UNIT 2 DAVID WILLIAMSON'S DRAMATIC

WORLD
Structure

Objectives
Introduction
Williamson's Early Plays (1970s)
2.2.1 The Coming of Stork
2.2.2 Don's Party
2.2.3 Jugglers Three
2.2.4 What if You Died Tomorrow
2.2.5. The Department
2.2.6 A Handful of Friends
2.2.7 The Club
2.2.8 Travelling North
Williamson's Later Plays
2.3.1 Celluloid Heroes
2.3.2 The Perfectionist
2.3.3 Sons of Cain
2.3.4 Top Silk
An Approach to Williamson's Plays
Let Us Sum Up
Questions
Glossary
Suggested Reading

2.0 OBJECTIVES

In this unit we will look at the entire range of Williamson's plays. Williamson has
also written for movies and has directed plays as well. In this unit we will look
closely at his early period (1970s, the period to which The Removalists belongs) and
refer to all his plays in chronological sequence, and try to identify his principal
'
themes and concerns, and mark out the parameters of his theater.

2.1 INTRODUCTION

As we saw in Unit 1, David Wiliiamson is one of the few Australian dramatists of the
First Wave to have a long and successful career. Willia~nsonis important not just
because of his success in commercial terms but because of his continued success in
representing the contemporary concerns of white urban middle class Australia.
Predominantly satirical of his chosen territory, Williamson's plays over the last thirty
years of the twentieth century chalk out the social history of white middle class
Australia.

Williamson was born in Melbourne in 1932, and thus grew up during the
'permissive' sixties. He graduated in.Mechanical Engineering from Monash
University and lectured at the Swinburne College of Technology, Melbourne, on
Thermodynamics as well as on Social Psychology. The latter was to be a major
preoccupation in his plays.

Williamson started writing plays in the 1960s but the early plays were mostly revues
and a couple of shoft plays, which he himself does not think much of. He gained
 prominence as a dramatist with his first full-length play in 1970. Given below is a list
The Removalists of his plays:

The Coming ofstork (1970)

The Removalists (I 97 1)
Don's Parry (1971)
Jugglers Three (1972)
What if You Died Tomorrow (1973)
The Department (1974)
A Handful of Friends ( 1976)
The Club (1977)
Travelling North (1979)
Celluloid Heroes (1980)
The Perfectionist (1982)
Sons ofCain (1985)
Emerald City (1 987)
Top Silk (1989)
Brilliant Lies (1993)
Dead White Males (1 995)
Sanctuary (1995)
Heretic ( 1996)
Play a Life (1997)

2.2 WILLIAMSON'S EARLY PLAYS (1970s)

2.2.1 The Coming of Stork

Williamson's first full-length play, The Coming ofstork (made into a film later), was
performed by La Mama Company, which revelled in taking on censorship in 1970.
They had performed Buzo's Norm and Ahmed a year earlier and had received much
publicity. The Coming ofstork seemed to be tailor made for them and their
audiences, it was after all full of four letter words. Fitzpatrick says that the dialogue
of the play "has all the subtlety of footballers in the showers" (p. 113). Those were
heady times for theaters around the English speaking world, when dramatists
experienced a sense of liberation, havingtheir characters speak and behave with
complete abandon. Williamson uses this freedom to shock but to shock into a sense
-
of recognition. A satirist, he chronicles the life and times of urban Australia.

The Coming ofstork is a play about three young men who share an apartment and an
interest in scoring with the opposite sex. The three - Tony, Clyde, and West - are
pursuing different careers and dreams. Tony is writing his doctoral thesis, Clyde
wants to make money and live on a cattle farm, and West is a salesman. There is a
girl, Anna, who comes and goes, willing to sleep with whoever, though she seelns to
be Clyde's girl. Stork, a beer swilling graduate who works as a gardener, the first of
Williamson's larikins, enters the scene and wants to be part of it all including
sleeping with Anna. Hemcceeds in his ambition when Anna, having fought with
Clyde, picks him up and takes him offto bed. But Stork is not about to have the full
relationship with her that he had earlier dreamed of because she has been 'kind' to
other men as well including an older married man.

