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I Am a Camera: A Play in Three Acts
With a stringently photographic eye, I am a Camera looks at life in a tawdry Berlin rooming house, circa 1930, and concerns itself with the mercurial and irresponsible moods of Sally Bowles. She is a creature of extravagent attitudes, given to parading her vices and enormously confident that she is going to take life in stride. Fond of describing herself as an "extraordinary interesting person," she is vaguely disturbing. We watch her make frightened arrangements for an illegal operation; seize at the tinseled escape offered by a rich and worthless American playboy; and attempt to rehabilitate herself and fail ludicrously. We are caught up in the complete and almost unbearable reality of this girl. Principal confident to Sally Bowles, Christopher Isherwood serves as narrator. He is the camera eye of the title, attracted to Sally, yet dispassionate about her. Though Sally is the chief point of interest, the plight of the Jew in Germany in the early 30's is brought within focus in a few touching scenes.
182 pages, Hardcover
First published January 1, 1952
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About the author
John van Druten
68 books14 followersJohn William Van Druten was an English playwright and theatre director. He began his career in London, and later moved to America, becoming a U.S. citizen. He was known for his plays of witty and urbane observations of contemporary life and society.
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Displaying 1 - 30 of 37 reviews
March 14, 2014
I enjoyed reading this a great deal, and I think it would be quite effective on stage in a rather traditional way, but as a translation of Isherwood's work it suffers by comparison. Goodbye to Berlin gives impression, atmosphere, vision, character -- but no answers, nothing simple, just people living, well or poorly, in the midst of great change or chaos which they cannot comprehend. Isherwood wrote as the 30s was happening, he did not know what would come of it, he saw things occur and described them with skill and put them in tension with one another to try to give the feel of life at the time, but he did not have any answers.
This, however, is a play, and very much of its time in how it gives answers and settles situations. The reader of Isherwood's stories knows what will come, of course, but he did not; van Druten, however, wrote in 1951, and his knowledge of what it all means permeates the pages, and every character is brought in and woven together to make a static picture: Life Before The War or perhaps even Life Before Hitler. I cannot quite get it into words, but it left a bad taste in my mouth, because to make it a simple progression -- -- you end with parallel arcs, parallel processes, and it is neat and tidy and no longer art, just a well-crafted story about people moving through things in clockwork patterns.
None of which will keep me from watching the film, if I can find it, or Cabaret. But it disappoints me. I do not know that there is any better way to turn an impressionist semi-novel into theatre, but this one I do not like.
This, however, is a play, and very much of its time in how it gives answers and settles situations. The reader of Isherwood's stories knows what will come, of course, but he did not; van Druten, however, wrote in 1951, and his knowledge of what it all means permeates the pages, and every character is brought in and woven together to make a static picture: Life Before The War or perhaps even Life Before Hitler. I cannot quite get it into words, but it left a bad taste in my mouth, because to make it a simple progression -- -- you end with parallel arcs, parallel processes, and it is neat and tidy and no longer art, just a well-crafted story about people moving through things in clockwork patterns.
None of which will keep me from watching the film, if I can find it, or Cabaret. But it disappoints me. I do not know that there is any better way to turn an impressionist semi-novel into theatre, but this one I do not like.
September 24, 2021
This is a play produced on Broadway in 1951 and is the predecessor of the movie and play" Cabaret".
I recently saw the movie after many years and became interested in where it came from. (This play is itself based on a book "Berlin Stories" by Christopher Isherwood.) I was surprised at how the story lines are the same--- but no Kit-Kat club and no Joel Grey. Mostly it is interplay between the young writer and Sally Bowles with a strong second story of the character Fritz and the rich heiress who is Jewish. It is a very powerful story and I'm sure would have shocked many people in the early 1950s.
I recently saw the movie after many years and became interested in where it came from. (This play is itself based on a book "Berlin Stories" by Christopher Isherwood.) I was surprised at how the story lines are the same--- but no Kit-Kat club and no Joel Grey. Mostly it is interplay between the young writer and Sally Bowles with a strong second story of the character Fritz and the rich heiress who is Jewish. It is a very powerful story and I'm sure would have shocked many people in the early 1950s.
