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 seems especially so with the musical comedy Two Strangers (Carry a Cake Across New York) by Jim Barne & Kit Buchan, currently at the Longacre Theater until Jul,y, unless it receives an extension. Judging from the audience who knew the songs, and reveled in the fun and celebration when I saw it, it may extend its run.

Originally, titled The Season in two regional English theaters (2019), a new title and opening in London at the Kiln Theatre (2023-2024) and the West End at the Criterion Theater (2024) helped the musical make its mark. At the Criterion Theater it received an extension due to popular demand. Gaining momentum it kept the new title and began its North American premiere at the American Repertory Theater. There, it received another extension. Again, Sam Tutty reprised his role of Dougal Todd at A.R.T. (2025) when Christiani Pitts joined him as Robin.

Ironically, the longer, detailed title kills for its uniqueness which characterizes this musical comedy that resonates also because the writers make New York a character viewed through the eyes of two broke, twenty-somethings. The world-weary New Yorker, Robin (Christiani Pitts, Ann Darrow in King Kong) contrasts with the kooky, exuberant Brit, Dougal (Sam Tutty shepherded the role since the Kiln Theatre).

Delectably opposites, the characters are thrown together by Dougal’s invite to his dad’s wedding in Manhattan where he will meet Mark Todd for the first time in a town he’s only seen on film. No wonder why he’s excited.

Deliciously, the actors inhabit the characters’ dialogue as if they wrote it themselves. Tutty’s quick, off-handed, throw-away 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 pools of Dougal’s freeing enthusiasm.

Indeed, on a deeper level, much recommends this musical comedy directed by Tim Jackson, effortlessly performed with charisma and chemistry by its leads. The minimalist production (i.e. Soutra Gilmour’s set of variously sized, silver-grey suitcases that hold surprises) aligns old-fashioned and hyper modern tropes. The equally unostentacious lighting design (Jack Knowles) appropriately adds atmosphere when most needed.

When Robin bumps into Dougal and tramples his passport, Robin knows about Dougal,. But neitherhe nor the audience know about her. So the idea of strangers meeting and caring about each other after twenty-four hours or so twerks off the rails of typical “boy-meets-girl” ho-hum.

Importantly, little about the characterizations and storyline are predictable. In the twists and bends we note the refreshing unusual. For example, she is one of the few NYC waitresses who isn’t trying to be an actress or performer. In fact she circles the edges of struggling, lonely, confused, an invisible nobody to the well-heeled crowd (“Be Happy”). He awkwardly circles the edges of dorkdom, living with mom as best mates and drinking buddies. However, their far from admirable backgrounds heighten audience empathy in this on-point two-hander, incisively and acutely directed by Jackson.

Arranged by sister Melissa (the bride-to-be), to ease Dougal into the NYC scene, Robin accompanies Dougal to his hotel from JFK. Initially, we don’t understand Robin’s cool attitude. Is it because she’s a sophisticate annoyed that he acts like a wide-eyed, bushy-tailed ten-year old at Christmas about being in Manhattan (“New York”)? Or is her attitude a cover for deeper knowledge about the marriage of her 30-year-old sister to Dougal’s 57-year-old millionaire dad Mark, who abandoned Dougal before he was born?

Nevertheless, the combination of her dour attitude and his outsized ebullience and film buff references make their choppy interplay continually humorous. It becomes LOL in Act II when Robin removes her mask “the morning after” their wild night during their song, “The Hangover Duet.” Barne’s and Buchan’s clever script and at times profound lyrics and beautiful music enhance the perplexing situation of these two strange “family members” growing toward love, despite the weird circumstances.

Along the journey of discovery which begins with Dougal’s conflict (“Dad”), his disappointment that his father didn’t meet him at JFK, the truth eventually unravels. Perhaps spurred by passive aggression, Robin fails at her mission to deliver a whole wedding cake to her sister, as well as other tasks Melissa demands of her. With his cheerio attitude and stock of film plots at the ready to reference during the major catastrophe that will drive Melissa to a terrorist act when she finds out, they flee despite their poverty into the dreamland New York can be. Happily, they end up spending a fabulous evening together dancing, eating and blindly drinking their way into the classy Plaza Hotel for a stay-over.

How is this possible? Mark gave Melissa his card which she improbably gave to Robin to pay for the $2000 wedding cake. With the card (during the fast-paced, frenetic, “American Express”), they charge for the hotel room and various sundries, like a tux rental and exquisite dress and shoes, food, drink and breakfast. Their joyful abandon is courtesy of Mark. Come on! He’s Dougal’s dad and Dougal’s making up for lost time. And we discover in a note Mark sends to their Plaza hotel room, he gladly bestows his largess on “little Robin,” because of their former “friendship.” He even invites her to the wedding, which we later understand is a slap in her face.

By the conclusion we “get” Robin’s initial cynical attitude toward Dougal, whose boyish, angelic hope eventually rubs off on Robin. 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 blow-out (“He Doesn’t Exist,” “What Did You Say?”). They reconcile in uncertainty as Dougal suggests, “If you ever need anything, I’ll be 4000 miles away,” and sing one refrain of “New York,” then return to their lives.

Two Strangers (Carry a Cake Across New York) runs 2 hours 15 minutes with one intermission at the Longacre Theater. twostrangersmusical.com.