369 St Asaph Street, Christchurch, Tel: 64 3 377 7954

“We Will Rock You” keeps its promise, you will be rocked

We Will Rock You is the latest musical show to grace the stage of The Isaac Theatre Royal, and it keeps its promise, you will be rocked.

By Emma Dyer

We Will Rock You is a story about rebellion, set to the music of Queen, with outrageous futuristic or punk costumes, and an endless supply of music references and jokes. You don’t have to be a Queen fan but it definitely doesn’t hurt to be a fan of pop music culture because the jokes will be that much funnier. Exhibit Brit, a rather rough and tough male character who proudly identifies his full chosen name is “Britney Spears”. With gags like that you know that you’re in for a good time.

Listening to this show it isn’t hard to remember why they still call Freddie Mercury a genius. The range of songs that Queen has given the world is why the entire list of musical numbers [in the musical] can be made up of their work. There are 23 different Queen songs in this show, most of them so perfect a band would be lucky just to produce one in their career. While it would be hard to pick a favourite you could do worse than Killer Queen or the show closer (which they really make you beg for) Bohemian Rhapsody.

Don’t be fooled into thinking this is just a bunch of jokes, excellent music, and more leather than a field full of cows. There is a serious message here. In a time where we are really questioning the massive amount of power that a few internet giants hold over our lives this really is a story of what the future could look like if we let it. It is outrageous and at times almost cartoonish, but it could be our future. The gags might take things to extremes, evil villain Killer Queen’s hair or the white and rather distressingly tight outfits of the “Gaga Kids”, but there is still a strong undercurrent of truth. For decades the music of Queen has been a part of our collective culture. The writer of this show, Ben Elton, knows a thing or two about pop culture, about making fun of it, and about becoming part of it. You might not be familiar with his name but you probably know his work on comedic classic TV series like “Blackadder” or “The Young Ones”. His joyful, playful, biting, and absurd sense of humour comes through in this show in a way that is delightful and eye-rolling at the same time.

Welcome to the “iPlanet” (Earth has been rebranded), where nobody communicates in real life, individuality is strongly discouraged, and live music is banned. On this planet we have the dreamer dude Galileo Figaro, played by Caleb Jago-Ward who looks remarkably like a young Bon Jovi. Then we have badass babe Scaramouche (and if you think that is a odd name or that you shouldn’t call her “babe”, well so does she) played by the fantastically talented Jane Leonard. What develops from here is a story of love story, of teenage rebellion, and of why it is important that music keeps being created for love not money. But where in another telling of this story Scaramouche could have been relegated to sitting on the sidelines cheering on the musical hero Galileo, that simply isn’t the case here. She’s tough, she fights for what she wants, she runs towards the danger, and she doesn’t take any condescending talk from anyone. Meanwhile Galileo spouts out musical lyrics that just appear in his head, with no idea what they mean, but excellent comedic timing (“Scaramouche will you do the fandango?” does not go down well with her).

For regular attendees to the theatre, used to seeing the orchestra or band tucked away under the stage, it might be quite the surprise to see them on a platform precariously high above the stage, as much a part of the show for the eyes as they are for the ears. Multiple electric guitars replace the usual violins or oboes. So that what you end up with is an awesome lineup of musicians playing  great songs in a very rock n’ roll way. Add to that the supporting ensemble singing and dancing to fill the stage with their energy and enthusiasm, not an easy feat in some of the skin tight costumes, and you have something that could easily be described as “a kind of magic”.

While the baddies are definitely bad they still are relatable. Who doesn’t want to be special? Killer Queen (played to nasty perfection by Naomi Ferguson)  just wants to be special by ensuring nobody else is. Her evil henchman Khashoggi (played by the excellent Jack Fraser), well he just wants to avoid having his brain fried by his boss. The usual office politics. And what about the goodies? Well they hang out in the run down beat up Hard Rock Cafe. They are a punk dressing group of bohemians including VHS wielding Buddy (as in Holly played by Aaron Boyce), outrageous Oz (as in Osbourne played by Catherine Hay) and her lover boy risk-taker Brit (as in Spears played by Tom Hart). So what do the Bohemians want? They want music, they don’t know what it is or what it sounds like or even how to play a VHS tape, but they know deep down in their souls it’s what they need. And in the end everyone needs that, we need music to keep us human, to make us think, cry, be angry, and to unwind. We Will Rock You is a promise kept of all that and more. Buy tickets, see the show, remember why you love music and life.

