The Removalists David Williamson Essay Topics

The Removalists

Poster of the 1971 Sydney production

Written byDavid Williamson
Date premiered1971
Original languageEnglish

The Removalists is a play written by Australian playwright David Williamson in 1971. The main issues the play addresses are violence, specifically domestic violence, and the abuse of power and authority. The story is supposed to be a microcosm of 1970s Australian society.

It was adapted into a Margaret Fink-produced film in 1975, starring Peter Cummins as Simmonds, John Hargreaves as Ross, Kate Fitzpatrick as Kate, Jacki Weaver as Fiona, Martin Harris as Kenny, and Chris Haywood as the Removalist.

The plot[edit]

The play begins in a police station in a crime-ridden suburb in Melbourne, Australia, where Constable Neville Ross, just out of police training and ready for his first placement, meets old and experienced Sergeant Dan Simmonds. Set in a time of radical change in Australian society, Simmonds is revealed to be very chauvinistic, a great juxtaposition from Ross' nervous character. He is also hesitant to reveal to Simmonds his father's career as coffin maker. While being verbally tested by Simmonds, two women enter the station, Kate Mason and Fiona Carter, who are sisters. Mason is a stuck-up, authoritative woman, who married well, whereas Carter is nervous and timid. Kate reveals that Fiona's husband Kenny has been abusing her, to which Simmonds suggests that Ross take the job. Kate is displeased, strongly disagrees, and demands that Simmonds personally takes their case.

She says that the bruises are on Fiona's back and thigh, which Simmonds inspects personally, and even takes a photograph of (he says that a view by the "medically un-trained eye" would look good on the police report). Before setting out, Fiona tells them that there is furniture which she paid for that needs to be taken before Kenny is apprehended. She suggests taking them while he is at the pub with his friends. Simmonds is keen to assist the women with the removal of the furniture because he sees the possibility of sexual reward.

The next act takes place in Fiona and Kenny's apartment; though Kenny gets home before the furniture removalist arrives. Fiona tries to get him to leave, but he becomes suspicious. Finally, the removalist knocks on the door, which Kenny answers. He becomes agitated when the removalist assures him that he was called to the address. Kenny slams the door on him, but there is another knock, which is revealed to be Simmonds and Ross. Kenny is handcuffed to the door, while Ross and the removalist begin to take the furniture. After repeated verbal abuse from Kenny, Simmonds beats him, to the distress of Fiona.

Kate then arrives. Simmonds picks out from subtle hints in her and Fiona's talk that Kate is a repeat adulterer, which he calls her out on and begins to berate her with. She becomes agitated and leaves, but Simmonds follows her and continues to argue; Fiona follows as well. Meanwhile, Ross uncuffs Kenny to take him to the station, but after lengthy insults, Ross loses it and severely beats Kenny. They run into another room, where violent acts are heard. Ross exits, with signs of blood on him, and looking distressed. Simmonds comes back alone, with the sister having taken a taxi to her new apartment, and finds Ross begging for help, as he believes Kenny to be dead. After inspecting, he agrees, and the two begin distraughtly thinking of suggestions for a justified murder. As they do, Kenny crawls out, severely beaten but barely stable. Ross and Simmonds are alerted to his presence when he lights a cigarette. Ross is relieved, but Simmonds does not agree with the suggestion that he be brought to a hospital; instead, he bargains with Kenny with the lure of a prostitute for the assurance that he would keep the incident quiet. Kenny agrees, but after a few moments, he suddenly falls on the floor and dies. Ross again becomes distressed and agitated, he then punches Simmonds in the hope that it would look as if he assaulted the officers. The play ends with the two policemen desperately punching each other.


There are six characters in the play. There are some unseen characters, however, such as a car salesman, Fiona's Mother and Kenny's baby daughter Sophie.


Simmonds is the police sergeant who abuses his power by threatening the new recruit, Ross. He is a chauvinistic hypocrite who has no respect for women, including his own wife and daughter. He sees to satisfy his sexually perverse needs through the pretext of examining his clients, such as Fiona, for marks "apparent to the medically untrained eye". His clients, usually victims of circumstances, are in desperate need of help.

Through the character Simmonds, Williamson shows that the authority conferred upon society can be exploitative and violent. Williamson demonstrates that should abuse occur in a police station and under the witness of policemen, their victims are rendered powerless. Through the portrayal of the policemen as powerful and somewhat uncontrollable in their nature towards the end of the play, Williamson displays and highlights a serious social issue of the time, therefore making it one of his most remembered works.


