NEW YORK — Mia Farrow is right at home on the Broadway stage.

The Golden Globe winner stars alongside Patti LuPone in Jen Silverman’s “The Roommate,” a light yet sturdy two-person play about women seeking change and connection in their later years. The comedy premiered on September 12 at the Booth Theatre, and it feels less like “The Odd Couple” and more akin to a wholesome version of “Breaking Bad,” featuring a sweet divorcee named Sharon (Farrow) who welcomes a grumpy new tenant, Robyn (LuPone), into her Iowa home.

Initially, they bump heads in typical fashion: Robyn is a tough, leather-clad New Yorker who keeps her secrets close. Meanwhile, Sharon is full of sincere curiosity and Midwestern values, surprised by everything from marijuana to rock music to alternative lifestyles. (She does, however, note that she once kissed a girl back in college.) As the play progresses, Sharon finds herself gradually opening up after an eye-opening revelation about Robyn’s past, leading to a hilariously chaotic series of events.

Farrow, in only her third Broadway performance in 50 years, captivates throughout. She makes us instantly fond of her quirky, wide-eyed character, who dives headfirst into a series of wild escapades in the play’s outrageous second half. Whether she’s awkwardly carrying a rifle in the kitchen or enthusiastically pulling off a terrible French accent, Farrow is an irresistibly funny talent.

But she doesn’t rely solely on her charm, instilling a sense of quiet loneliness and desperation into Sharon’s often long-winded voicemails to her adult son (voiced by Farrow’s own son, journalist Ronan Farrow, in an uncredited cameo). As the narrative unfolds, Farrow effectively portrays Sharon’s complex feelings towards her new friend, which might be developing into something deeper.

While Silverman’s play has been circulating in regional theaters for the past decade, the role of Sharon seems perfectly suited for Farrow’s witty and warm demeanor. On the other hand, Robyn feels like a less natural match for LuPone, who has often avoided Broadway recently but seems to have made an exception for her longtime friend Farrow.

When we first encounter Robyn, she appears as a punky, outdoorsy woman trying to escape her past while reestablishing her identity with a guarded persona. She is messy, street-smart, and grappling with painful estrangement from her daughter. It’s a challenging role, and sadly, LuPone struggles to fully embody her. The character’s transition from a challenging housemate to a concerned figure lacks clarity.

LuPone, a three-time Tony winner, is inherently captivating and delivers some of the sharpest lines in the play (“Herbs only become drugs when a capitalist economy gets involved,” she quips while casually rolling a joint). There are moments where a real person shines through, especially when Robyn reflects on identity and society’s tendency to label sexual orientation. However, in the end, it feels like a missed opportunity to see a more fleshed-out character for such a legendary actress, who seems to operate on autopilot for quite a bit of the 100-minute show.

Directed by Jack O’Brien, “The Roommate” is competently staged, though Bob Crowley’s set design feels static and underutilized. The incidental music by David Yazbek stands out, adding a touch of playfulness and energy to an otherwise steady production.

In the end, the chance to enjoy the presence of icons like Farrow and LuPone is rewarding, despite the apparent mismatch in their roles. With two celebrated artists on stage, it’s natural to hope for something that exceeds being merely enjoyable.

“The Roommate” plays until December 15 at New York’s Booth Theatre (222 W. 45th Street).