September 3, 2023
an interesting adaptation, but in its focusing of the characters (Sally Bowles in particular), it loses a lot of the depth of Isherwood’s original novels, and especially the feel of early 1930s Berlin
July 28, 2022
As Cabaret (1966) is my favourite musical of all time, I have always longed to read one of the two source materials for the musical, the novel “Goodbye to Berlin” by Christopher Isherwood (1935), and the play, “I Am A Camera” by John Van Druten (1952).
Technically the first adaptation of “Goodbye to Berlin”, Van Druten’s play captures the intangible spirit of the people Isherwood lived with and learned from during his stay in Berlin in the 1930s, a time of political and sexual revolution.
The play follows Chris’s experience in Berlin - how Sally Bowles envelops his life while the Nazi’s rise to power. Interestingly, there are two characters that do not make it into Cabaret - Natalia and Fritz, who I felt were extremely compelling and I quite enjoyed reading about.
You can feel the fragments of the Sally Bowles we all come to know and love settling into place in the play, a troubled and hard to understand woman who has more humanity in her then most other people.
The strangest part of the novel was learning the original Fräulein Schneider was an antisemite. Obviously this is reflective of the time, as many German people were, but this is a departure from the musical that I know so well. In Cabaret she is the exact opposite, and is engaged to a Jewish man, Herr Shultz, who is not in the play or original source material.
An exchange in the play that will stick with me:
FRITZ: It is better perhaps if your landlady does not see her [“her” refers to Natalia, a Jewish character].
CHRIS: Why?
FRITZ: She is not very partial to the Jews, your landlady.
CHRIS: Yes, I know. But she doesn’t know what she is talking about.
FRITZ: She knows as much as most people.
CHRIS: And that is the tragedy.
Overall, it was wonderful reading the first adaptation of Isherwood’s work, especially picking up little references that will eventually make their way into the musical, which was written 14 years later.
Technically the first adaptation of “Goodbye to Berlin”, Van Druten’s play captures the intangible spirit of the people Isherwood lived with and learned from during his stay in Berlin in the 1930s, a time of political and sexual revolution.
The play follows Chris’s experience in Berlin - how Sally Bowles envelops his life while the Nazi’s rise to power. Interestingly, there are two characters that do not make it into Cabaret - Natalia and Fritz, who I felt were extremely compelling and I quite enjoyed reading about.
You can feel the fragments of the Sally Bowles we all come to know and love settling into place in the play, a troubled and hard to understand woman who has more humanity in her then most other people.
The strangest part of the novel was learning the original Fräulein Schneider was an antisemite. Obviously this is reflective of the time, as many German people were, but this is a departure from the musical that I know so well. In Cabaret she is the exact opposite, and is engaged to a Jewish man, Herr Shultz, who is not in the play or original source material.
An exchange in the play that will stick with me:
FRITZ: It is better perhaps if your landlady does not see her [“her” refers to Natalia, a Jewish character].
CHRIS: Why?
FRITZ: She is not very partial to the Jews, your landlady.
CHRIS: Yes, I know. But she doesn’t know what she is talking about.
FRITZ: She knows as much as most people.
CHRIS: And that is the tragedy.
Overall, it was wonderful reading the first adaptation of Isherwood’s work, especially picking up little references that will eventually make their way into the musical, which was written 14 years later.
August 11, 2017
John Van Druten, even in mid-century America, has no time for your heteronormativity, Cabaret. His version adamantly demands the relationship between Sally and Chris be platonic and I am so onboard for that. I think his central relationship of two people really living on top of each other and loving each other rings authentic. I also consider Van Druten one of the the most under appreciated writers of women in theatre; I am a huge fan of the Isherwood original, but it is difficult to overstate the way that Van Druten has really created the Sally Bowles that lives in our joint memory. He also doesn't steal her political interest away from her: the real Sally Bowles was a political activist, not an apathetic mess. Schneider is a little unsubtle, but Clive is sorely missed in Cabaret, for me personally. It's also the only version that really takes a critical look at Chris (who is underwritten in Cabaret). Anyway, I think it's a perfect companion to the Berlin stories, Christopher and His Kind, and Cabaret.
