'I am a Camera'

Presented by Bats theatre company at Unity Theatre

Don't let the life history of John van Druten's I am Camera put you off, even if it strikes you as being in the play-of-the book-of-the-film-of-the-song mould. The geneology is comparatively simple. Its the play adapted from the story 'Sally Bowies', from the book 'Goodbye to Berlin' by Christopher Isherwood, and incidentally, the origin of the film 'Cabaret'.

It's very much a 'slice of life', play exhibiting no real climaxes, no obvious thematic development. As the title suggests Isherwood is a camera, recording scenes and sensations. But without the foundations of a well-made play, there is a shiftless quality, everything transient, thwarted by either circumstance or fate.

Bats Theatre Company provides a sensitive, intelligent interpretation, leaving one with a dominant impression of careful, thoughtful rehearsal. It is discrete, underplayed, at times charming but bedevilled by a quietness at the same time time So much so that with the arrival of Clive (Jim Morette), a big, brash American, the play literally blasts into life.

Perceptive set and lighting combined with striking costumes create a smokey, German, '30's [unclear: need; totally] believable.

Undoubtedly the leading performances are those of James Hewitt, as Christopher Isherwood, and Jane McLeod, as Sally Bowles. Both were sensitive, mature, generously playing to one another, but lacking in a measure of attack. Sally lacked the outrageous flamboyance that should have contrasted sharply with her [unclear: r] faultless 'sensitive' scenes. We should have left the theatre hating as well as loving her, understanding why she physically rejected Christopher, when so unreluctant with other men. She should have rivalled Clive for the scenes, providing the foil the lines implied. Ms McLeod is an actress of much talent. It is obvious she had conceived the role cerebrally, but did not quite realise it in her performance.

The others each provided a perfectly drawn character study,' Frauline Schneider (Juliet McDiamid) the German landlady; a model of servility, Jenny Truer a poker-like Natalia, Kevin Rush an impetuous lover and Joan Foster as Sally's Mother truely an aristocratic Englishwoman.

In all, it is good, thoughtful, satisfying theatre from a company which exhibits unusual potential.

Elizabeth Ross