It's been a while since I'd last seen one of David Williamson's best plays, The Removalists - 36 years, in fact, in an opening night performance of a production by QTC at the old La Boite Theatre in Hale Street. I took the opportunity this week to see a matinee performance once again at Queensland Theatre Company. I was surrounded by kids, and seniors like me; weekday matinees tend to be like that. The current production, directed by Michelle Miall for the Studio program, was a bit of a nostalgia trip in many ways, and I wondered how the high school students around me would react to a period piece - for such it is. The first production of the play in Melbourne in 1971 featured David Williamson as the removalist, and his wife to be, Kristin. This production marks the play's 40th anniversary. Still hard to believe ... Back in the early 1970s Australian drama was going through its heady nationalist phase. The Ocker figure made his appearance over and over, the women's liberation movement was getting an exploratory nod (here and there) on stages, and more than a fair sprinkling of vulgarity and violence was the norm. Lots of beer cans were popped on stage and the male vernacular ruled. They were exciting theatrical times and it was all exhilarating stuff, although female characters tended to be short-changed in what was an overwhelmingly masculinist world on stage. More often than not, these productions shocked the socks off seniors at matinee performances back then. These plays hadn't made the schools' syllabus list - these too were awaiting liberation. Williamson's text is tight, entertaining realism in the service of a good yarn; this much hasn't changed at all. The twin protagonists - Sgt Dan Simmonds played by Chris Betts and Kenny Carter by Steven Rooke - are terrific, layered characters which remain a challenge and, I imagine, a delight to play for any actor. They are two of the great roles in modern Australian drama. Both Betts and Rooke are well matched here and in good form as they spar verbally and physically. As I watched, I was reminded of something that was obvious in a lot of Australian plays from the 1970s: Williamson wrote awful roles for women. Until later on, when complex, central characters like Frances (Travelling North) or Barbara (The Perfectionist) appeared in his works, this lack of meaty roles for women in his plays was a bone of contention amongst female actors. In this production of The Removalists (one of those plays) two fine actors Emmaline Carroll (Fiona Carter) and Natasha Yantsch (her sister, Kate) are constrained by roles which are as slight as the male roles are rich; they are almost entirely satellites and supports to the males. Peter Cook as Rob, the Removalist, and Anthony Standish who plays Simmonds' foil, the new cop on the job, Const Neville Ross round out the cast. Michelle Miall's production keeps the pace up - 1 hr 44 mins with no interval - and she lets more of the comedy show. Chris Betts' Simmonds is less the sinister, terrifying thug than comic, lecherous braggart circling Kate in hopes of some overtime fun. Steven Rooke is excellent as Kenny; it's some of his best work, and he's always good. Anthony Standish is terrific too as Ross; he's the embodiment of a boofhead - all nervous, try-hard precision. In a weird way, even after you know he's committed an appalling crime, you just can't help feeling sorry for the guy. Kenny's the same. He's unlikeable but sufficiently complex to grab our interest and our sympathy. 'I'm unpredictable. It's part of me charm,' he notes cannily of himself. Williamson may well have written the role of Rob knowing he was going to play it himself in that original production. It was a smart move either way; it's an unforgettable little pearler of a role. Once heard, you never forget that defining mantra from the guy who knows he's the real man in charge, 'I've got $10 000 worth of machinery ticking over out there in the drive.' Peter Cook fills this smartypants Everyman role with relish - and a smirk. In the post-show Q&A session the kids asked about the props: 'Were they real?' they asked. There's a television audience for you! It turns out that the labels and packaging, uniforms and set dressing were all of period in which the play is set. Lit by Jason Glenwright, Simone Romaniuk's wonderfully-awful-70s (you can still get that wallpaper?) set design works well for police station (Act 1) and Kenny and Fiona's living room (Act 2.) I'm a sucker for those soundscape atmospheric mixes of music and popular culture from a period. Here, Sound Designer Tony Brumpton gathers snatches of television and news broadcasts from the early 1970s and gets the sound of the times spot on as well. By the bye, hasn't the style of VO announcers changed? Whilst the student audience asked about the police corruption portrayed in the play, no one talked about how the actors had worked on the violence which made The Removalists such a shocking piece when it was first produced on Australian stages; there's that television audience again. Whilst I recall squirming during the onstage violence - choreographed by Scott Witt - I found even more revolting the perverted mateship that plays out over a beer and a cigarette. Kenny drags himself back from the kitchen where Ross has beaten and kicked him to a bloody mess, and, in the scene that follows, Williamson sets up one of the most violent and disturbing endings in Australian drama. Beer can in hand Kenny dies from a massive cerebral haemorrhage and, in what the stage directions describe as 'a frenzied ritual of exorcism,' both police officers beat each other senseless over his body. It's truly brilliant, ghastly stuff. When it first appeared to great acclaim, the black comedy and the horror of The Removalists was undeniably shocking. Whilst it may not have the visceral impact of the original productions in their own time, there is no doubting its dramatic power. The Removalists by David Williamson Directed by Michelle Miall for Queensland Theatre Company plays at the Bille Brown Studio, 78 Merivale Street, S Brisbane until 6 August. Check the Company website for details.
