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'Two Strangers (Carry a Cake Across New York)' Music and Stagecraft | The BSB Podcast · The BSB Podcast

• 0:00
  No one can deny that a trip to NYC is wild in all the right ways, and no show on Broadway understands that more than two strangers carrying a cake across New York.
• 0:08
  But before we dive into the music and stagecraft of this two-person musical, like, follow, and subscribe to us, BSB Insider, on all social media platforms @bsb.insider
• 0:17
  Spoiler warning, if you haven't seen Two Strangers Carrying a Cake Across New York, pause this episode and come back once you've your grandma in Brooklyn.
• 0:23
  That being said, let's get right into it.
• 0:26
  So in the last episode, RJ, we talked about the story, a two-person musical following Dougal and Robin, as they are literally essentially carrying a cake across New York.
• 0:36
  But truthfully, it's a story of grief, about loss, about friendship.
• 0:43
  And there's so many good aspects and themes to the show, but it wasn't a show that you would necessarily expect, like traditional rom-com tropes.
• 0:53
  Like you would see it like a Hallmark movie and stuff like that.
• 0:56
  And I think that also explains the music a little bit as well, because this is not necessarily music that you would expect.
• 1:03
  All of the music isn't what you would expect from a traditional musical.
• 1:07
  There were some pieces that were classic Broadway.
• 1:11
  vibes
• 1:13
  How would you classify the music of two strangers carrying a cake across New York?
• 1:19
  I mean it's definitely pop influenced, right?
• 1:22
  It's very, um, like conversational storytelling.
• 1:30
  a lot of what they're doing and saying is like a massive of the plot.
• 1:38
  don't know, it's not pop in the sense that it's like a bunch of ballads or like diva type pop music, but just like a constant beat.
• 1:51
  I mean there are a couple ballads, but even the ballads are relatively, like they keep it moving.
• 1:59
  I'm trying to think of another show that would have music similar, which...
• 2:05
  It's like almost six vibes, but not six vibes.
• 2:08
  It's almost a little bit Hell's Kitchen, but not really Hell's Kitchen.
• 2:10
  It's all, there's all of these different pieces, because each song almost has its own specific identity.
• 2:16
  That like, it's like an eclectic music taste, but not itself actually all under one vibe.
• 2:23
  It's like, you can't clearly tell like this is like a Sweeney Todd, or this is like a Death Becomes Her, or like an Outsiders, but there's like each song.
• 2:32
  ultimately does feel like it's in two strangers carrying a cake across New York.
• 2:35
  And that's the weirdest explanation I can think of on how to describe it.
• 2:38
  Yeah, it's just, it is the stereotypical modern musical.
• 2:42
  mean, like you just mentioned, a handful of musicals kind of blended when you think of modern, I mean, you're thinking Dear Evan Hansen, you're thinking, actually Death Becomes
• 2:54
  Her, weirdly, I think the storytelling is very similar, like the amount of storytelling that happens in the songs is very similar.
• 3:01
  uh But it's not like Teeny Bop, like,
• 3:08
  I don't know.
• 3:09
  It's not like, you're not gonna hear this song in like pop album, but it's, yeah, comparable in the same aisle as Six or Hamilton or not as grand, but like low-key because
• 3:24
  again, two people.
• 3:25
  So the most people you have singing at once are two.
• 3:31
  Which comparatively can feel very underwhelming, right?
• 3:34
  Like full ensemble, two people.
• 3:36
  Very different.
• 3:38
  When you're looking at the structure of the music on the stage, I think it's interesting because much like a lot of the other shows that we saw this year, we had the band on stage
• 3:47
  kind of behind the turning set.
• 3:50
  It's not a big set.
• 3:51
  It's not a lot of pieces.
• 3:52
  In fact, the set's kind of cool and I can't wait to talk about it.
• 3:55
  But there's the two of them singing and you have like what?
• 3:58
  A 10 piece band back there.
