Cancellation of My Fair Lady
After much consultation and deliberation, the trustees of Showbiz Christchurch and Christchurch Music
Theatre Education Trust have made the extremely difficult decision to cancel our production of My Fair
Lady due to ongoing uncertainty around COVID-19 and the financial risks associated with delivering a
musical of this scale.
This is a devastating blow for our creatives, artists, contractors, volunteers and crew as well as our
stakeholders and loyal audience members and we are deeply saddened that we cannot bring My Fair
Lady to Christchurch.
All ticket holders are entitled to a full refund. More details can be found here. Tickets purchased online
by credit or debit card will be refunded in full and patrons do not need to take any action. Patrons
should allow up to 30 working days for the refund to appear in their account. Any questions should be
directed to email@example.com
We are looking forward to bringing the fabulous musical Buddy: The Buddy Holly Story to Christchurch
in September 2021 and continuing to deliver world-class musical productions for all Cantabrians in
years to come. Tickets for Buddy will be available from early next year.
Showbiz Christchurch and the Christchurch Music Theatre Education Trust
All Showbiz Christchurch tickets which have been purchased through Ticketek New Zealand (excluding ‘comps’ or tickets which have not been paid for) have the option of a refund. You can contact Ticketek by sending an email to firstname.lastname@example.org
- My Fair Lady: Tickets purchased online by credit or debit card for My Fair Lady will be refunded in full (including ticket insurance premium, if relevant) and patrons do not need to take any action. Patrons should allow up to 30 working days for the refund to appear in their account. If your credit or debit card has been permanently closed/cancelled or the card has expired, please supply us with updated bank details by sending an email to email@example.com in order to process your refund.If you do not provide the correct details, Ticketek will be unable to refund your tickets.Patrons who purchased tickets in an Agency will receive a full refund to a bank account, upon the provision of bank account details. You can provide these details by sending an email to firstname.lastname@example.orgPlease note for PCI compliance reasons we cannot accept credit card details via email. Please only provide bank details, or request a call back to provide credit card details. Please note there is currently a 5 business day maximum timeframe for callbacks.
- Buddy – The Buddy Holly Story: If you hold tickets to this show, you also have the option of having your tickets transferred into the new season when the show goes on sale early in 2021. If you have Ezy-Tickets, they will be reissued via email. If they are hard copy tickets, then you will need to collect new tickets from the Ticketek box office nearer the time of the event. It is important you hold on to your tickets for the time being as proof of purchase until new ones can be issued. The show is planned for September 2021 and this will be confirmed early in 2021.
What you need to do to choose this option: Nothing unless you wish to request a refund.
- Chess in Concert: has been postponed indefinitely so all tickets will be fully refunded.
What you need to do: Please contact TICKETEK by sending an email to email@example.com
As a Showbiz ticket holder, you also support our local arts sector and we very much hope this will continue. Please consider making a tax-deductible donation to help support Showbiz Christchurch, a registered charity, to continue to offer world-class musical theatre to Cantabrians.
FlexiTickets that have not yet been redeemed are now valid until 25 September 2021. This means you have until that date to convert them into show tickets for a performance of your choice. The same rules apply. If you have bought multi-show FlexiTickets you can convert them once the new season dates are announced. You do not have to convert them all at the same time.
What you need to do: keep hold of your FlexiTickets, they are still valid. You may also request a refund.
These tickets have been cancelled and will be reissued in due course for the new seasons when appropriate.
What you need to do: dispose of your tickets, they are no longer valid.
These will be refunded in full and you may rebook for any shows at your leisure after they go on sale. Unfortunately, the complexity of this ticket does not allow for an exchange.
What you need to do: Please contact TICKETEK Please contact TICKETEK by sending an email to firstname.lastname@example.org
Buddy – The Buddy Holly Story: If you hold tickets to Buddy, you have the option of having your tickets transferred into the new season of this show when the new dates are announced. If you have Ezy-Tickets, these will be reissued via email nearer the time. If they are hard copy tickets, then you will need to collect new tickets from the Ticketek box office closer to the time of the event. It is important you hold on to your tickets for the time being as proof of purchase until new ones can be issued.
What you need to do: Nothing unless you wish to request a refund.
Thank you for your support. We look forward to welcoming you back
If you enjoy new experiences then Way Off Broadway is the perfect evening of entertainment. For more info and to book tickets click here
What is the relevance of My Fair Lady to a modern audience?
My Fair Lady deals with a lot of universal themes – education, class structure, inequality of sexes. I think those are all very important issues that unfortunately are still relevant. The play is set in 1912, but even now in society women are marginalised and denied opportunities. I think it is inspiring to see how, through hard work and determination, Eliza can rise above her station despite everyone’s expectations.
In the film My Fair Lady it’s all happily ever after but the original George Bernard Shaw play Pygmalion is much more ambiguous – which way does this production lean?
Without giving too much away, I believe that our production is very conscious about giving Eliza the justice she is entitled to.
So is this a production for the post #MeToo age? Does that involve any text changes?
There are no changes to the original text, and I don’t believe there needs to be. The show is about a woman trying to break through a patriarchal and largely misogynistic society. It shows us a strong woman who is struggling to retain her own identity as she is surrounded by men telling her she must be different – and that’s where I think a misstep with the ending can make all the difference. I hope to portray an Eliza that demands respect and equality and refuses to settle for anything less, and I believe the text supports that.
In what other ways does the production take a fresh look at Eliza the would-be flower-shop owner/entrepreneur?
Eliza has always been a well-written and extremely strong character, so we have a very good foundation to start with. Something we’ve been conscious of is not indulging in romantic notions about her feelings towards Henry Higgins. I think people expect that romance element in a classical musical, but even when My Fair Lady was written in 1956 the form of the Broadway musical had begun to change. If you read the original script vs the published script, you see that the writers were constantly removing lines and lyrics that were too overtly romantic. The only love story in this show is Eliza’s love of learning.
George Bernard Shaw put it best in his epilogue to the original Pygmalion; “People in all directions have assumed, for no other reason than that [Eliza] became the heroine of a romance, that she must have married the hero of it. This is unbearable…the true sequel is patent to anyone with a sense of human nature in general, and of female instinct in particular.”
For any young Elizas in the audience, what do you hope they will get from the production?
This is a glorious role to play, and it’s one I’ve been dreaming about doing since I was a little girl. Even if you can’t put your finger on why, you know Eliza is different from your typical musical heroine. She isn’t driven by the love of a man; she doesn’t fall in love after one heartfelt glance and duet; she talks back; she doesn’t accept things just because she is told that’s the way they should be; she wants more; through modern eyes, she is a feminist – and she succeeds not by being ‘one of the boys’ but by embracing her femininity and softer side. It’s a very beautiful transition. I think that will be something that speaks to a lot of people in general, but hopefully a lot of young girls that will imagine themselves playing the role one day.