January 10, 2015
preferred reading Isherwood's Berlin Stories
April 15, 2023
I think the plot of CABARET is better.
February 27, 2023
I think what kept me from loving this play was me wanting it to be something it isn’t. I wanted it to be strong antifascist theatre, but the narrative is far more focused on Christopher’s and Sally’s relationship than with the political atmosphere of 1930s Germany. The rise of the Nazis is but a footnote in this play. That being said, Chris’s and Sally’s relationship was interesting to read. It is neat to see a play focusing on a platonic male-female friendship (of course, the real-life Christopher was gay, but that fact is barely hinted at in the play). The political messaging takes a back seat to the interpersonal drama, with poignant antifascist moments still occurring although briefly. This wouldn’t be an issue if a vastly superior theatrical adaptation of Isherwood’s Berlin Novels, Cabaret, didn’t exist, putting I Am A Camera to shame. The musical adaptation, despite changing much from the source material, balances the political and the interpersonal far better than Druten’s play. I should admit that the two works seem to have vastly different mission statements, so this comparison is perhaps unfair.
On a technical note, the subplot with Fritz and Natalia, although quite interesting, is underdeveloped. It’s a shame because these characters and their stories are engaging, but the playwright doesn’t spend much time with them. Their romance feels rushed at best and forced at worse. Other subplots, such as Schneider’s radicalization or Clive’s involvement in Sally and Chris’s lives, also feel rushed and underdeveloped.
For fans of Cabaret (as I am), this is an interesting work to read. It’s neat to see how I Am A Camera evolved into Cabaret, and it’s fun to see the similarities and differences. As a play on its own merits, and perhaps I feel this way only from comparing it to Cabaret, I feel it falls a little short. I wanted this to antifascist theatre at its finest, but it just wasn’t. I do suppose that it wasn’t trying to be. Still, with it’s rushed subplots, this is a lack luster play. As an examination of a relationship between two friends (and two deeply flawed people) — Christopher and Sally — this play does work. It just wasn’t what I wanted it to be.
On a technical note, the subplot with Fritz and Natalia, although quite interesting, is underdeveloped. It’s a shame because these characters and their stories are engaging, but the playwright doesn’t spend much time with them. Their romance feels rushed at best and forced at worse. Other subplots, such as Schneider’s radicalization or Clive’s involvement in Sally and Chris’s lives, also feel rushed and underdeveloped.
For fans of Cabaret (as I am), this is an interesting work to read. It’s neat to see how I Am A Camera evolved into Cabaret, and it’s fun to see the similarities and differences. As a play on its own merits, and perhaps I feel this way only from comparing it to Cabaret, I feel it falls a little short. I wanted this to antifascist theatre at its finest, but it just wasn’t. I do suppose that it wasn’t trying to be. Still, with it’s rushed subplots, this is a lack luster play. As an examination of a relationship between two friends (and two deeply flawed people) — Christopher and Sally — this play does work. It just wasn’t what I wanted it to be.
This entire review has been hidden because of spoilers.
June 6, 2022
One thing about this adaptation that I thought was interesting was how the concept of “I am a camera” translated to this play. It made sense in Goodbye to Berlin because that was a compilation of stories— it wasn’t JUST about Isherwood and Sally Bowles, it was about the apartment in the city and the guys in the house by the sea (and more that I’m forgetting). So when he was discussing “processing photographs”, it was Isherwood processing ALL these things in the light of the Nazis’ rise to power in Germany. But Sally Bowles is one story, one snapshot. It doesn’t make as much sense to transform it into a play and try to keep the same themes without the context of all the other short stories Isherwood was telling. So it is a very good play, but the “I am a camera” concept seemed kind of shoehorned in.