Ross is a new recruit who was sent to Simmonds' station after finishing police training. Throughout the play, he is depicted as a naive and inexperienced officer despite coming from an educated background. He is often forced to follow Simmonds constant demands and listen to Simmonds' comments on his own inadequacies. This is shown when Simmonds questions Kenny: "Do you think he's (Ross) lacking in initiative?" Ross comes across as a nervous character in the beginning of the play, but his violent and uncontrollable behaviour is raised through his sudden, unexpected attack on Kenny, which inevitably led to Kenny's death.


Kate Mason is married with three children. The wife of a dentist, she enjoys an upper class lifestyle. Her children attend one of Melbourne's "better" (more exclusive/expensive) schools. Kate forms a feminine mirror to Simmonds. They both like to be in a position of power, which is evident of Kate's controlling of her sister Fiona. Like Simmonds, Kate has been unfaithful to her partner on numerous occasions.


Fiona Carter is Kate's sister. Fiona wants to have a separation from her husband Kenny, after being beaten by him, but does not want a divorce. She is a passive housewife and fits into the stereotypical gender roles of 1970s Australia. She is married to Kenny, and has a baby daughter Sophie. Fiona is insecure, vulnerable and hesitant to leave.


Kenny is depicted as a "larrikin" working-class man, and represents the stereotypical egoistic "Aussie" male of the 1970s. The play's action is instigated by Kenny's beating of his wife Fiona, the reporting of which prompts her visit to Ross and Simmonds's police station, and her move out of their shared home. Kenny is very hot-headed and his vocabulary is vulgar Australian vernacular.

The play's major plot twist occurs in the final minutes when Kenny, despite apparently having recovered from a beating by Ross to the point where he begins to negotiate a deal with the two officers, dies suddenly at mid-conversation from a brain hemorrhage. In the end Kenny seems to be the victim.

The Removalist[edit]

The removalist (Rob) is the man who moves the furniture out of Fiona and Kenny's house when they are separating. The Removalist represents the everyman who 'sits on the fence'. His main concern is getting paid for the work, and running off to the next 'job'. He represents another part of Australian society who are passive in times of crisis. The removalist is a curious character in the play. He plays no role in involving himself in helping others. The only thing we know is that he has 'ten thousand dollars' worth of machinery tickin' over there'. The role of the Removalist, as well as being one of the plays namesakes, is to be a symbol of the outside world, society at the time, and is where the plays meaning grows. He watches the bashing without a worry, sometimes seeing humour in it. The fact that he does not react as the audience does, not even helping Kenny when he is begged, shows a stereotypical society of the time: as long as their own work is done what they witness is not worth the time of day, and generally a blind eye is turned when the police are in power, even if what they are doing is wrong. " Sorry mate. I've got a pretty simple philosophy. If there's work I work, if nobody interferes with me then I interfere with nobody."


The play deals with a lot of issues/themes/concerns and expresses these through the 'new age theatre' that David Williamson engages his audiences through. For the first time Australians were seeing themselves on stage. Symbolically David Williamson explores Australian society through the characters, themes and concerns. For example, "The Removalist" represents the everyman who 'sits on the fence'. The use of the 'police force' is interesting too – it is a blackly humorous pun, given the force and violence that the two police characters use.

Violence is a constant theme throughout the play. Words such as 'fuck', 'shit' and 'cunt' are provocative and confronting but also true of the 'ocker' language and mannerisms that Kenny, Ross and Simmonds embody.


The play is set in 1971 – a turbulent time in Australian history and society. In 1956, Melbourne hosted the Olympic Games, and television was launched in Australia. Both these events meant Australians began to see more of the world, and had a different picture of their place in it. In 1962, changes were made enabling the indigenous Aboriginal population to vote. In the same year, the Vietnam War began, which led to an increasing Australian involvement, including the introduction of National service (1964.) In 1964, The Beatles toured Australia. Young girls went crazy, and society changed forever. In 1966, the Australian Labor Party dropped the White Australia policy as part of its platform. 1969 saw Man walk on the moon, and Australian women getting the right to equal pay. In the late 1960s and into the early 1970s, Australian Society was getting more publicly vocal – women's right, indigenous rights, protesting against the Vietnam War, etc. With a string of public trials against corruption in the police force, The Removalists is an examination of Australian society at one of its most turbulent times.