What’s one thing people probably don’t know about Eliza?
It’s not addressed really in the play because we jump in when Eliza meets Higgins, but I think it’s important to think about what Eliza has been through just to get to where she is at the start of the play. Her father is an abusive drunk, she never knew her mother and she can’t have had a happy childhood. But, she affords a place to live on her own, she is entrepreneurial and earns money selling flowers. The majority of poor women at that time would be earning their living on the streets in a much cruder way, and one of their only amusements would be over-indulging in liquor. Only about one in twenty females could read and only one in forty could write. Eliza proudly says that no one has ever seen a sign of liquor on her, and upon their first meeting she asks to read what Higgins has written about her (which showcases her literacy). Eliza is a success story before the musical even begins!
There are still plenty of fabulous costumes, though, right?
Oh, of course! Hats, hats and more hats. Those costumes from the original movie are so iconic, and Stephen Robertson has done a brilliant job interpreting them in his own way. At my first costume fitting I could look at my costume rack and I knew exactly which dresses would be worn in each scene. They synced up exactly with the images of Audrey Hepburn I had in my head. They’re truly stunning.
And are you enjoying singing the wonderful songs?
I sang “Wouldn’t It Be Loverly?” in my talent show when I was about ten years old, and the fact that I now get to sing that song on the stunning stage of the Isaac Theatre with a full, lush orchestra is just mind-blowing.
Songs are written in a way that match the voice of the character that is singing them. So as Eliza’s voice changes from Cockney to Standard British, I get to run the gamut of singing very character-driven, brash songs to these flowing, lyrical soprano pieces. It’s really extraordinary, and such fun to tackle.
How did you come to move from California to Christchurch?
I originally moved to Wellington on a working holiday visa. I stayed there for a couple years, and moved to Christchurch when I was cast in Legally Blonde at The Court Theatre. The talent level in Christchurch, of the performers and the production teams, was so high that I knew I wanted to make the move here permanent.
What have been some highlights of your theatrical career?
I got to spend several summers in Edinburgh performing in the Edinburgh Fringe Festival. We would do about twelve shows in rep, and any show you weren’t performing in you would be working on in some capacity. It was some of the hardest work I’ve ever done, and absolutely the most rewarding. Those summers instilled in me my work ethic and passion for theatre. The feeling of being on High Street surrounded by swarms of people just percolating with excitement about theatre is unrivaled.
What’s your go-to spot in Christchurch?
I would say my ideal evening would be dinner at Sakimoto (in Cathedral Junction), dessert at Rollickin Gelato and drinks at The Last Word (both on New Regent Street). And you know what, all of those, along with Casa Publica and Crowne Plaza (favourites with the Showbiz cast and crew) are very close to the Isaac Theatre Royal so maybe I’ve just made your pre and post-show plans for when you come to see My Fair Lady!
What’s your favourite way to spend a Sunday afternoon?
My favourite Sunday would be my partner and I taking a walk down by the river and following it into town and grabbing lunch and seeing a movie. Very relaxing, lots of fresh air and sunshine.
Who’s your personal hero?
My parents. They are both performers, and about a decade ago they moved to the Czech Republic to pursue some really cool theatrical opportunities. They absolutely made a name for themselves there and seeing them take such a big leap is partly what inspired me to move to New Zealand.
What’s your favourite guilty pleasure?
I grew up in Southern California, so where I come from it’s normal to love Disneyland as much as I do. But I’ve come to realize that my level of fandom is a bit more unusual this far abroad, so I’ve learned to keep some of my stronger feelings to myself. But I will definitely watch clips on YouTube of parades or firework shows from Disneyland. It just makes me feel like I’m at home and fills up my heart.
I can’t leave the house without …
My headphones. I don’t have a car, so I walk quite a lot or take the bus. I love having that time to listen to podcasts or discover new musicals. Or sometimes I’ve recorded myself saying my lines, so I can listen back to them and mumble along like a crazy person.
What would be your dream role or dream collaboration (with director, writer, etc)
Oh no, this is way too hard! I could come up with a million examples of roles I’d love to play (“Ulla” in The Producers, “Peggy” in 42nd Street, “Cinderella” in Cinderella), but the truth is that I’ve fallen in love a little bit with every character I’ve had the chance to play and I anticipate that will continue to happen.
That is how Sarah Buchanan describes taking on the role of Showbiz Christchurch president following the resignation of Markham Lee about three weeks ago.
Having a strong association with the company since 1989, Mrs Buchanan said taking on the role is an exciting new change.
Mr Lee has served as president of Showbiz on and off since 1990 with his association with Showbiz beginning in 1973 at age 11 when he performed in Oliver!
But it isn’t the only major change to the strong musical theatre company – which has been operating since 1938.
Paul Christ will take over as general manager in January following Michael Bayly finishing in the role in mid-September.
Mr Bayly, who served as general manager since May 2015, has gone onto become the national on-premise manager at Cassels Brewing Co.
Mr Christ has a wealth of experience in musical theatre having supervised, conducted and directed productions for Disney Theatrical Productions, Cameron Mackintosh and Vienna State Opera.
He said Showbiz offers the perfect opportunity to draw on his professional musical theatre experience along with his work in commercial and not-for-profit art sectors.
“I have travelled extensively for a large part of my career . . . it was time to come home and reconnect with family and put to use that industry experience to the advantage of the New Zealand performing arts sector.”
Mrs Buchanan has a long-standing relationship with Showbiz having served as vice-president for the past five years and been on the board since 2010.
She said her role as president will be made easy due to having a “marvellous” team and board she has been able to delegate tasks to take the pressure off.
“We are really lucky we have all these exciting shows coming through from the West End and we are able to stage them here which is fantastic,” Mrs Buchanan said.
In September, Showbiz announced a dazzling season to be staged at the Isaac Theatre Royal next year starting off with My Fair Lady from April 3.
In June, the music of Chess will be staged in concert with the Christchurch Symphony Orchestra.
The final show of the year to be staged will be Buddy – The Buddy Holly Story featuring the music of American musician and singer-songwriter Buddy Holly.
Mrs Buchanan said the talent in the city is phenomenal and Showbiz has fantastic creatives who know how to put on a show.
She has led an exciting career both on and off the stage including touring as a personal dresser with English singer Elaine Paige twice.
Although she has taken on a major role at the company, Mrs Buchanan’s days in the spotlight are far from over.
She will play the Queen of Transylvania and perform in the ensemble as part of My Fair Lady
Written by Georgia O’Connor-Harding
By Emma Dyer
Miss Saigon starts in 1975 at the very end of American involvement in the Vietnam conflict, the Fall of Saigon. If, like me, you go to see Miss Saigon with a preconceived idea of the show, prepare to have your expectations delightfully challenged. I had read and heard a lot about both the show itself and the history that inspired it. There are certainly some aspects of this, originally groundbreaking show, that can now be seen as problematic. However, Showbiz Christchurch’s production of it firmly addresses issues that a decade ago, when they last performed it, would not have been considered. One of the most valuable contributions to this show I’ve seen is the care and effort taken to talk with real people, refugees and veterans, who will see their own history somewhat reflected in this show. Context really is what makes Miss Saigon more than just a show, women like Kim still exist, and people continue to be displaced by war and injustice. Hagar New Zealand is an organisation that supports people who have suffered these traumas. After watching the show it was easy to see why Showbiz Christchurch have chosen to support the excellent work that Hagar does.
