Go to 'Theater Camp,' or don't
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Say this for “Theater Camp”: It salutes its young, aspiring performers’ talent. There are plenty of (not especially funny) jokes, but the movie, co-written and co-directed by co-star Molly Gordon (“The Bear,” “Shiva Baby”), doesn’t crack them at the kids’ expense. So when the film aims for heartfelt moments about the bonds and comfort of camp, the point falls in line with the presentation rather than feeling like a cheap lunge at meaning.
But you also have to say that the mockumentary often resembles a far less imaginative version of “Wet Hot American Summer,” with the energy-sapping timeline of an entire summer rather than just one day. “Theater Camp” observes as Rebecca-Diane (Gordon) and Amos (a grating Ben Platt), her longtime friend-turned-fellow-counselor at the amusingly named AdirondACTS, attempt to lead their usual original summer production while other counselors (including Ayo Edibiri of “The Bear” and “Bottoms” as someone who lied on their resume and knows nothing about theater and deserved a lot more screen time) put on “Cats” and other well-known material in various locations around camp. The challenge this summer is that camp owner Joan (Amy Sedaris) has suffered a stroke, and in her place her son Troy (Jimmy Tatro of “American Vandal”) neither knows anything about the theater world (he’s never even heard of “The Music Man”) nor has any idea how to save the camp from the painfully cliche impending foreclosure.
Mostly amusing and packing a couple good laughs, “Theater Camp” is neither the riot it might have been nor a total misfire. Gordon and co-director/co-writer Nick Lieberman struggle to keep things moving forward and probably overdo it with the supporting characters, who don’t click individually or together anywhere near as well as “Wet Hot” (a high bar to reach), though co-writer Noah Galvin turns a minor part into a major moment late in the film. “Theater Camp” also isn’t interested in getting to know the campers on a deeper level, generalizing about theater kids as if they’re all the same and resulting in a depiction that feels outdated instead of thoughtful, informed and curious.
But the heart remains, and the brief, albeit kinda-sluggish runtime should keep you around until the closing number. You won’t particularly care what happens, but you won’t not care either, and if someone wants to make a musical noir called “Double Negative,” I’m there.
B-
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