Written by David Williamson. Directed by Anne-Louise Sarks
Fifty years after the premiere of The Removalists at La Mama, the play makes a stunning return to the Melbourne stage.
Reviewed by Carla Di Maggio
Southbank Theatre, The Sumner
11th March – 17th April
Tickets: https://tickets.mtc.com.au/production/18877
Type: Contemporary Play, Dark Satire, Australian Classic
If you liked: Don’s Party, Mr Inbetween
The Removalists transports audiences to the 70s, opening on a very quiet police station. Although David Williamson wrote the play fifty years ago, the play remains current and gritty on social commentary. The policemen are lazy, inexperienced and uncaring towards victims and are only motivated to act for personal gain. Male brutality remains at the forefront of this play, showcasing the many ways it plays out through professions and domesticity. Williamson was not afraid to draw attention to how pointless the act is, and how violence never has a good outcome, and Melbourne Theatre Company’s production does not shy away from this either.
Williamson had initially received inspiration for this play after moving house himself and speaking to a removalist who was involved in a police operation to move a woman out of her home from a violent partner. The removalist was excited to participate in such an operation and Williamson was fascinated by their excitement.
I had the pleasure of being seated on stage for this production. This left me with on-stage jitters for one of Melbourne’s more traditional performance spaces, but once settled, the seating arrangement offered a new perspective and experience. The audience acts as a backdrop for this play, no matter where you are seated. To be so close to the action was endlessly exciting.
Living up to the name, about halfway through the production, the cast and crew rush about stage, removing all paraphernalia to do with the police station, transforming the space into a home. Being intimiately close to the performance made me feel a part of the chaos: catching eyes and glances at the crew as they wheeled desks off the stage, catching winks between cast members as they pulled lounge chairs onto the space. The action is as hectic as move-in day, working as a coordinated mess.
The design of the production is flawless. With a flicker of harsh industrial light, the stage is dressed for a clear view no matter where you are seated. Dale Ferguson’s set design is so precise with every detail; notices and posters line the back of desks for audiences seated on stage. Lighting designer Niklas Pajanti and composer & sound designer Marco Cher-Gibard work in perfect harmony to shine a stark light on a classic Melbournian setting.
The costume design by Matilda Woodroofe shows the status of each character wonderfully. I was delighted to see William McKenna as the young officer Ross standing up behind his desk at the police station to reveal shorts and long socks, a childish piece of costuming when compared to the suit donned by Steve Mouzakis as Simmonds.
To be so close to the action was endlessly exciting
Performances were equally as stunning and flawless. Mouzakis is abrasive and harsh at the titular Officer Simmons, perfect at drawing us in and heightening the action. He is a voice of authority, with little reason behind it, yet we begin the play reasoning with the voice of authority. McKenna brings innocence and naivety to the role, stumbling about the stage following orders made by his in-charge Officer. Eloise Mignon and Jessica Clarke shine in the play’s second half, showcasing flaws with beautiful authenticity. There was a brilliant moment when Mignon sat at the back of the stage, worried by the action taking place on stage but still wanting to actively listen. She peered into the faces of the audience, and making eye contact with her in that moment completely transformed the play in my eyes. It was simply outstanding.
Michael Whalley as Kenny is a frightening figure even before stepping on stage, but Whalley also brings vulnerability to the role, making the overall performance ever more complex. Finally, Martin Blum, as The Removalist, had impeccable timing, leaving the audience hanging onto every word.
At The Removalists‘ end, we were left with both a brilliant night and a thought provoking offer to consider whether Victoria’s political landscape has actually changed since the play’s inception.
THEATRE THOUGHT: What piece of media do you think has aged whilst remaining relevant to this day?
Cast & Creatives
Martin Blum – Removalist
Jessica Clarke – Kate
William McKenna – Ross
Eloise Mignon – Fiona
Steve Mouzakis – Simmonds
Michael Whalley – Kenny
David Williamson Writer
Anne-Louise Sarks Director
Dale Ferguson Set Designer
Matilda Woodroofe Costume Designer
Niklas Pajanti Lighting Designer
Marco Cher-Gibard Composer & Sound Designer
Nigel Poulton Fight Director
Amy Cater Intimacy Coordinator
Liv Satchell Assistant Director
