Step aside, Barbenheimer. July brings a double dose of captivating cinema that highlights the value of practical productions. First up is the latest installment of Mission: Impossible, a thrilling and heartfelt adventure that will leave you breathless. The second is Theater Camp, a mockumentary that, in its own unique way, reinforces the message Tom Cruise has been preaching about the importance of dedicating one’s life to the arts (and it’s half the runtime too).
The darling of Sundance, Theater Camp follows a motley crew of counselors at a beloved summer institution in the Adirondacks called AdirondACTS. Their mission? To save AdirondACTS from foreclosure by creating The Big Show. While the plot may feel familiar to fans of performing-arts programs like Camp and Camp Rock, Theater Camp offers a fresh and endearing perspective. It arrives at a time when writers and actors have taken a stand against the undervaluing of their work, making it a timely and poignant reminder that creativity thrives within a supportive community.
Theater Camp begins with the founder of AdirondACTS, Joan (played by the talented Amy Sedaris), falling into a coma after suffering a seizure from strobe lights during a middle-school production of Bye Bye Birdie. Stepping up to the challenge of saving the camp are a colorful cast of characters, including Joan’s slacker son Troy (played hilariously by Jimmy Tatro), the serious drama coach Amos (a redeemer for Ben Platt after his role in the disappointing Dear Evan Hansen film), the eccentric music teacher Rebecca-Diane (Molly Gordon, who also co-directed and co-wrote the film), the flamboyant dance instructor Clive (Nathan Lee Graham), and the charmingly deceptive new staff member Janet (Ayo Edebiri), who embellished her stage credentials on her résumé. The young campers also shine, with Alan Kim from Minari stealing scenes as a camper determined to become a talent agent, channeling his inner tiny Ari Gold.
Theater Camp goes beyond mere improvisation and explores the motivations behind why any adult would choose to spend their summers with aspiring Tony winners in miniature. Through intimate conversations and well-crafted reaction shots, the film delves into the insecurities and desires of the counselors. Some, like Amos, find solace in AdirondACTS after career setbacks. Others, like Clive, revel in nostalgic memories, sharing their artistic past with an appreciative audience.
While the dialogue occasionally veers into cheesy territory (“We’re theater people; we know how to turn cardboard into gold”), the film strikes a balance with moments that humorously highlight the absurdity of being involved in theater, whether as a child or adult. The counselors are refreshingly honest with their campers, offering reminders that only a select few will make it to the Broadway stage. During staff meetings, they critique the children’s performances with earnest seriousness. One standout scene involves Rebecca-Diane and Amos intervening when a camper uses a tear stick, a tool actors use to induce tears on cue. They seize the object with the zeal of DEA agents busting a drug deal, leaving the camper remorseful. However, Rebecca-Diane proceeds to use the tear stick on herself, emphasizing her disappointment in her student. These lighthearted moments underscore the deep connection between the campers and the staff.
Earnest and ridiculous in equal measure, Theater Camp unveils the enchanting and eccentric world of places like AdirondACTS. It is not just a starry-eyed love letter to the magic of theater; it also explores the immense support required to pursue one’s passions. Performance is about self-expression, and for the counselors, confronting their own emotions during a challenging summer—marked by low morale and limited financial rewards—leads them to discover the same lessons as their campers. Troy must embrace his role as the camp’s interim owner rather than shirking responsibility and indulging in dalliances with the attractive financial adviser (a delightful presence portrayed by Patti Harrison) who urges him to sell the property. Amos must learn to depend on Rebecca-Diane without smothering her, just as he would with a scene partner in a play. Only together can they rescue the camp that embodies their true selves. It may not be a mission to save the world, but on that stage, no matter how small, they find their entire world.
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