We Will Rock You, the Musical by Queen and Ben Elton, 29 March – 13 April 2019

WWRY: “an exceptional, high energy, full noise and lights opening night”

Reviewed by Kate Divett, Backstage Christchurch.

Friday 29 March

It is a deeply reflective time to be living in Christchurch currently, as we try to make sense of the events of Friday 15th March. We are a city in mourning and in shock. In the fortnight that has followed, we have gathered together in many ways – to grieve those who have been lost, to support those who remain, and in vigils for the peace and way of life we hold so dearly. Gatherings have been important.

Showbiz Christchurch thought deeply about whether or not to gather for the opening of their season of We Will Rock You. Their unanimous decision that “the show must go on” was the right one. I have personally found solace in the words of Leonard Bernstein this week: “This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before” and I held these words in my mind as I entered the theatre doors on Friday night.

So this is what the cast and crew of We Will Rock You have done: an exceptional, high energy, full noise and lights opening night, and an act of defiance against those who would want our lives interrupted. Bravo and thank you to all involved.

With the theatrical music of Queen woven together by the comedic writing of Ben Elton, it’s a winning combination. The story is set 300 years in the future, and the internet has destroyed any sense of community or individualism. Humans conform to mainstream, commercial ideals that are enforced, Big Brother-style, by Globalsoft Corporation. A small group of rebel Bohemians, however, are living counter to this tyranny, believing in a prophecy that a dreamer will come to help them find the last remaining musical instrument that has been hidden on the iPlanet. And there’s obviously a love story in there for good measure, which is brilliant.

Okay, the story might be a little bonkers, but we’re really here for the music – and we are not let down. At all. If the title of the show “We Will Rock You” was a promise, then Showbiz have definitely kept it. From the opening strains of ‘Innuendo’, we’re reminded that Queen’s music is intricate, lyrical, and incredibly well-known – especially in the recent success of 2018’s biographical film about Freddie Mercury, ‘Bohemian Rhapsody’. The band set the tone for an epic night of rock immediately, and bravo in particular to Michael Ferrar and Heather Webb for their work on guitars. Brian May’s solos and breaks are some of the more recognisable in music history!

The night belonged to the two lead roles though. Caleb Jago-Ward (Galileo) is phenomenal – it’s actually difficult to adequately express how extraordinary his voice is.

It is a treat to see him throw himself into what must be a very fun role to perform and apply his vocal talent to. Every song was a winner. Jane Leonard (Scaramouche) is equally brilliant and a fabulous casting opposite Jago-Ward, bringing sass, feisty attitude and some great comic timing. I particularly enjoyed ‘Somebody To Love’, but the duet moments for these two singers – particularly in ‘Under Pressure’ and ‘Who Wants To Live Forever’ were magical.

Naomi Ferguson (Killer Queen) and Jack Fraser (Khashoggi) had reliably good performances as the evil counterparts to Galileo and Scaramouche. Ferguson, in particular, had a big role with a big personality to play – and a wig to match – and the vocal range required of her songs would be a challenge for most singers. We have Freddie Mercury to thank for that! Her costumes were wonderfully outrageous, and this is a good opportunity to congratulate Diane Brodie QSM (Costume) and Sarah Greenwood-Buchanan (Hair and Makeup) and their teams for their incredible work once again.

Aaron Boyce (Buddy), Catherine Hay (Oz), and Tom Hart (Brit) played excellent parts and contributed even more mouth-dropping vocal performances. I particularly noted that Hart’s voice at times sounded incredibly similar to Mercury’s, particularly in ‘I Want It All’. Hay and Hart have some very funny on-stage chemistry and brought wonderful comedic moments. Boyce plays a fabulous futuristic hipster, a great leader of the Bohemian group.