• 4:01
  like musically, that's it.
• 4:03
  There's not much else going on musically on the stage.
• 4:06
  but it still had a full sound and a full tone and a full, like this was still a full musical, even though you're not like having ensemble members and you're not having like a
• 4:15
  big ass orchestra back there.
• 4:17
  It really was interesting.
• 4:18
  And I feel like helped give Two Strangers its own unique musical identity.
• 4:24
  Yeah, the, well, and I noticed the band setup, there was a lot of percussion.
• 4:33
  And for those who don't know, like a lot of times if there is any type of sound effect that typically...
• 4:42
  I don't know how to explain this.
• 4:45
  Most sound effects are being done by the percussionist, unless you're just using like a synth piano.
• 4:52
  And the setup for this show, they had like basically everybody up a level, but then there was a drum kit underneath everyone.
• 5:03
  But there was two, so there was like a drum kit, which obviously the main drums were there.
• 5:08
  And then directly above that person was a percussion area and it was huge.
• 5:13
  um And if you go and see the show, which you should, you'll understand why.
• 5:21
  Because there was just, there were so many items that were maybe used like once to make a very specific sound for the songs or to imitate a sound.
• 5:33
  for comedic reasons or what have you.
• 5:35
  um So that actually felt like half of the band, but then you, yeah, you have the standard, of course you have keys, you have bass, I mean you have your strings, your horns, your
• 5:48
  woodwinds, um and your keys.
• 5:52
  But a pretty full sound for such a small group.
• 5:55
  And like for the sound things that are interesting, like it was like idea bubbles almost going off and you'd hear them or there would be like the sound of the subway tracks going.
• 6:05
  And there was all these little sounds that like you don't really think about, but were being brought to life.
• 6:10
  Again, when there's not a full set to really do that with, and it still felt immersive because they were focusing on bringing those little sounds of New York to life.
• 6:21
  So that was really cool.
• 6:21
  That was a really cool effect that they did add into that to make it feel a little more full.
• 6:25
  Yes, mean, again, just kudos to the light and sound design and then of course, I mean, some of the some of those sounds are done from the soundboard, right?
• 6:37
  uh But a lot of them, if it can be helped, if it's within a song, it's probably being done live by the percussionist or uh even sometimes like the conductor if they're on keys.
• 6:56
  Which is so cool.
• 6:57
  just feel like when you can do things like that, like we saw some shows, like we saw Ragtime and that had like a full, what felt like a full orchestra, you know what I mean?
• 7:05
  And that gave such a huge sound where this, I think the show would have got drowned out with a full orchestra.
• 7:10
  You know I mean?
• 7:11
  Like this needed something small and more intimate for the story that still made it feel like it was large and in charge.
• 7:16
  And so that's why I do love this balance that they really struck.
• 7:19
  uh But with the music itself, I want to talk about,
• 7:24
  not on my favorite song necessarily, but just like my favorite aspect of the music.
• 7:29
  RJ, you know I love a callback.
• 7:31
  You know musically I love a callback.
• 7:33
  And I love that there's two songs in this show.
• 7:36
  There's New York by Dougal.
• 7:38
  That's the opening song.
• 7:39
  He's getting introduced to New York.
• 7:41
  And then What'll It Be from Robin, which is her first big song by herself, her first solo.
• 7:49
  I loved that the musical notes of it, but also sometimes the lines would just be thrown into a song.
• 7:57
  Like almost again, you're calling back, you're drawing back to the emotional aspects of the show and how New York means something different at the end of the show than at the
• 8:05
  beginning.
• 8:06
  And what'll it be?
• 8:07
  Like what does Robin want is different than what she wants at the end of the show.
• 8:11
  I think that was probably one of the most moving aspects of the music for me.
• 8:15
  is just those continuous callbacks to New York.
• 8:18
  And even I think the last line is musically, I don't know if it's the same words, but musically is the music from New York.
