Recently I had the pleasure of visiting the Soho Playhouse Huron Lounge for an hour well spent, to experience Ronald Guttman’s entrancing performance of Albert Camus’ THE FALL.

In this tour de force of three forms too rarely seen in combination: solo performance, Literature as Theatre, and classic European cabaret, Mr. Guttman had his audience in the palm of his hand from “Hello.”. As the evening’s presentation unfurled, from time to time I felt I was transported to a café table in a Paris boite, watching a members-only midnight show, and that is a high compliment from me.

The art of European cabaret is rooted in politics, philosophy, and literature, unlike its autobiography-obsessed American counterpart. Significant observations on the human predicament - sometimes satirical, sometimes serious - are its driving force, and the form continues to thrive and develop today.

Alexis Lloyd’s fine adaptation for the stage of Camus’ last novel is Literature as Theatre at its best. His edition serves the author’s emotional range and philosophical intent extremely well, all the while providing the actor with succulent opportunity and the audience with undiluted existential substance.

The novel’s structure lends itself well to theatrical adaptation, and the extended monologue format completely suits Mr. Guttman’s abilities. As the protagonist narrates and contemplates his fall from grace, its prelude and aftermath, he more than relives his past: he justifies and affirms it. After going through many states to expiate his guilt, he recognizes that he might once again be unwilling to do the right thing.

Mr. Guttman’s instrument more than accommodates the enormous demands of this script. From the first, he establishes a foundation of rueful, genial, irony that fully engages his audience. His beautiful, cultivated, voice is flexible and expressive throughout both vocal and dynamic ranges; capable of subtle nuance, explosive violence, and everything in between. He renders a subtly detailed, delicately sculpted,
complete characterization.

Sensitively and respectfully directed by Didier Flamand, the hour-long monologue has a musical ebb and flow. Importantly, Mr. Guttman’s portrayal remains sympathetic even when the content of his text might have otherwise distanced him from us.

One longs to know whether Prospero and Lear lie ahead for him. Meanwhile, a television production, and/or a commercial DVD of his performance in THE FALL would be a welcome addition to any thinking person’s library.
Congratulations to Soho Playhouse for adding Albert Camus to the roster of distinguished authors, including Edward Albee, Sam Shephard, Leroi Jones, and Lanford Wilson, whose words have premiered on the stages of 15 Van Dam Street.

Soho Playhouse is foundational to New York Theatre, performances having taken place uninterruptedly at this address for eighty years. Under the splendid leadership of Producing Artistic Director Darren Lee Cole since 2004, it has grown geometrically, with ongoing plans for more expansion.

The programming at Soho Playhouse is exceptionally wide-ranging. From hosting the International Fringe Encore series to its National Domestic Violence Prevention Month project (now in its eighth year) to its initiative of building an Off Broadway theatre community in Las Vegas, it offers uniquely impactful and dynamic service to both the community at large and the artists who appear on its stages.

To say that Soho Playhouse is worthy of your support is to dramatically understate the truth. Schedule and ticket information, as well as a mechanism to receive your tax-deductible personal and corporate gifts, are all to be found on the company website: www.sohoplayhouse.com
Soho Playhouse 15 Van Dam Street NY, NY 10013 212-691-1555