't go. He never meets the father and then like, oh, okay. Were we supposed to feel the letdown? I guess that's the point is that he was so excited. He left. He went to New York. He spent his money, his time. And it just seems like, and also I'm going to say this and I don't mean, I went up to you at intermission. I said, so basically what we're watching is the plot of Elf and you were like, what?

And I was like, no, listen, like, I'm not trying to, first of all, there was Christmas-esque moments in it, but take the holiday out of it. Here's a boy who's never met his dad. Who's going really excited to New York city to meet his dad and the dad doesn't know he's coming. I'm sorry. I think that's Elf. And then he meets like a more like New Yorker girl along the way that he then kind of becomes friends with and maybe kind of sort of falls in love with. I'm not at all saying this is copying that, but this is pretty darn similar to that plot. Am I right or wrong? Like, please someone tell me. And is it just me or does this feel really similar to the literal plot of Elf? You can't say it's not similar.

[8:25] Richie Grasso: It definitely has this similarity. I can see it.

[8:29] Jeff Malone: This giddy, fun, and then this like jaded New Yorker that's like, all right, calm down. And he's like, New York! And I'm like, Santa! Like that whole feeling of the energy of that and the dad and he doesn't know he's coming, doesn't even remember he has the son, but he's there to see the son. It seems so similar to that. I couldn't get that out of my brain for the whole first act. And of course Act Two is very different and it's not the same, but there's such similarity to it. I couldn't help but observe that plot.

[8:56] Richie Grasso: Even down to them going ice skating.

[8:58] Jeff Malone: Yeah! And it's the holidays and then they become friends and then at the end of Elf, they kind of get together and it's like...

[9:05] Richie Grasso: Well, I think that's where it slightly changes. But I mean, I guess the bones of it is similar.

[9:10] Jeff Malone: Yeah, I don't know. I just thought that was very interesting. And I kind of liked this though, more from the sense of like what happens when two strangers meet. I actually wish the musical was just called Two Strangers because I think like the cake, carry the cake across, you know, everywhere is a little loose and like unnecessary, but I get the intention of it being like that's the moment that they meet and like, not the moment that they meet, but that's when they go on their journey together is the cake is...

[9:44] Richie Grasso: For 10 minutes? Like this is what I don't understand there.

[9:47] Jeff Malone: The cake is what makes them go on the journey after. They drop the cake and then they go on the journey after.

[9:53] Richie Grasso: Okay, but they are carrying the cake for 10 minutes and we're watching an over two hour long musical about two strangers carrying it. I really thought going in, it was going to be about these two people that like the whole show's journey was to get this cake somewhere and they were going to have to go through all these ups and downs and subways and trains to get the cake there. Also like, I'm going to be so jaded with this and I don't mean to be like, I've never seen a wedding cake boxed in four different boxes. So like the fact that the top tier fell and if you're a cake designer or decorator, please call me out. If you're like, no, we actually design wedding cakes and then you're supposed to assemble it yourself at the venue.

Like I was not understanding that. If this couple has all this money and is mega loaded and you could go spend this Amex, you know, the boy's dad and he's marrying, they're super, super, super loaded. I think you could afford someone to get the cake put together in one box and brought there without it being in four separate boxes. Like, I don't know, I'm being so maybe critical and everyone could be like, Richie, you're being too much, but like the top tier cake fell off, but why? And then we never saw the cake again. So I totally ate it.

[11:02] Jeff Malone: Okay. Yeah. But I, I totally feel like your idea of like, this just could have been called two strangers would have been totally better than this whole parentheses, carry a cake, New Cross, New York and parentheses. So like, to me, I found the most charming moments where the comedic dialogue, the banter, the fun one-liners, the feeling of the energy of the piece, the romance, the moving of that, but the actual like substance plot, maybe I'm looking too into it. I'm trying to find a meaning and a message here. And the plot didn't always work.

