written by Elroy Nova

Brad Dickson has carved a unique path through the entertainment world, transitioning from the fast-paced world of late-night television to the unpredictable realm of theatrical plays and independent film. With 30 years of experience under his belt, Dickson’s career is a testament to his versatility and comedic sensibilities.

For 14 years, Dickson honed his comedic chops writing monologue jokes for The Tonight Show, a period he fondly remembers. He jokingly credits Presidents Bill Clinton and George W. Bush for boosting his career, implying their presidencies provided ample fodder for his jokes. This experience instilled in him a love for the immediacy of comedy, where jokes written in the afternoon could be delivered to millions by that evening. He recalls the surreal experience of going from working as a phone solicitor to rubbing shoulders with celebrities like Tom Cruise in the Tonight Show hallways, a stark contrast that underscores his rapid rise in the industry.

While Dickson cherishes his time in television, his focus has shifted to writing “hyper-irreverent, dark, wild comedic theatrical plays,” citing OH MARY! and THE PLAY THAT GOES WRONG as inspirations. He feels the stage is a natural home for his particular brand of humor, expressing a preference for the live theatrical experience over the overabundance of musicals currently dominating the scene. Dickson’s dark comedic leanings, he suggests, are simply a reflection of his inner thoughts, a common trait among comedy writers.

Adding another dimension to his creative portfolio, Dickson recently completed directing his first feature film, which he also wrote. The comedy stars Eric Roberts, playing himself, a casting choice Dickson jokingly suggests required minimal research on Roberts’ part. He recounts the humorous challenge of scheduling Roberts’ time, competing with Dancing with the Stars for his availability. Dickson playfully suggests Roberts made the right choice in prioritizing the film, hinting at a less-than-stellar dancing ability. The film also stars Vincent Spano. While he remains tight-lipped about the plot, Dickson hints at its comedic nature.

Dickson’s creative process remains somewhat mysterious even to himself. He describes ideas as simply appearing, their origins untraceable. This seemingly spontaneous generation fuels his dark comedies, including a short play titled PHONE SOLICITOR, based on his own experiences in that notoriously challenging profession. He suggests that the thick skin required for telemarketing surpasses even that needed for show business, recounting the barrage of negativity he faced daily. PHONE SOLICITOR has already garnered festival recognition, and Dickson hints at the possibility of expanding it into a full-length play.

Looking ahead, Dickson’s immediate goals include completing the editing of his film and securing a prominent production for one of his full-length plays, such as LOVELY IDIOTS. He believes audiences would connect with his work and enjoy the unique brand of dark comedy he brings to the stage and screen. From the rapid-fire world of late-night television to the long-gestating process of filmmaking and the live energy of theatre, Brad Dickson continues to explore the diverse landscape of comedy, leaving his distinct mark on each medium.