MelbourneRejoyces: Wave goodbye to the Suzy Bernstein Therapy Group

Congratulations to Renee Huish and Bloomsday Players (left to right, Gerry Halliwell, Silas James, Deirdre Gillespie, therapist Rose Marfleet, Liam Gillespie, Nate Troisi, and Edwina Rushe). Their production of I Do Not Like Thee, Dr. Fell by Bernard Farrell (performed under licence to Rosica Colin), was well-attended and much appreciated by Bloomsday patrons and many newcomers. It engaged because of what it had to say about that '70s and '80s phenomenon, the Encounter Group. The satire was registered quite subtly by the down-to-earth janitor (Gerry Halliday), and there was fun to be had at the expense of the young man (played by Liam Gillespie) who was addicted to the encounter group experience and substituted them for real relationships, and the irrepressible giggles of the young matron (Edwina Rushe) married to an insensitive bully (played by Nate Troisi). The dramatis personae was cleverly built around six very different characters: in addition to those already mentioned, there was the older woman (Deirdre Gillespie) who expected an encounter group might be like a seance, and the young man (Silas James) whose sister had been damaged by her experience The culture of these groups where one was supposed to divest oneself of one's hangups is indeed strange, and made stranger by Bernard Farrell's play, which was written at the height of the craze for them. The naive optimism of the therapist (Rose Marfleet) that the 'family' could sort out everything, was a source of continuing wonder. One has to ask if indeed the harm that Farrell suggests actually did happen more than most realised at the time. The play had some memorable moments: a bomb threat and a well-choreographed fight-scene; and some terrific monologues/revelations. One felt that as much energy was invested in hiding uncomfortable truths as exposing them.

A big thanks to the production manager and assistant to the director, Roisin Murphy, who worked tirelessly on costumes, putting as authentic a '70s set together as possible, and on front of house. And also thanks to Chas who made the set secure with his practical wizardry.

I thoroughly enjoyed the experience of watching director and cast winkle the humour from this script and it was good to see it crackling and sparkling for three memorable performances.

Thanks, too, to the Celtic Club, and especially La Tache and Peter, and also Helen. It is good to have a home for Irish plays, and we hope that it won't be too many years before there is a theatre at the Club.

Daragh Kan and the team at the Mercat Hotel also need our thanks for storing large set items, and for making us welcome after hours, after the final show.

A warm farewell to a play we learned to admire and enjoy by bringing it to life.

Rose Marfleet as the therapist energises the 'family'