[11:32] Richie Grasso: Well, I think it's more just about like, this is about the people that you meet in your life and that's the meaning of the plot there. And I, and just to touch very quickly on the music and lyrics, you know, it's a pop score. I think that this one probably does a little bit of a better job of like trying to tie in more musical theater themes, but it is a pop score that feels very Dear Evan Hansen-like. And again, we're just going down this road of like, okay, a lot of the pop scores sound the same. It does seem like it sounds the same. It's some nice moments. A few songs stood out nice, but at least this one, I think that these, these songs did have a little bit more depth to it and character development for the characters in this, this musical. But I think this is a great time to take a quick break. And when we get back, we'll get into the direction, actor performances, and design of this musical.

[12:21] Jeff Malone: Okay. And we're back. So let's get into the overall direction, actor performances, and design of the piece. And I wanted to also mention earlier, when we were talking about the writers, we had not mentioned the names Jim Barne and Kit Buchan were the writers of this. So we had some great designs overall. I will say it was visually stunning to watch this piece. I think costumes, lighting, scenery, it was gorgeous. The way it snowed at times, the lighting effects, this like mountainous pile of luggage is such foreshadowing about the baggage we carry literally, metaphorically. To the country we go to on a trip. And we leave with the baggage, or we don't always leave with the baggage. The baggage is left, or we take it with us.

It was so symbolic of that. The rotating turntable around it was so great. This was directed and choreographed by Tim Jackson. I actually was very, very, very impressed with that. There's not really a lot of choreo in this, but the movement, I would hope that if there's, and we'll talk Tony nomination potentials in a second, that this would get a direction nomination. Because this is really elevated in terms of the direction.

[13:28] Richie Grasso: Yeah. And the scenic design by Soutra Gilmour. I think both of them. And costumes. I think both of them worked really well together in creating the visual for this musical. We did not get a bare stage.

[13:38] Jeff Malone: Yeah, which is nice.

[13:39] Richie Grasso: Which is great. We had a turntable, which was also great. He moved the actors through this piece very well. I also think that the lighting within this piece was done very well. So looking at that, and I think I'm getting like a favorite moment in this season as well. Directed here was for their song, If I Believed, when they are climbing up this mountain of baggage and they have that moment.

[14:11] Jeff Malone: And they're looking at each other and it's snowing and they're singing and it's beautiful and it's amazing. And like, that was the moment that I was like, okay, this is going to get the following that people want. That was the moment that was, like, missing from the Notebook musical, like, that this, like, really captured so much of, like, a connection between two people. Totally and they went from the comedic to the dramatic in such a way that it just flowed nice. And the designers took this text and elevated it and it felt good. It wasn't like, let's just do projections all through New York City or let's just have them, like, have pieces come on and off. Like, no, this was a concept. I wasn't a thousand percent thrilled with the orchestra on stage.

I'm getting to the point where, like, if an orchestra's on stage, then there's a reason why the orchestra's on stage. Their focal character, the music is so important to the piece or, like, we need to look at them at times. They need to be reminded. And they were just kind of there. It seemed like, let's put the orchestra on stage because I don't know if we have a pit in this theater. Like, kind of what it felt like. So I was like, okay. Do they have a pit in that theater?

[15:13] Richie Grasso: And I don't know. I feel like every time I've seen something along here, the orchestra's on stage, if it's a musical or offstage somewhere. But then again, swept away was there. And I don't remember where that orchestra was. Anyway, the point I'm trying to make is it seemed like a throw the orchestra on stage is like the trendy thing. So throw it up there. And I'm like, that didn't work for me that they were there. I didn't, you know, it was like, okay. I liked seeing them play, of course, but that was one critique of it. But I just thought all the design choices were great. When you look at the two performers, and I said the direction and choreography I thought was really, really strong. When you look at Christiane Pitts and Sam Tutty, we haven't seen Christiane Pitts since King Kong, which was a while back.