To cut it short, Anna gets pregnant, and the older male friend of hers, Alan drifts off
to his family. Clyde is to marry Anna, and Tony is to marry,another girl. Stork and
West, who are the best men, flush the rings down the toilet, continue to drink and
decide to clear out. The play ends with this gesture against the institution of marriage.

This is a raucous comedy, played out in short scenes strung together in the absence of
any attempt at plotting (this absence of plotting is something that David Williamson
is constantly accused of). The women are referred to less than politely throughout the
play, as 'chicks' and 'tarts' and 'molls', and their only purpose seems to be to give David Williamson's
the males some sport. Dramatic World

In this ripping take off, Williamson shows the pressufe on the Australian urban male
to 'stoop' to a low register in their speech. It'is almost as if they have to deny their
sophistication and other ambitions and lives and play out the roles of adolescent
vocabulary deficient males. Other aspects of their lives are sources of embarrassment
and have to be referred to if at all in a parodic tone.

Peter Fitzpatrick says that "The Coming of Stork anticipates The Kemovalists not only
in its vigorous crudity, but in the presentation of masculine roles and the rituals,
insecurities and competitiveness that surrounds them.'! (p 114) Others have traced the
influence of Jack Hibberd's White with Wire Wheels iq the play. This may be so but it
only proves that The Coming of Stork was a play about its times written by a
playwright who was aware of other contemporary Australian plays.

The major criticism about the play is that it has no alternate world-view, it does
nothing but caricature and parody. This is true of all early Williamson plays where he
shows things as he sees them but without pontification or bitterness. His are plays of
great wit and to be approached as such. Williamson himself has this to say about the
play :

The Coming of Stork is played out among graduate technologists, a group

known for brazen and rather awkward openness as far as sexual matters are
concerned, but an almost complete lack of communication concerning
ambitions, fears, hopes and joys. (Introduction to Three Plays by David
Willic7mson. Currency-Methuen, Sydney, 1974)

Perhaps this is time for you to pause and think about the play in your course, The
Removalists. Is it also a play that lacks structure? What are the issues that the play
deals with? What can you say about its language? The Coming of Stork is accused of
having no rounded characters. Can you say that of The Removalists? Does the
playwright go beyond satire and parody? Is more than the surface of the social life
depicted in the play? What role does humour play in The Removalists? Does the play
shock you? Is the shock intended by the playwright? These are some of the questions
you could ask yourself.

2.2.2 Don's Party

His other play, Don's Party (1971), is perhaps the most successful of David
Williamson's plays. It is an all out comedy and the lack of violence makes it quite
different from' The Removalists. This seemingly light comedy depicts the state of
middle class Australia. Once again Williamson explores the institution of marriage
even as he looks at the state of politics an$ Australian democracy.

Williamson uses the device of a party to bring together on stage a number of people
with common interests and backgrounds. Don and Kath who are in their thirties are
the hosts. Don is a teacher and an author (though a failed one). Their guests are
friends from Don's university days and their women. This is election night and they
have also come to celebrate a Labour victory that does not happen. Each of the randy
men has been asked to bring a pornographic object to be displayed to others (one of
them brings a nude photograph of his estranged wife). Thus you almost see the
protagonists of The Coming of Stork a decade or so older.

In this mix, ybu have two of Kath's friends who are Liberals, the pigeons among the
cats. While the main ambition of the men seems to be to seduce the women, what we
see is the dissatisfaction of both sexes yith each other and the state of the nation. In
this wicked comedy, Williamson shows the complete lack of any redemptive values,
the men do not even succeed in their acts of seduction and the Labour party loses and
the only non- University person complains that the graduates are uncouth.
The Removalists The life of the party is Cooley of the foul mouth, who has a reputation to protect, that
of being an ho~est,straight talking philanderer. He nearly succeeds in taking two of
the women to bed but one of them is his own wife who is a part-time stripper. Cooley
who is a lawyer by profession is a larikin like Stork. He carries the play with his
'crude' energy. The only way the graduates can bond still is through low talk and sex
exploits. The others caru~otkeep this up for long stretches and have to fight their
middle-aged material comfort orientation through their ide~itificationwith the Labour
party and their denunciation of marriage, a denunciation both sexes agreed up on.
This is a discontented and bored Australia, but an Ausiralia that yearns for a different
way of life.

