Bethany and Brittany — creatures of nylon, texturizer and vocal fry — are sales associates at the flagship branch of American Apparel. Their tights are ripped. Their bruises are covered by Ray-Bans. They can’t remember what happened last night, and they can’t seem to leave this stockroom. Think “No Exit,” with Lycra.

A slapdash lampoon of sexual trauma and noxious masculinity, “When We Went Electronic,” written by Caitlin Saylor Stephens and directed by Meghan Finn for the Tank in Manhattan, is a show in love with its own grotesquerie, a fun house ride that’s just a pile of distorting mirrors.

Bethany (Drita Kabashi) seems to be Brittany’s superior, and her preferred conversational style is the insult: “Ur advanced basic.” “Please betch. Ur just outdated.” Brittany (Tiffany Iris) sleepwalks around the store, wondering vaguely where her gashes came from and why there’s a condom in her updo. Ms. Stephens’s script plays word games with their worldview, replacing the word “look” with “lookbook,” “see” with “go-see,” “smashed” with “high-waisted.” When the words stop, they pose and pout and break into electroclash tunes by Sarah Frances Cagianese and Ms. Stephens.

The play’s pervy, perverse influence is American Apparel’s founder, Dov Charney. The favored oath is “Ohmidov!” (I first heard it as “Oh my dog,” then I twigged.) Mr. Charney, ousted in 2014 after an onslaught of sexual harassment allegations, considered sex with employees part of his compensation. “Sleeping with people you work with is unavoidable!” he told a Guardian journalist in 2017. (Full disclosure: I used to shop at American Apparel until I read reports of Mr. Charney’s behavior. More disclosure: I still kind of miss their leggings.) “When We Went Electronic” is a nightmare vision of sexual availability and minimum-wage retail.