‘This show is messy, puerile, crass, wildly indulgent …and stomach-achingly funny.’ Photograph: Peter Yang/Supplied And this is even before the addition of a giant puppet depicting a tuna sandwich as incubus, which is practically guaranteed to give audience members nightmares. (Yes, enough tuna is used in this show to raise the mercury levels of everyone attending to dangerous heights. These septuagenarian grotesques are the alter egos of the comics Nick Kroll (Gil) and John Mulaney (George), first developed on alternative comedy stages and more recently seen on The Kroll Show in the segment Too Much Tuna. It is also uproariously, stomach-achingly funny. It uses an unconscionable amount of mayonnaise. “Or,” as Gil counters, “more of a stalker’s note scrawled in lipstick on a mirror.” This show, directed by Alex Timbers, is messy, puerile, crass, and wildly indulgent. Gil Faizon and George St Geegland – those legends of public access television, icons of the Upper West Side, and superstars of ill-fitting sweater vests – have finally made it to the main stem with Oh, Hello on Broadway, which George describes as a love letter to theater.
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