• 8:25
  And correct me if I'm wrong, if there's any listeners out there of RJ, you remember it differently, but I think that it ends back at that moment where you're starting to that
• 8:33
  music of New York.
• 8:34
  And that to me was just such a cool effect.
• 8:36
  Yeah, I mean it's definitely emulating what this show really seems to be about, which is kind of coming full circle.
• 8:45
  And by coming full circle, I mean you've completed maybe the task that you went to complete, but you, in doing so, of became a different person.
• 8:58
  Not completely different, but like you have changed.
• 9:03
  And the way that you view...
• 9:05
  your life or the task or the world is different.
• 9:10
  So even though we're hearing the same song or the same theme, it feels different because it's interpreted in a different way now than it was.
• 9:24
  Yes, in the first one, in the first song, and I do think that New York is actually my favorite song.
• 9:28
  I do want to, I just want to start that real quick and say that I do think there's some songs in here that were really strong.
• 9:33
  American Express was really cool.
• 9:34
  The Hangover Duet was really cool, but New York is kind of the standing.
• 9:37
  I, as you probably got sick of hearing it, I kept singing it throughout the rest of the trip, but I love that at the beginning, it's hopeful.
• 9:46
  And at the end of the show, it's almost like a mournful of like wanting to still be there.
• 9:51
  or wanting what the promise of New York is, or what did we gain from New York?
• 9:55
  And that to me was an interesting journey for Dougal, is that it was going from that golden retriever energy of everything is so cool, I love New York, it's so awesome, to
• 10:05
  this, I've been so fundamentally changed that New York is a part of me now, and there's almost a sadness when you're saying it, you know what I mean?
• 10:14
  When you think back to your favorite vacation and how you haven't been there in forever, or like,
• 10:18
  You think of a city that means something to you because you've been there with family or friends.
• 10:22
  And so I loved that.
• 10:23
  The music and the sound of New York was different at that time.
• 10:30
  It was mournful.
• 10:32
  And I think that just show a lot about the show.
• 10:34
  Yeah, I mean, and ultimately they're flipping the script a little bit or they're kind of reverse as to where they were at the beginning.
• 10:45
  Not that, not in an extreme sense, but just again in a...
• 10:52
  It felt very reflective to me.
• 10:55
  um Again, the song being a callback.
• 11:00
  and almost like a memory, like, like you're thinking of all of the things that have just happened since the last time ultimately he sang that song and what it means now and going
• 11:17
  forward what that means because now you're obviously taking whatever's been learned or gained with you into this new perceived idea of
• 11:31
  high-level life.
• 11:33
  It's almost like the snow globe.
• 11:36
  know, like when you pick up a snow globe and you play it and it's the music that's like, it harkens back to the memories and stuff like that.
• 11:40
  You shake the snow.
• 11:42
  Like I think like that's part of the storyline too, is the him wanting to get a snow globe of New York.
• 11:48
  And then like, that's also kind of what a snow globe is.
• 11:50
  It's it's a time capsule of a moment that once forgotten.
• 11:54
  And so like, that's kind of what that music ends up being.
• 11:57
  And I'll get off my soapbox.
• 11:58
  I know I'm interpreting way too much of this show, but I think that there is that, that's such a cool impact.
• 12:03
  that the music has on the show itself, but also on the audience that is there.
• 12:08
  I'm just gonna call back to our previous discussion in part one about who we identify with and just say Robin getting the snow globe feels very you.
• 12:23
  That's all I'll say about that.
• 12:26
  So now you're saying I am a Robin.
• 12:29
  That part.
• 12:30
  I did identify with that.
• 12:33
  And I will say this too, not to go back to that storyline, but when she finally decides to go back to her grandma's house, and maybe that's why I was so emotionally connected to
• 12:42
  that, is that I think I've had moments, I think we've all had moments, but I think that I've definitely had moments where I'm afraid or I'm angry or I'm upset, and I have
• 12:52
  purposely avoided people, as you can attest to RJ throughout our friendship.