David Williamson aimed to create an Australian identity in international drama. The Removalists uses generic characters to which the Australian audience can relate. Williamson used familiar issues in his society such as corruption and violence in the police force and reflected them in The Removalists.


The play was turned into a 1975 Australian film.



Film rights to the play were bought by Margaret Fink. She originally wanted Roman Polanski to direct and Robert Mitchum to star but this proved impossible.[2] She offered the film to Ted Kotcheff who turned it down;[3] she considered Tim Burstall who worked well with Williamson but decided he was unsuitable after watching Alvin Purple (1973) and did not want to work with Fred Schepisi despite that director's interest. She called Tom Jeffrey for names of directors in his capacity as head of the Producers and Directors Guild of Australia and he expressed his own interest at directing. Fink saw Pastures of the Blue Crane and hired him.[4]

The Australian Film Development Corporation put up half the budget in the form of a two-year loan. The rest of the money came from Ross Woods Productions, Clearing House, TVW7 and Leon Fink Holdings.[2]

Kate Fitzpatrick and Jackie Weaver repeated their stage performances however Don Crosby and Max Phipps, who played the police, were replaced by Peter Cummins and John Hargreaves. The setting of the story was changed from Melbourne to Sydney.[4]

The film was shot at Ajax Studios at Bondi. It was the last movie shot at the studio before it was torn down.[1]

Filming was tense, with the relationship between Fink and Jeffrey disintegrating. Fink ended up firing Jeffrey's wife, Sue Milliken, from her position as production manager.[4]

The music director was Nathan Waks.


The film was not a success at the box office but was critically well received.[1]

See also[edit]


External links[edit]

  1. ^ abcAndrew Pike and Ross Cooper, Australian Film 1900–1977: A Guide to Feature Film Production, Melbourne: Oxford University Press, 1998, p 293
  2. ^ abRod Bishop, "On Time, Under Budget: Richard Brennan", Cinema Papers, July 1974 p201-203
  3. ^"MARGARET FINK IS ALIVE AND FILMING". The Australian Women's Weekly. National Library of Australia. 14 May 1975. p. 48. Retrieved 7 August 2013. 
  4. ^ abcDavid Stratton, The Last New Wave: The Australian Film Revival, Angus & Robertson, 1980 p118-119

David Williamson. Essay Dealing With Themes/Ideas In Williamson's "The Club" And "The Removalists"

Part A

In his play The Club, David Williamson presents numerous Australian attitudes of the 1970s. However, many of these attitudes are still relevant and fairly accurate representations of Australian attitudes in the 1990s, although some of course have changed somewhat over the time since the play was written nearly twenty years ago.

Tradition plays a very important part in The Club. Each of the characters of course has his own ideas and attitudes towards tradition, but there are some which are more or less universal throughout the play. In The Club, tradition is mainly presented as the opposite to progress and success; that is, to achieve success in today's world, tradition must be abandoned. For example, Laurie (the coach) blames an old Club tradition for his failure to win a premiership, 'You and your cronies wouldn't let me buy players.' Jock (the vice-president) replies, 'We were upholding an old tradition. It was wrong, but we believed in it.' Then in the next line, Laurie accuses Jock of supporting the rest of the committee in upholding the tradition not because he believed in it himself, but because he didn't want Laurie to succeed, 'They might have believed in it but the reason why you wouldn't let the Club buy players was to stop me winning a flag.'

However, Jock does support and use tradition when it is in agreement with his goals. For example when trying to avert a players' strike, Jock claims that former Club heroes would be disgusted by the idea, 'I want to turn all those photographs around so they don't have to look down on this shameful scene.' However, it is later revealed that Jock supports the buying of players and a coach who has not played for the Club, both of which are against traditions, to ensure that the Club wins a premiership next season. This hypocritical attitude towards tradition is probably a fairly typical Australian attitude; traditions are upheld and honoured, but only when they do not stand in the way of progress and success. This attitude presented by Williamson is probably even more widespread now in the 1990s, as success is seen as being even more important today.

Attitudes towards commercialism are also explored in The Club. In the play, the Club itself is just beginning the road to commercialisation with the purchase of Geoff Hayward (the star recruit) for $90,000. However, Gerry (the administrator) and Jock's plans for next year not only include the dropping of some Club traditions, but also extensive commercialisation as wealthy entrepreneurs are recruited for sponsorship money which will be used to buy more players. The attitude of acceptance of the commercialisation of sport that is evident in The Club is more relevant in the...

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