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Thursday, December 19, 2024

SHOWBIZ: Memoir of a Tired Carer


The healthcare industry and those tirelessly working in it were under stress long before the pandemic and are, now, even more so.
Oliver Bailey, playwright and performer of this one man show, outlines the challenges of dealing with those who lose bodily function, their minds and their identity within the aged care system simultaneously revealing the impact this has on those charged with caring for the elderly without adequate staffing and support.
Bailey provides a series of scenarios moving through examples of dementia, cancer and incontinence. The challenge in providing a sense of development and continuity remains when providing this oversight of case studies. The emotional strain imposed on workers when faced with the stress of dealing with patients’ needs while meeting deadlines is suggested in the carer imagining wolves circling.
Unfortunately, the presence of these imaginary creatures is never quite explained as a psychological phenomenon of the carer’s stress. Bailey has also made attempts at staging conversations with others by voicing their comments.
Much more could be made of this to provide the dramatic variety this monologue needs to give it a greater degree of vitality. There is a little too much of the carer ‘telling’ what takes place.
The failings, flaws and sense of inadequacy felt by carers and the administrative indifference they face impinges on their ability to do the job asked of them.
Bailey’s concern is heartfelt and the honesty of the instances he details confronting. There are moments of humour which one has to find to simply be able to continue in the profession. Bailey has provided an insight into the industry and the emotional toll faced on both staff and patients. He manages to sustain his performance over the hour but there needed to be a little more dramatic light and shade and crafting of the carer’s character in order for the audience to be able to follow the arc of emotional and psychological development.
Melbourne Fringe Festival

  • Review by David McLean