That being said, I don’t think you can pluck Sally alone out of Isherwood’s Goodbye to Berlin. She is too meshed together with all the other short stories. If you want to talk about her, and only her, you have to let her tell the story herself, and not through Isherwood’s eyes. That’s why I think Cabaret is the better stage adaptation.
Interestingly, at the end of Cabaret, Sally is well aware that she is largely talentless and that she will fail right along with Germany’s collapse into war. But at the end of Goodbye to Berlin and I Am a Camera, only the reader is aware of this. (Neither says it straight out— when Sally leaves Isherwood in the book/play, you can feel the foreboding, and when Sally sings “Cabaret” in the musical, the actress will perform it with a scarily ironic tone that lets the viewer know.)
However, no matter how differently the adaptations of these stories interpret the characters, I will always find them fascinating. Knowing that they were based on very real people, and seeing them transfigured into anthology into play into musical, makes me wonder what fragments of those actual people remain.
Anyways. Listening to “Mein Herr” over winter break three years ago has certainly lead me down a very long rabbit hole. This is only a fraction of my thoughts!!
That being said, I don’t think you can pluck Sally alone out of Isherwood’s Goodbye to Berlin. She is too meshed together with all the other short stories. If you want to talk about her, and only her, you have to let her tell the story herself, and not through Isherwood’s eyes. That’s why I think Cabaret is the better stage adaptation.
Interestingly, at the end of Cabaret, Sally is well aware that she is largely talentless and that she will fail right along with Germany’s collapse into war. But at the end of Goodbye to Berlin and I Am a Camera, only the reader is aware of this. (Neither says it straight out— when Sally leaves Isherwood in the book/play, you can feel the foreboding, and when Sally sings “Cabaret” in the musical, the actress will perform it with a scarily ironic tone that lets the viewer know.)
However, no matter how differently the adaptations of these stories interpret the characters, I will always find them fascinating. Knowing that they were based on very real people, and seeing them transfigured into anthology into play into musical, makes me wonder what fragments of those actual people remain.
Anyways. Listening to “Mein Herr” over winter break three years ago has certainly lead me down a very long rabbit hole. This is only a fraction of my thoughts!!
July 1, 2022
Interesting play! Loved the dynamic of a man and woman being fond of one another and becoming super close platonically. Sally and Chris' friendship is admirable and fun to follow throughout the play. Taken place in Germany before the height of Naziism; Displayed through an anti-Semitic housekeeper, Chris' jewish student Natalia, and her admirer Fritz who does not admit his Jewish background out of shame. For a piece of literature to mention a tragedy without making it the focal point of the play is something to admire especially considering the main characters Sally and Chris are not Jewish. The way they are unaffected by the events of the rise of Naziism in contrast to the Jewish characters is not only realistic, but also important to note considering the reactions of non-Jewish people worldwide during the time of the Holocaust. Great scenes for actors to play Sally and Chris throughout the play. (Also as an actor love that the woman has depth and is intricate unlike many other plays!)
November 12, 2025
I just finished reading the original novel Goodbye to Berlin followed by this stage adaptation, I am a Camera. The play captures very little of the atmosphere and themes that the original novel and the subsequent musical adaptation, Cabaret, are known for. The tacked on, feel-good ending of I Am a Camera, which is not part of the original novel at all, seems almost offensively vapid and superficial next to the nihilism and atmosphere of impending doom presented in the novel and the musical. Overall, the novel and the play and the musical are severely different from each other, and if you are a fan of Cabaret and read either Goodbye to Berlin or I Am a Camera expecting Cabaret you will almost certainly be disappointed. That being said, I love the musical, and the novel was good, but the play is by far the most shallow presentation of these characters and their setting.
July 12, 2017
"I Am A Camera" by John Van Druten is a lovely adaptation of Christopher Isherwood's short story, "Sally Bowles". The play fine tunes the focus on struggling international artists flopping around like out of water fish in Pre-WW2 Germany - with the metaphor of a camera watching but not really participating until buttons are pushed - using emotionally distant language that is somehow poignant. This play, "Berlin Stories" (including "Sally Bowles"), and "Cabaret" all compliment each other - but they also stand alone.