The three key roles are Kim (Tina Bergantinos-Panlilio), The Engineer (Marcus Rivera), and Chris (Jack Fraser). The amazing voices of these three lead performers propel this tragic story across the Isaac Theatre Royal. It is hard not to be drawn in. Without spoiling the plot for those who like to be surprised, the story centres around a young Vietnamese woman, Kim, who endures many of the different hardships refugees still suffer today. Orphaned and having fled her village to the big city of Saigon, she is desperate, and enters into work as a ‘bar girl’ in Saigon at “Dreamland”. On her first night as a bar girl, she meets a young American man, Chris. This meeting is to change their already chaotic lives forever.
One of the aspects Tina Bergantinos-Panlilio especially brings to this role is her ability to convey both innocence and strength at the same time. Her portrayal of Kim gives a completely believable voice to thousands of authentic Vietnamese stories. Having had the privilege to hear some of the stories told to Showbiz Christchurch, by now local Vietnamese women, I can say that her Kim does them justice.
Even a sad story needs comedy for balance, in this case, it often comes from the sleazy and shady character who owns Dreamland, “The Engineer”. It’s a tribute to Marcus Rivera that he can play a character who quite often behaves as in a morally reprehensible way but still comes across as likeable, even relatable. A line from the song “Backstage at Dreamland” sums up The Engineer perfectly, “shut up and put your hot pants on”. The fact that it barely raises an eyebrow among the girls he employs ought to make you thankful to live here in our usually more enlightened society.
Chris is best summed up as what happens when young men are sent abroad into a war of questionable morality. In casting Jack Fraser Showbiz Christchurch have hit perfection, he melts into the role and adds the humanity that could otherwise be missing from this tired and warworn soldier. That’s not to mention his always fantastic voice, every word sung is perfectly clear and filled with emotion and meaning.
The music in Miss Saigon is as epic as you’d expect from the talented duo who also created the musical Les Misérables. Something you won’t see from your seat in the theatre, but is of particular note, is that the score is so complex and detailed as to require not one but two percussionists to produce the wide range of distinctive musical elements that make this show feel so atmospheric. One of the best parts of the whole show combines both sound and sight. This occurs in the first act as the story transitions in time from 1975 to 1978, the orchestra masterfully provides the soundtrack to a regime change, while the communist army marches across stage, faceless. It’s hard not to be awestruck by this.
The set and costumes for a show are always one of my highlights. I like to be dazzled. The costumes for Miss Saigon are beautiful and cunningly designed to be as tasteful as possible, given the constraints of characters who sometimes have to wear “hot pants”. But it was Harold Moot’s set that most caught my imagination. There were many amazing pieces but perhaps the most interesting was an enormous American flag made from flashing lights, straight out of Las Vegas. Head of Lighting Darren McKane told me after the show that each of those hundreds of bulbs was a delicate (and hot) incandescent bulb that had been carefully saved from the last production of Miss Saigon a decade ago. Go and watch the show, if only to marvel at the effort involved in just this one feat of set construction.
An Eventful Trip Around South Vietnam
From an interview with Aircraft Engineer, Corporal Colin Creighton, No. 41 Squadron, RNZAF
The New Zealand Government was a reluctant participant in the Vietnam War, and it chose not to commit its air combat squadrons to the conflict. Instead, individual RNZAF pilots were seconded to other air forces. Sixteen helicopter pilots served with the Royal Australian Air Force in South Vietnam and flew troops, supply and gunship missions in support of ground troops. Fourteen fixed-wing aircraft pilots served with the United States Air Force as forward air controllers. RNZAF personnel also contributed to a Combined Services Medical Team.
The RNZAF contributed No. 40 Squadron to airlift NZ troops into South Vietnam on Hercules transporters, and No.41 Squadron flying Bristol Freighters on re-supply missions from Singapore to New Zealand military units and medical teams in South Vietnam. [i]
41 Squadron flights to support the medical team at Qui Nhon and the New Zealand Embassy in Saigon continued after the withdrawal of New Zealand military forces in 1971. At the end of March 1975, a Bristol Freighter was sent from Singapore to Qui Nhon to airlift out the five-member volunteer medical team. The last No. 41 Squadron flight out of the country departed on 21 April carrying 38 embassy staff and refugees.[ii]
Mainlander Colin Creighton, was an aircraft engineer corporal based out of Singapore with No. 41 Squadron RNZAF from 1971 to 1973:
“From Singapore, we covered the entire Southeast Asian Basin looking after all the New Zealand interests in the area, including Vietnam. I was up there from 1971 until halfway through 1973 when I returned to New Zealand. The squadron stayed up there until 1978 before it came home, it’d been up there for a little over 30 years non-stop.”
In 1971 41 Squadron transported five RNZAF helicopter pilots from Hobsonville to fly in Singapore to join the rotary-wing flight of No. 41 Transport Squadron. Three RNZAF Iroquois helicopters were also sent to Singapore in broken-down form by Hercules on September 25th and 26th. Colin was one of the ground crew who travelled with the pilots.[iii]
“Even back then Bristols were big ugly old things. Most of the helicopters could fly faster than we could. But they would get in and out of short strips and cart a five-tonne load, which is quite remarkable for their size and considering that they were built in 1945. They even took part in the Berlin airlift in the late 1940s. They are a well-proven old aircraft.
“I also knew the Iroquois very well, we had those on strength in Singapore. I spent a lot of time in the Malay jungle working with the helicopters up there on exercises, living in tents or in the jungle while you were fixing it.”
