A young, newly graduated police constable, Neville Ross Sam O'Sullivan , arrives at his first posting in a relatively quiet suburban Melbourne precinct and is put under scrutiny by a seasoned officer, Sergeant Dan Simmonds Laurence Coy. He comes off as quite sexist, especially towards Kate and Fiona. Everybody knows that without power they are not counted in today's society. He is short-tempered and violent. Fiona wants to have a separation from her husband Kenny, after being beaten by him, but does not want a divorce.
The Removalist is not the only play by Williamson to deal with class distinctions in Australia, and definitely not the only play to deal with the differences between the sexes - we are a nation that spends far too much time trying to deny that class distinctions exist. She is very feminist and believes that a woman should be able to stand on her own feet. Throughout the whole play, he gains satisfaction from patronising Ross. It was a startling window into the sexist, violent and corrupt societal milieu of the times. His bullying is often conveyed in crude one-liners 'If you want to go on staggering through life like a blind man in a brothel, then that's your business'.
Breearna Mandla and Dallin Williams perform a watered down version of a violent scene from David Williamson's Aussie play 'The Removalists'. When the play was first shown the language shocked the viewers as though no one spoke like this but that wasn't true the spoken word that was used in the play was fairly common. This characteristic is amplified when she is accused by Simmonds of being unfaithful, she displays the qualities of true bully by become extremely hostile and defensive. He is a character with severe self-esteem issues which he tries to hide by abusing his authority wherever possible. Williamson has denied that the play is so simplistic even writing an introduction and placing a note in the script.
But, suspect, it is still much the same now as it was in 1971. But none of his other plays are as stark or as confrontational as The Removalist. Throughout Simmonds dialogue he uses colloquial and derogatory terms, which highlight this low intelligence. But Kenny comes home unexpectedly. Instead of vocalising what he is feeling, he internalises his emotions, revealing only a part of his strength to the audience. Rock Surfers Theatre Company, again, makes claim as an outstanding member of the theatrical scene in Sydney, this year.
He is a working class man and is happy with what he has. I've seen this once and would love to see it again. He investigates in a crime only if there is something in it for himself and is sexist towards women, as he objectifies women. Fiona: Fiona is an attractive and sexual woman; essentially she is the stereotypical submissive housewife of the 1970s. Williamson: Australian Drama Series 1987. James McNamara is an Australian television writer based in Los Angeles. She uses her sexuality to gain attention and help her sister in her attempt to help her sister move away from Kenny.
Like Ross she is naive and is the only sensetive character. This was one of the very first big blasts of the, then new, experience of seeing contemporary Australians on stage. The 'New Wave' playwrights resisted this attitude, dramatising Australian life and characters — notably the foul-mouthed ocker male. His language is much more colloquial and vulgar than all of the characters, including Simmonds, as he is not in a professional situation, although Simmonds harldy acts professional. Another, perhaps even more important issue explored in The Removalists is that of police corruption. Kenny is percieved as a bad character like Simmonds but, unlike Simmonds, he tries to win the audience over through sympathy. Some of his plays have been made into quite good films - Travelling North with Leo McKern was a wonderful film and perhaps Williamson's last truly great play.
The Removalists ends with Ross and Simmonds beating each other savagely, the logical conclusion to the play's escalating violence. He investigates or acts on a crime only if it will reward him, this shows that he is selfish and only cares about himself. Kate speaks her own mind and does not seem to care if her opinion offends anyone. I hope engagement and exchange evolves. After the women and Removalist leave, no one backs down and Kenny's beatings get worse. She is also very easily manipulated by her sister, evident in the first scene with the photographs.
Young playwrights like Williamson, then a lecturer in thermodynamics and social psychology, were frustrated by the focus on European plays: 'we felt there was no way we could get a representation of the life around us into our theatres. Fiona Carter Sophie Hensser , a young mother of one, accompanied by her more worldly, elder sister, Kate Mason Caroline Brazier , arrive at the police station with a request for assistance in dealing with an abusive and violent husband, Kenny Carter Justin Stewart Cotta. The Removalists film poster, 1975 Umbrella Entertainment The Removalists is a study of social conditioning: the way 1970s Australia pushed people into 'primitive', inflexible roles, notably through authoritarianism. She values and is proud of her wealth and expects this to bring her respect. The Removalists was first performed there, before commercial runs in Melbourne, Sydney, London, and New York, and a 1975 filmic adaptation directed by Tom Jeffrey. This aggression is manifested when Ross defies Simmonds by refusing to reveal his father's occupation. Ross Ross at the beginning of the play is portrayed to be the innocent new recruit that is simply looking for a position in the police department and is unfortunately put under the command of sergeant Simmonds.
Williamson's sophisticated structure augments the play's critique of violence. His screenplays, notably Gallipoli 1981 , define a certain Australian mythos. The Removalists expresses a number of attitudes about Australian society including those regarding police brutality and corruption, domestic violence, law and order, and anti-authoritarianism. These theatres reflected a wider counter-cultural movement of hippies, Vietnam War protests, and sexual liberation. Ross is weak willed and cowardly character. At first, the audience is prompted to enjoy Kenny getting a kicking for his vile, yet comic, insults: 'If roots were hamburgers,' he tells Kate, 'you could feed a bloody army.
Simmonds is portrayed to be of low intelligence shown through the use of profanities throughout his dialogue. It was recently voted 'Best performance' and won the people's choice award. Until the cusp of the 1970s, Australia's theatre was conservative and overwhelmingly English. He draws an image on how different lifestyles, situations and backgrounds vary the way that people talk and the words that are used. Victims still do not speak out, for fear of further harassment, which has recently been shown by shown by testimony to the Royal Commission into Police Corruption. .