This is again a piay that does not show great deal of plotting or any major
differentiation of characters in terms of speech or concerns. But what should be clear
to the reader by now is that Williamson's intent is not to shock but to portray things
as they are. The number of characters could be quite a problem in production (an
overcrowded stage hardly ever rnakes good viewing, when the characters are to be
perceived as individuals), but Williamson seems to have the pulse of his society in
this party.

2.2.3 Jugglers Three

Williamson's next play .Jugglers Three has the Vietnam War as its background. The
play was written and first performed during the War years, in 1972. This is a play that
Joe Orton, the anarchic British playwright, wouid have been proud of. A Vietnam
War veteran, Graham is back to find that his wife, Keren, is living with a University
teacher, Neville. Neville tries to set things right between himself and Graham but
only succeeds in upsetting Graham even more. 'There is a table tennis game between -
the younger Graham and the older Neville, which must take some doing on stage. If
Graham is the foul mouthed University educated Wil!iamson character who is out to
shock, Neville is not too tar from Willianson's usual cast either. He is not only
having an affair with Keren. he is married, has a child dnd he and his wife are
expecting another.

The next character who we see is Neville's pregnant wife, Elizabeth. Then two other
war veterans arrive. The first, Dennis, has just robbed a service station. He too has
found out that his wife is having an affair with another man. The next, Jamie, is a
medical practitioner who is now invo!ved in a project concerning Aboriginal
children. Jamie is Keren's eu-lover! Keren arrives and almost predictably duinps
Neville who finally returns to his wife and family. A policeman arrives to a arrest
Dennis but finally ends up sharing the spoils with all the men. Keren and Graham it
seems will stay together.

The pla'y shows once again the topsy turviness of the moral universe of middle class
Australia. Marriage is a dead institution and nothing else has taken its place. Gender
relations are fraught with problems. Language has to be fashionably of the lowest
common denominator. It is the University graduates who have to establish the anti-
intellectual atmosphere of Wil!iamson's world. Graham claims to have failed in
English, spouting lines like "Shakespeare is a shit of a writer." Rut agaln like other
successful plays by Williamson, this is a thoroughly entertaining and fast moving
play full of characteristic verve in dialogue. Adding to the entertainment in
perfonnance, for the actors and the audience, is the fact that Williamson not only has
his characters playing pin pong on stage, he has them drinking beer throughout!

2.2.4 What if You Died Tomorrow

bV!iat fi You Died Tomorrow (1973) was first performed nearly a year and half after
.Jugglers Three. In this curious hotch potch of a play, which has been seen as
autobiographical by some critics, Williamson explores the world of writers and
agents and publishers. Andrew is a successful doctor turned author, who has walked
out of his marriage and left his children to live with another woman, Kirsty, and her
three children. He does not gel along with Kirsty's children and even his reiationship David Williamson's
with Kirsty seems to be on the downward curve. His agent wants him to publish his Dramatic Wwld
next novel with a new publisher, but the old publisher, Harry Bustle, arrives on the
scene to lend it great verbal vigour. Bustle is the Cooley-like Williamson character
we have learnt to expect.
Curiously, others lack the same vigour. Williamson adds some complication by
introducing Andrew's parents, Ken and Irene, who end up discussing the sexual
problems they have had. Ken has intimations of his mortality because of his bad heart
and this enables the play to make a point about our transitoriness. Rut the point gets
emphasised later in the play when Gunther. a European who has arrived with
Andrew's parents, tiies to commit suicide, The agent is a homosexual and this adds to
the sexual diversity that is examined. Andrew and the proposed new pub!ishzr,
Camel, attempt to make love but are discovered by his parents and Kirsty. A suitably
chastised Andrew is shown playing with children's building biocks at the end of the
play.
I1-ia play that does not maintain the usual standards of energy, WiIliamson tries to do
a bit more than denigrate marriage. He also makes known his point of view about
literary works and their modes of circulation, but as Rees puts it,
The play is about the transitoriness of life, of the fragility of our hold on life,
the dificulry of seeing what it is all about, of reconciling self-realisation and
social or mora! responsibility. It's about the m ~ d d l eof life... (p 134)
There is also an attempt in the pla:~tc go beyond Williamson's own generation, in the
portrayal of Andrew's parents and his relationship with them.

