A rogue cop, police brutality and domestic violence are front and centre in David Williamson’s incendiary satire The Removalists.
Written by the prolific and highly acclaimed playwright 54 years ago, the piece has lost none of its bite.
With crime the number one issue in the state and partner abuse showing no signs of dissipating, the theme resonates as much as ever.
Photos by Pia Johnson
Twenty-year-old Ross (William McKenna) is fresh out of the police academy.
He has landed his first job, eager to get to work at the two-person station to which he has been assigned.
His highly experienced boss, Sergeant Simmons (Steve Mouzakis) – some 30 years his senior – is in no such hurry.
With his feet on the desk, Simmons is leafing through a copy of Police Life newspaper.
He is bemused by the eager beaver young constable who is like a cat on a hot tin roof.
Before long, Simmons is giving Ross a lowdown on how the system works under his imprimatur. It is all about less is more.
Simmons is keen to learn more about Ross, although the latter doesn’t want to share details of his personal life, notably when it comes to his father.
Simmons keeps pushing.
And then two sisters – Fiona (Eloise Mignon) and Kate (Jessica Clarke) – walk into the station.
Mother of one, Fiona has been left bruised after being bashed by her husband, Kenny (Michael Whalley).
Kate is outraged and initially would like to see Kenny charged.
But Sergeant Simmons talks her down to filing a report.
Things quickly evolve from there, such that with Ross in tow, Simmons offers to help Fiona move out of the family home after hours.
The lecherous Simmons – who himself is married with two children – is doing so with some extracurricular activity front of mind.
With the time arranged when Kenny will be at the pub with his mates, Simmons engages a removalist (Martin Blum).
The problem is that particular Friday night Kenny arrives home early.
Thereafter, all hell breaks loose.
Harsh words are exchanged and violence escalates.
While that may sound bad, as the saying goes, it “ain’t the half of it”.
Unfolding in two scenes (moving from the police station to Fiona and Kenny’s family home), The Removalists is brim full of action and vitriol.
Inappropriate and unlawful behaviour is ramped up and up and up.
David Williamson has an uncanny ability to cut to the quick and to engage us – the audience – in the process.
We laugh and we are shocked and incensed. Of course, that is the whole point. So we should be.
Williamson wrote The Removalists after he became a removalist’s assistant when shifting house.
As they drove to the new place, the removalist chatted about an interesting day he’d had very recently.
Two attractive sisters had enlisted the aid of a couple of local police to help the younger – escaping an abusive husband – to move.
With no warning that he was about to lose his wife and furniture, the husband had become angry and the police were forced to subdue him.
What struck Williamson was how much the removalist relished being a ringside witness to the husband being “taught a lesson”.
Further, according to the removalist’s account, how much the cops enjoyed administering some vigorous biffo.
Williamson’s fascination and abhorrence at the worst of male macho competitive behaviour tipped the resulting play from realism into dark satire.
The Removalists premiered at La Mama in 1971.
Regardless of the humour and exaggeration deliberately invested into Williamson’s work, I was left asking whether much had changed.
That reference relates to the continued, horrifying incidence of domestic violence and bad male behaviour, including aggression, dominance and control.
Director Anne-Louise Sarks has done a fine job bringing one of Williamson’s seminal works to life anew.
In short, it is compelling theatre.
The cast is magnificent, led from the front with venomous and misogynistic intent by Steve Mouzakis, who comes across as a force of nature.
Awkwardness and expression are the mainstays of William McKenna’s excellent performance as wet behind the ears Ross.
Importantly, Eloise Mignon imbues Fiona – Kenny’s long-suffering wife – with nuance. I got the impression that Fiona kept hoping Kenny would change, but his behaviour had simply worsened.
In another strong showing, moral indignation is apparent in Jessica Clarke, as Kate cottons on to what is going down here.
Entitlement (as if Fiona’s is his, to be treated as he would like) is apparent in Michael Whalley’s dogged representation of Kenny.
Complete with impressive handlebar moustache, Martin Blum revels as the removalist with a high opinion of himself, who is keen to get on with the job.
The evocative set (Dale Ferguson is responsible) and costuming by Matilda Woodroofe are a fitting, readily recognisable throwback to the ‘70s. I had forgotten how popular orange seats were!
Staging is traverse style.
I refer to four rows of seating on stage, while the lion’s share of the audience remains in traditional auditorium seating, with the action taking place in between.
The transition between scenes (literally removing an entire set by hand and replacing it with another) is flawless and most impressive.
One hour 45 minutes without interval, The Removalists is a superb and timely production that ticks all the boxes.
It is playing at Southbank Theatre, The Sumner, until 17th April, 2025.
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