June 20, 2019
After reading John Van Druten’s 1951 play “I Am a Camera,” I wondered what does his camera analogy really mean. Does it mean life is a cabaret, a passage of innocence, or a tumble into a netherworld where mores appear and disappear into a world of shallow values; where drifter’s and their chums run amuck in self-serving practices. The setting for the play is Berlin in 1932. The play reminds the audience about pre World War 2 Nazi anti Semitism in a time of life-death decisions and self-centered nihilism. (P)
August 16, 2019
Theatrical adaptation of Christopher Isherwood's Goodbye to Berlin (1939) and the basis of the Fred Ebb / John Kander / Joe Masteroff musical Cabaret (1966) and the later Bob Fosse film (1972)
Review of the Dramatist's Play Service edition (1998) of the 1952 original
Review of the Dramatist's Play Service edition (1998) of the 1952 original
July 21, 2024
3.5
This play is based on some of Chris Isherwood's short stories and both of these are the basis for Cabaret.
Sally Bowles definitely has a larger role here than in the Isherwood stories. Van Druten doesn't quite capture the same seediness or poverty or indifference that Isherwood does, but he is able to round out characters a little better.
I do love seeing the lead up to Cabaret, fascinating to see what was kept and what changed especially the difference between who said what from the original stories to the musical version.
This play is based on some of Chris Isherwood's short stories and both of these are the basis for Cabaret.
Sally Bowles definitely has a larger role here than in the Isherwood stories. Van Druten doesn't quite capture the same seediness or poverty or indifference that Isherwood does, but he is able to round out characters a little better.
I do love seeing the lead up to Cabaret, fascinating to see what was kept and what changed especially the difference between who said what from the original stories to the musical version.
April 14, 2022
Christopher is a bit of a nothing character to hold so much space in the play. I know that's his point, but I would have preferred a bit more time with Fritz and Natalia. Sally is really interesting though and generally I enjoyed reading the play. Introducing Sally's mother is not a bad idea. She provides a bit of comic relief. Not sure the American chap is around enough to bother casting someone to play him!! But maybe you need to see him to be assured they're not dreaming him up!
October 9, 2025
Van Druten's 1951 dramatic adaptation of Christopher Isherwood's 1939 novel, 'Goodbye To Berlin', is a brisk and engaging read that skims the rise of the Nazis in 1930 Germany, but does not dig nearly as deep (or as effectively) as Bob Fosse's 1972 filmed adaptation of 'Cabaret'. Still, the parallels between Germany then and AmeriKKKa now are striking and frightening; thus, this earlier play is worth the time.
July 17, 2024
As an aficionado of tHe film CABARET — and having done the stage version twice — I never read the original play. After reading it, I can see how it influenced Fosse away from the musical’s original book. As a play, it’s more than okay, but a shadow of Hal Prince’s re-conception of the musical’s source material. Perhaps it was daring for 1951.
December 2, 2024
I feel like this play lacked what made Goodbye to Berlin so special.
We don’t get to witness things passively through Isherwood’s eyes. Many events that show the rising Nazi power don’t seem nearly as impactful. While I appreciate that the play exists, I’m sad to say I did not enjoy it as much as I’d hoped.
We don’t get to witness things passively through Isherwood’s eyes. Many events that show the rising Nazi power don’t seem nearly as impactful. While I appreciate that the play exists, I’m sad to say I did not enjoy it as much as I’d hoped.
July 12, 2025
This play is based on The Berlin Stories (which was just ok) and went on to become the inspiration for the musical Cabaret. I really liked this one a lot. You can easily see what pieces were taken and which parts were discarded in order to make the musical. (fun fact - Sally’s fingernails are painted green in all versions)
February 26, 2017
Starts slow, and gradually captures your attention...
October 17, 2017
The play that was made of Isherwood's "Berlin Diaries" and was later transmografied into Cabaret. Nothing new if you read the book.