2.2.5 The Department

Williamson's next play, The DeLvarhttcnr(1974), is a wonde~fulexpose of
manipulative politicking that finds a place of pride in universities across the world.
The play is set in the thermodynamics lab of a university and takes ihe form of a staff
meeting. So once again in Williamsonish manner we have the dynamics of interaction
among a group of people as the material of a play.
Robby, the manipulative head of department. has called the meeting. The setting of
pipes and tubes dnmitiztes the stage where the human characters play out their petty
power struggles. We are told that an enormous and expensive tank has been built by
mistake in the mezzanine floor and nobody tiad had the temerity to fiil it.
department jokes aboilt this folly even as Robhy tries to manip!date getting mother
building constructed. He tries valiantly to keep the staff together even as they take
oEence at each other's behaviour, Present in the meeting zre all shacks of academics
a resident radical. a scholarly embarrasanent, a prickiy lecturer. al:d z pious liberal.
Almost zverybody needs the college and if manipu!ated, they become willing
pariicipaits. Only the mechanic, Gordor~,seems to be ar: individual in his own right
and that is because he is indispenszble. As the play roars tc! its end Gardon has fiiled
the tank.and it h~ miraculously held. A satire that llnirrors the worid of academics
and public service people, the play is a good read and lends itself ts snecessfiil
staging. This is the first of the plays that does not lambast the institution of marlage
even if one of Robby's r~otivationsmay be the sad skte of his marriage. But
Williamson is more a dramatist of the surface than of psyc!zo!cgi.cai depths.
It must have been clear to you for a while now that Williernson's plays could be
classified as comedies of manners. His plays seem to be based on reality - the
audience surely recognised their upper middle class Australia in them, and yet have
laughed at hiin on his way to the Sad<. That to me is where his talent iies. Like all
*@eattvriters of comedies, he tzkes the familiar and eVEil as it is recogmisably familiar
makes it comic and different. This has to be a meeting like any other necling or the
23
 '
points about manipulative institutional politics would be lost, and yet the play
The R~~a.sovalists succeeds in making the situation engagingly different. This is Williamson's strength.
2.2.6 A Handful of Friends
-
His next play,.A Handful ofFriends (1976), is again set in Melbourne. In a play that
deals with the world of films (Williamson knew this world intimately by now, having
written film scripts) and the academia. The stage is used interestingly - it is divided
into two spaces, one depicting the house of Russell and Wendy, who have just
returned from the United States of America, and the other depicting the flat that Jill,
us sell's sister, lives in. Russell is a historian and Jill a journalist. Their 'handful of
fiiends' include Mark and Sally, who are soon to arrive. Mark is a film producer and
Sally is an actress. Mark is making a film and has put Russell in as a character. Sally '
wants the leading role in the film.
As usual with Williamson, things are quite complicated as far as relationships go.
Russell is established quite early to be a philanderer. He seems to have encouraged
Mark to sleep with Wendy. Jill seems to have a crush on her brother, but she has had
a crush on Mark as well, and perhaps an affair with Sally. Wendy is the one character
who does not have much to say in this play whereas much is revealed as is concealed.
Everything ends in shambles mainly because Jill publishes a scurrilous article about
Sally in a cheap tabloid. Wendy leaves Russell, Sally no longer wants to pIay the
leading role, Mark is happy to pillory Russell in the film ... The end of the play has the
return of Jill with a casserole and the news she imparts to Russell that people have
liked her article.
Marriage is again a non-starter. People feed off people especially in the creative
world. What kind of a society is this? "A pleasant little society we live in, isn't it"
says Jill at the end of the play. Relationships are tangled by definition. But for the
f~rsttime Williamson does not feel the need to shock with his language!

