Last week, Bottoms opened, now it’s DICKS entering.
Vulgar, crass, demented and depraved, DICKS: THE MUSICAL is a musical like no other.
DICKS is the OTT (over the trope) story of two self-obsessed businessmen who discover they’re long-lost identical twins and come together to plot the reunion of their eccentric divorced parents.
The opening number rams home the notion that these two men are alpha heterosexuals, root rats extraordinaire, obsessed with their penises, putting them into every available vagina. When not preening over their penis prowess, they sell widgets, their shallow salesmanship the dual apex of their maleness. A right couple of tossers.
Their vacuousness comes from the vacuum caused by not having a regular mum and dad family, one being brought up by a single mother, the other by a single dad. They are the boys in the victim hood.
Mum is a wheelchair bound ditz with a sizable lisp and portable pussy. Imagine them, if you will, as genital dentures!
Dad is an outrageous Queen with a caged pair of pets he calls The Sewer Boys.
Cavalierly grotesque and gauche, DICKS is a bad taste boner that performs circumcision to the foreskin of refinement.
Writers Aaron Jackson & Josh Sharp take on the roles of the incestuous gays, Trevor and Craig, by the scruff of their scrotums, with Megan Mullally delightfully daffy as Mum and Nathan Lane delivering as dapper Dad.
Directed by Borat! Helmer, Larry Charles (so you sort of know what to expect), DICKS: THE MUSICAL also features Megan Thee Stallion as the bitch boss from hell, and Bowen Yang as God.
The songs are sordid with lurid lyrics, the choreography camp, the acting coarse – it should suck but DICKS: THE MUSICAL refuses to flaccidate, remaining firm and resisting sectile dysfunction.
WATCH THE TRAILER HERE.
