There is no doubt that “Camp Siegfried” a new play penned by Bess Wohl is extremely relevant given the current social, moral, and political landscape that has evolved in the past few years. The similarities might actually border on being frightening. The title and subject matter refer to a summer camp, one of many throughout the country, where German youth were sent for indoctrination of Nazi ideology. This particular camp was located in Yaphank New York on Long Island and owned by the German American Bund, the American Nazi organization devoted to promoting a favorable view of Nazi Germany. It was easily accessible by train from New York Penn Central.

The two hander revolves around the romance of the characters He (a feisty Johnny Berchtold), and She (an awkward Lily McInerney), with the assumption they represent all youth attending the camp. They meet at a dance, assume somewhat of a friendship where their past is slowly revealed, which turns into a romance of sorts. It does not end well. He is seventeen and referred to as the runt of the litter by his father. She is sixteen and has just ended an affair with a married man who was one of her high school teachers. As their relationship develops his desire is to impregnate She, to prove to his father he is a virile man. He then reveals his dream to move west, settle down and procreate to increase the Nazi population. She aspires to learn fluent German and become Madchen Sprecher, the girl’s speaker at German Day a huge celebration at the end of camp season. They both accomplish their goals, sort of, but to reveal the end would be spoiler alert.

The problem with Ms. Wohl’s script is that it never develops any in depth character but instead creates two mouth pieces to deliver facts about a specific time and place in 1938, before the war, during the rise of Nazi Party. They are filled with information but devoid of any emotion. There is zero chemistry between the couple, so any romance seems empty and cold. Although both actors have film and television credits this is a New York Stage debut for both. Perhaps trying to maneuver the shortcomings of the script, it is too difficult for inexperienced stage actors to flesh out characters with emotional depth when the playwright has not provided adequate material. The message was clear but perhaps it would have been better if it had been delivered with some emotional enthusiasm. The subject and history of these camps is fascinating, but not necessarily good fodder for a stage play.

Director David Cromer tries to compensate but the production never achieves the depth needed to captivate the audience. Scenic design by Brett J. Banakis is adequate and costumes by Brenda Abbandandolo are appropriate but limited. Overall, the production seems bare bones much like the script.