One of Colin’s ex RNZAF comrades, who served in Electrical/Avionics from January ‘67 to April ’87, recalled how one of his first jobs after completing his electrical/mechanics course in late 1968 was to “empty the bogger” of a Bristol after a Singapore to Whenuapai flight, “not a nice job”. “However, much more fun leaving one behind in Bangkok with Fuzz Freeman, Colin Creighton and Keith Reilly for a single man’s tour of Thailand in 1973.”[iv]
“40,000 Rivets Flying in Formation”
A typical 41 Squadron fortnightly resupply run was flight No. 5912 on 4th December 1972. The Bristol was loaded up at Tengah airbase in Singapore with supplies and crew, including two flight officers, a mechanical/aviation electronics operator, five service crew including one Flight Sergeant, two Corporals – one of which was Colin Creighton – and two ‘baggies’ or General Service Hands. The first stop was Butterworth in Malaya, then on to Saigon before they headed north to Qui Nhơn where the New Zealand Surgical Team was based. They returned to Saigon via the Republic of Vietnam Air Force (RVNAF) base at Nha Trang, then headed south to Cần Thơ where there was the US and ARVN (Army of the Republic of Vietnam) base. Their last leg was back over the South China Sea to Butterworth and finally back to base at Tengah. It was a three-day round trip. [v]
“I remember the Freighter as difficult aircraft to fly well … lacking pressurization, air conditioning, weather radar, retractable undercarriage or state of the art avionics. We cruised at 135 knots TAS, below 10,000 feet, sweating like pigs on the ground and freezing at cruise altitude.” wrote Flt Lt Peter Tremayne, who completed 28 flights with 41 Sqn RNZAF into or through Vietnam from 1965–1968 and 1975, and seven flights into Vietnam with 40 Sqn RNZAF from 1969–1971. The Bristol was often referred to as “40,000 rivets flying in formation”.
An Eventful Trip Around the Regions
“They [the Bristol] had three crew, and when we went on an away trip from Singapore we carried a staff of four servicing crew as well. This is the way I got thrown in the deep end several times. Being a single man, no married man wanted to go up to Vietnam, they would say “you’re single, you can go” and well I didn’t mind. I was young and silly in those days. I was 21 coming up 22 when I went to Singapore, and I was coming up 24 when I came home. I did another six months at Wigram, and then I got out of the Air Force.
“Generally, we’d leave out of Singapore. First, we would head to Malaya to stop off at a couple of army and airforce bases there. From there we’d head on to Bangkok where we dropped stuff off at the New Zealand embassy. Then occasionally we’d fly right up to Chiang Mai. From there we’d fly across the country, down to the base of Thailand again, to the area where the Bridge over the River Kwai film was set.
“We left Thailand and flew to overnight outside Phnom Penh in Cambodia, then fly the short hop into Saigon, landing there at about three in the afternoon. After we got everything sorted out, we went into town and were dropped off at our hotel by an army driver. The hotel was almost completely booked out by American troops on R&R, so we had a good night there. We weren’t allowed out of the hotel, but that didn’t stop us going to the local bar down the road. We just didn’t want to get caught by the local cops because they’d shoot on sight as the city was under curfew, so we had to be a bit careful.
“We got picked up in the morning and taken back out to the Saigon airfield [Tan Son Nhut Air Base] where we were dropped off at the big US Navy mess [US Army, Navy, Airforce and Marine corps were stationed there], which held about 300 people having breakfast. Everything was on display, including ice cream and jelly, and it only cost twenty-five cents.
“Six of us sat down to have breakfast when an almighty bang went off behind us. A soldier over the other side of the room jumped up and yelled: “get out of the room, there’s incoming!” Three hundred odd people just disappeared, leaving us Kiwis sitting there thinking “what the hell’s going on?” We thought we’d just finish our breakfasts and as we got stuck in another bang went off. This one was much closer and it made the fried eggs on my plate flip up and land on the table! Well, we thought “OK, what do we do now?” There was no-one else around, so I got up and went and helped myself to more fried egg, sat down and we all finished our breakfast!
“After breakfast we went outside, there was nobody around, so we jumped in the Land Rover and drove around the corner to the passenger terminal where we were to meet the aircrew. From there we could see everything that was going on on the airfield. The rockets started coming in right about then, in groups of three or four, and there were about a hundred during the morning, finishing at 11 am. Just as we would think “thank god, it’s all over,” the next lot started coming in so we had to stay put. All the windows in the passenger terminal were perspex and they were shaking in and out by about 150mm with each big bang.
“When we went outside there were pieces of metal lying around the building. We had to do a good clean around the area, pick up the shrapnel and make sure none was trapped in the aircraft, and there were no holes in it. The shrapnel was still blue with heat when we picked it up. When we finally got out of there, as we taxied out we could still see the smoke from rockets going off in the distance.”
“From Saigon, we went up to near Cam Ranh Bay [Vietnam], which was a big naval base, then inland from that was an American airfield and we landed there. As we taxied in we could see there was an aircraft with a group of Viet Cong prisoners getting ready to be taken out. We went around the corner and parked, and as we were changing over our cargo, a machine gun on the hillside opened up – a big 12.7 mm Chinese or Russian machine gun.
“It was spraying bullets around – it wasn’t personal at that point – and I got the task of sitting on top of our aircraft and shooting back. After about three magazine-fulls the machine gun stopped, a gunship had come in from one side of the hillside and levelled all the trees with its mini Gatling guns. During that time I heard one round go past my ear with a hell of a bang, that’s when you know its getting personal!”
Stuck in the Middle – the Risk of Friendly Fire
“We very hastily got out of there and flew back to Saigon, with just one more stop to go. We changed over freight and passengers and heading back down south. We flew at about 11,000 feet over the ground, so we’re out of the way of machine gunfire. As we were heading south, I looked up through the observation dome in the back, and I could see three contrails about 30,000 feet up. I said to the pilot over the intercom “be aware that we’re flying under a B-52 flight.” And he said, “don’t look down then will you.” Which I did and here are three big long, thick strips of jungle erupting underneath us. Each B52 aircraft was carrying 120 – 500 pounders, they’re big bombs, One of those would level about six houses and we went diagonally straight through the middle of it. We didn’t see them until they’d blow up underneath us, but we could feel the impulse of them as we flew over top!”
The Yanks weren’t too Impressed
“We got down to our last point, which was just a dirt landing strip. As we came in over the end of the runway, there was an almighty bang from under the freighter as we went over the fence line. We taxied in, I jumped out, and everybody came out and went looking around the aircraft expecting to see a big hole in it, but there was nothing. However, underneath the plane there were four aerials with a big lead between them, one had come adrift and slapped down under the belly of the aircraft. The Americans had put a pole up, with what looked like a big soccer ball on top, like a homing beacon to guide aircraft onto the runway. They’d put it up the day before, we took it off the next day, the Yanks weren’t too impressed!”
The Fall of Saigon – NZ Moves out
At the beginning of April 1975, New Zealand Embassy officials cabled Wellington and reported that the situation in Saigon was deteriorating rapidly. Norman Farrell, the New Zealand Ambassador, recommended the immediate evacuation of non-official New Zealand citizens. The civilian medical team had already been evacuated from Qui Nhon at the end of March.