Sam Tutty's been with this since the beginning. He's really kind of went to London and now here Christiane's joining this company in New York, I believe. I mean, listen, if there's anything I take away from this is I was really invested in the two of them. Every single thing they did, I was so invested in. Sam is really talented. And Christiane is amazing to watch. If there's any Tony nominations I hope comes out of this, it's the two of them, I hope. They're carrying it. And they're a joy and a pleasure to watch. I thought they were great.

[16:28] Jeff Malone: Yeah, I found that they had great chemistry together. I do think they left it a little too ambiguous of like, do they actually love each other? Or are they just friends? Yeah, I mean, which could be a mix of a direction in a book. It's not just them, but sure. But I'm just saying in general, like sometimes it felt a little bit more on the friend level than it did like that, that they were actually in love. And I don't know if that was the intention of the piece to show that they were in love, or they just enjoyed each other's company. But I do think that, yes, they both were great. I think that Sam Tutty has great comedic timing. It is the verge on British humor versus like American humor. And I think it works for both audiences. And then Christiane, I mean, she can sing. And she can act. I look at her and I say, wow, she's great. She's perfect for this role. They both did a really great job.

[17:23] Richie Grasso: Yeah, yeah. I just thought overall, they were really, really captivating. You carry it when there's only two people in a show. And most of you are on stage most of the time together. It's rare that one of them's off and the other's on. It happened a couple times. But yeah, and to do that eight times a week, you know, it's a lot.

[17:39] Jeff Malone: They carry it. You mean they carried the cake?

[17:42] Richie Grasso: Well, yeah, I guess I can say that. They were carrying four cakes. Okay, I'm sorry. Like, let's keep going back to that. They were not carrying a cake. They were carrying four cakes and four separate boxes, which is why one fell. Oh, my gosh. I don't know why I can't get over that. But I will maybe eventually. Someone needs to call me out and say, Richie, get over it if the cake thing is just something that stuck with me.

[18:02] Jeff Malone: Richie, get over it. All right, well, let's take another quick break. And when we get back, let's move into our own questions about the show and what we think might be up for this year's Tonys.

[18:11] Richie Grasso: Okay, and we're back. So let's kind of discuss the show in a little more detail about some of our own questions. And first, right off the bat with what we think the show might be up for at this year's Tonys. Well, we're looking at a pretty light season of new work. So far in this season, we have Queen of Versailles and Two Strangers as the only two new musicals on Broadway so far this season. Two completely different shows. We do have a few new things coming in the spring. The Lost Boys is a new musical coming in the spring. There's also Schmigadoon coming in the spring. As of now, and I could be wrong, I think everything else is a play or a musical revival. So sometimes there's four new musicals in the fall alone, and then four or five new ones in the spring.

So I find that there's something about, and I just went over this with you, Jeff, like what are the empty theaters this spring? And if Two Strangers and Queen of Versailles continue into the spring, there's only a couple left. We are filled with plays, new plays, play revivals, and musical revivals. Lincoln Center just announced Ragtime is extending to June, so there's no new musical going in there. Everything has kind of been slotted. We have Rocky Horror coming. We have Cats coming, right? Those are revivals. So I'm looking at it, and I'm like, have we hit the, I don't want to say dry spell, but have we hit the somewhat of the post-COVID backlog dry spell? My first question to you is, have all the like, well, this is because we wanted to do it pre-COVID and COVID backlog, COVID backlog. We're five years out of COVID now. Have we finally hit the, whoa, we caught up on the COVID backlog with new musicals?

[19:43] Jeff Malone: Maybe, but I feel like that's not what I've heard in the chatter. I've heard that there's things in the wings. I get it. But then why are we sitting with the Majestic Theater four months after Gypsy closed, still with no announced show? I don't know.

[19:59] Richie Grasso: I think it's producer PTSD. I think like the last three years, there have been a lot of new things opening and new things closing right away. I mean, right off the bat, we're talking about Queen of Versailles could close very easily, even before the holidays. And if it closed in January or earlier, now you have the St. James Theater, potentially, and the Majestic Theater right across the street from each other, both currently with no show announced. I mean, they just started getting Cats tickets on sale, and Schmigadoon's announcing more things. They're getting the spring ready, the Daniel Radcliffe play, the Taraji P. Henson company. There's some big plays coming this spring. And to sit here and say like, well, yeah, we have four new musicals, and one might be closed soon, and we don't know.

