Review: CAMP MORNING WOOD Leaves Nothing To The Imagination At PRISM Theatre.

Top notch talent, and a WHOLE LOT MORE, is on display in Prism Theatre’s debut production of CAMP MORNING WOOD, which plays through March 22nd in Palm Springs. If you’re looking for an evening a high-art, thought provoking theatre or tasteful musical comedy then you should run the other way as fast as you can. The “Full Frontal Nudity” disclaimer on the front door of the theatre should be your first clue. But if you just want to let go of the cerebral and give in to a mindless romp with a wonderfully engaging cast, CAMP MORNING WOOD is the ticket.

The show’s premise is about seven characters navigating their inhibitions in the judgement-free, clothing-optional environment of Camp “Morning Wood”. Yes, every pun intended. To be candid, this was not a show I was initially looking forward to attending, but I whole-heartedly want to support this brand-new theatre taking its rightful place in the desert theatre landscape and filling a “void” in the local theatre scene – campy LGBTQ theatre meant to stimulate the funny bone rather than the brain. By the end of the show, however, I was sold and sincerely glad that I came and had worked through my “high-brow theatre critic” stuff to enjoy what the experience really does offer. Fun in spades.

The musical itself is flawed – the “In your face” double-entendre in both the book and lyrics wears thin well before intermission. The plot is thin, predictable and feels like a corny Judy-Mickey movie, only rife with gay stereotypes and gratuitous nudity. It seems as if it is trying to be a harder-core “Will And Grace” but, in that area, it misses the mark. Maybe because it tries too hard.  It’s more crude than clever. The lyrics are well crafted – but, before you know it, repetition overshadows wit as the lyricist seems determined to leave no tawdry (sometimes cheap) stone unturned. And then to turn over the same stone again and again. And the book writer seems to be aiming for the same target.

So, you might be asking, why go? THE CAST is perfection. They are charming, engaging and uberly-talented, each and every one. Leo Ayala’s Randy (the protagonist who finds himself at Camp Morning Wood completely by accident) brings charm, vulnerability, spirit and sincerity to the role, along with the vocal prowess of a well-seasoned professional. He is immediately likeable and grounds the audience firmly into the show. His stage presence is undeniable and rises above the material giving an honest performance, especially his song Alone With My Phone which, interestingly, is the only song in the musical without a trashy rhyme. Jeffrey John (Derek) displays immaculate comic timing – he deserves a sitcom --  and is endearing to the core. Prince Alex (Kincaid) brings the body and the bawdy and from the moment her enters the story is the one you love to watch and love to “hate” – he is one of the musical’s “villains” but his adorable factor is off the charts. He seems to naturally put the “ease” in tease!!! He also has a very winning physique, and I overheard one member of the audience whispering, repeatedly, “is he going to get naked or not?”. Spoiler alert. He does.

Barrett D. Carroll is adeptly wiley, unsavory and dislikeable to just the right degree as the musical’s primary antagonist and is a strong song and dance man, bringing the house down with his Ballad of The Righteous. The cast is rounded out by Jake Farnum (Jaques), E, Talley II (Tyrus), and Matt LeGrande (Hunter) who have all mastered chewing the scenery and are responsible for some of the musical’s biggest laughs.

I am not going to criticize the venue, because it is a temporary “let’s put on a show” venue while the company’s permanent home is being completed – but I do need to make mention of the sound. The actors are not mic’d (likely because they are naked for much of the show so body packs are a non-starter) and there are only three small mics suspended from the ceiling which don’t do the trick with actors singing over the very loud pre-recorded tracks. Due to this, many of the vocals are drowned out and lyrics (and story-line) completely lost to the ether. Jeffrey John’s big, featured number is pretty much inaudible because his voice does not carry and the tracks are just too loud. The audience does get weary of trying to read lips and is left to play “match game” with too many  of the lyrics.  (This was “intermission conversation” by a vast swath of the audience). The exception is Leo Ayala, whose vocals do reach out to the back of the house with the richness and quality of a seasoned musical theatre pro. If there is any way to address the sound for the remaining performances, it would be well worth the effort!!! Some might say, “Who cares? They’re naked!!”  To them I say, ear candy is just as important as eye candy if you’re going to call it theatre.

Speaking of the nudity, there really IS a point to it, beyond the voyeurism aspect. In the end, the musical is a celebration of “baring it all” and loving who we are in our own skin. This is not a cast of Chippendales dancers – these seven actors come in all body shapes and sizes and the nudity represents freedom of expression, acceptance of self, and letting all of our “stuff” go. Hence, I had to let go of my own frame of mind and theatre pretension to just get over myself and enjoy the wonderful spirit of evening for what it was.  What it is. And I did. In fact, I’m going back to help them mark the final weekend of their debut production. Yes, it was that fun!

Congratulations and “long-life” to The PRISM Theatre and the infatigable and talented producing team. I urge you to fit this unexpectedly joyous theatrical experience into your itinerary! Sure, go for the full frontal nudity – but stay for all the joy along the way from a deserving cast of talented pros.