2.2.7 The Club

The Club (1977), his next play, resembles The Depamfmenr, and'is equally well
written. By now Williamson is a master of comic structure and The Club is a neat
demonstration of his abilities. Thisqplayexplores the goings on in an Australian Rules
Football Club in Melbourne. It is an all male play with six characters. Ted is the
president of the club and Geny the secretary. Laurie, the coach, has just announced to
the papers his intention of resigning because the team is not doing well, helped in no
way by being forced to pick Geoff, a star player, for every match. Ted had backed
Geoff, going to the extent of adding his own money to Geoff s salary. Naturally he
speaks of Geoff s bad patch. Danny, a player, threatens to organise a strike if Laurie
resigns. Then there is Jock, an ex-leading player of the club who wants to be
president.

Williamson is all about surface as we have seen in play after play and The Club is no
different. We see the hilarious unfolding of petty politicking, which ends in the defeat
of the board room manipulators by the players who simply play to win now. Even
Geoff, a spaced out non-trier, joinsthe rebellion realising that playing is easier than
not trying. Thus the machinations of Gerry and Jock are defeated while Ted walks
out.
This is slight play, slighter than the rest so far. But even here, Williamson's comic
genius ensures that the readerlspectator has a rollicking time. There is a hilarious
confrontation scene between Jock and Geoff literally on the board room table where
Geoff explains himself by "confessing" to making love to his legless sister and then
his mother and thus driving his father to suicide!
\
2.28 Travelling North
Williamson's last play of the seventies, Ti-,, ;gNorrh (1979). is quite different in
tone and temper in comparison to the other, . I 1 s . In it he looks at the migration to -'
.
sunnier climes in later life that many people in many parts of the world dream about. David Williamson's
Does retirement make for a happier life? What happens to relationships in later life? Dramatic Wcrrld
These are some of the questions that run through the play.

Frank, in his seventies, and Frances, in her fifties, have decided to live together and
have left Melboume for the north. They seem to be happy in spite of their age
difference. Frances would like to be married if only to please her daughters who live
in Melboume. Frank is the one who does not want marriage. The daughters want their
mother back, even if it is for taking care oftheir children. Frank is not too well and is
increasingly irritable. Frances leaves for Melbourne only to return. As Frank grows
worse he too makes a trip south, but returns to die on the verandah listening to
classical music. Frances decides to travel further north.

In a nuanced examination of the tangled webs that we weave in our relationships,

Williamson seems to present a more universal picture than he has done so far. This',
could have something to do with his experiment with rewriting Shakespeare. After
The Club Williamson had been commissioned by the Alexander Theatre Company at
Monash University to adapt King Lear. Williamson's brief was to make Shakespeare
more accessible to contemporary audiences in terms of language and dialogue. There
is an interesting direct reference to King Lear in Travelling North - Frank calls
Frances' daughters "Goneril and Regan". Like Lear, Travelling North is about
perennial subjects like love and relationships, old age, decay, life and death. Brian
Kieman points out in his study of Williamson's plays that the constant scene changes
in Travelling North
draw attention to the structure as expressive: as the play develops, the
audience sees a significant pattern, and a view of life that is not articulated by
any one character, emerge. Structure becomes form, a metaphor for life.
(Southerly, 1986, I , pl 1)

This is not to suggest that the play lacks a socio-historical specificity. The geography,
seasons, and politics are all clearly marked in the play, But it seems to say more than
just depict the'socio-political history of Australia,

2.3 WILLIAMSON'S LATER PLAYS

In this section we shall look briefly at some of Williamson's later plays, plays from .
the next two decades of the 20" century.

