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The Duplex – August 17, 22, September 5, 14, November 9, 15
Written by Philip Mutz and Susan-Kate Heaney, the play Gay Camp was an award-winner and crowd-pleaser at the 2012 FringeNYC. Now, the team behind it has re-imagined it for the smaller stage at the Duplex, and added some music to make it a bit more cabaret-friendly. Make no mistake, though, it’s a high-energy play, and in a town overrun with gay-themed productions,Gay Camp stands out for its surprisingly sharp writing, breathless pace, and an incredible cast that can seemingly perform any task and any kind of character.
The premise is simple enough, almost as if for a sitcom (but too naughty for the networks): kids are brought by their parents to a summer camp, only to discover that it’s a place where the goal is to turn the kids straight. This sets up several comical conflicts, the main one being between ambitious, wannabe headmistress June (Ken Urso) and over-the-top flamboyant party boy Anton (Christian Mansfield). Anton eventually enlists the help of his new boyfriend, Josh (Philip Mutz), to organize a revolution.
If it seems that I am giving away the plot, believe me, plot is secondary to the joys of this production. Things move so quickly, that it almost seems like magic when actors disappear behind a wall or curtain for mere seconds before re-emerging with a wig and a smock and a completely different characterization. More than a few times I had to study the face to realize that such different roles were being played by the same actors. Kudos must be given to director Phillip Fazio for keeping this dizzying entertainment at such a high level from beginning to end with barely a hitch in the proceedings.
The production also makes clever use of multi-media: a screen shows speeches from June’s father (Mansfield), who owns the summer camp, as well as shots of nature and musical productions, and a farcical “In Memoriam” segment showing all people and things that have been “lost” to the gays in recent years. There are even a couple of opportunities for the characters to interact with audience members, and their improvisational expertise makes those moments winning as well.
The lines come fast and furious, and they not only advance the story, but one-line voiceovers are used between scenes to take on current events, celebrities, and politicians—and the jokes are definitely not politically correct. Every gay icon from Joan Crawford up to Miley Cyrus is fair game.
Favorite scenes are the lust-fueled first sex scene between Josh and Anton; an uproarious scene in which June is almost caught with a vibrator and shoves the still-vibrating thing in various parts of her clothing to hide it; and a fantasy sequence in which dim, cross-eyed lesbian Martha (Mutz) lip-synchs to Cher’s “You Haven’t Seen the Last of Me” and transforms herself into a glamorous concert diva.
The only hitch in the proceedings is a too-long lecture by Anton pointing out both gay and bad production moments on recent Tony telecasts. It’s amusing but doesn’t reach the hilarity of the physical comedy and exchanges these actors have with each other.
Also, musical director Bradford Proctor, a new addition to the production, hasn’t yet been given quite enough to do, and his part fades after the smashing opening number—his own song (with help from Mutz on lyrics), “Opening,” a merry song-and-dance number that the kids sing as they get ready to go off to camp. As the creative team experiments with the use of music, his participation will likely expand.
These guys can do it all: comic timing, accents, and bravura physical comedy. I must make special mention of Urso, who also plays a dumb hunk of a dude and a six-year-old girl—and occasionally has difficulty not breaking up (like the cast members on the old Carol Burnett Show), which makes him all the more endearing.
Gay Camp deserves a long run. It’s the kind of show that can be appreciated again and again, like the best of our classic comedies.
Kevin Scott Hall performed in cabaret clubs for many years and recorded three CDs, including “New Light Dawning” in 1998, which received national airplay. He also worked at the legendary piano bar, Rose’s Turn, and has taught cabaret workshops and directed shows since 1995. Kevin earned his MFA in Creative Writing at City College of New York. He is an adjunct professor in the Theatre and English departments at City College and Borough of Manhattan Community College. His novel, “Off the Charts!” was published in 2010, and his memoir, “A Quarter Inch from My Heart” (Wisdom Moon), in 2014. Kevin writes a monthly column and entertainment features for Edge Media Network, writes reviews for BistroAwards.com, and freelances for other publications.
Written by Philip Mutz and Susan-Kate Heaney, the play Gay Camp was an award-winner and crowd-pleaser at the 2012 FringeNYC. Now, the team behind it has re-imagined it for the smaller stage at the Duplex, and added some music to make it a bit more cabaret-friendly. Make no mistake, though, it’s a high-energy play, and in a town overrun with gay-themed productions,Gay Camp stands out for its surprisingly sharp writing, breathless pace, and an incredible cast that can seemingly perform any task and any kind of character.