Continuing on her journey through the decades, local playwright Courtney Wick brings the third story in her trilogy of plays to a colorful conclusion with Nightmare at Camp Killamanbimbo. Billed as “a gnarly prequel to her previous murder mysteries, Nightmare at the Sweet Dreams Inn and Nightmare at the Hot Mess Hair Salon, Camp Killamanbimbo is a totally tubular trip through 80s nostalgia and an homage to the many archetypes and films that defined the decade.
The play explores the teenage origin story of the trilogy’s recurring character, portrayed by Cory Blissett. This time, it follows a group of campers facing off against a mysterious and deadly threat, leaning heavily into classic 1980s slasher film tropes.
Wick has a long-standing reputation for her witty writings but also as a well-rounded artisan. She bakes, she decorates, she sings and is a fellow contributor for Illinois Times, writing about local theater. Her vast creativity is on full display with her latest play, as are the talents of an intrepid cast and staff who bring this neon-soaked romp to life.
“I played it a little safe with my first play,” Wick said. “It was definitely a learning experience but I enjoyed it so much, I decided to write a trilogy.”
A big part of what inspired her to continue on was her good friend and actor Blissett, who plays Anthony S. Stevens in Camp Killamanbimbo and played a version of the same character in the prior productions. “Cory is one of the best, most vibrant actors ever,” she said. “It’s easy to write characters for him.”
For his part, Blissett was enthusiastic about helping build an original work from the ground up, especially when doing it with friends.
“Working on an original play with your friends is incredibly fun; I highly recommend it! Courtney is a brilliant writer, and getting a chance to bring (a new) script to life is always exciting,” Blissett said.
“Authors and playwrights work very hard on developing their product, so there is some slight pressure to do well when the author is in the room hearing the words for the first time,” he said. “At the same time, Courtney has the ability to shift some lines or edit based on the first few read throughs.”
The result is a play that appears to be as fun to perform as it was to write. The plot: Anthony is forced by his unloving parents (mom played by Lottie Verdell and step-dad portrayed by Luke Peterson) and snarky little brother, Todd (Atticus Neibergall), to work at a summer camp in rural Indiana. At camp, Anthony meets several over-the-top 80s stereotypes and tries awkwardly to fit in. He’s teased, hit on, instantly falls in love, and soon after becomes a murder suspect. Along the way, he discovers his true self.
Wick wrote her play to address issues that are important to vulnerable populations. While these can be serious, here they are presented in a humorous way, not to poke fun but to raise awareness. The play looks back and addresses what wasn’t working well in the 1980s and how we have moved forward. It also illustrates how far we have yet to go.
All the actors deserve kudos for embodying the trends and attitudes of the era. If you grew up in the 80s and were steeped in its culture, you instantly recognize the parallels. In addition to Blissett’s sensitive and hilarious performance as Anthony, we have Will Moffett as eager camp counselor Rob Blow; Miguel-Angel Reyes as the popped-collared misogynist-type Theodore Ruxpin; and Erica Metzger as his vapid Molly Ringwald-clone girlfriend, Polly Pinball. Ellen Tuttle as Daisy Dukakis has to be seen to be believed. Kylan Davis’ Juan Cutesack conjures musician Robert Smith and Lottie Verdell as Vana Whitesnake could have played guitar and inspired “Dead End Justice” for The Runaways. Luke Peterson as Hamaboner screams Randy Macho Man Savage (literally), Kristen Clark Houch is the exasperated lead counselor (wearing a shirt I’m pretty sure I owned at one point) and Darcy Darland as the mousy Rue Bicks was a remarkable contrast to her second character: Cop Mary.
Multiple actors play dual roles and excel and making them wholly unique from their other characters. The staff and crew also get major props for coordinating an epic level of lighting and sound cues, 80s flare costuming, and some of the more convincing wigs I’ve seen in a local production.
The show is considered PG13+ and promises interactive fun for audiences. It continues March 20-22 and 27-29 in the Peggy Ryder Theater at the Hoogland Center for the Arts. Tickets are available at HCFTA.org.