Over the next two weeks the Singapore-based 41 Squadron RNZAF, which sent a detachment to Saigon’s Tan Son Nhut airport, made a series of flights to deliver humanitarian aid and evacuate New Zealand citizens and various South Vietnamese nationals granted ‘unofficial’ refugee status. Some of these refugees, dependents of New Zealanders living and working in South Vietnam, were evacuated without the approval of their government. The last of these flights, on 21 April 1975, carried Ambassador Farrell and most of the remaining staff of the New Zealand Embassy. [vi]
“The enemy was coming in over one side of the airfield as our aircraft got out the other side. They had the New Zealand High Commissioner and his staff and equipment onboard these two aircraft, and they just got out of there by the skin of their teeth. This was our New Zealand High Commission that had been based in Saigon. These planes were loaded up with his staff, all their official documents and secret gear, some of their Vietnamese staff and anything else they needed to rescue. They were on the two aircraft with their aircrew and servicing crew on board. They operated out of there for about a week before that final day carting stuff out. But the very last flight out was the High Commissioner and his staff, and they were just getting out of there by the skin of their teeth. The old aircraft [Bristol Freighter] stood proud in the time it was up there.”
[ii] https://en.wikipedia.org/wiki/No._41_Squadron_RNZAF. Accessed 1 August 2019.
[iii] The Auckland Star Sep 1971 https://www.flickr.com/photos/gcdnz/32583591944
[iv] Bobajob, ex RNZAF Electrical/Avionics, Jan67 to Apr87. Accessed 31/7/1019
[v] Scotty’s List (Version 3) All Flights into Vietnam by 41 Squadron RNZAF 1 December 1962 – 21 April 1975 – Issued Oct 2017. Accessed 1 August 2019.
With special thanks to Colin Creighton for sharing his memories.
They’re called Bui-Doi
The dust of life
Conceived in Hell
And born in strife
They are the living reminder
Of all the good we failed to do
We can’t forget
Must not forget
That they are all our children, too
Miss Saigon 
Mỹ lai ‘Amerasians’
The children of American GIs and Vietnamese women
“Wisps of blonde can be seen bobbing and darting among the rivers of black haired women and children in the street markets.
“Round blue eyes peer out of thatched huts. Along dusty paths, some of the faces that beam up at strangers are black, others are fair-skinned.
“Contrary to some expectations, most of the mixed children have been accepted and cherished by their Vietnamese mothers and grandmothers, and many also by aunts and cousins and others in remote branches of their extended families.
“Relatively few have been totally abandoned to orphanages, and only a small number are available for adoption.
“The trouble comes outside the protective circle of the family, for when those youngsters step into the streets, enter the schools and seek new friendships, they are often met by teasing and ridicule from both adults and children.” 
New York Times reporter David Shipler wrote this from Saigon in 1974, the year following the signing of the Paris Peace Accords on 27 January 1974, heralding the suspension of all U.S. combat activities. The Vietnam War, as it was known in the US, had become a political hot potato. American people were protesting. Troop morale was generally low. Drug use was prevalent. In Vietnam, “drugs were more plentiful than cigarettes or chewing gum” and attempts to suppress use was “almost completely ineffective” and would come only with the withdrawal of the American troops, a US congressional report concluded in 1971. 
The standard length of service in Vietnam was one year. The best morale-builder of all was that soldiers could actually count the days ‘til they returned home.
Bụi đời– the dust of life
Left behind after the removal of the US troops were one million orphans who had grown up to have families – and lose them – during the war. Included were those known as Bui Doi – the dust of life. Some 8000 of these were the offspring of American GIs and Vietnamese mothers. Many were harassed, many were left to run the streets. These children were generally rejected by Vietnamese society, yet for years, Vietnam would not let them out, and America would not let them in.
“They are of mixed race in an essentially homogeneous society, without a father in a patriarchal society, reminders of what is seen as lack of morality on the part of Vietnamese women and of a time in Vietnamese history that is not exactly viewed with joy and happiness.” 
Estimates vary as to exactly how many ‘Amerasian’ children there were in Vietnam. “The US Government has alluded to about 8,000, while the Vietnamese say there are in excess of 10,000, maybe up to 15,000,” said human rights lawyer Sanford Mevorah in 1985. At the time, only 131 had made it to the US.
“The US and Vietnam had agreed that the children, born of American servicemen and Vietnamese women during the Vietnam War, were a US responsibility, but the lack of diplomatic relations between the two countries meant there was no machinery to bring them to the US.” 
Colour Makes a Difference
The illegitimate ‘negro-fathered’ children were doubly disadvantaged. New Zealand paediatrician Dr. Margaret Neave worked for the Save The Children Fund with the NZ surgical team in Vietnam, based at the Qui Nhon hospital in South Vietnam.
When asked about their future, she spoke plainly:
“Their future? None I can see.
“At the moment, most are protected in orphanages. But later on . . . well, they won’t get jobs. Discrimination, you know.
“The Vietnamese are disgusted by them.”
Dr. Neave estimated there were “some thousands” of these children throughout Vietnam – most of them left behind in moves to adopt orphans. She did not criticise the Vietnamese attitude towards these children, and said, “You need a few generations of food in your belly to afford generosity.” 
One former Vũng Tàu bar girl had three half-black children by three different GIs. The soldiers have all gone home, but she has “no regrets” she said, “Because at the time I
like to have money.”
“It was a happy life. A house to live in, you like with one American, that American gave you money and bought you things. With all that money it is you who made the decision to work that way or not. And if you happen to have a baby because you’re not careful, that’s your bad luck”. 
Generally speaking, the different children, the half-white as well as the half-black, were “doomed to ostracism.”
“But, of course, it is worse for the Afro-Asian children. Like many other people, the Vietnamese are very conscious of colour,” Mcrovah said in a 1985 interview, appealing to the United Nations for help to break the political impasse that existed preventing ‘Amerasian’ children from being brought to the United States from Vietnam.
“They consider dark skin undesirable, associating it with the Moi, or savages, the tribal people who occupy their mountainous rain-forest country. To them, light skin colour – as long as it is without the taint of foreignness – is highly prized.”
It wasn’t just the Americans who had left their mark on a generation of Vietnamese children.
“In 1954, when the French military forces withdrew in defeat from Indo-China, they left behind an estimated 10,000 illegitimate Eurasian children and a scattering of Afro-Asians in Vietnam alone.
“By the end of 1967, nearly 4000 of these children were repatriated to France under that Government’s policy of recognising citizenship regardless of legitimacy”.
“Saigon’s streets, as well as the streets of Da Nang, Tuy Hoa, Bien Hoa, Vung Tau, and other cities occupied by foreign troops in Vietnam, are crowded with homeless children who beg, shine shoes, pimp, sell themselves, wait around for a chance to steal.
“These boys and girls have nothing, and nobody cares. Cuts, scratches, and abrasions on their dirty bodies become infected and scarred. Their flimsy cotton shirts and shorts go from dirty to filthy, and then rot into tatters until the children beg or steal money to replace them.”
“Every war produces illegitimate children, but under some conditions, the children are fairly easily absorbed into their society. How many illegitimate children were born in Europe during World War II will never be known, because, except for the half-Negro children, the youngsters’ parentage has gone generally unremarked.
”As the illegitimate boys of Vietnam have little choice but to beg or steal, so the girls mostly become prostitutes.” 