The cohesion of direction, musical, production and technical elements of this production is evident for all to see.

The Showbiz Christchurch team should be incredibly satisfied that they are doing their bit to serve the Christchurch community with high-quality moments of escape into the Arts when we need it most. The themes of the show – standing up for what you believe in, acceptance of difference, friendship, and the power of music to unify people – hold an added poignancy that could not have been predicted. The response from the audience on opening night – whooping, hollering, and generous applause throughout, followed by a joy-filled sing-a-long and an emphatic standing ovation – were all confirmation that this is a show that will add to our collective wellbeing. Audiences should secure their tickets before the season sells out and get ready to rock (yeah!).

The Showbiz Christchurch Saunders & Co Season of We Will Rock You is on from 29 March – 13 April at Isaac Theatre Royal.

Hit Queen musical to have its NZ theatre company premiere in Christchurch

Queen (image supplied).

It’s been 27 years since legendary Queen front-man Freddie Mercury passed away from an AIDS related illness yet his music remains as popular as ever.

Anyone who grew up in the ‘70s and ‘80s will remember Mercury for his flamboyance and enormous popularity, and thanks to the recent success of the multi award winning biopic ‘Bohemian Rhapsody’, new generations of music lovers are discovering the powerful and uplifting songs of Queen.

Even though it’s been over two decades since the original band members wrote and performed together, Queen remains as popular as ever due to their “dramatic, anthemic and inspiring songs which never get old no matter how many times you’ve heard them”, wrote entertainment reporter Emily Brow.

Writing on the news website Unilad she quotes NZ music professor and Queen fan Nick Braae: “Queen frequently sing about themes that have a universal quality; searching for love, family and relationship challenges, growing up, understanding one’s identity – none of which are confined to a particular historical time.”

Unsurpassed for their unique lyrics, dramatic and innovative style, it’s no surprise that the music of Queen underpins a unique musical theatre show which makes its NZ theatre company premiere in Christchurch on 29 March 2019.

Comedy writer Ben Elton (image supplied).

Written by comedy genius Ben Elton (Blackadder, The Young Ones) and Queen’s Brian May and Roger Taylor, We Will Rock You (WWRY) features 24 of Queen’s biggest hits re-imagined and woven into the story of a dystopian world where individuality is extinct and live music is banned. Born into this world are Galileo and Scaramouche, two outcasts who band together with a rebel gang of Bohemians to rediscover rock music and bring down the all-powerful GlobalSoft company and its tyrannical boss, The Killer Queen.

The story may sound as far-fetched as most of Queen’s lyrics but the musical’s worldwide popularity is undeniable. Since its West End debut in 2002, it has toured internationally amassing audience numbers of over 16 million.

The set, props and costumes for this Showbiz Christchurch production have come from Queen Theatrical and feature over 150 costume pieces designed by BAFTA and Olivier award-winning costume designer Tim Goodchild. Taking influence from Adam Ant, Kiss, Boy George, Madonna, the Bay City Rollers and other ‘80s musical icons, Goodchild has created a wardrobe of eclectic designs that are evocative of a Vivienne Westwood couture collection.

The set, built in the UK by leading designers Stufish Entertainment, will be brought to life on the Isaac Theatre Royal stage by director Stephen Robertson, lighting designer Grant Robertson (The Light Site), AV designer Dave Spark (Pixel Productions), sound designer Glen Ruske (BounceNZ), and David Bosworth (4th Wall Theatre Services).

Caleb Jago-Ward as Galileo (Photo by Showbiz Christchurch/Danielle Colvin).

Caleb Jago-Ward has returned home to take on the lead role of Galileo after his show-stealing performance in The Court Theatre’s recent production of Jesus Christ Superstar. Caleb sprang to attention on the The Voice Australia as a member of Team Delta. It was his performance of the Queen song ‘Somebody to Love’ that got all the judges on their feet and dancing during a blind audition.