Hopefully Two Strangers continues on. I look at it like, I don't know. And it's very interesting. So kind of to bring it back to Two Strangers, though, I do think Two Strangers will be up for a lot of Tony nominations, not just because of the light category. I do think it's eligible for Best Musical, and we'll get a nomination for Best New Musical, because it's very good in that way.

[21:05] Jeff Malone: Yes, I think there's a great potential for many Tony awards for this show. I think that they are in the right moment, and the producing teams for Two Strangers may have looked at the season and said, hey, this musical is great. People are enjoying it. Let's bring it to Broadway. It's probably the most cost-effective musical to bring to Broadway right now. It is a unit turntable set. Great. It's a, what would you say, six or seven piece band playing the score. Great. It's two actors. Great. There's barely any costumes. Great. It doesn't seem like it's—

[21:44] Richie Grasso: Low budget.

[21:45] Jeff Malone: Right. Well, it doesn't look low budget, but they kept the budget low.

[21:48] Richie Grasso: No, right. I think when you look at it, they said, okay, how do we do this for the most cost-effective way? And with that, it probably, its operating cost is not that high. And I don't want to say this is the future of Broadway for many things, but when you look at something like maybe Happy Ending and maybe Happy Ending Winning, and it seems also probably a low operating cost to run that show.

[22:13] Jeff Malone: Maybe. That's a pretty big scenic show, but yeah.

[22:16] Richie Grasso: Yes and no. I think some of it, a lot of it is just walls coming in and out. And then you look at another show like Six and it's very, it's about the six performers up on that stage. We're talking about more low operating costs for these musicals. Doing the big megas. I mean, look at something like Queen of Versailles. You know that show costs a lot of money. Versus when you look at something like this, I don't think that they compare in terms of the financials. So this is probably a very smart thing for producers.

[22:45] Jeff Malone: And it could be the future for producers to say, I want to invest in works like this. Let it grow a grassroots following. Let people be running to see Two Strangers, not because there's a star in it or because it's based on a movie, because they want to see something original concept. That's what I love the most about this. And that's where I think this is going to really, really move. I have high hopes that this will continue through the winter into the spring. I really do.

[23:09] Richie Grasso: I think touching on that though, I have a great thing here because this show does have a clear opportunity to stunt cast after these two performers want to leave the show or they don't want to do it anymore. And like, if it does do fairly well at the Tonys. So who would you potentially want to see into Strangers?

[23:27] Jeff Malone: Well, I will say that it does feel like it screams Ben Platt for this role. I feel like he could go into it if they really want a star to kind of sell tickets. I feel like it screams his name. He could really easily go in and do this. I get the feeling of that. I know Sam and him have done Evan Hansen or Dear Evan Hansen. And so I rather, I understand like it feels like a similar score to that. There's something about that. I also, I don't know. I think there's so many people that I feel like could go into this. I have to keep thinking about it. His name just came to mind first.

[24:02] Richie Grasso: That's fine. I can see that because I think some of the music does sound very Dear Evan Hansen-esque. I think, I actually think this is a great opportunity to introduce more bred actors to the American scene and kind of shuffle them in there. I also think like an Andrew Keenan-Bolger could like play this role very well. Well, I think for the Robin character, I think that role can really be taken on by any like pop girl too. You can put like a Kiki Palmer in there. It's a great space to kind of, you know, let some of these newer female performers too, like the Lorna Courtney's and Adriana Hicks. Like have them come into the role now too, especially some of this new Broadway like pop divas, you know, that can really give us that vocal in the role. So I look at that as, as a great thing.