 Miss Saigon music by Claude-Michel Schönberg, lyrics by Boublil and Richard Maltby, Jr, adapted from the original French lyrics by Alain Boublil.
 The GIs’ children grow up (1974, September 11). The Canberra Times (ACT: 1926 – 1995), p. 15. Retrieved July 25, 2019.
 McDonald, Ian. “Over half of American Army have tried drugs.” Times, 29 Apr. 1971, p. 1. The Times Digital Archive, Accessed 27 July 2019.
 UNITED NATIONS Help urged for Vietnam’s ‘children of the dust’ (1985, November 8). The Canberra Times (ACT : 1926 – 1995), p. 5. Retrieved July 25, 2019.
 “All Children Must Have A Future“” The Australian Women’s Weekly (1933 – 1982) 9 August 1972: 6. Web. 28 Jul 2019.
 The GIs’ children grow up (1974, September 11). The Canberra Times (ACT : 1926 – 1995), p. 15. Retrieved July 25, 2019.
 The forgotten waifs of the war in Vietnam (1969, December 17). The Australian Women’s Weekly (1933 – 1982), p. 68. Retrieved July 25, 2019.
The jarring reality of life as a bar girl during the Vietnam war
The French had designed Saigon to accommodate 300,000 people. By 1972 there were over three million people in the twenty-one square miles of Saigon proper, and another million on the outskirts. It had become the most densely populated city in the world. South Vietnam had transformed from 90% rural to 60% urban. “The French left three permanent features; boulevards, bread and brothels,” wrote Anthony Carthew for the Canberra Times in 1966.
During the American Vietnam war, the bars in central Saigon were the haunt for thieves, confidence men, beggars and gangs of children who’d rob soldiers as they left. Brawling was common.
“Le Thi Xuan, at 16, has already had considerable experience peddling cigarettes and prophylactics at the entrances to bars where Americans congregate, and she is just beginning to work as a bar hostess, Xuan asserts in her rapid pidgin English, ‘Someday of the war in Vietnam I get American husband, go States. I got American boy-friend work ship … all time go Manila come back Vietnam. He make beaucoup [big] money. He talk maybe pretty soon we marry, go States.’
“For all Xuan’s confident assertion, there is apprehension in her voice. She knows it is unlikely she’ll marry an American. She’s much more likely to bear an illegitimate child who will inherit her kind of life.”
“In order to enter the society of bar hostesses, she lies about her age. The police make a half-hearted attempt to see that the hostesses are at least 18, but abuses of age limits and activities far outstrip enforcement.” 
Many of Saigon’s bar girls came from villages in the Mekong Delta – the vast maze of rivers, swamps and islands at the southern tip of Vietnam. Others were war widows with young families to support.
“One feels sorry, of course, for these men, many of whom die from wounds because their slender bodies have so little resistance to infection and shock. But their widows are in need of a deeper sympathy. In some cases, Vietnamese-fashion, they have to support the entire family, ranging from grandparents to obscure, penniless cousins. When her man is killed, a Vietnamese wife is paid one year’s salary by the army – about $220 (£110) for private. After that – nothing.
“If she is pretty she can become a bar girl and hope; to make enough money to open a little street stall in the market, which is every bar girl’s ambition. If she is not pretty, and does not have the education which would win her one of the few jobs open to women, she has no alternative but to become a prostitute.” 
All were ostracised from ordinary Vietnamese society. Yet their weekly earnings were reported to be more than that of South Vietnamese cabinet ministers.  “A prostitute earned as much as $180 per month. The average government civil servant earned roughly $30 a month, and even cabinet ministers and Assembly members had fixed salaries of $120.” 
Australian troops were considered much tighter with his money than their American counterparts. They were nicknamed ‘Cheap Charlies’ by the bar girls who had a little ditty they used to sing to the tune of ‘This Old Man’:
Uc Dai Lot. Cheap Charlie
He no buy me Saigon Tea .
Saigon Tea cost many, many P [piastres, the local almost worthless Vietnamese currency]
Uc Dai Lai, he Cheap Charlie.
Uc-da-loi, Cheap Charlie,
He no give me MPC, [Military Pay Certificate]
MPC costs many many P,
Uc-da-loi he Cheap Charlie.
Uc-da-loi, Cheap Charlie
He no go to bed with me,
Bed with me costs many many P
Uc-da-loi he Cheap Charlie.
Uc-da-loi, Cheap Charlie,
Make me give him one for free,
Mamma-san go crook at me,
Uc-da-loi, he Cheap Charlie.
Uc-da-loi, Cheap Charlie,
He give baby-san to me,
Baby-san costs many many P,
Uc-da-loi, he Cheap Charlie.
Uc-da-loi, Cheap Charlie,
He go home across the sea,
He leave baby-san with me,
Uc-da-loi he Cheap Charlie
Saigon Tea bars were usually narrow places, with a bar and stools along one side and small padded booths on the other. The manager was called ‘Papa -san’ and he looked after the cash register. Middle-aged women, called ‘Mama- san’, kept the girls moving.
Once inside, the customer would sit at the bar and order a drink, paying around $2. The local brew, Ba Muoi Ba (33), was best avoided. It was low quality, unfit for human consumption according to the Commonwealth Scientific and Industrial Research Organisation (CSIRO), and rumoured to contain formaldehyde – but it was cheap! 
About 20 seconds after sitting down at the bar, a girl would sidle up and introduce herself to the GI. The dialogue was unromantic and, to the uninitiated, incomprehensible:
“Hey, you. You No 1 (the best). Come here, sit down’, the bar girl begins as she spies a GI.
“How long you come Vietnam? How long you stay? Where you work? Work Bien Hoa, huh? You kill beaucoup VC (Big Vietcong) you No 1. You buy me one Saigon tea? I love you too much.”
If he showed interest, she would ask him to buy her a glass of Saigon tea, a one-ounce glass of almost colourless liquid costing $2 and tasting faintly of mint.
“With it comes a paper tab in two parts. The girl tears off her half of the tab, for which she will later collect $1.”
“By the time the customer has bought two glasses of Saigon tea, and had two drinks himself, he can be persuaded to sit in one of the padded booths. Once there, he is kissed, cuddled, tickled and petted — and encouraged to buy Saigon-tea — until he either regains his senses or runs out of money. Generally, these two things happen to him at the same time.”
“A tea-bar girl is slim, dark and fascinating. Her age is between 17 and 30. Working eight hours, she can earn up to $40 a day. Often her earnings provide food and lodging for her large refugee family who would otherwise be destitute.”
Deluxe class joy-girls
Some bar girls will promise anything to sell another glass of Saigon-tea with no intention of giving the customer anything other than attentive company and superficial affection. Others, however, are prepared to go further. “They’ll bat their dark eyes like a schoolgirl and ask the GI: ‘How much you pay?’” 