Images: Al Caeiro The first of the La Boite 2011 Indie season productions, Colder by Lachlan Philpott, opened at Brisbane's Roundhouse Theatre last week. Directed by Michelle Miall and performed by a cast of six actors, this play is a tonal poem of melancholy. Like slow, sad rain falling on the heart, Colder washes its audience in a threnody of loss. You've got to love the range and confidence of independent theatre in Brisbane right now. Sure, there are hits and misses - as there must be - but, as someone said a while back, it's indie work with its daring and devilry that's the life-blood of the wider theatre culture in this country. The indie voice heard in productions around town can be raucous and potty-mouthed, silly or serious. Sometimes the voice is delicate and challenging - as it is in this one. I'm a sucker for poetic theatre - the theatre of poetry - whatever you want to call it. I fell for the poetry - the beauty and un-selfconscious lyricism - of Philpott's text in Colder. Having said that and, despite the buzz of the play's language, the work feels too long in the playing - is this the production's pacing or the length and structure - even the nature - of the text itself? I wondered at the number of characters in the work and the inclusion of incidental interludes and monologues. Was it these which seemed to be holding up the core narrative? The play revolves around David (Chris Vernon) the enigmatic central character who disappeared first (and for a few hours) as a child on a visit to Disneyland, and then, never to return, as an adult in Sydney. The play's action is contextualised within the gay community of Sydney, and was inspired by one of the writer's friends who went missing some years ago. The cause of David's disappearances comes late in Colder. In direct audience address he speaks of being haunted throughout his life in pursuit of the figures of a man and a boy - the father he knew only briefly and the confident boy he could never be. It only hints - but that is enough - at how and why David remains missing. In any case, Colder is less of a mystery than a psychological exploration of the effect David's disappearances have had upon his friends and acquaintances (Kevin Spink and Kerith Atkinson in multiple roles), his lover Ed (Tony Brockman) - but especially upon his mother, Robyn, who is played by Alison McGirr and Helen Howard in younger and older versions of the same character. We walk in their shoes wondering why and how for much of the play. The ensemble of six are in fine form and, under Myall's direction, handle Philpott's lovely text very well indeed. Colder is a play that may have some asking how a text which relies more on voice than on embodiment can be improved by staging. Is it better suited for the vocal orchestration of radio where 'the pictures are better' for example? Michelle Miall's production is far from static, but characters give witness, they narrate, and they describe more often than they interact. The play is not particularly dramatic but that's no burden. This is the nature of Lachlan Philpott's script, of course and, anyway, hoorah for poetic theatre. What is gained in its staging - in breathing the same air together in the same room - is the embodied experience of grief and its effects which are as uneasy to watch as any forensic investigation must be. This is what the actors' physical presence adds. Design by Amanda Karo, lighting by Daniel Anderson and composition and sound design by Phil Slade mesh beautifully, as they should, for Michelle Miall's most satisfying production of the difficult and cold road of the grief-stricken. Colder plays at The Roundhouse Theatre as part of La Boite's Indie 2011 season until 9 July. Check the La Boite website for session times and booking details.
- Michelle Miall (Interview) (actorsgreenroom.net)