Aaron Jackson and Josh Sharp play the title characters, Trevor and Craig, respectively, a pair of royal assholes who’ve been granted each privilege in life simply by being male, straight, white, and wealthy. They sing about how good their lives are however conceal their loneliness, hoping to search out the households they by no means had rising up. You see, they’re similar twins (probably not, however simply go together with it) who have been separated at beginning. Reunited at a job the place they promote elements—not precise machines, simply the elements for them—they understand that they’re one another’s long-lost brothers, and so they devise a plan to reunite their dad and mom, performed fearlessly by Megan Mullally and Nathan Lane. Mullally’s Evelyn is a caricature of an previous kook who talks to her bric-a-brac and claims her genitalia actually got here to life and fell off a number of years in the past. If that’s not bizarre sufficient, Lane’s Harris sings about being homosexual now, and his love for a pair of puppets known as the Sewer Boys, hysterically analog creatures he discovered within the underground years in the past and now raises, feeds, and fears. It is a troublesome film to do the plot recap factor on. Simply belief me. Bowen Yang performs God. That most likely tells you all the things you must know.
“Dicks: The Musical” is clearly a “The Father or mother Entice” riff, however this one ain’t for teenagers. Jackson and Sharp are fairly good, leaning into each ridiculous idea within the movie. They completely promote the alpha male obnoxiousness of Trevor and Craig to start out, however get even funnier after they flip to disclose their loneliness and go undercover to reunite their actually odd dad and mom. To say they commit could be an understatement, and there’s one thing about watching performers keen to go all-in—even when a joke doesn’t land, one thing is entrancing in regards to the high-wire act of those performances. Having stated that, I wanted “Dicks: The Musical” didn’t repeat itself so usually—should you like Mullally’s p*ssy joke, don’t fret, you’ll hear it a bunch extra instances, and the Sewer Boys bit get previous earlier than it hits its weird endpoint. It has a lot vitality in its greatest scenes that one needs it discovered different locations to spend it when it comes to storytelling.
Consider it or not, the music itself helps. Apart from a bit by Megan Thee Stallion that feels overproduced in comparison with the remainder of the film, the music right here kinda guidelines. It most likely helped to have Marius de Vries because the music producer, given his pedigree that features “La La Land,” “Moulin Rouge!,” and “Romeo + Juliet.” The musical numbers are legitimately well-done—humorous, witty, and generally even shifting. Jackson and Sharp are at their greatest when projecting ridiculous lyrics into one another’s faces, and Lane & Mullally are having an absolute blast.