• 12:57
  I've done this before with lots of people.
• 12:59
  And so then to be able to walk back and say, I miss them, or I need to go see them, or maybe I was wrong.
• 13:10
  And so that's also the snow globe part too.
• 13:12
  I feel like there's those two emotional pieces.
• 13:14
  When she gave him that snow globe, I did feel like Robin in that moment.
• 13:17
  say, it was something so small and maybe trivial, but to him it meant so much, and she knew it meant so much, and she had paid attention enough to know that it was important to
• 13:23
  him that she was going to give him the snow globe because that's all that really mattered in that moment.
• 13:28
  And so I had that emotional, I could relate to that so deeply because I do that all the time.
• 13:35
  Amen.
• 13:36
  But musically, RJ, is there a song that you liked the most?
• 13:40
  Is there someone that totally stood out to you?
• 13:42
  Was there some kind of callback in the songs that maybe I missed that you liked better than that?
• 13:46
  You're like, that one was chump change.
• 13:48
  know, like this one is a better callback.
• 13:50
  What's stuck out to you about the music?
• 13:53
  Um, I mean...
• 13:56
  I just, New York has such a place in my heart, obviously, that I'm not sure that I could say any other song was my fave.
• 14:09
  American Express, of course you always end to Act One strong, and they truly did.
• 14:14
  That's probably my number two.
• 14:15
  um
• 14:17
  That's just such a strong song.
• 14:18
  Like, it's just so fun.
• 14:21
  Like, and I think that, like, if you look at the two pieces of that coming back into Act Two with the Hangover duet, it's such a cool, like, part two to American Express, you
• 14:31
  know?
• 14:32
  Yeah.
• 14:34
  And then ending, if I believed...
• 14:38
  ah
• 14:41
  I don't know, it's like, we're getting closure but we're not, and I actually...
• 14:48
  challenge more Broadway shows and entertainment in general to like do that.
• 14:53
  Because like we don't always need everything to be wrapped up in a pretty red bow.
• 14:58
  I know it's incredibly frustrating, right?
• 15:01
  Like to not know exactly what's gonna happen, what has happened, what the future brings.
• 15:08
  um But again, the realist in me is like, but that's real life.
• 15:13
  Like a lot of the times we don't get...
• 15:17
  the last word, we don't get to hear the last thing.
• 15:20
  um
• 15:22
  We just can take what we have now and what we have had and go on from there.
• 15:33
  You know, this reminds me of a conversation I've had with my sister, but also something I use in therapy, and I'm gonna tie that together too.
• 15:39
  I remember back when we watched Bones, my sister did not like the ending, because she said it didn't close the book.
• 15:45
  She's like, the book should have been closed, and that's it, you tie it up with a bow, it's over.
• 15:49
  And I told her, was like, yeah, but that's the thing, that like, shows don't necessarily have to be like books, because life, there's just like a comma.
• 15:56
  There's like a period, there's the next page.
• 15:59
  There's always a next page until life is over.
• 16:01
  You know I mean?
• 16:02
  And so even in therapy, I talk with clients sometimes about like, sometimes we don't get the ending we want, or we think that we deserve or the ending that we got is something
• 16:11
  that is just something we have to accept.
• 16:14
  And so for me, I love the fact that this does and you end up okay, but you're not necessarily content or maybe you're content, but you're not necessarily happy.
• 16:26
  Like you understand that there's happiness, but like you're not getting the happiness that you want.
• 16:29
  And so I think that's what's so interesting about the show too, is that like, if I believed ends on kind of a sad note, like the music itself is kind of feels sad.
• 16:37
  Like, like as, as there's some people in the audience, I'm sure we're crying during that time.
• 16:43
  I don't know who that would be.
• 16:46
  Um, you d- Some people just- Yes, I was a mess.
• 16:55
  I was- This was the- My- This was my mess show this time.
