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Two Strangers Carry a Cake Across New York

 We're all used to the choices the literary world makes when representing a wedding: we see the toast, the first dance, the kiss, the selection of the bridal gown. So Jim Barne already has me on his side by defying expectations and choosing to focus on the "early life" of the wedding cake.


Writers are constantly using elisions. We rarely see characters visiting the bathroom, shopping for socks, folding laundry. I really like when a writer bucks a trend. Going to pick up a cake can involve a brief nostalgic stop outside the main branch of the Brooklyn Public Library, an awkward Uber ride, a challenging bit of sedan-to-curb choreography--all of these moments are explored in the new musical "Two Strangers." The actual care and maintenance of the cake is a process that allows Robin to reveal a few secrets, discover that she can have a good time with Dougal, and take steps toward a total meltdown. The ultimate fate of the cake--something so small--is a moment that causes loud gasps in the theater.

Watching this new show, I couldn't help but think of "Ragtime," a musical I sort of dislike. "Ragtime" is fundamentally shallow, but it persuades people that it must be thoughtful because of the weightiness of the subject matter. The characters are two-dimensional; if you're paying close attention, it doesn't matter that Mother has a marital crisis. It doesn't matter because no one on the creative team has really taken time to explore who Mother is or might be. By contrast, "Two Strangers" is a show about an apparently trivial errand. But it's much deeper than "Ragtime"--because the writers have done their best to put two living, breathing people on the stage. When the characters are rounded, you do not need a guest appearance from Booker T. Washington to create drama. Rounded characters create their *own* drama--by exploring (or failing to explore) their hopes and dreams.

All that aside, I do share the NYT's concerns. The character of Robin doesn't entirely make sense. And yet I'm delighted that the show exists. It's great to see new writers taking a swing. There are few better options at a NY theater--at the end of 2025.
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