2.3.1 Celluloid Heroes

Nimrod's tenth anniversary was celebrated with a commissioned play by Williamson
in 1980. This was Celluloid Heroes (1980), a farce about the world of films with
which Williamson was increasingly familiar. In this a producer plans a film which
.
will be a tax write off, i.e a guaranteed box ofice disaster! This satirical look at the
commercial aspects of the film industry immediately after Travelling North perhaps
signalled that Williamson was not going to desert the local for the metaphoric
universal. He was also going to work within a broad range of comedy.

2.3.2 The Perfectionist

His next play, The Peflectionist (1982), is back to Williamson's favourite-patch - the
state of the modem marriage. This is the subject matter'of the play foregrounded
throughout in the battle &wits that the play deals with. Feminism, Utopian Marxism
are all on view but finally they are seen to offer no solutions in the here and now.
Stuart and Barbara are the couple who fight over the terrain. Stuart's father, Jack
Gunn, who is a successful lawyer, is the defender of faith in the traditional marriage
with its fixed gender roles, while Stuart's mother, Shirley, is an example of what the 25
The ~zwtovalists frustrations of such a marriage can do. Early in the play, Shirley, who had to give up
a stage career to many, states that "Women of ability and intelligence have only one
option, and that's never to marry and never to have children", but the play does not
take that any further. Any revolution is in the future, and the play ends with Barbara
willing to come back40 Stuart hoping to balance family life and career. A wonderful
comedy, it again offers a slice of life, even as it examines gender relationships.

2.3.3 Sons of Cain

Som of Cain (1985) is about a newspaper office but it is also about the stuff of
headlines - corruption and the nexus between the government, the police, and big
business houses, and their implication in drug trafficking. The journalists of the
Weekly Review discover that the Minister of Justice and the Prime Minister are
involved in drug trafficking. The issues raised then are of a moral as well as a
practical nature - how are the management and the journalists to approach the matter
when the political establishment uses the laws of libel to silence the press. Obviously
a play such as this is more political than Williamson's other plays. Just as The
Perfectionist allows the audiences to debate issues of social engineering, however
disappointed some may be with his positions, Sons of Cain allows the audience to
debate issues of good governance and corruption. It raises many intriguing questions
- for example, would you rather have a corrupt government that works for the
welfare of the people or have a government which has never had people fiiendly
policies even if it were the model of probity?
Obviously, Sons of Cain was a topical play when it was staged but given the nature of
human greed and hunger for power and the nature of hierarchical structures, the
situation that the play examines will recur time and again in every democratic
society. If the newspaper proprietor allows journalists to do stories that are against
those in power, is it out of altruistic motives or is it because the proprietor is striking
a deal with the opposition? A host of serious issues are raised in what is a typical
Williamson comedy. Williamson plays around with stereotypes (is this one of the
ways in which he constructs his famous recognisable characters?) - Kevin, the macho
investigative journalist, hard drinking and hard working; Crystal, the feminist radical:
Nicole, the hardened careerist; Bronwen, the dedicated reporter who still has to learn
the ways of her profession and of the world. Why does Williamson make Kevin hire
three women reporters - is it only for the jokes on women and feminism, or is it
because Williamson wants to investigate the challenges to what had traditionally been
male dominated professions? He of course typically does both!

The play has forty one scenes that cut from one to the other. ~illia.msonmerges
documentary realism (many in the audience tried to guess who was who in Australian
public life) with elements of farce, and much like the Hindi film Jaane Bhi Do
Yaaron, the play shows public life itself to be a farce. Brian Kiernan says that Sons of
Cain is more like Williamson's early plays in its "combination of realistic, satiric and
comic elements" (p. 15).

2.3.4 Top Silk

In Top Silk (1989), Williamson tackles corruption of law, and political correctness in
universities provides him the subject matter for Dead White Males (1995). In Heretic
(1996), where Williamson moves away fiom stage-naturalism, he tackles the 'nature
versus nurture' debate attacking Margaret Mead the famous Anthropologist, while
supporting David Freeman.