• 16:58
  This is the show that I got, um, Operation Mincemeat.
• 17:00
  That was the other show that I was a mess at.
• 17:02
  Sorry.
• 17:03
  That's a callback to a conversation you guys weren't a part of.
• 17:07
  but I- I think that that was the part where- why you feel a little sad.
• 17:11
  It's cause like you're longing for more, but also that's the ending for these characters for now.
• 17:16
  Yeah, you don't get the...
• 17:19
  You don't get all the pieces to the puzzle.
• 17:21
  Would you argue that you need all the pieces to the puzzle?
• 17:23
  Because I feel like in this time you don't.
• 17:25
  You know what I mean?
• 17:27
  No, yeah, I think...
• 17:29
  it-
• 17:30
  The puzzle is intentionally incomplete.
• 17:35
  So you have all the pieces, but all the pieces aren't all the pieces.
• 17:40
  How many times can I say pieces?
• 17:46
  Yeah, yeah, please.
• 17:47
  um
• 17:49
  But you have, like, it's not like you leave super frustrated or anything.
• 17:57
  It's just, it's a show that, I mean, really it makes you think.
• 18:00
  It made me think way more than I thought it was gonna make me think.
• 18:06
  And I think it made me hurt in a way that was good.
• 18:10
  And that's why I felt so emotional about it was because you knew that there was more story to be told, but you knew that their story wasn't necessarily the story that was being told
• 18:18
  anymore.
• 18:19
  You know what mean?
• 18:20
  I think that was the beauty of it.
• 18:21
  Like their stories had, their story together had kind of ended.
• 18:25
  But both of their individual stories were carrying on in different ways because they had known each other.
• 18:31
  They had been changed for good.
• 18:34
  Come on, this has a little bit of wicked to it.
• 18:38
  primetime, mean, the friendship a little bit, a little bit.
• 18:43
  It's kind of like the beginning of, but good.
• 18:48
  So before we run out of time, we do have to talk about some other things.
• 18:52
  Specifically the set.
• 18:53
  So we can talk about the costumes, but really they only had one kind of set of costumes, two maybe when you count the wedding uniforms and stuff like that.
• 19:00
  But the set, RJ, for people who go to New York often and are carrying suitcases on and off, we're a sea of suitcases.
• 19:09
  We're at the luggage, you know, carousel sometimes getting our suitcases.
• 19:13
  Getting to see a show that was literally built out of gigantic suitcases, small suitcases.
• 19:18
  and making that turn into a bed, turn into a table, turn into a sink, turn into a diner.
• 19:24
  I was blown away by how simplistic the set was and how yet it did so much for the story.
• 19:30
  And it felt like there was no other way to tell the story.
• 19:32
  Like I said, it's all these different languages, but there's also like a rotating platform that they can walk in a circle and it feels very like Hamilton-esque, but in a way that
• 19:42
  feels more New York walking.
• 19:43
  You know what I mean?
• 19:45
  And so for that,
• 19:46
  This was probably one of the coolest sets I think that we've ever seen.
• 19:49
  Yeah, I think it was...
• 19:52
  it gives...
• 19:53
  even the tone, fact that it's all the same color, kind of bland, um it gives me like subway, New York subway vibes.
• 20:04
  um But then obviously expanding out different...
• 20:11
  suitcases to be whatever.
• 20:14
  mean, ultimately it's ingenious.
• 20:16
  Like the setup is incredibly smart, a great usage of space and really minimal.
• 20:25
  But also in the way that like they almost, they did not have to worry about props.
• 20:30
  Like everything is basically preset.
• 20:34
  And I mean, aside from like some changes that happened between, you know, during intermission.
• 20:40
  everything that they need is already on the stage.
• 20:43
  ah
• 20:45
  exception of the cake.
• 20:47
  Yes.
• 20:49
  And so, and that's really the only time that they like leave the room.
• 20:54
  em Because other than that, they're basically on that platform.
