Geegland keen to ensure the physically and mentally less robust Faizon knows his place. Geegland would like us to think of them as good friends, in deep, devoted love with the arts, but the skillfully written subtext of Oh, Hello hints at something darker-a kind of abusive relationship, with St.
Geegland need each other desperately, especially after things go a little Baby Jane.įaizon and St. Like any good comedic duo, Faizon and St. (In real life, Kroll and Mulaney look young and very handsome.) Gil is a mess of fuzzy hair, tatty trousers, and incontinence George is sharper-dressed, angrier, and crueler. One moment Gil and George are being absurdly surreal, the next Kroll and Mulaney are breaking character and cracking up at their own, sometimes made-up-on-the-spot jokes. Their set is, they claim, constructed from jewels of Broadway productions past, including the trap door to Anne Frank’s attic, “not to be confused with the diarrhea of Barney Frank, which we experienced on an Acela train from Washington, D.C.” The men are wounded, hilarious monsters, persecuting Ruvi, their poor lighting operator intern (who misses a spotlight cue at his peril). “It’s a love letter to theater…” “Or more of a stalker’s note scrawled in lipstick on a mirror,” added Gil. Tennessee Williams and his sister Serena.” Geegland will perform for us has been made possible by the “Lillian Hellman Female Playwriting Initiative, who has accidentally funded this production.”Įvery word is the opportunity for a ridiculous gag: “In this deeply haunted theater, so many great playwrights put up their work. When photographing mashed potatoes, Gil lies there so they can get the lighting right.” Gil “is a stand-in model for mashed potatoes and other creamed foods.
Later a professor, he “resigned for stuff which remains in sealed documents.” Willie Geist, at a 92Y event, said George had been born “to verbally abusive parents,” hosting an imaginary talk show in his Long Island childhood bedroom from which he was banned as a guest. They should have been contenders, and the play they perform for us is the story of their supposedly platonic friendship and professional travails (the main characters transformed into “George Reddington” and “Gil Stone”), with a dizzying battery of insults, jokes, and riffs on theater thrown in, like deconstructing “the one-sided phone call.” Geegland) and actor (Faizon) are legends in their own perversely unfulfilled lunchtimes.
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