In "Oh, Hi," Logan Lerman and Molly Gordon find the humor in misery

Published in Humor and Quirks on Monday, July 28th 2025 at 1:16 GMT by NPR
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Logan Lerman and Molly Gordon say the line between love and horror is a thin one.

In 'Oh, Hi,' Logan Lerman and Molly Gordon Unearth Laughter Amid Life's Lows

In the bustling world of independent theater, where raw emotion often collides with sharp wit, a new production is making waves for its unflinching dive into the absurdities of human suffering. "Oh, Hi," a dark comedy penned by emerging playwright Eliza Markham, has landed on stages in New York with a cast that includes rising stars Logan Lerman and Molly Gordon. The play, which premiered last month at the intimate Off-Broadway venue The Labyrinth Theater, explores the lives of two strangers whose paths cross in a dingy Midwestern motel during a snowstorm. What unfolds is a tapestry of personal miseries—lost jobs, fractured relationships, existential dread—woven together with humor that borders on the hysterical. As Lerman and Gordon shared in a recent conversation, the magic of "Oh, Hi" lies in its ability to transform pain into punchlines, reminding audiences that laughter can be the ultimate survival tool.

Lerman, best known for his brooding roles in films like "The Perks of Being a Wallflower" and the "Percy Jackson" series, steps into unfamiliar territory here as Eli, a down-on-his-luck salesman grappling with a recent divorce and a string of professional failures. "I've always been drawn to characters who are a bit broken," Lerman explains, his voice carrying a mix of introspection and enthusiasm. "But Eli isn't just wallowing; he's trying to claw his way out with these ridiculous schemes. The script gave me permission to lean into the comedy, which was terrifying at first. I remember rehearsals where I'd flub a line and Molly would just burst out laughing—it set the tone for the whole show."

Gordon, who has carved out a niche in quirky, relatable roles in projects like "Booksmart" and "Shiva Baby," plays Sarah, a freelance writer escaping her own cascade of misfortunes, including a cheating fiancé and a mounting pile of unpaid bills. Her character brings a sardonic edge to the proceedings, often delivering monologues that skewer the banal cruelties of modern life. "Sarah is me on my worst days," Gordon admits with a chuckle. "She's that voice in your head that says, 'Well, this is rock bottom, might as well order room service.' Working with Logan has been a dream because we both come from film backgrounds, but theater demands this raw, immediate energy. There's no retakes—if you mess up, you roll with it, and that vulnerability feeds right into the humor."

The play's title, "Oh, Hi," is a nod to the awkward greeting that kicks off the central encounter between Eli and Sarah. Stranded in adjacent rooms, they end up sharing a bottle of cheap wine and spilling their guts in a series of increasingly absurd confessions. Markham's script draws inspiration from real-life tales of woe, blending elements of Samuel Beckett's existential absurdism with the sharp observational comedy of Phoebe Waller-Bridge's "Fleabag." Director Lena Vasquez, in her notes for the production, emphasizes how the piece subverts traditional narratives of misery. "We don't resolve everything neatly," Vasquez says. "Instead, we laugh at the mess. It's cathartic, especially in a world where everyone's carrying invisible weights."

One of the standout scenes involves Eli attempting to fix a leaky faucet in Sarah's room, only for it to erupt into a full-blown flood, symbolizing the uncontrollable chaos of their lives. Lerman describes the physical comedy as a highlight: "I'm drenched every night, slipping around on stage. It's like a slapstick routine from an old Marx Brothers film, but underneath, it's about how we try to control things that are utterly beyond us." Gordon adds that the humor often stems from the characters' failed attempts at optimism. "Sarah has this mantra: 'Fake it till you make it.' But it backfires spectacularly, leading to moments where the audience is howling even as the characters are crying."

Beyond the laughs, "Oh, Hi" delves into deeper themes of isolation in the digital age. Eli and Sarah's initial interactions are mediated through thin motel walls and muffled shouts, mirroring how many people connect—or fail to—through screens today. "It's funny because it's true," Lerman reflects. "We've all had those nights where you're alone in a hotel, scrolling through social media, seeing everyone else's highlight reels while your life feels like a blooper." Gordon echoes this, noting how the play resonates post-pandemic. "Misery loves company, but in 'Oh, Hi,' it also loves a good joke. We've had audience members tell us it feels like therapy—laughing at the shared human experience of screwing up."

The chemistry between Lerman and Gordon is palpable, both on and off stage. They first met during auditions and bonded over shared experiences in Hollywood's grind. "Molly's timing is impeccable," Lerman praises. "She can turn a simple line into something gut-wrenching and hilarious." Gordon returns the compliment: "Logan's so grounded; he brings this quiet intensity that makes the comedy pop. We've become real friends through this—late-night rehearsals turned into deep talks about our own 'miseries.'"

Critics have praised the production for its balance of levity and depth. The New York Times called it "a riotous balm for the soul," while Variety noted the actors' "seamless blend of pathos and punchlines." Yet, the play isn't without its challenges. Lerman admits to initial nerves about live performance: "Film allows for perfectionism, but theater is alive, mistakes and all. That's where the humor in misery really shines—embracing the flaws." Gordon agrees, highlighting the improvisational elements: "Some nights, if the energy is high, we'll ad-lib a bit. It keeps things fresh and mirrors the unpredictability of life."

As "Oh, Hi" continues its run, with talks of a potential extension or even a film adaptation, Lerman and Gordon hope it encourages audiences to find their own humor in hardship. "Life's full of low points," Lerman says. "But if you can laugh at them, even a little, it lightens the load." Gordon adds, "It's not about denying the pain; it's about dancing with it. That's the beauty of this show—it's a reminder that misery doesn't have to be miserable alone."

In an era where mental health conversations are more open than ever, "Oh, Hi" stands out as a testament to resilience through comedy. The production's minimalist set—a single motel room divided by a flimsy wall—forces focus on the dialogue and performances, creating an intimate space where vulnerability reigns. Markham, the playwright, drew from her own experiences of a cross-country move gone wrong, infusing the script with authentic details like expired vending machine snacks and flickering neon signs. "I wanted to capture that feeling of being stuck," she explains. "But instead of despair, I leaned into the ridiculousness. Humor is how we cope."

For Lerman, this role marks a deliberate shift toward lighter fare after years of dramatic intensity. "I've done my share of heavy stuff," he says. "This was liberating—finding joy in the chaos." Gordon, too, sees it as a career pivot: "After 'Shiva Baby,' which had its own anxious humor, this feels like an evolution. It's comedy with heart, not just gags."

Audience reactions have been overwhelmingly positive, with many sharing personal stories after shows. One theatergoer recounted how the play mirrored her own breakup, turning tears into laughter. "It's healing," she said. As the curtain falls each night on Eli and Sarah's tentative alliance, the message is clear: in the face of misery, a simple "Oh, hi" can be the start of something unexpectedly funny.

With its blend of sharp writing, stellar performances, and timely themes, "Oh, Hi" is more than a play—it's a mirror to our collective absurdities. Lerman and Gordon have not only found humor in misery but have invited us all to join in the chuckle. As the production gains momentum, it promises to leave a lasting imprint on the landscape of contemporary theater, proving that sometimes, the best way through the storm is with a smile, however wry it may be. (Word count: 1,048)

Read the Full NPR Article at:
[ https://www.npr.org/2025/07/27/nx-s1-5373994/in-oh-hi-logan-lerman-and-molly-gordon-find-the-humor-in-misery ]

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