Interview: Sam Tutty Carries a Cake From the West End to Massachusetts

By his early 20s, Sam Tutty was already an Olivier Award winner and West End favorite for his performance in the title role of Dear Evan Hansen. But rather than headlining another major musical, Tutty opted to star in a small show called Two Strangers (Carry a Cake Across New York) for what became a 10-week run. The show’s popularity quickly led to a well-received six-month West End transfer.

A year later, the show is now making its American debut at American Repertory Theater in Cambridge, Massachusetts. It’s a two-person musical that tells the story of Dougal (Tutty), a young naive Brit who travels to New York for his father’s second wedding where he encounters the harried sister of the bride Robin (Christiani Pitts).

TheaterMania recently spoke to Tutty about his history with the project, revisiting the role for American audiences, and what shows he would like to do next.

This conversation has been condensed and edited for clarity.

Why was this your next theatrical project after Dear Evan Hansen?
I had some auditions after Dear Evan Hansen, but nothing really clicked. I liked that this was an original piece. I also felt like, in many ways, Dougal is a lot like me, although he is a bit more outgoing, both in terms of nature and behavior, And, honestly, I was attracted to the idea that it was only meant to be a six-week run.

Are you glad it’s had a longer life in both England and now in America?
Yes, it’s turned out to be a gift that people have loved this show. I think they love these two characters. The story is easy to take in and the music has been really well received. But I never imagined it being a long-term project. Luckily for me, I still think Dougal is quite a fun character to play, and it’s been a privilege to revisit him again with fresh eyes while the muscle memory is still there.

Were you specifically looking for a “lighter” show to do after Dear Evan Hansen?
No, it wasn’t something I was pining for. But as soon as you enter the world of comedy, you feel the need to make the audience laugh, and I enjoyed that. So I am personally playing my character as a quite funny guy, maybe more than the script originally called for. But like with any character, it’s ultimately about telling your truth so the audience will believe you.

Was creating a new character easier than becoming the next Evan Hansen?
I saw four different Evans in the US before I took on the role; they were all so different but keeping with the show’s message. So, I knew I could put my own stamp on him. Here I had nothing to reference, which is a different challenge.

When you agreed to the A.R.T. transfer, were you concerned about how you and the show would be received by American audiences?
At first, I never thought about the idea this production is for US audiences, and then one day, I realized the theater is going to be filled with Americans. I began to wonder if they will understand me or just feel differently than English audiences. But ultimately, Boston is so lovely, and it’s such a sophisticated place that I wanted the opportunity to perform here. And by now the performance has become very fine-tuned, which has given me a lot of confidence.

But you have a new scene partner. Tell me about Christiani?
I was at all the chemistry readings, which was really useful. But as soon as she came into the room, I was desperate to work with her. She had such confidence and this amazing aura. And then she gave Robin such depth. Plus, we trust each other, which is so important.

Are you hoping the A.R.T. run leads to a New York run?
I would be happy to bring this show to New York—even just as a life experience for me. Most importantly, it would give new opportunities to the creators and the director. If we make it, I feel it will be a well-deserved victory; but if we don’t, it doesn’t take away any of the success we’ve already had.

Either way, tell me what’s next for you professionally?
Doing work I feel very proud of is the most important thing for me, so I am willing to branch out to see what this industry can offer, whether it be television, film, or stage. To be honest, though, I’ve always wanted to do straight plays. In fact, I consider this to be a two-hander play with music; the score is so effortlessly intertwined with the music it feels more like a play to me. I think the songs are more like duologues or soliloquies than a traditional musical-theater score. That’s another reason I am so excited to get to do Two Strangers one more time.