Melbourne Theatre Company’s latest offering, directed by current Artistic Director Anne–Louise Sarks, The Removalists, is still packing a punch over half a decade later.
Written by David Williamson AO, Australia’s most-produced playwright, The Removalists is a testament to his enduring impact on theatre. His extraordinary body of work—spanning plays, film, and television—has been performed by professional and amateur theatre companies alike. With its sharp social commentary and exploration of relationships, Williamson’s work remains a staple in high school English and Drama classrooms.
Right down to the black-and-white television, Sarks and her creative team made the artistic choice to recreate and not ‘reimagine’ a contemporary interpretation. So why does a recreated play written over fifty years ago feel uncomfortably relevant? Is it the ability to blend humour with flawed characters that still exist? Or is it pulling back the curtain on the make-up of Australian society and confronting what is lurking behind? ForThe Removalists, written in 1971, Williamson’s script expertly walks a fine line between humour, shock and confrontation, with Sarks’ direction bringing the intensity.
We would hope that a play that explores what goes on behind closed doors, both physically and moralistically, in the 1970s would now be just an interesting exploration of that era. Portraying themes of police brutality, toxic masculinity, domestic violence, sexism, and workplace power and authoritarianism.
Despite greater awareness, little has changed. Many of us have experienced or know someone who has faced such situations, and the media continues to report new cases. Unlike in the 1970s, we now have 24/7 news cycles and instant global access to information. Social media amplifies discussions and provides platforms for support, yet the themes explored in The Removalists remain relevant. With over 1 in 4 women in Australia experiencing family violence, movements like #MeToo, Black Lives Matter, and ongoing political discourse highlight how these issues persist in society.
The Removalists unfolds over two scenes in a single day and evening. While the plot is straightforward, the character dynamics and dialogue evoke laughter, discomfort, and shock in equal measure.
Set in a small inner Melbourne police station, Sergeant Simmonds (Steve Mouzakis) enjoys a quiet day doing the newspaper crossword. He is joined by eager new recruit Ross (William McKenna), who has barely been on the force for ‘half an hour.’ Dressed in shorts and long socks, Ross looks every bit his young age in contrast to Simmonds.
Their initial interaction highlights the workplace hierarchy, with Ross reluctant to share personal details while Simmonds persistently goads him, using his authority to his advantage. Simmonds’ advice to Ross reveals the deep-seated misogyny and corruption within the force, framing it as entirely normal and acceptable.
Their banter is interrupted when two sisters walk into the station. Fiona (Eloise Mignon), a victim of domestic violence at the hands of her husband Kenny (Michael Whalley), hesitantly follows her confident sister Kate (Jessica Clarke). Initially dismissive of their request to file a report, Sergeant Simmonds quickly realises he might benefit from the situation. He offers an after-hours visit, sending Ross and a removalist (Martin Blum) to help Fiona move out of the apartment.
The scene shifts (without an interval) to Fiona and Kenny’s apartment that evening. When Kenny arrives unexpectedly, the situation escalates rapidly. The removalist, solely focused on his job and avoiding involvement, continues his work. Yet, as more furniture is removed, each character is stripped down to their rawest selves—exposing their egos, fears, beliefs, and impulses.
Steve Mouzakis is excellent as Sergeant Simmonds, striking the perfect balance between calculated menace and outright creepiness.
After a somewhat static start, McKenna and Mouzakis develop a strong rhythm, delivering sharp dialogue with well-timed wit. However, Ross’s transformation later in the play could benefit from a more gradual build-up to make his ultimate actions feel more earned.
Mignon delivers a convincingly withdrawn portrayal of Fiona, making us feel her discomfort at the police station—especially when young Ross, prompted by Simmonds, is asked to photograph her covered-up body for evidence.
Blum brings great humour to the hardworking Aussie larrikin (originally played by Williamson), who witnesses the escalating violence but chooses not to intervene. He makes the removalist a likeable ‘mate’ character, leaving the audience to wonder what might have happened if he had stepped in.
With Williamson’s sharp script and Whalley’s commanding physical portrayal of Kenny as an arrogant, foul-mouthed, and verbally abusive sexist, the audience is confronted with a moral dilemma. How should this abuser ultimately be treated?
Although set in the 1970s, The Removalists remains an authentic and intense look behind closed doors—both then and now. But fifty years on, with greater awareness and a constant news cycle, have we become numb to the shock of these issues? Are we merely ‘rubber-neckers,’ observing but choosing not to intervene unless it directly affects us? And how far must things go before real change becomes inevitable?
The Removalists runs until 17 April at Southbank Theatre, The Sumner, 140 Southbank Boulevard, Southbank 3006.
Tickets: https://tickets.mtc.com.au/production/18877
Website: https://www.mtc.com.au/
Socials: https://www.instagram.com/melbtheatreco/
Photo credits: Pia Johnson