Caleb will be joined on stage by Jane Leonard (Scaramouche), Naomi Ferguson (Killer Queen), Jack Fraser (Khashoggi), Aaron Boyce (Buddy), Catherine Hay (Oz), Tom Hart (Brit), an eight member rock band led by musical director Richard Marrett, and an ensemble of 26 singers and dancers, supported by six backing vocalists. Behind-the-scenes are hundreds of volunteers and theatre professionals who provide the crew, technical, costume, front of house, and management expertise needed to bring a show of this size to the Isaac Theatre Royal stage. “It’s our way to share our love of Queen,” says Showbiz president Markham Lee.

Naomi Ferguson as the dominatrix dictator, Killer Queen.

Naomi Ferguson as the dominatrix dictator, Killer Queen. (Image: Showbiz Christchurch/Danielle Colvin.

For the last two years Showbiz have partnered with Christchurch Pride to support each other’s events and shows. “This year – with We Will Rock You – it is appropriate that we have widened that partnership to include the New Zealand Aids Foundation,” says Showbiz marketing manager Wendy Riley.

Showbiz will be supporting the ‘Choice’ campaign to end HIV by donating to NZAF all profits from a WWRY ticketed backstage tour, collecting donations at performances, and making a donation on behalf of the WWRY company at the end of the season.

“Freddie Mercury was such an icon and an important part of starting conversations around HIV with the wider public,” says Jason Myers, CEO of the New Zealand Aids Foundation. “We’re very glad to have the support of Showbiz in raising awareness of, and funds toward, our goal of no new HIV transmissions in Aotearoa by 2025.”

The Showbiz Christchurch production We Will Rock You, the musical by Queen and Ben Elton is on at the Isaac Theatre Royal from 29 March to 13 April. Offical tickets only available from Ticketek.co.nz

Three big new shows, new seating categories and more affordable seats to feature in 2019 season

The launch of the Showbiz Christchurch 2019 season brings together three exciting new productions; a new ticketing structure which significantly increases the availability of entry level Showbiz tickets; and the continuation of the successful partnership with Christchurch law firm Saunders & Co.

The 2019 Saunders and Co Season begins with the New Zealand theatre company premiere of We Will Rock You, the musical by Queen and Ben Elton. The show features more than 24 of the biggest hits written by Queen and its legendary frontman, the late Freddie Mercury, set in a dystopian future world controlled by all-powerful global company controlled by the Killer Queen, where rock music is banned. Two young outsiders and a handful of rock rebels called the Bohemians band together and embark on the search to find the unlimited power of freedom, love and rock music!

Over 16 million theatregoers in 28 countries have rocked out to this unique musical based on the songs of Queen since it opened in 2002. The Showbiz production will be directed by Stephen Robertson with choreography by Gemma Kearney. Musical direction is by Richard Marrett and Matthew Everingham.

The mid-year concert season builds on the success of Broadway Hitmen in 2018 which featured some of the most popular tunes by musical hit maker Andrew Lloyd Webber.

The Music of Andrew Lloyd Webber takes the concert to a new level with fully staged and choreographed production numbers from blockbuster shows like The Phantom of the Opera, CATS, Joseph and the Technicolor Dreamcoat, Evita and more. Devised by Lloyd Webber, this will be Christchurch’s only chance to be part of an exclusive weekend concert season as the concert rights will not be available after 2019.

Ravil Atlas will be returning in the 2019 concert, this time in the role of Artistic Director.

The 2019 Saunders and Co Season finishes with one of the most daring theatrical spectacles of all time. Nominated for an incredible number of Olivier, Tony and Drama Desk Awards, Miss Saigon is the second massively successful musical from the creators of Les Misérables.

Based on the story of Puccini’s Madam Butterfly, Miss Saigon is an epic sung-through pop musical that is universal in its emotional power set amongst the turmoil of the Vietnam War.