• 21:01
  I'd say like 98 % of the time.
• 21:04
  Absolutely.
• 21:05
  And what's cool about it in my head, and granted, not that I'm always thinking about what the future holds, but that is a really touring set.
• 21:13
  You know what mean?
• 21:14
  Like, it does not take much to break that down, put it in a uh vehicle, put it in a truck, and take it to the next city, which not that that's what they're thinking about, but it
• 21:25
  has to play into it sometimes.
• 21:26
  Like, how does this transition to, like, this show could easily transition from Broadway to tour without much thought.
• 21:32
  You don't have to rework the entire thing to see if you can find a set that's going to make it tell the story, because it's all right there.
• 21:39
  Yeah, I I thought about that too, because, you know, fingers crossed that it eventually tours.
• 21:47
  But it is very easily mobile compared to most sets that you see.
• 21:56
  And it's very like, I'd be interested in seeing what theaters.
• 22:02
  if slash and or when it tours it goes to because I feel like it's built for an intimate audience and I'm not sure that you'd get the same effect or the same emotion from it if
• 22:15
  you're in a house that sits 3000 and you're in the back row like it's almost too big this feels very like black box theater to me obviously we were in a broadway theater so it's
• 22:29
  bigger than that but it still felt
• 22:33
  small or compact, which most Broadway theaters aren't.
• 22:37
  But, uh, interesting.
• 22:39
  Yeah, we'll, we'll see how that, how that goes.
• 22:43
  I will just, I would make a bold statement and say, I don't think I would have cried nearly as much if we were at the top of the balcony of like the Fisher Theater.
• 22:50
  You know what mean?
• 22:51
  I don't think I would have related to these characters because to paint a picture for everybody, when we're staring at these people, they were full fledged tall people for us.
• 22:59
  And we were like row H, you know what I mean?
• 23:01
  Like we were that close where like it wasn't like we were looking at a screen to see them or they were just like, they looked like they were like little tiny Lego people moving
• 23:08
  around a stage.
• 23:09
  Like these were people that were right in front of us.
• 23:12
  I think that's why you could almost get so intimately emotional with them, because it was like almost sitting there talking with your best friend, because you were right there.
• 23:20
  Yeah, yeah, we were getting all of the facial expressions, all of the subtle acting choices.
• 23:29
  Which, I mean, I'm jumping the gun, but like, will I see the show again, If it tours 100%.
• 23:37
  If it's still in New York next time I go, probably yes.
• 23:41
  Oh, okay.
• 23:42
  Yeah, I'm right there with you.
• 23:43
  Next time we go to New York, if it's still there, I would love to see it.
• 23:46
  um But with that being said, does it lag at all?
• 23:51
  Do you feel like the pacing wise it did okay?
• 23:52
  Do you feel like there's a moment in the middle where it does lag a little bit?
• 23:55
  ah I feel like there was a few people around us that started getting really antsy towards the middle of Act 1.
• 24:02
  I myself was fully engaged, but you could feel the energy kind of shift a little bit.
• 24:05
  um But what do you think?
• 24:08
  I mean, I also was relatively engaged, so I'm not sure.
• 24:14
  I guess I could see...
• 24:17
  I don't know, because I feel like it's very succinct.
• 24:20
  there's a...
• 24:21
  it's not like there's a gazillion songs.
• 24:23
  Every song has a purpose.
• 24:25
  There's not a ton of dialogue.
• 24:28
  There's a good amount, but...
• 24:30
  not.
• 24:31
  It's...
• 24:31
  I'd say it's well balanced.
• 24:33
  And it all felt like in order to catch...
• 24:37
  certain things because as we know as the plot goes on we learn more like more gets uncovered and so if you don't have all of those pieces i'm not sure that it feels as
• 24:51
  detrimental when certain things or each thing comes to light
• 24:58
  I will agree, feel like every piece of the puzzle was used correctly.
