"Stupendously entertaining...There are lots of bad puns on tuna and even more jokes that qualify as politically incorrect...Consider that as a trigger warning, if you must, but I find it hard to imagine anyone’s taking offense. That’s because, like most good theater, 'Oh, Hello' exhales the transporting joy of actors becoming someone else so completely and infectiously that on some level we become them as well and adopt whatever warped worldview they’re selling us."
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"'Oh, Hello on Broadway,' directed by goofy-smart prince Alex Timbers, stretches the shtick to 95 minutes of metatheatrical horseplay...The internal logic gets foggy, but 'Oh, Hello' is really about watching Kroll and Mulaney do high-level tag-team comedy, in the great tradition of Mike Nichols and Elaine May and Mel Brooks and Carl Reiner. If some of the tuna seems a bit canned, both comedians are superb improvisers...They make mustiness new, and they’re a New York City must."
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"The jokes are excellent...It’s the kind of nonsensical set-up that leaves the writers maximum latitude as to what they can build, but it also limits how strongly they can build it. The result is both delightful and shaggy, pointed and unmemorable. Most of the delight and pointedness come from the exemplary verbal polish of the scripted material...The 90-minute evening is already a mite too long, and if it weren’t for a few stand-alone bits, 'Oh, Hello' might be too soggy to enjoy."
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“The less said, the better. A hoary vaudeville masterminded and performed by Nick Kroll and John Mulaney, their Upper West Side alter kockers have ’em rolling in the aisles of the Lyceum Theatre with politically incorrect jokes, interspecies copulation, Norm Crosby-style malapropisms, idiosyncratic mispronunciations, and a tuna sandwich that would do the soon-to-be-departed Carnegie Deli proud. The whole thing is exceedingly idiotic or possibly just too cool for me.”
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"Gil and George have written a play, and it's aswirl with jokes and jabs at actors, stage hokum and overripe clichés. The crotchety geezers bat that around for a while, then launch into NY and personal history...The trio’s chat roams from babies and being Jewish to flexing biceps...There are moments that had me in stitches, but the show’s so shapeless and shaggy that it doesn’t add up to much."
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"Sloppy, silly, occasionally inspired...'Oh, Hello' might not be the show to win over new enthusiasts...There’s no defining theme to the show, and the humor is all over the map. The core component of their act is pure character comedy...Is the material of this show really that uneven, or is the production still evolving? With the duo’s improv skills and their packed houses, 'Oh, Hello' could develop into a production format that would be all its own—and genuinely original."
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"The funniest show in town...Don't go looking for much of a plot in this stand-up comedy routine dressed up as theater...The evening is structurally ragged, composed of tenuously related blackout sketches, improvised bits, and an interview segment featuring a different special guest at every show...Not all the jokes land...The show could use some pruning. But it hardly matters when the jokes come this fast and furious."
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"Their unlikely showbiz ascension is exactly the outcome we deserve — those of us who don’t mind a few lung-punishing laughing jags of an evening, in the theater...Comedians John Mulaney and Nick Kroll hold a theater crowd in their loony spell for a giddy, galloping 90 minutes...Their brand of comedy is a winning melange of all the brows: low, middle and high...Terrific bits of observational comedy — and more successful, I think, than an interlude halfway through."
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