One of David Williamson’s most popular and explosive plays has been revived by one of Australia’s most exciting independent theatre companies!
The Removalists is a searing portrayal of suburban Australia in the 1970s. An evening of disturbing gender politics, assault, adultery and furniture moving ensues in the black comedy that put Australia’s most famous playwright on the map.
Following a sell-out Sydney season that received immense critical and audience acclaim, we spoke with director Leland Kean ahead of the Brisbane season.
Describe the show in five words?
Electric, edgy, epic, dangerous and dynamic.
What is your role and how did you come to be involved?
I’m the director of the work. The production actually came about over a conversation with David’s son, Rory, who has been a friend of mine for many years. Late one night at a party he asked me which, if any, of his father’s plays would I most like to direct. And The Removalists was my answer. From there David and I began a conversation that centred around the idea that Australian society and the values at it’s core hadn’t really changed since the play was first produced 40 years earlier in 1971.
Fav line in the play and why?
I mind me own business if other people mind theirs, and that’s the way I play the game, get me?
There are heaps of others but at this moment in the play everyone in the theatre is The Removalist, reminded of a time in their lives when they have stood by and watched as tragedy occurred.
Tell me about the cast?
The cast are a wonderful bunch, Laurence Coy is amazing as Simmonds and Caroline Brazier is stunning as Kate. They both find so many different levels in the characters as opposed to other productions I have seen.
What do you think of David Williamson's work? Is it intimidating to direct such a well-known production?
I love David’s work, and particularly this play. And yes it was. I’d seen six different productions and the film before taking it on. So really had to push those images and ideas out of my head and start afresh, which we did. We picked up the script and approached it like it was the first time it had been performed.
How is this version different?
I think the biggest difference in the production from others I’ve seen are the women. There is a depth to them that the actors found that gave the play a more powerful structure than just men being angry.
Best career advice you've received?
“You’re a shithouse assistant Leland, go be a director” from Barrie Kosky. So I did. That was almost twenty years ago.
What have you learnt about life from being involved in this?
That our society, our values as a nation haven’t changed anywhere near as much as we would like to believe in Australia in the last forty years. 1971 Australia and 2014 Australia are scarily close.
Advice to up-and-coming directors?
Direct, at all cost. Doing makes you.
