I must admit, I haven’t watched a majority of its “Too Much Tuna” predecessor, which seems bizarre because I know I’ve loved what I have seen and would enjoy the rest of Gil Faizon and George St. I once heard someone describe Arrested Development as a ‘smart show about dumb people’, and I think the same criteria should be applied to Oh, Hello: On Broadway.Ĭlocking in at just over an hour and a half, the show follows characters well-known to any fan of Mulaney or Kroll: George St. It’s silly, goofy, and doesn’t take itself too seriously, but it’s never dumb they are too smart for that, and play off each other too well so as to err more on the side of playful, winking references than outright idiocy. Together, their humor is just as brilliant as it is…to say stupid is not the right word. So, needless to say (even though I’ve already said it), I sign on for anything he does, and by default, Nick Kroll as well, who I’ve been watching since he appeared on Reno 911! as Chupacabra, the disc jockey for a Hispanic radio show. Then “New In Town” came out, to appropriately-earned praise I saw him in Atlanta during his “Comeback Kid” tour, and I’m going to see him in Montreal for his “Kid Gorgeous” show. I’ve been a fan of John Mulaney’s since I learned he was the writer of Stefan the Club Promoter on Saturday Night Live I even loved his brief Weekend Update appearances, where he’s so young he looks like Lorne Michaels busted him out of a middle school pep rally he was keynote speaker at. It’s technically a review of a Broadway show, but since I couldn’t catch it live, I settled for Netflix. I know: this doesn’t seem like a movie review. The craft is essentially the same breed, with different stripes. It’s often said that comedians make great actors it’s not so unbelievable – stand-up and comedic acting require the same beats that non-comedic actors use all the time: pacing, body language, timing, charisma.

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