Two couples, one double-booked Airbnb — it’s a modern-day nightmare that usually spirals into awkward pleasantries or passive-aggressive remarks. But throw Kura Forrester, Chris Parker, Tom Sainsbury, and Brynley Stent into the mix, and you get Camping: a chaotic, hilarious cocktail of absurdity and brilliance.
First conceived in the 2016 Comedy Festival as a one-hour Basement Theatre show Camping has grown up a bit — now a full-fledged Silo Theatre production complete with a meticulously designed bach set. From the kitschy ‘Lovers Cove’ spelled out in shells on the wall to clashing teal decor and the classic odd chair at the dinner table, the set design nails the quintessentially awkward charm of a Kiwi getaway.
The play opens with Francis (Parker) and Connie (Stent), freshly minted newlyweds on their honeymoon, navigating the treacherous roads to Lovers Cove. Setting the scene with a clever use of a backdrop and steering wheel there’s plenty of marital tension as they crash land into Lovers Cove. It’s clear their crash is more than just literal. Francis, ever the overzealous planner of their extravagant wedding (complete with a horse-drawn carriage), seems deeply in denial about his closeted identity. Meanwhile, poor Connie is desperately eager for consummation: the marriage seems destined for derailment.
Enter Les (Sainsbury) and Fleur (Forrester), 25 years into a marriage stuck in a rut. Les is all puppy-like devotion, doting on Fleur and craving connection, yet Fleur is far more invested in reality TV than her husband. Their dynamic, filled with unspoken frustrations, sets up the perfect contrast to the younger couple’s chaos.
The plot device of a storm traps these two mismatched pairs together for the night. Cue a series of increasingly ridiculous competitions for who gets the bed and who gets the (culturally accurate) pull out in the living room. The humour is sharp and self-aware, rooted in the absurdities of Kiwi culture.
However, despite the slick production values, Camping still feels at times like a collection of comedy skits loosely strung together. The performers’ stage presence doesn’t always fill the space, and overlapping dialogue occasionally muddies the comedic timing. It’s close to fully transitioning from a comedy show to a theatrical production, but there’s room to grow in delivering to a large audience.
That said, the eccentric characters and their hijinks shine, landing even the most audacious innuendos with ease. Fleur lusts after Francis (and occasionally Connie), Francis eyes Les, and Les? Well, he’s ready to ‘fuck all of them’ as the story builds to a hilariously absurd climax — a full-blown orgy scene. Yes, you read that right.
What could’ve been crude or gratuitous instead becomes an unexpectedly joyful celebration of sexual liberation. Draped in sparkly bodysuits (complete with dangling bits, bush, and all), the characters embrace their desires, smashing stereotypes about sexual orientation and challenging notions of repression.
Francis puts it best: he’s not straight or gay — he’s just here for the pleasure between consenting adults. This unabashed exploration of bodies, connection, and joy elevates Camping beyond mere comedy turning it into a playful yet provocative statement about freedom and intimacy.
The play ends on a surprisingly tender note, as the foursome processes their night of debauchery and check in on each other’s feelings and stamina. With just enough time before checkout they agree—a good time was had —and there’s time for another round.
Camping is a lusty, horny romp that skewers cultural taboos with wit and heart. It challenges our ideas of sexual identity and intimacy while offering a laugh-out-loud Kiwi experience. A gloriously absurd celebration of connection, it’s a show that absolutely deserves its place on stage.
Camping by Silo Theatre is playing the 14 November – 8 December at Q Theatre
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