2.4 AN APPROACH TO WILLIAMSON'S PLAYS

If there is one characteristic of Williamson's plays that every critic is willing to grant,
it is that he creates a recognisable world in his plays. His Australian audiences
identify with the characters and situations in his plays. He raises in his early period David Williamson's
all the pertinent issues that rniddle class white Australians fared in that period. Dramatic World

We must warn you that this classification of Williamson's early period is comp!etely
arbitrary. The aim here was to chart his course through the first decadc of his writing
to trace his growth as a dramatist through a description of his plays in order to
highlight any changes in his craft and concerns. Can you, on the basis of your reading
so far, suggest how the plays of this period itself can be divided?

John McCallum thinks that the following plays constitute Williamson's early period,
the period that established his reputation: The Coming of Stork, The Removalists,
Don's Party, and Jugglers Three. Why do they form a group? They are all satirical
comedies that explore. in Williamson's memorable phrase, "the awful Australian
uniqueness". Williamson defines this uniqueness as

composed of an abrasive cynicism on the surface, and a rather maw~ish

warmth underneath. Even the warmth must be expressed negatively: hence
the Austraiian (male) habit of greeting each other with abusive, four-letter
expletives. It is also a celebration of Philistinism, and the rejection,
ultimately, of cu!tural values drawn from Europe. It is anti-intellectilalism,
and a frantic materialism; and a recognition that there are class differences in
the sense of material wealth, but no substantial differences in lifestyle.
(Sydney Morning Herald, 3.7.1972)

If the early plays seem to poke fun at this Australianness, they a!su seem to celebrate
it. As Helen Thomson says about the plays of Buzo, Hibberd and Williamson, "the
sheer exuberant energy and excess of the depictions ironically... [serves] to celebrate
what was being satirised." (p. 192)

This also e\plains why critics talked and talk of objectivity in his early plays.
W.illiamson'\ exuberance ultimately makes it difficult to talk about good or bad
'characters. Stork may be obnoxious but audienceslreadeis cannot condemn him or
dislike him. The play seems to construct a sympathy for him. This is true of both
characters as well as other plays. What about Kenny in The Removalists? What is
your opinion about him? And the other larrikin, Cooley, in Don's Party? Cooley is
the star of the play, but he is everything -- crass, insensitive and vulgar. But audiences
like the rich, successful, honest Cooley. But nobody would like to live with him, or
would they?

Thus Williamson seems to explore the male world of educated ockerdom, the world
of low language and heavy drinking and sexual aspirat~ons.Jugglers Three is no
different in its concerns. But how different are the other plays? In terms of characters,
they get older and more gentle, and the emphasis seems to be rnore on relationships
and the power games that people play. The two themes have always been there in
Williamson, only they takz centre stage now. We see this exploration of relationships
and the games people play in What if You Died Tomorrow and in A Handful of
Friends. The power struggles are the subject matter of both The Department and The
I'lztb. Travelling North is still about tangled relationships and motivations.

Another element that unites a!l these plays is Williamson's comic flair. Even his :nost
serious play, TravellingNorth, is full of gags. From his first play onwards,
Williamson has been famous for his one liners and gags straight from revues. But be
is also known to have written naiuralistic plays. The gags are obviously theatrical, so
how does that jell with his naturalism? How does his humour survive his so called
objectivity? The answer is best heard from Williamson himself. This quotation also
tells you why his plays lack plots of even complex stages:

I'm not experimental. As far as my OWE writing goes, it's naturalistic with -
in the earlier plays - some farcical overtones in the writing, but, I hope. not in
the playing style.... I don't use purely theatrical devices. I can't even bear on
 stage now a first-act, second-act type format. I think partly because film does
The Removalisls it so much better, it just looks clumsy to change scenes on stage and go from
scene to scene, so all I find myself able to write for stage now is an ongoing
social situation, where people come on stage and interact for two hours and
then the play ends. So they're not'theatrica~l~ innovative at all. They're An
attempt to study a social situation.
(Talk at Monash University, 1974)

In the same talk Williamson identified as the strength of the theatre its ability to make
audiences feel intimate with the characters on stage and identify with them. This
affords him the opportunity to take what he calls a "total social situation, a tight
social situation" and explore it naturalistically. This, he feels, implicates the audience,
making them part of the situation.