• 25:03
  Every moment was accounted for, every piece, every scene had a reason.
• 25:09
  I don't think you could cut anything out.
• 25:11
  I think that everything had to be told the way it was.
• 25:13
  And in fact, I think if you made it any shorter and or longer, you would have lost the point of the show.
• 25:19
  This was like a, you're with these people for a moment and then that moment's gone.
• 25:23
  You know what I mean?
• 25:24
  And that was the beauty and the tragedy.
• 25:27
  and sadness and the happiness of the story.
• 25:30
  And I wouldn't want it changed in any other way, which is why I'm going to make the very bold statement and say that this was an A plus show for me.
• 25:36
  This was an absolute and this was not a show that was on my radar until RJ really wanted to see it.
• 25:42
  And it ended up being one of my favorites of the entire week.
• 25:46
  I was blown away by it.
• 25:47
  I think that this is a show that not only should everybody see, but it should be required that everybody see it because it does explain so much of the people who wrote it like,
• 25:57
  Holy hell, this is such a good story.
• 26:00
  Shout out to Jim Barne and Kit Buchan, because this is just...
• 26:05
  This was A++ for me.
• 26:08
  And now I'm ready for RJ to be like, okay, Dreamer, let's come back down to reality.
• 26:12
  What grade are you giving this?
• 26:14
  I mean, maybe I'm, I hate the people who are like, I never give A pluses because there's always room for improvement.
• 26:23
  um But I think I also, at the very least, I'm giving it an A, if not an A plus.
• 26:35
  There's nothing that comes to mind in regards to changes that I would want to see made.
• 26:45
  This is the kind of show that I would want to take my mother to.
• 26:49
  This is the kind of show I'd want to make all my friends go see.
• 26:53
  This is the kind of show that, and I can't say that for most shows.
• 26:56
  Six was like that, where I told my mom, said, you have to see Six.
• 27:00
  When Death Becomes Her comes around, I already told my mom and my sister, you're going to see Death Becomes Her, because those are just shows.
• 27:06
  But this is one of the ones that I would take, I would go with anyone and everyone to see the show, because I think that it has...
• 27:13
  such emotional depth for a show that doesn't give you, that isn't like a three hour slog to get through.
• 27:20
  You know what I mean?
• 27:20
  And like, this is not a Les Mis.
• 27:22
  This is like a lighthearted one that like, when you walk away, you feel lighter, but you're also just still thinking about it.
• 27:28
  And so that's why I'm just like, yeah, it deserves an A plus because not many shows can do that in such a small timeframe.
• 27:36
  They can't.
• 27:38
  Yeah, it's, I mean, big bang for its buck.
• 27:42
  um It's succinct, it knows what it's trying to accomplish, and I would say that it does accomplish that.
• 27:51
  I hope that this wins for Best Musical.
• 27:54
  And I know that it probably will not.
• 27:57
  But I think it deserves a nomination at least.
• 27:59
  I think it deserves the recognition and it better win something.
• 28:02
  And I think that both Sam and um both Sam and Christiana are just so stellar in this that they deserve recognition for their time in Two Strangers carrying a Cake Cross New York
• 28:15
  because it's just such a good show.
• 28:18
  And I almost, if it wasn't for you, I would never have gone and seen it.
• 28:22
  Like that's, that's what's crazy to me.
• 28:24
  I never, it's like you never would have seen Operation Mincemeat unless I pushed for it.
• 28:28
  Correct.
• 28:29
  and we would have just never known.
• 28:32
  and then we would have...
• 28:34
  Yeah, go support live theater if you are able.
• 28:39
  Absolutely, and if you're gonna see a show, see two strangers carrying a cake across New York.
• 28:44
  And with that, we've reached the end of our two strangers carrying a cake across New York discussion.
• 28:48
  But stay tuned for future episodes of the BSb podcast.
• 28:52
  Thanks again for joining us here today in our box seats.
• 28:54
  Until next time.