From dingy back street bars to the ‘the de luxe class joy-girls’ on the verandah of the Continental Palace, ‘a relic of the French Colonial days’, bar-girls were everywhere.  There were between 100,000 and 300,000 girls who were prostitutes, bar girls and temporary wives of GIs, heavily dependent on the American presence. 
“The dignity of Vietnamese women has also suffered tremendously during these five, six years since the arrival of the American troops. The women who have been driven from the countryside because of the heavy bombing have to flock into the towns, can’t find any jobs, and so have to prostitute themselves. It’s the only way left to them—they are sold as sex objects. The families with daughters who have gone to that point suffer. Even the husbands have to shut their eyes when their wives have to prostitute themselves in order to feed the children. And it’s moral torture for the husbands”, said Madame Van of the People’s Liberation Government. 
With the wartime boom in prostitution, the courts no longer committed a girl solely for being a prostitute, as “that would be like trying to stop a tidal wave”, said Sister Mary, an Irish nun who ran a centre for delinquent girls in Vinh Long, South Vietnam, 50 miles southwest of Saigon. Girls from ages 10 to 18 were admitted to the centre founded in 1958 by the regime of Ngo Dinh Diem (1954-63) after a crackdown on vice. The girls had often been involved in more serious crimes, such as kidnapping other girls. Sister Mary pointed out some of the girls and spoke matter-of-factly:
“There’s Lisa, she’s 10. She was working in a brothel in Saigon. She still has marks on her body.”
“That is Rose — she used to steal 10,000 piastres ($A40) a day.”
“She [16-year-old Margaret] was kidnapped, drugged, and put to work in a Saigon bar”.
The Economics of War
When the Americans withdrew from 1974, a significant source of income left with them. The new government found themselves responsible for “an unknown number of prostitutes, drug addicts and other social misfits whose existence had until then depended on the corruption generated by rich foreigners.” 
The Communist government claimed 350,000 prostitutes were left behind and set about a programme of ‘re-education’ establishing the ‘Centre of Rehabilitation for the Dignity of Women’ in Saigon. Between 1975 and 1985, over 14,000 women in the newly named Ho Chi Minh City were sent to these centres.
Sister Françoise, a French Roman Catholic nun and government advisor, spoke of the prostitutes as generally simple peasant women driven into the trade by the economics of war. The majority were common women forced to migrate into the city either because of the fighting or bombing or through the Strategic Hamlet Program, the plan by the governments of South Vietnam and the US to combat the communist insurgency. 
Like the American resort at Vũng Tàu where ‘boom boom girls’ serviced the needs of GIs on leave, the French, after 100 years of occupation, also had some experience in this area:
“After a 56 day siege beginning March 13, 1954… French colonialism died in Indochina after almost 100 years, in one of the 20th century’s crucial battles.
“There were women then, too, inside the French encampment. … There were also two ‘bordels mobiles de campagne’, French mobile field brothels, with 18 Algerian and Vietnamese girls. When the siege ended, the puritan Vietminh sent the Vietnamese girls and their madame for ‘re-education’, as happened to Saigon bar girls after 1975. Yet now, my hotel, like others in Dien Bien Phu, had its own willing courtesans in a large annex marked ‘Thai massage’. Puritanism has gone the way of state central planning as the free market flourishes. So much for ‘re-education’,” wrote James Pringle for Reuters in 2004. 
“In the French as well as in the American period, the ‘Flower Boats’ or sampans plied their trade. They were frequently family operations, with the daughter(s) working as prostitute(s) while the brothers pimped on dry land. Some of the larger junks, however, were professionally run, often by the Saigon underworld. Prior to 1975, statistics from the Ministry of Society of the Saigon government reported about 200,000 professional prostitutes. In Saigon alone in 1968, there were about 10,000 professional prostitutes. By 1974, the figure had reached 100,000.” 
Sightseeing and ‘sweet nothings’
When the American military withdrew from South Vietnam and Thailand, the extensive sex industry created for the rest and recreation of the troops had to find new markets. The Asian sex industry turned to other countries to find ways to continue to profit from the estimated 100,000 prostitutes who had been recruited to meet military needs. One route to profit was though sexual tourism. 
By the end of the 20th century Vietnam’s southwestern neighbour, the impoverished, corrupt and lawless Cambodia, had become the centre of the child sex trade – a favourite destination for sex tourists.
Poor Vietnamese parents caught up in the country’s thirst for consumer goods, sold their children for as little as £200, condemning them to torture, humiliation and disease in neighbouring Cambodia. They were joining the children from India, Thailand and the Philippines working as prostitutes in Asians squalid brothels.
“When I first met one of these children, 12-year-old Dah Vit, it was clear she had been tortured. Cigarette burns scarred her rest and hands. We were sitting in the back room of a brothel a few miles outside of Phnom pen, the Cambodian capital.
“‘She’s a virgin, fresh, no diseases’, the mother-san, the brothel’s madam, told me.
“Dah Vit’s mother, Trang, believe she had sent the Dah Vit and her other two daughters into the restaurant trade ‘for three months’. The money they would earn would help the whole family.”
“When they come home we will all be better off. Maybe, one day, we will even have a television,” Trang told reporter Nick Daniel in 1996. 
Ten years later, Deborah Orr reported in The Independent that Vietnam had become a primary source and destination country for forced labour and sexual exploitation.
“Criminal gangs operating in Vietnam are known to recruit children promising jobs or marriages abroad, or to purchase them from guardians eager to be rid of them.”
Hagar New Zealand is a charitable organisation which supports the recovery of women and children who have survived severe human rights abuse in Vietnam, Cambodia and Afghanistan. They said of Vietnam:
“Vietnam remains a significant target for traffickers. Vulnerable women, men, and children are at risk of sex trafficking and forced labour. Women are trafficked as brides to neighbouring countries, as well as further afield, with incidents of trafficking that reach as far as Europe.” 
The willingness for families to pimp their own daughters and for women to seek out prostitution as a career has been attributed both to greed and capitalism on the one hand, and poverty and war on the other. Combined with the ancient ethnic value called ‘phuc duc’ or merit-virtue- which can be created by women and handed on to future generations – and filial responsibility, these may help explain why prostitution was so prevalent during the Vietnam War.
The Tale of Kieu, a significant work of Vietnamese literature, is a poem which recounts the life, trials and tribulations of Thúy Kiều, a beautiful and talented yet tragic young woman, whose story is used to illustrate phuc duc. Like Kim in Miss Saigon and tens of thousands of other Vietnamese bar and ‘boom boom’ girls during the Vietnam War, she sacrificed herself to save her family.
Within the span of hundred years of human existence,
what a bitter struggle is waged between genius and destiny!
How many harrowing events have occurred while mulberries cover the conquered sea!
Rich in beauty, unlucky in life!
Strange indeed, but little wonder,
since casting hatred upon rosy cheeks is a habit of the Blue Sky.