Showbiz first staged the New Zealand premiere of Miss Saigon in 2009 to sold-out houses. New Zealand’s foremost directing duo Robertson and Marrett will come together again to bring Miss Saigon to new audiences.

Building on successful strategies developed in 2018 for increasing accessibility to Showbiz productions, the launch of the 2019 Saunders & Co Season on 30 November 2018 will see a new ticket pricing structure introduced which will double the availability of the lowest priced Showbiz tickets.

“Lowering ticket pricing where it counts most is a great way Showbiz, as a community theatre company, can help lower the barriers to audiences for our shows,” says General Manager Michael Bayly.

The two entry priced seating categories, B and C Reserve, have been merged together to create a new B Reserve but all at the lower C Reserve price. This has increased the number of the most affordable seats in the 2019 Showbiz Christchurch Saunders & Co season by almost 100%.
2018 Season Sponsors Saunders and Co are excited to continue to partner with Showbiz Christchurch and endorse these new initiatives. This partnership enables quality innovative productions to continue to be staged by Showbiz for local Cantabrian audiences at the Isaac Theatre Royal.

2019 Season discounts are available for all Premium and A Reserve seating purchased prior to 31 January 2019. Choosing a performance date several months ahead of a show can often be difficult so Showbiz Christchurch has also introduced the FlexiTicket voucher so patrons can take advantage of the generous 2019 Season discounts without having to commit to a performance date.

Showbiz Christchurch delivers another excellent show with Les Misérables

By Emma Dyer

The opening night of Showbiz Christchurch’s current production, Les Misérables, as per their usual practice was a treat for the senses. Stunning scenery combined with gorgeous costumes and excellent hair and make-up within the beautiful surrounds of the Isaac Theatre Royal. The singing and live orchestral accompaniment really makes you feel immersed in the story in a way that watching a movie just can’t rival. There is magic when you attend a live musical theatre performance, it heightens the enjoyment when you know that you are experiencing an incredibly well rehearsed but ultimately unique performance.

If like me you haven’t seen Les Misérables before you may have arrived at the incorrect conclusion that it was largely a tragedy. It is not. Don’t get me wrong, there is plenty of drama, injustice, and sadness in this scathing commentary on 18th century French society. However there are also plenty of hilarious pratfalls, raunchy gags, and utterly amusing scenes in the show. For those of you that have seen Les Misérables go see it again. This complex tale of love, redemption, sacrifice, and heroism has so much depth that there will always be new layers to unwrap.  Les Misérables is a 38 year old musical, based on the 1862 Victor Hugo book of the same name, and among other social injustice issues it perfectly captures the themes of the contemporary #metoo movement. The perfectly performed song “At the End of the Day” is the best example of this. An ensemble piece which explores general aspects of poverty, but then zeros in on women in the workplace. It talks of women in subordinate roles, who can’t afford to lose their jobs, and are at the mercy of a male superior who can fire them without a second thought if his lecherous advances are refused. Sound familiar?

Onto comedic relief, which is largely provided by the two very talented performers playing despicable but somehow likeable inn-keeper Monsieur Thénardier (Ben Freeth) and his wife Madame Thénardier (Rebecca Malcolm). Blackmailing, rotten souled, scoundrels through and through they mistreat and swindle all they come in contact with, but are still relatable. The brilliant acting of the pair, but especially by Ben Freeth, kept the audience riveted on their every devious and usually suggestive or inappropriate move.

The Thénardiers (Rebecca Malcolm and Ben Freeth) and Valjean (Daniel Belle).

The Thénardiers played by Rebecca Malcolm and Ben Freeth, and Valjean played by Daniel Belle.

Acts of heroism, redemption, and sacrifice are also abundant, even in the face of overwhelming misery. This is a story about doing the right thing, even when you don’t have to, even when it would be easy to find justification for doing otherwise. Several times we witness on stage the characters choosing to sacrifice their comfort and personal feelings. The Ten Tenors performer Daniel Belle is a powerhouse as he plays Jean Valjean, a former prisoner who ultimately devotes his life to making good. Solo mother Fantine, is hauntingly played by Kira Josephson (she was Elphaba’s wheelchair bound sister in Showbiz’s production of Wicked earlier this year) gave literally everything she had to give her young daughter Cosette a good life. You’d have to have a pretty hard heart not to feel her pain, as she is thrown in the path of the comically made-up ladies of the night, during the sarcastically sung “Lovely Ladies”.

