At first glance, Theatre Camp may feel insufferable – it comes across as a high-concept version of Glee if it had been filtered through the lens of an independent comedy, and possesses the same sense of trying too hard to appeal to a niche corner of the market, one that didn’t necessarily warrant this level of overt pandering. The feature directorial debut of Nick Lieberman and Molly Gordon, which they conceived in conjunction with Noah Galvin and Ben Platt (based on an earlier short film that they had made a few years prior) is not a film that immediately announces itself as anything particularly specific – in fact, our first encounter with it can feel quite shrill and unnerving. However, there is always value in admitting these initial reactions were premature, since the more time we spend with these film and its characters, the further we can understand not only its message, but the sincere scope of its artistic integrity, which is called into question at first, but quickly becomes quite clear as the film progresses and we see that this is a film with a lot of heart, even if it has its flaws, but we can overlook these once the main ideas begin to surface and become the foundation for this wonderfully quirky comedy that offers a heartful and deeply funny journey into a corner of the world that doesn’t often receive this level of attention, at least not with such a significant attention to detail, and while we may not have needed yet another quaint comedy about eccentric characters putting on a show, Theatre Camp does prove to have enough charm to carry us through this narrative, allowing us to find our way to the other side without too much struggle, which is quite an achievement considering how this is a film that doesn’t always come across as being the most straightforward, with the jumpy narrative and constantly shifting focus initially being a distraction, until it finally settles and becomes quite moving as the film progresses.

Theatre Camp is the kind of film that asks us whether or not we need more stories about the performing arts – Hollywood likes very few subjects more than its own brilliance, and there is an endless stream of examples of stories being told about the trials and tribulations of those in the arts, and the various professions within it that make it such an engaging and varied field. At a glance, there seems to be nothing particularly different about what this film is doing, nor any strong contribution that we haven’t seen before. However, this comes with the caveat that not once did this film ever dare to proclaim to be original or focused on ideas we haven’t seen countless times before. Even the concept of a performing arts camp for gifted teenagers has been done previously, with the wonderful Camp being a clear forerunner of this film. However, the arts are under siege, with governments questioning the importance of spending resources educating children on what they perceive as being inconsequential diversions, neglecting the important lessons that are scattered throughout these classes. Art is not just for entertainment, it is a tool for the development and important life skills, and while Theatre Camp is mainly a silly, off-the-wall comedy that veers into absurdist humour on many occasions, its foundation is undeniably strong and very meaningful, which part of the appeal and ultimately the aspect that prevents the film from becoming too insufferable, since the heartfulness is undeniable, and allows us to overlook the more inconsistent aspects of the narrative. It is ultimately a tribute to the performing arts, providing a lovely glimpse into the minds of these people who are committed to the act of creation, whether on stage or behind the scenes, which is a subject that has a lot of merit.

There is one peculiar aspect of Theatre Camp that is likely to be either the very reason the film appeals to a certain portion of the audience or the factor that ultimately turns them away from giving it a chance, which is the presence of certain actors. This film is populated by some of the most gifted and notable performers working today, actors who have proven themselves across every medium, having carved niches for themselves as performers, and earning nearly as many detractors as they have loyal supporters, which can be a source of contention when working your way through this film. Theatre Camp is a film that hinges our enjoyment on whether we can spend 90 minutes with a group of overly-earnest, precocious young adults who are in their element, playing roles that may not be entirely based on their personalities, but certainly draw on them sufficiently enough to be at least partially genuine. Platt in particular has developed a reputation for overly eager, almost unsettling earnestness, and this film makes the very smart decision to have him play off this persona, albeit in a way where he isn’t the sole focus, and it helps show that he can be a part of an ensemble, rather than taking the spotlight for himself. Instead, the focus is more on the overall cast, and both the adults and children are all wonderfully talented and work together extremely well. A film like Theatre Camp is only as strong as its weakest link, and there aren’t any performances here that can be considered weak (and if there are, they are protected by the film’s more outrageous tone, which can make it seem like bad performances are intentional and done for comedic effect), and no one necessarily tries to assert dominance. If there is one actor that comes out slightly ahead of the others, it would be Galvin, who has the most significant arc, and proves to be the heart of the film – but then again, this film only works if everyone is doing strong work, and this is undeniably true of the entire cast.

However, as much merit as we can find in Theatre Camp, we can’t excuse it entirely, since this is still a film that has its shortcomings, but this is only natural considering it was helmed by novice directors who took a chance on a simple idea and allowed it to flourish into something unique entirely on their own, rather than handing the material to someone more experienced. In many ways, the choice of Gordon and Lieberman (and by proxy Platt and Galvin) to take charge of the production themselves was an admirable one, especially since this adds to the charm of the film. There are many examples of works of art that are improved by being rougher around the edges since these imperfections add character and allow for far more interesting ideas to emerge, even if they aren’t given the time they perhaps warrant. Had this film been made by a seasoned veteran, it may have been more polished, but it would likely lack heart, which is the primary currency that this story needs to be effective, and which is why the film feels like it had an uphill climb to its goal, and one that I am not sure it ultimately reaches, or at least not with the level of complexity that it seems to be aiming to achieve. This is an undeniably simple film and one that does take its time to develop its ideas – a lot is going on throughout Theatre Camp, and there is an argument to be made to the chaos and shifting perspective being part of the experience, but it can sometimes feel quite exhausting, and the introduction of too many characters without giving them a satisfying resolution is certainly something that we notice from the start. It is overwhelming and frequently seems quite inconsistent, but this is all part of the charm, granted we can suspend disbelief long enough to pay attention to the growing sense of emotional complexity that develops as the film moves along and becomes more captivating.

Theatre Camp is certainlya strange film, and not one that always works – but it would be foolish to suggest that everyone involved wasn’t giving everything they could to develop this narrative. It’s not the strongest film in terms of how it realizes the majority of its ideas, but these small flaws tend to add character and make this an even more engaging, captivating film. Undeniably, this film depends on the viewer’s willingness to surrender to the silliness of the narrative and just engage with these characters, who are quirky and bizarre, but still very captivating presences, people with a knack for humour and genuine talents, which is something that this film does utilize very well – it would be pointless to make a film about profoundly untalented adults if they didn’t cast actors gifted enough to make them seem believable. It may be a film that relies a bit too much on cringe humour extremely often, but once we move past these seemingly intentional details, we find that Theatre Camp is a delight – a funny, heartwarming and meaningful comedy that is well-written, contains great performances and a lot of heart, which is more than enough to keep us invested. It has its imperfections, but these are purposeful and direct, and bring a sense of authenticity to the film, showing that this is a film fully invested in the journey of its characters, focusing on their paths towards achieving their dreams. It is a small film, and one that was never destined to be a breakout hit, but rather a delightful and charming work that is discovered by chance, which seems to be the most appropriate fate for this very simple but wonderfully eccentric comedy that is all about the merits of pursuing your dreams, regardless of how difficult the journey towards them may be, which is something of which we all need to be reminded.