July 31, 2022
Seems rather dated. Written at a time when homosexuality couldn't be mentioned at all. Good writing but just seems very old fashioned.
March 17, 2024
Not a huge serve
May 24, 2024
sally bowles is the original manic pixie dream girl
June 17, 2025
This play is so brilliantly titled I will never get over it
February 6, 2020
Van Druten, John 1901-1957 I am a camera. This play debuted in 1951 and introduces Sally Bowles and Fraulein Schneider - later to become the basis for "Cabaret". The play is set in 1930 as the Nazis are rising in power. Compared to the film version / musical, the play is very tepid and does not stress the danger of Hitler. Julie Harris plays the "sexpot" Sally, which is difficult to imagine. I believe Ms. Harris was a fine actress, but I do not picture her as a playgirl. I must be wrong since In 1952, Harris won her first Best Actress Tony for originating the role of insouciant Sally Bowles in I Am a Camera, the stage version of Christopher Isherwood's Goodbye to Berlin. What is perplexing is the role of Van Druten writing the play and having Christopher Isherwood be Sally's neighbor. I tried to find a connection between Van Druten and Isherwood ( Berlin Stories), but could find no historic connnection between the British playwright and Isherwood. To me it seems that Van Druten appropriated Isherwood's work for his own purposes. The New York Times drama critic Walter Kerr wrote a famous three-word review: "Me no Leica." In the play ( set in 1930), a character predicts that Isherwood would become a famous writer. Duh!! By 1951, he was a highly regarded writer - not exactly precognition. Van Druten was a successful playwright in 1930's London. The plays / films that I recognize from his biography include: The Voice of the Turtle, I Remember Mama, and the film Bell, Book and Candle (1950; filmed in 1958 starring James Stewart and Kim Novak). Fun project to read the plays after seeing the movie or play. Kristi & Abby Tabby
September 24, 2025
This 182 page version of Druten's adaptation of Isherwood's Berlin Stories is the one I read today, online via the Internet archive.
This was really special. Builds exclusively (if something that predates Cabaret can be said to build upon) on a theme that always fascinated me with Cabaret, the way the Nazi uprising happens behind the scenes until it can no longer be ignored. The presence of tension is felt throughout as characters are added and their emotions are slowly unravelled for the audience to see (see Fritz as a perfect example), but Druten smartly keeps the focus on the dynamics and chemistry between people, especially Christopher and Sally, who are charming, complex and larger than life. In some ways, it feels meandering, but that's unquestionably intentional, and only makes the later scenes more touching, exciting and effective in the heart and fear they subtly convey. For a play and world where the characters are so alive and present, it's marvellous how quietly the environment around them shifts as time goes on. The trouble is always felt, but the beauty lingers even greater.
"Don't forget the postcards, Sally," might be the most beautiful final line I've ever seen a play have. It reduced me to tears. What an exceptional play, just as worthy of attention and performance as the exceptional musical that also followed Isherwood's writings. Beyond touching.
This was really special. Builds exclusively (if something that predates Cabaret can be said to build upon) on a theme that always fascinated me with Cabaret, the way the Nazi uprising happens behind the scenes until it can no longer be ignored. The presence of tension is felt throughout as characters are added and their emotions are slowly unravelled for the audience to see (see Fritz as a perfect example), but Druten smartly keeps the focus on the dynamics and chemistry between people, especially Christopher and Sally, who are charming, complex and larger than life. In some ways, it feels meandering, but that's unquestionably intentional, and only makes the later scenes more touching, exciting and effective in the heart and fear they subtly convey. For a play and world where the characters are so alive and present, it's marvellous how quietly the environment around them shifts as time goes on. The trouble is always felt, but the beauty lingers even greater.
"Don't forget the postcards, Sally," might be the most beautiful final line I've ever seen a play have. It reduced me to tears. What an exceptional play, just as worthy of attention and performance as the exceptional musical that also followed Isherwood's writings. Beyond touching.
This entire review has been hidden because of spoilers.
Displaying 1 - 30 of 37 reviews