Fantine played by Kira Josephson

Fantine played by Kira Josephson

Javert, the apparent villain of the show, is played by James Foster and he delivers a solid performance. This is a character with obviously conflicting emotions who believes himself in the right by virtue of his role as enforcer of the law. It is hard to condemn him for doing what he truly believes to be the right thing, even if his actions feel wrong to modern ideals. One of the things I most enjoyed about the show was how nuanced the story is, there is no definite answer of what is right or wrong. It makes for some seriously suspenseful scenes!

The opening night child performers (they alternate through the season) in the roles of Eponine, Gavroche, and Cosette were each spot on in their own way. The challenging solo of “Castle on A Cloud” was performed by Isla Palmer as Cosette and gave me goosebumps. Her voice was positively angelic.  An optimistic sounding song, heartbreaking in the context of her miserable situation, this young lady performed with a perfect wistfulness. Gavroche actor Duncan Price on the other hand delivered a comic performance worthy of an actor three times his age. These young actors have a great future in the theatre ahead of them.

Monique Clementson as Eponine. Photo by Danielle Colvin

Monique Clementson as Eponine.

There were numerous other outstanding performers incl Eddie Redmayne look-alike Fergus Inder playing young idealistic Marius. Adult Cosette is excellently played by Jacqueline Doherty, and it is a joy to see adult Eponine so sympathetically played by Monique Clementson. Jack Fraser as Enjolras as he once again acts the revolutionary (he was Che in last year’s Showbiz production of Evita).

Aside from excellent singing, dancing, and acting the spectacle was completed by a massive portion of the stage rotating at perfectly timed intervals, adding an extra layer of urgency and perspective to many of the scenes. The set design is incredibly realistic and elaborate, a highlight for me was the barricade made of chairs, tables, doors etc that all perfectly fit together to look like the unstable jumble of a real improvised urban barricade but was instead a carefully crafted set strong enough to hold a troop of performers as they clambered all over it.

The orchestra may have been hidden in the pit, largely invisible to the eye, but it sure made its presence felt. Knowing that the singers are being accompanied live by musicians of the highest quality makes you feel rather proud of our city that we can summon up such talented individuals night after night. The depth of sound that they achieve is really immersive too and adds to the feeling of being directly involved in the story unfolding on stage.

Teh Les Mis Orchestra: Back Row (left to right): Craig Given (Percussion), Matthew Everingham (Keyboard 1), Michael Story (Bass), Iain Brandram-Adams (Cello) and Iain Mclachlan (Trumpet/Flugelhorn). Middle row: Elvira Dommisse (Flute), William Ernest (Keyboard 2), Georgina Rees-Stevenson (Clarinet), Lucienne Shelley (Violin), Susan McKeich (Oboe), Pippa Mills (Viola), Julian Weir (Horn 1) and Brooke Prendergast (Horn 2). Seated: Thomas Eves (Trumpet/Flugelhorn), Richard Marrett (Conductor) and Scott Taitoko (Trombone). Not pictured: Sandy Radford (Viola).

The Les Mis Orchestra: Back Row (left to right): Craig Given (Percussion), Matthew Everingham (Keyboard 1), Michael Story (Bass), Iain Brandram-Adams (Cello) and Iain Mclachlan (Trumpet/Flugelhorn).
Middle row: Elvira Dommisse (Flute), William Ernest (Keyboard 2), Georgina Rees-Stevenson (Clarinet), Lucienne Shelley (Violin), Susan McKeich (Oboe), Pippa Mills (Viola), Julian Weir (Horn 1) and Brooke Prendergast (Horn 2). Seated: Thomas Eves (Trumpet/Flugelhorn), Richard Marrett (Conductor) and Scott Taitoko (Trombone). Not pictured: Sandy Radford (Viola).

