“Acting,” asserts Tony winner Ben Platt in character, “is the art of remembering and choosing to forget.” In the lively mockumentary “Theater Camp,” which delves into the world of aspiring performers inspired by Gershwin, this notion comes to life. Collaboratively written by Platt and his close friends Molly Gordon, Nick Lieberman, and his fiance Noah Galvin, who all have a background in theater, the film is a showcase of their experiences and imaginations. Gordon and Lieberman take on the roles of directors as well.
The story revolves around a group of former youth performers who, despite the trials and tribulations they’ve faced in the pursuit of their dreams, have created a camp where they disregard the trauma and inflict it on others. It’s a summer version of Stockholm syndrome, with their group therapy sessions serving as both entertainment and catharsis.
The setting is the drama institute AdirondACTS, depicted with a cheesy crayon font. Amos (played by Platt) and Rebecca-Diane (played by Gordon) met at the institute as children and have continued to return every summer in search of the recognition they crave. While Broadway success has eluded them, they take delight in imparting their wisdom upon the youthful campers.
Speaking of the campers, they are wonderfully portrayed by talented actors such as Luke Islam, Alan Kim, and Bailee Bonick, the latter of whom possesses an impressive vocal range. Despite their young age, these performers demonstrate a maturity on par with the adults. They willingly absorb the pep talks, threats, and quirky opinions dished out by their coaches, such as Amos whispering his belief in a young camper’s ability to portray a French prostitute.
Throughout the film, failure lingers in the background, ignored by the characters. The peak of success for them is a callback for a cruise ship gig or a repertory show in Sarasota. They resent any challenge to their artistic authority, as displayed by the costume designer Gigi and dance instructor Clive. The film expertly subverts the cliché of putting on a show to save the day, as most characters couldn’t care less about that plot point. They are focused on their artistry, leaving capitalism to be embraced by characters like Troy, the owner’s money-driven son.
Although “Theater Camp” initially hints at a documentary style with frequent black-and-white intertitles, it quickly abandons this approach to embrace a rhythm reminiscent of darkly humorous vaudeville sketches. It is evident that some elements of the story were left on the cutting room floor, with a late-breaking resolution involving a character who has barely been developed. Additionally, promising characters like Ayo Edebiri’s first-time teacher with fake jousting and juggling experience are underutilized. The film simply has too much it wants to explore.
Nevertheless, the actors fully embody their characters, with Platt’s Amos standing out with his frog-like stage entrance, reminiscent of Kermit the Frog’s show-stopping performances. The film showcases the magical power of enthusiasm, as the floundering show-within-a-show is saved when the children pour their hearts into belting out Rebecca-Diane’s lackluster lyrics. Gusto can turn anything into gold.
“Theater Camp,” rated PG-13 for spicy language and an adult slumber party, runs for an entertaining 1 hour and 34 minutes. It is currently playing in theaters.
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