[24:53] Jeff Malone: But I do feel like someone like Ben Platt just stands out to me as a potential, if they're looking for like a name of sorts. I don't know.

[24:59] Richie Grasso: It almost kind of feels like, like Ed Sheeran can go in and play that role too, as like a big pop name. I don't know how, if he can act or whatnot, but, you know, we talked a little bit about Two Strangers as this pop score as well. Like, where do you kind of see this sits in the overhaul of pop scores in Broadway right now?

[25:18] Jeff Malone: It doesn't really sit at the top for me. I don't think this is very memorable of a score, unfortunately. I don't think this is something like Six, which is like really driving these like hits. It's good though. It's a lot better than some of the other things I'm seeing with scores on Broadway right now. So I think it's nice. It could be a score nomination. I don't know if that'll win best score, but I don't know. Like I said, it's a light new musical season for new score. You're really light.

[25:42] Richie Grasso: I mean, if you had to pick between Queen of Versailles score right now and this.

[25:45] Jeff Malone: Oh, this is much better than Queen of Versailles. I don't know what's going on in Queen of Versailles, but I think, yeah, it feels like it's in a good spot.

[25:53] Richie Grasso: It's also funny because like The Longacre over the last five years, I mean, how many shows have we seen in The Longacre right now? And it kind of has this curse. Like, do you think that this is going to be the hit at The Longacre that kind of lasts now?

[26:06] Jeff Malone: If it can push through the dead of January, February, that's where I fear that this could have some light sales. Everything calms down then. So to have no star in it and not a big name yet built up in January could be tough. It could really be tough. I mean, if they're even rooming some big shows potentially closing in January with big names, I can only imagine how difficult the weekly meetings of budget and things on this show are.

[26:30] Richie Grasso: But it's pulling in. People are going to see it. So it's filling.

[26:33] Jeff Malone: Yeah. I mean, recording this episode now, the show has opened. It is a New York Times critics pick and it got pretty decent reviews. For the most part, it got a couple mixed, but overall pretty good.

[26:42] Richie Grasso: Yeah. So I'm very intrigued in seeing now next week what the grosses look like and then also what the grosses look like after Thanksgiving week, because now we're getting into tourist season. So it'll be very interesting to see.

[26:53] Jeff Malone: Totally. Yeah.

[26:56] Richie Grasso: Oh my gosh, we're just about out of time. What are your final thoughts on Two Strangers Carry a Cake Across New York on Broadway?

[27:04] Jeff Malone: I'll repeat myself again here with my final thoughts. I know you might not fully agree with me, but I do think that this is going to become the cult hit of the season.

[27:11] Richie Grasso: Okay.

[27:12] Jeff Malone: Yeah, I liked this. It was very cute and charming. It was overall very well done. It felt like something was missing at times for me, but I do enjoy it and I would tell people to go see something like this if you're looking for really charming, fun escapism and light theater. It's nice. You know,

[27:30] Richie Grasso: Richie really needs a new Golden Age style musical on Broadway.

[27:33] Jeff Malone: I know that has nothing to do with this. I am still waiting for a Golden Age revival or a Golden Age something. Not everything needs to be big, orchestral. No, I'm not saying that. But you would love it if you got a new original musical written in like the classic style.

[27:47] Richie Grasso: They're out there. It just comes down to if producers want to produce them, but they're out there, you know. Anyway, well, that does wrap up our discussion for this episode. We hope you enjoyed our deep dive into Two Strangers Carry a Cake Across New York. And remember, we want to hear from you. Continue the conversation with us on Instagram and TikTok at HalfHourPodcast and drop us a comment on Spotify and let us know your thoughts on Two Strangers Carry a Cake Across New York.

[28:11] Jeff Malone: Please also leave us a review. Your reviews mean so much to us. And remember to subscribe to our channel for all past and future episodes.

[28:17] Richie Grasso: Until next time, I'm Jeff.

[28:18] Jeff Malone: And I'm Richie saying ta-ta for now.

[28:20] Richie Grasso: Bye.