It is plain to see that the work of so many people has not been wasted on this epic musical. Everyone involved with Showbiz Christchurch, at all levels, has clearly put their utmost dedication into this production of Les Misérables and it really has paid off. I suspect that most of Christchurch will want to see this show before it finishes in early October. This is definitely a FOMO-worthy event so buy yourself some tickets now, because this show is three hours (incl intermission) of action packed adventure-drama-comedy you won’t want to miss.

 

All photos by Danielle Colvin Photography

Performance Schedule for Young Cosette, Eponine and Gavroche

We know you have been wanting to know so here it is… the performance schedule for the actors playing young Cosette, Eponine and Gavroche in the 2018 Showbiz Christchurch Saunders & Co Season of Les Misèrables

Please note: Showbiz Christchurch reserves the right to amend this performance schedule should circumstances dictate a change.

Arawyn Allan-Griffiths

Arawyn Allan-Griffiths

Isla Palmer

Isla Palmer

Lavinia Sutherland

Lavinia Sutherland

Ethan Carranceja

Ethan Carranceja

Duncan Price

Duncan Price

Message from the President

Daguerreotype panorama of Paris, circa 1846

Ladies and gentlemen, it is indeed my great pleasure to welcome you to the show of tonight, Les Misérables

Victor Hugo’s literary masterpiece was set against the backdrop of the June Revolution of 1832 (not the big one of the 1790s where everyone got their heads chopped off). Although there is no direct translation of the title, it is generally translated as “The Wretched” and focussed on the impoverished in Paris at the time. It turned Hugo into a national hero and his funeral in 1885 resembled that of Eva Peron.

In 1980, the book was turned into a musical which swept France in typical Gallic revolutionary spirit, only to be pilfered by the English (much like Calais) into undoubtedly one of the greatest musicals of all time. Certainly, it is in my personal top five.

This is now the third time that we have stage Les Mis. The first in 1994 was quite a watershed moment for us, as it was the first to be produced under a national Consortium model which has been so successful since. We put 33,000 people through the ITR, which is, so far as we can determine, the third largest season in the theatre’s history. And judging by the public response to this production, Les Mis remains as fresh and vital as the first time around.

The on-going support of our numerous industry partners and business sponsors is vital and hugely appreciated, in particular our major funders the Christchurch City Council, the Rata Foundation, Mainland Foundation, Lion Foundation, Christchurch Music Theatre Education Trust and, in particular, our first annual sponsor, Saunders and Co.

Most importantly, we would like to acknowledge the ongoing support from you, the theatre lovers of Christchurch – our lifeblood.

Please enjoy the show.

Markham Lee
President

Panoramic view of Paris, France, c. 1846. By Friedrich von Martens.

New Showbiz Board Member Appointed

New Showbiz Board Member Tim Scandrett

Showbiz Christchurch President Markham Lee is pleased to announce the appointment of Tim Scandrett to the Board of Christchurch Operatic Inc.

Tim fills one of the two external directors’ positions on the Board of Showbiz. Those positons were created a number of years ago so that the Board of Showbiz could appoint from outside the organisation to complement the skill base of the Board or management.

“We have kept this position vacant for around a year whilst we found the right person to fill our needs,” said Markham. “Tim ticks all the boxes and then some. It is not usual for this position to be filled by someone with industry knowledge, but to have someone who also brings such industry experience is fantastic.”

Tim has a long association with the arts in Christchurch. He has been a performer, a producer and event manager for many shows and events throughout the city, and has run a successful event management company which worked with many leading stakeholders in the Christchurch entertainment industry.

He is also Chair of the Board of the Christchurch City Council venue management company Vbase, a board member of ChristchurchNZ, and a second term City Councillor for the Cashmere Ward.

“I’ve always had a passion for the arts, and regard Showbiz Christchurch as the leading light in the Christchurch Performing Arts arena,” says Scandrett.

