While you may not have a deep understanding of theatrical terms or know the difference between Lerner and Loewe, the sincere humor of “Theater Camp” is sure to amuse you. Aimed at the most devoted theatre geeks, this mockumentary is imbued with an irresistible energy. The thrill of staging a show that could be charming even to casual viewers-at least, for some time.
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Despite the audition scenes and witty repartee that fuel the initial part of “Theater Camp,” the film is slow. However, it ultimately revives for a grand closing act. This project, directed by Molly Gordon and Nick Lieberman, is an expanded version of their 2020 short, co-written with Ben Platt and Noah Galvin. The struggle to convert the original concept into a full-length feature film becomes evident as the narrative unfolds. As the film progresses, it eventually drops its mockumentary structure, rendering its initial use somewhat redundant.
What is clear throughout “Theater Camp,” however, is the filmmakers' affection for the storyline. These individuals are long-time friends who have worked together for years, creating an undeniable bond that infuses the film. Early in the film, there's footage of adorable kids performing on stage. This is a flashback of Gordon and Platt before their big breaks on “The Bear” and “Dear Evan Hansen.” Their shared experiences in the world of theatre clearly fuel their love for the subject matter. But, unfortunately, their execution sometimes doesn't do justice to the depth of their passion.
The film opens on a hopeful note with Platt and Gordon in the roles of Amos and Rebecca-Diane. They are two ex-campers with dreams of making it big in the theater world. They now return each year as counselors. The stage for their story is AdirondACTS, a somewhat rundown collection of cabins that's definitely seen better days. But, they still vibrate with the excitement and enthusiasm of youthful performers each summer. However, this year, due to the camp founder Joan's (Amy Sedaris) health crisis related to a “Bye Bye Birdie” seizure, Amos and Rebecca-Diane find themselves having to manage the entire camp. The unexpected arrival of Joan's son Troy (Jimmy Tatro), who has the pretensions of being a financial whiz, adds to their challenges. His attempt to exert control is swiftly seen through and rejected by the astute theater kids.
The film maintains a degree of amusement for a time, but it fluctuates inconsistently. Among the campers, some prove themselves to be astonishingly talented, notably Bailee Bonick, Luke Islam, and Alexander Bello. Sadly, the film doesn't delve deeper into their stories. This leaves the audience wanting to know more about these young talents beyond their ability to command a show tune or deliver an emotionally mature performance. These young characters are genuinely more captivating than their adult counterparts. That is except for the character of Glenn (Galvin), the overworked technical genius who carries a secret. Furthermore, some humorous moments, such as the young “Minari” star Alan Kim's portrayal of an aspiring agent, add to the film's charm. Unfortunately, they are regrettably underdeveloped.
As the campers gear up for the end-of-season original musical dedicated to Joan, the threat of the camp's foreclosure looms. There is a neighboring affluent camp looking to take over their land. This situation could have paved the way for a punchy, '80s-style class warfare comedy. But in this case, such a plot fails to materialize.
The main issue with “Theater Camp” is its lack of originality. Its narrative and themes closely resemble those seen in films like “Waiting for Guffman” and “Wet Hot American Summer,” where the treatment was arguably superior. Despite these shortcomings, “Theater Camp” does offer moments of comedy, with the ridiculously bad lyrics of some original songs, oddly wonderful exercises exploring the kids' past lives, and the counselors' profoundly inappropriate advice. You might not leave the theater with the tunes stuck in your head, but it's highly likely you'll exit wearing a smile.
