Theater review: Fun, dim ‘Billy Witch’ competence have we pining for summer camp

November 13, 2017 - summer camp

The play runs Nov. 16-19 during UNCW’s Mainstage Theatre in a Cultural Arts Building on campus.

Right from a beginning, a University of North Carolina Wilmington’s prolongation of Gregory S. Moss’ play “Billy Witch” hooks we with a desirable clarity of discomfort. The sheet takers acquire we to “camp,” tell we that tone organisation you’ll be in and give we a folder finish with Popsicle sticks, paper for essay home and yarn.

Instead a categorical theater, camp counselors destined we to a black-box SRO Theatre, that has been filled with prolonged tables and chairs. You find yourself sitting during a list with finish strangers while a dual conduct counselors have an ungainly diss conflict and go over all a rules: no drinking, no going into a woods with girls, no going into a woods period. Then it’s time to write a minute home to Mom and Dad, who, a counselors warn, we competence not see again for a prolonged time.

It’s a fun set-up, and smartly finished by executive and UNCW museum highbrow Robin Post. Because how improved to reconstruct a feeling of being a new child during stay than forcing we into tighten buliding with people we don’t know, following directions we hardly know and carrying no thought what you’re in for? When a assembly is finally brought to a categorical theater, we aren’t even given a choice of where to sit. Nope, it’s quarrel by row, and fill adult all a rows please, appreciate you. All around we are kids in stay T-shirts organizing games and using off theatre to get stuff. It’s a flattering true distraction of that feeling we used to get watchful in a cafeteria for a margin outing buses to load.

“Billy Witch” is an interesting riff on a iconic ’80s sleep-away stay scenario, yet it’s not all cut-offs and budding romance. It’s not even, as we competence guess, only monsters or sequence killers. Instead, this funny, pointy book takes remarkable twists and dark, dim turns, definition we don’t know if a subsequent theatre will be a slapstick duet between lovers or a dim digression about a eye of God. The play is half “Wet Hot American Summer” and half “Hedwig and a Angry Inch.”

There isn’t a bad seed in a tyro cast. NaSwana Moon and Josh Browner work it tough as conduct counselors Becky and James. Reilly Callaghan is waggish as a misdirected bro sidekick Arden and Amber Wrench stands out as a lady sidekick Sandy, yet what they do quite good is move romantic abyss to dual clearly shallow, comic characters.

Jared Jones as a untimely favourite Oliver and Abigail Norris as a budding immature heroine are only a right volume of honeyed to concede we to unequivocally base for them. And Reese Crawley hits some rightly creepy, terrifying records as a stay headmaster. we could go by and name a whole expel since everybody does a good job, even a garb campers.

Parts of a uncover could be a small faster and louder, generally during a low-pitched interludes, when some of a appetite and irresolution seems to empty from a stage, mostly due to volume. Overall, though, “Billy Witch” is an enchanting frisk that blurs a lines of metaphor, comedy and reality.

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