Current Showbiz Christchurch board members are Markham Lee (President), Sarah Greenwood (Vice President), Diane Brodie QSM, Violet Blay, Nickie Wellbourn, Phillip Blacktopp and Tim Scandrett.

Showbiz Christchurch, founded in 1938, is a not-for-profit organisation incorporated society, with an elected board, small management team and a community of more than 1000 members and regular volunteers. As well as providing education and development for the performance community, Showbiz Christchurch is one of the leading producers of world class musical theatre in New Zealand and is a driving force for the industry throughout New Zealand.

The organisation is a significant contributor to the vibrant arts environment in Christchurch and a partners with the Christchurch City Council providing arts and entertainment programmes to meet their community arts and culture objectives. Showbiz is the primary annual hirer of the Isaac Theatre Royal and is the major client of several of the cities key theatrical technical supply companies.

First Audio Described Performance of Les Misérables in NZ

The 2018 Showbiz season comes to an epic conclusion in September with Les Misérables – the third staging of this popular musical in the organisation’s 80 year history, and also the third to be directed by leading NZ musical director Stephen Robertson.

As part of the inaugural NZ Theatre Month this September – a nationwide festival celebrating New Zealand theatre and the people involved in making it – Showbiz Christchurch is delighted to present their first Audio Described Performance and Touch Tour of Les Misérables. This is a ticketed event for a limited number of visually impaired patrons and their companions during a public performance.

Winner of over 100 international awards and seen by over 65 million people worldwide, Les Mis’ popularity is undisputed but Showbiz wasn’t sure if it would also be a good candidate for an audio described performance.

“We consulted extensively with the Blind Foundation to make sure ‘Les Mis’ would work for their clients,” says Showbiz’s Marketing Manager, Wendy Riley. “Foundation Recreation and Volunteer Coordinator Petronella Spicer is an avid theatregoer so we asked her to review the show and give us her opinion. Once we got the greenlight from her we felt confident in moving forward with the performance.”

NZ Opera have previously audio described their productions of Madam Butterfly and Tosca at the Isaac Theatre Royal. Showbiz Christchurch’s production of Les Misérables is believe to be the first musical to be audio described in the South Island.

Showbiz has engaged the services of a professional audio describer Rachel Sears who has been instrumental in championing accessible theatre. Sears will spend around a week watching rehearsals and preparing for the audio described performance on Sunday 23 September. She will describe the visual aspects of the show live to audience members fitted with headsets that enable them to also hear the live performance. The audio describing equipment is provided by Christchurch company BounceNZ who are industry leaders in theatre sound operation.

Theatregoers who attend the audio described performance will also be able to take a backstage ‘Touch Tour’ prior to the show, so they can understand the makeup of the set, props, costumes and the physical nature of the actors before they attend the performance.

Public Open Day

Showbiz also has plans to open up the doors backstage on Saturday 22 September so members of the general public can gain rare access and insight into what it takes to stage a large Broadway-style musical. Tour numbers are limited and tickets will cost $10, proceeds from which will go towards offsetting some of the costs of providing the Audio Described Performance and Touch Tour.

The Isaac Theatre Royal will also open the foyer from 11am to 4pm to view dynamic displays that chart the history of the theatre and some of the stage productions, and catch a glimpse of Les Misérables set from the auditorium.

“These initiatives are part of the journey to make Showbiz Christchurch productions more accessible to a wider audience” says General Manager Michael Bayly.

Audio Described Performance and Touch Tour of Les Misérables:

  • 4pm, 23 September 2018
  • Information and tickets phone Showbiz Christchurch (03) 377 7954.

Les Misérables Public Backstage Tour:

  • 22 September 2018. Tour times: 10:30am, 11:00am, 11:30am, 12 noon and 12:30pm.
    Each tour takes 45 minutes.
  • The Isaac Theatre Royal foyer will also be open from 11am – 4pm.

Les Misérables:

  • Opens 14 September 2018
    Isaac Theatre Royal