Mockumentaries are a rare breed nowadays, particularly on the silver screen and from a major studio or distributor. A concept relegated to the odd television series or, with our shorter attention spans, a snippet on the endless scroll of social media. Molly Gordon and Nick Lieberman tackle the form in Theatre Camp, a co-directed effort based on a short film they created in 2020 with many of the same creative team. Can Theatre Camp find new life in the format, and will it be able to sustain a full feature length from its concept?
After the leader of a beloved theatre camp in upstate New York falls into a coma, the eccentric staff must band together to continue thespian paradise afloat in her legacy, all while trying to prevent a foreclosure, stop the reckless antics of her own son, and put on an end-of-camp musical to end all musicals. Gordon and Lieberman write and star alongside Ben Platt and Noah Galvin. Jimmy Tatro, Nathan Lee Graham, Alan Kim, Caroline Aaron and Ayo Edebiri also star in this ensemble piece.
As endearing as it is completely surprising, Theatre Camp is the perfect cinematic antidote to ease the end-of-summer blues. A comedy so endlessly entertaining, bursting with personality yet so emotionally rich and uniquely vibrant, Gordon and Lieberman utilise the mockumentary template to such stunning effect, providing that there is still promise in the conceit. Embracing the trials and tribulations of stage life, while fondly poking fun at the theatrics of it all, so much of Theatre Camp’s success is in how extraordinarily well-balanced it is, sharing the breezy 93 minutes fairly while ensuring it never becomes exhausting. With Jon Philpot's clean, concise editing and Nate Hurtsellers' sharp cinematography supporting the film's strong visual storytelling, as well as some lovely songs for good measure, it is such solid work across the board.
Laying such solid foundations, Theatre Camp's four-persona screenplay proves that, sometimes, there is no such thing as too many cooks. Complete with astute observations and clever characterisations that only enrich the biting personality the film has coursing through its veins, the film positions its audience well enough to be fascinated by characters so wonderfully unique but whose passion feels so familiar, three-dimensional in their dreams and aspirations; we instantly understand who they are, what they stand for, what makes them tick and what makes them proud. Importantly, it is good-natured to its core, clearly created by a team who love theatre, meaning there is never any malice behind the satirical depictions. Rife with some incredible one-liners that resonate with the characters we see, there is such authenticity to Theatre Camp’s humour that solidifies it as one of the greatest comedies of some time.
That collaborative, well-balanced spirit continues through to its cast, a wonderful ensemble of impressive actors who clearly adore the arena they play as and within. Listing standouts is no mean feat, but there are a handful who shine of their own accord: Co-creator Molly Gordon is truly superb as the impressionable Rebecca Diane, pushing the absurdity of her character just far enough to earn her some of Theatre Camp's biggest laughs, without overstepping the line into complete caricature. Her physicality is as strong as her line-reading and she exudes a caustic exuberance that is so flawlessly realised. Noah Galvin quietly and unexpectedly steals the spotlight as the soul of the finale’s triumphant final act, while Ben Platt's surprisingly more restrained turn showcases the slightly bittersweet emotions the film cultivates as it examines Amos and Rebecca-Diane's friendship. In smaller appearances, Nathan Lee Graham, Ayo Edebiri and Caroline Aaron still make an impression, enhancing the entertaining tapestry that is these colourful characters and the lives they lead.
A genuinely hilarious, huge-hearted and lovingly-made picture imbued with personality and approached from a place of affection rather than mockery, Theatre Camp not only registers as the year's best comedies but one of the very strongest in recent memory. A feature rendered with such heart, Theatre Camp steadies laugh-out-loud hilarity with a genuinely emotional core that crafts a wonderfully satisfying experience that will be adored by those with a deeper connection to the subject, yet still widely appreciated by those who don't. Brought lovingly to life by an ensemble of exceptional talent both in front of and behind the camera, Theatre Camp is an utterly delightful voyage of the stage for the screen.