These include the brief exchange Gil and George have backstage about the awful audience (possibly based on a real incident), or the horrific way Gil’s hair becomes silhouetted by a soft blue light, which only Mulaney can see from where he stands.

Ways of showing viewers at home what we were seeing on stage, or what certain sections of the live audience were and weren’t seeing.” “The show is beautiful and the comedy’s great,” he quips, “but we knew we wanted to have certain angles. Like which angles to shoot from.” Mulaney agrees, adding that a lot of this technically challenging work never would have happened without Oh, Hello‘s sizable crew - both those who worked on the Lyceum Theatre run, and those who joined later for the Netflix taping. “I think what ended up happening was, we wanted to create as many options as possible. “We had a lot of considerations to make as we started to try and figure out how to shoot something like this,” Kroll tells Uproxx. Except, of course, for the fact that - like Gil and George - nothing here is candid and everything is by design.

“We’re going to get high before.” Along with a few other lines and jokes, the first two minutes’ worth of banter before the pair graces the Lyceum Theatre stage feels like the opening for any other comedy special. After all, he points out, they’re filming their hugely successful show “for the TV thing” otherwise known as Netflix. Geegland (John Mulaney) in the opening scene of Oh, Hello On Broadway. “Are you nervous about tonight?” Gil Faizon (Nick Kroll) asks his partner in crime, George St.

Oh hello on broadway guests