 The forgotten waifs of the war in Vietnam (1969, December 17). The Australian Women’s Weekly (1933 – 1982), p. 68. Retrieved July 25, 2019.
 Weary Vietnam no future (1966, February 23). The Canberra Times (ACT : 1926 – 1995), p. 20. Retrieved August 3, 2019.
 ”Clean-Up Drive in Central Saigon Shifting ‘Tea’ Girls to Outskirts.” International Herald Tribune [European Edition], 14 Mar. 1972, p. 5. International Herald Tribune Historical Archive 1887-2013,
 http://www.sexquest.com/ccies-kinsey/vn.php.html Accessed 30 August 2019.
 The delights of Vung Tau (1972, March 9). Woroni (Canberra, ACT : 1950 – 2007), p. 7. Retrieved July 28, 2019.
 Tea for two in Saigon (1969, October 20). Papua New Guinea Post-Courier (Port Moresby : 1969 – 1981), p. 12. Retrieved July 25, 2019.
 GI JOE LOSES HIS HUMOUR Vietnam- the very unfunny war (1966, November 3). The Canberra Times (ACT: 1926 – 1995), p. 27. Retrieved July 25, 2019.
 “Vietnam: the empty promises.” The Listener, 6 Feb. 1975, p. 162+. The Listener Historical Archive, 1929-1991, Accessed 27 July 2019.
 South Vietnam (1970, May 5). Tharunka (Kensington, NSW : 1953 – 2010), p. 10. Retrieved July 25, 2019.
 Steinberg, Marsha. “Women of the South.” The Second Wave: A Magazine of the New Feminism, vol. 2, no. 2, 1972, p. 9+. Women’s Studies Archive. Accessed 28 July 2019.
 Indo-China’s first year of peace (1976, May 18). Papua New Guinea Post-Courier (Port Moresby : 1969 – 1981), p. 5. Retrieved July 28, 2019.
 “Prostitutes Rehabilitated.” International Herald Tribune [European Edition], 29 Jan. 1976, p. 2. International. Herald Tribune Historical Archive 1887-2013. Accessed 6 July 2019.
Becker, Elizabeth. “French Nun Helping Vietnam to Rehabilitate Prostitutes.” International Herald Tribune [European Edition], 29 Nov. 1976, p. 4. International Herald Tribune Historical Archive 1887-2013, Accessed 28 July 2019.
 Pringle, James. “Au Revoir, Dien Bien Phu.” International Herald Tribune [European Edition], 1 Apr. 2004, p. 9. International Herald Tribune Historical Archive 1887-2013. Accessed 29 July 2019.
 http://www.sexquest.com/ccies-kinsey/vn.php.html Accessed 30 August 2019.
 ‘Terror and Coercion: The Female Sexual Slave Trade‘ 1979. 1979. TS Grassroots Feminist Organizations, Part 1: Boston Area Second Wave Organizations, 1968-1998: Women Against Violence Against Women Records, 1972-1985. Northeastern University. Women’s Studies Archive. Accessed 27 July 2019.
 Daniel, Nick. “Children sold into sex slavery on Street of Flowers.” Sunday Telegraph, 1 Dec. 1996, p. 26. The Telegraph Historical Archive. Accessed 27 July 2019.
 Orr, Deborah. “The cruel hypocrisy that demonises the world’s most vulnerable people.” Independent, 19 Aug. 2006, p. 11. The Independent Digital Archive. Accessed 27 July 2019.
 https://hagar.org.nz/vietnam/. Accessed 28 July 2019
 From Lê Xuân Thuy’s (1968) Kim Vân Kiều, second edition, page 19
Cold nights and warm theatres go together like the costumes and music of an Andrew Lloyd Webber musical – you know it’s something very special (possibly technicolor) and you know you’re going to be entertained. Showbiz Christchurch is bringing Broadway sizzle to Christchurch on a cold weekend.
The mid-season concert that is now a fixture of the Showbiz calendar highlights the ‘best bits’ of a certain composer’s body of work – this time, no less than the modern master himself, Andrew Lloyd Webber. There are 24 songs included, from Lloyd Webber’s best known (and some less well-known) musicals, including The Phantom of the Opera, Cats, Whistle Down the Wind, Song and Dance, Evita, Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, Sunset Boulevard, Aspects of Love, and Starlight Express. Performers include 14 soloists, the Christchurch Symphony Orchestra, and a dazzling array of dancers and chorus members.
It’s a busy night. With so much happening on stage and such a huge body of work to cover, the pace is frenetic (and at times, humorously, the dry ice is a little overwhelming!). While the concert is once again very enjoyable, the nature of these ‘best bits’ shows also presents some challenges that I’m sure provides plenty of discussion for musical aficionados afterward. Are we in agreement about which is the ‘best bit’ of each musical? Is some context lost in translation when shifted into a concert setting, for example, does everyone understand why that cat just flew up into the sky? Does everyone know that those last people were trains? For the unfamiliar, the songs and the non-singing soloists have the potential to feel a little confusing.
But no matter – we’re here for the music, the singing, and the dancing, and we are not disappointed in this regard.
Highlights of the night are many but have to include Jack Fraser, James Foster, and Amanda Atlas. Fraser and Foster had several outings each, but Fraser’s outing as Judas in ‘Heaven On Their Minds’ was quite brilliant – a powerhouse performance. James Foster gave a beautiful, tender performance of ‘Music of the Night’ from Phantom of the Opera. Amanda Atlas only needed one song to make an impression on the evening – she delivers ‘With One Look’ from Sunset Boulevard with emotional depth and masterful vocal command.
Ashley Brown’s cello solo in the ‘Variations Theme’ from Song and Dance was mesmerizing. What an inspired inclusion, and a virtuoso performance.
Other worthy mentions include Donna Alley as a suitably outrageous ‘Prima Donna’, and Michael Bayly in various roles, most memorably for his sassy singing (and costume) as King Herod in ‘Song of the King’. He also provides a solid counterpart to Chuana McKenzie’s Evita numbers, my favourite being ‘I’d Be Surprisingly Good For You’. Jenna Baxter (‘Whistle Down the Wind’) and Karen Tewnion-Smith (‘Unexpected Song’) each had marvelous moments. The Children’s Chorus were delightful, particularly melting our hearts in ‘No Matter What’.
The dances elevate the evening. From the slinking entrance of the Jellicle Cats to the sultry tango that echoes McKenzie and Bayly’s courtship in ‘I’d Be Surprisingly Good For You’, they provide context and atmosphere in the concert setting.
Bravo to Richard Marrett and the Christchurch Symphony Orchestra. Theirs is, as audiences have rightfully come to anticipate, a reliably fabulous performance of unrelenting musical magic.
Overall, this is a very enjoyable, easy way to spend an evening. We have some outstanding talent in Canterbury, and these concerts are a very special opportunity to showcase their skills. Showbiz Christchurch is once again shining the light towards the end of a wintery tunnel with their mid-season musical offering.