These plays have also been seen as chronicling the political life, the hopes and the
despairs of middle class white Australia. As John McCallum puts it:

In his map of Australian society we have seen the transition from what
Donald Horne has called the 'Time of Hope' (up to the late sixties), through
what Frank Moorhouse has cajled the 'Days of Wine and Rage' (in the early
seventies), to the disillusionment of the late seventies ...
(McCallum, p.354)

McCallum is referring to the hopes raised by the Whitlam-led Labour government

that came to power in 1972 (the election after that of the Don's Party, which belied
earlier hopes), and the growing disillusionment with it.

What we have discussed so far is the extraordinary first decade of an extraordinary

playwright. As we have seen Williamson carried on from here in his comic journey,
exploring issues of relationships and social structure.

As we have said earlier, Williamson's career maps the social history of middle class
white Australia. As Helen Thomson puts it, "Williamson has grown, along with his
audiences, his plays changing from undergraduate ockerism to the polished self-
examinations of an educated middle class living thorough numerous social changes."
(p. 293) His plays have mirrored his own life - leading at times to the airing of dirty
linen in publip. This autobiographical element has actually meant that there is a
certain directness and sincerity in his writing and this is what has led to recognisable
characters and engaging issues. His concerns are those of his audiences.

Five of his plays have been successfully filmed - The Comilizg ofstork, Don S Party,
The Removalisls, The Club, and TraveliifigNnrlh. He has also written numerous other
film scripts. If his mid-career move from K4clbourne to Sydney seemed to signal to
his contemporary Melbourne writers his betrayal of Art for Money, he has actually
played a major part as the myth maker of the suburbia. Sure he moved, but he
continued his theatrical quest - the staging of the drama of middle class life, its .
concerns, its politics, its daily life. And his audiences have always been mainly
people like him.

2.5 LET US SUM UP

Williamson has worked with the idea that people should identify with the characters
on stage (is this why his plays are dismissed as conservativeIy naturalistic?), and that
audiences should feel intimate with the characters. A play then is the interaction
between characters/actors and audiences which leads to the exploration of a social
situation. Williamson is highly successful in all his aims and if there is any
reservation about him it is based on the maxim that good serious writing cannot make
 money! His comic genius should not obscure the fact that he is making serious David Williarhson's
explorations of a specific social territory and that it is entirely possible to extrapolate Dramatic World
a set of values that forms the core of his moral assumptions. His plays can after all be
read as crusades against corruption, against disloyalty, against institutionally
sanctioned but meaningless relationships, against petty rivalries within organisations,
against blindness to the dynamics of personal relationships.

2.6 QUESTIONS

1. What are the themes that recur in Williamson's plays?

2. Write a note about Williamson's dramaturgy, his ideas about theatre and the
techniques he employs.
3. Why is the larikinlocker figure important in Williamson's works?

2.7 GLOSSARY

Comedy of manners: this genre deals with the behaviour and the
lives of men and women living under 1

specific social codes. It tends to the

preoccupied with the codes of the middle
and upper classes and is often marked by
elegance, wit and sophistication.

Nimrod: a theatrical group founded in 1970. Nimrod

developed its women in theatre group; also
popularly known as the Nimrod theatre.

Revues: light theatrical show with songs and dances

but no story. A revue normally contains
jokes about the events and fashions of the
moment.

2.8 SUGGESTED READING

These works are in addition to the works already cited in Unit 1.

We do think that you should read as many of Williamson's plays as you can access.

Fitzpatrick, Peter. Williamson. North Ryde, NSW: Methuen Australia, 1987.

Kiernan, Brian. "The Development of David Williamson", Southerly, 4, 1975.

Kiernan, Brian. "Comic-Satiric-Realism: David Williamson's Plays since The

Department, Southerly, 1, 1086
"

Kiernan, Brian. David Williamson: A Writer's Career. Sydney: Currency Press, 1996.

McCallum, John. "A New Map of Australia: The Plays of David Williamson", ALS,
Vol. 11, No. 3, May 1984.