The remainder of the cast, under Hilary Norrish`s direction, more than adequately filled in the gaps. There was an energetic lightness to this production that better served to balance the careening machinations of the central character. As Mary, Love unleashed a frightening visage of a human being reduced to raging, infantile beast. Though Edgar has thrown too much of the play her way, Norrish masterfully guided listeners through the essence of Barnes' painfully slow mental and sociological journey to sanity and her eventual emergence as a writer and artist. Giving powerful support was Morrissey as Mary's therapist, Joe (i.e., Berke) - a hippy-era idealist committed to deal with Mary's madness no matter where it led.

As two other therapists, Hannah (the Laing figure) and Nicholas le Prevost (Dougie) were excellent as more or less good-natured, sometimes bickering commentators on the central relationship of Mary and Joe. Offering colourful and original portrayals of Kingsley Hall residents were David Collings and Tessa Worsley amongst others.

Special mention should also go to the uncredited sound design, featuring excellent use of 1960s pop music, not only to segue scenes but also to underscore the emotional intensity of the onstage action.