The Dismissal

THE DISMISSAL caused PETE’S EYEBROWS to form a HIGH ARCH

The Dramatic Premise

Is it “time” or is “time up”?

It’s a time of change. A time for big dreams. The making of modern Australia.

Gough Whitlam has been swept to power after years of Menzies-driven wilderness but, after re-election, his government is facing a financial scandal involving Middle-Eastern money from a shady finance-broker.

Enter the constitutional crisis.

Malcolm Fraser’s opposition refuses to pass the budget in the Senate. He challenges Whitlam to call an election. The Prime Minister refuses.

The 11th of November – Remembrance Day – is shaping as the last day an election can be called before the money runs out.

Sitting at the centre of this drama is the Govenor-General, Sir John Kerr.  Will he use his reserve powers to dismiss the Whitlam Government?

And what about Wollongong’s favourite son – and Gold Logie winner – Norman Gunston. Where does he fit into this drama?

Fun From Beginning to End

I didn’t really know what to expect as I took my seat in row D of the York Theatre at the Seymour Centre. Would this really be “Australia’s answer to Hamilton”, as proclaimed by the SMH, or would it just be some silly twaddle, as I had seen in other likeminded ventures?

I’m pleased to report that The Dismissal is far closer to the former than the latter, although the SMH may have undervalued Hamilton’s musical and cultural impact. American then played by America now, and all that. But silly twaddle, The Dismissal certainly was not.

I was already enjoying the show when my pleasure was elevated to the next level by the entry of Sir Garfield Barwick, Chief Justice of the High Court. Played marvellously by the always wonderful, Peter Carroll, Barwick enters the stage to a tune reminiscent (at least to my ears) of the opening chord to Master of the House from Les Miserables. Barwick is cast in a Wizard of Oz type role, simultaneously pushing the G-G’s buttons and pulling his strings.

And then, in the next scene, my enjoyment was elevated again by the entry of shady finance-broker, Tirath Khemlani, played with impressive verve by Monique Salle. In fact, special mention must be made of Salle. She steals every scene she’s in, whether playing Khemlani, Billy Sneddon or QEII herself.

Whitlam and Fraser were played with expected aplomb by Justin Smith and Andrew Cutliffe respectively. And I enjoyed Octavia Barron Martin’s take on Sir Jim Kerr very much.

And, of course, Matthew Whittet was terrific as Norman Gunston. 

The Moment

Right at the end of the show, after the dismissal and after the hoopla has died down, Whitlam and Fraser meet – perhaps in the afterlife – and discuss both their part in the historic events and how they were portrayed in this production. After all the noise, that moment of quiet reflection was gold. Kudos to book-writers Jay James-Moody and Blake Erickson.

For more information on The Dismissal:

The Dismissal – Seymour Centre

(Originally posted on 4 September 2023.)