Oh, Hello On Broadway

Oh, Hello On Broadway is a 2017 recorded stage comedy that features notable talents Nick Kroll and John Mulaney, along with a delightful cameo from the legendary Steve Martin. Directed by Michael John Warren and Alex Timbers, the film is primarily a taped version of Kroll and Mulaney's hilarious Broadway show that managed to capture the dynamism and virtuosity of live performance, complete with the unpredictability and charms that accommodate a theatrical event. It fuses the effervescence of recorded stand-up comedy with the striking theatricality of a Broadway production.

Centered around two fictitious aging New Yorkers - Gil Faizon (Kroll) and George St. Geegland (Mulaney), the movie is a satirical look at life, theater, and celebrity. Kroll and Mulaney initially performed these characters on a range of platforms, including Comedy Central's "Kroll Show". Now, bringing their alter egos to Broadway- and then to the digital streaming universe, they have magnified the characters into larger-than-life figures, carving out their corners in contemporary pop culture. Faizon and St. Geegland embody a certain strain of turtleneck-wearing, self-important New Yorkers, providing endless fodder for impersonation and mockery.

The ninety-minute film plays out like a meta-theatrical display fictionally written by Faizon and St. Geegland themselves. A 'play within a play' concept, it is as though we are witnesses to the characters watching the contrivance of their own lives, in a quirky, absurd, and often self-deprecating style. Like the stage show, its film version includes various monologues, a talk show featuring outrageous celebrity interviews, and a pseudo-intellectual play entitled "We're Us, You're You, Let's Talk" - all carefully scripted and arranged to showcase the unique chemistry between Kroll and Mulaney, and their mind-bending ability to blend high-brow and low-brow humor.

With their rapid-fire wit, tongue-in-cheek banter, and their digressive improvisations, Kroll and Mulaney milk every opportunity for laughter. Meanwhile, the unexpected presence of Steve Martin, appearing as himself, amplifies the movie's star power and offers a surreal quality to the proceedings. His cameo unlocks another layer of complexity to the parody, as he becomes a 'celebrity guest' in the ridiculous, self-hosted talk show segment within the play.

Oh, Hello on Broadway is also unique in its crowd-engagement practice. Instead of maintaining the classic 'fourth wall', the duo interacts with unsuspecting audience members, injecting an element of spontaneity, further convoluting the line between reality and make-believe.

Visually, the film succeeds in capturing the vibrancy and tactility of a theatrical experience. From the grandeur of the faux set designs to the elaborate character costumes entailing overly groomed white hair and chunky vintage glasses, everything embodies an exaggerated rendition of two Broadway eccentrics. The cinematography fluidly oscillates between wide shots capturing the whole spectacle to close-ups accenting the characters' comical expressions and body language.

Not just a traditional Broadway show recording nor a rudimentary stand-up act, Oh, Hello On Broadway is a fascinating hybrid. While it undoubtedly captures the uproarious fun of the original live production, it is also a fascinating study of performance art, parody, and satire – testing the boundaries of the genre in an innovative manner. The brilliant performances of Kroll and Mulaney, supported by Steve Martin’s compelling cameo, further elevate the film to a must-watch for comedy enthusiasts and lovers of avant-garde theatrical experiments. The humor might not be everyone's cup of tea, but for those who are acquainted with the peculiar comedy style of the duo or are open to unusual forms of humor, the film is bound to be an entertaining experience.

In essence, Oh, Hello On Broadway is a beautifully captured, humorous movie that combines the best of theater and standup comedy to present a highly enjoyable showcase of spectacular performances, quick wit, and creative storytelling. It marks a noteworthy addition both to the canon of comedy films and to the realm of filmed theatre performances.