Theater Camp (2023) : Raising the Curtain on Chaos, Community, and the Kids Who Steal the Show (SUNDANCE FILM FESTIVAL)

 

There is something deeply comforting about a film that knows exactly who it is and who it is for. Theater Camp is a film of the theater people, by the theater people, for all the people. It is affectionate, chaotic, lovingly specific, and gloriously aware of every backstage meltdown and over enunciated vowel that defines the culture it celebrates. Whether you were once a theater kid or just sat in the audience applauding them, this one wraps you in its jazz hands and refuses to let go.

One of my absolute favorites from this year’s Sundance Film Festival, this mockumentary style comedy announces itself with confidence and then proceeds to fire on all cylinders. The premise is simple. After the beloved founder of a scrappy upstate New York theater camp falls into a coma, the staff must rally alongside her bewildered son to keep the lights on and the show alive. What unfolds is less a plot driven narrative and more a series of escalating character beats, improvisational riffs, and inspired musical moments that somehow coalesce into something quietly profound.

Writers Molly Gordon, Nick Lieberman, who also direct, along with Ben Platt and Noah Galvin, have paid homage to two things that they all love, Theater and Christopher Guest. The influence is unmistakable. The talking heads, the awkward pauses, the escalating absurdity rooted in sincerity all recall Guest’s best work, particularly Waiting for Guffman. And having seen and laughed watching Theater Camp, I can safely say that Christopher Guest will be so happy and proud of this beautiful little film of yours. It is funny, filled with beautiful characters, brimming with heart, and overflowing with love and passion, just like any Christopher Guest film.

During the post screening Q and A, Molly Gordon mentioned that one of the reasons this film happened was because they have all known each other since they were kids and wanted to do something joyful together, especially after the last two years. That shared history radiates off the screen. The chemistry is not manufactured. It feels lived in. There is an ease to the chaos, a trust in the improvisation, and an understanding of rhythm that only comes from deep familiarity.

Special mention must be made of the casting directors who absolutely nailed it with each and every cast member. Every single performer is so funny and so precise in their role that it becomes impossible to single out just one standout. That said, Molly Gordon should run the world. Her work here, both behind and in front of the camera, is some of the sharpest of her career. Noah Galvin is magnetic, especially in the final stretch, and yes, like me right now, you all will be crushing hard on him thanks to that finale song. Ben Platt brings both vanity and vulnerability in equal measure. Ayo Edebiri proves that reaction shots can be an art form. And please, put Patti Harrison in more movies immediately.

Then there is Jimmy Tatro, delivering what might be the definitive portrait of modern bro culture ever committed to film. His commitment to the bit is extraordinary. One particular dance sequence set to Post Malone and his song Better Now is permanently etched into my brain. And whoever suggested casting Alan Kim from Minari as an aspiring talent agent deserves a thousand hugs and kisses. He is a scene stealer of the highest order.

What makes the film sing, beyond the jokes that land at an almost relentless pace, is the sincerity underneath. This could have easily become a mean spirited takedown of theater kids and their oversized emotions. Instead, it treats them with reverence. The kids are instant stars. Their timing, their commitment, their raw talent are never the punchline. They are the beating heart. The theater camp kids and musical aficionados are going to absolutely gobble this sweet film up.

The final performance sequence is easily one of the best scenes of the year. It balances satire and sincerity so delicately that you find yourself laughing and tearing up in the same breath. It takes theater seriously even as it pokes fun at it. Mark Sonnenblick and the ensemble deliver a reunion performance that is genuinely moving. I left the theater smiling, and I was not alone.

Is the narrative thin? Perhaps. It plays more like a collection of inspired sketches than a traditionally structured story. But when the sketches are this sharp and the characters this lovable, structure becomes secondary. Goddamn, a comedy like this was long overdue. It is endlessly quotable, proudly inclusive, and bursting with bravado.

This is one of the funniest movies of the year and a feel good experience all in one. I will be rewatching this far too many times. I also need a sequel as soon as possible. Bravo to everyone involved. You reminded this theater loving geek why this art form is so special.