As Showbiz continues to investigate all possible options to confirm and put on sale the new season dates for My Fair Lady and Buddy – The Buddy Holly Story below are your options for securing a refund, exchange or donating the cost of your ticket.
Due to the uncertainties of Covid-19 and the multi-layered ticketing complexities, we would like to thank all Showbiz Christchurch ticketholders for their understanding as we navigate this process as smoothly as possible.
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 call Ticketek on 0800 842 538 or contact them online as outlined below.
- The instructions for requesting a refund are near the bottom of this page.
- There are also other options listed below so please take the time to carefully read those that apply to you. Unless you specifically request a refund, the appropriate option below will apply to your tickets.
- My Fair Lady and Buddy – The Buddy Holly Story: If you hold tickets to either or both shows, you also have the option of having your tickets transferred into the new seasons of these shows when the shows go on sale in due course. 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. 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 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: Nothing, you will automatically be issued with a refund.
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What you need to do: dispose of your tickets, they are no longer valid.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: Nothing, you will automatically be issued with a refund.
My Fair Lady and Buddy – The Buddy Holly Story: If you hold tickets to either or both shows, you have the option of having your tickets transferred into the new seasons of these shows when the new dates are announced. If you have Ezy-Tickets, these will be reissued via email. 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.
Ticketholders wanting a refund should submit a request from the Ticketek website or email firstname.lastname@example.org. Tickets purchased by credit or debit card will be refunded in full (including ticket insurance premium, if relevant). Please allow up to 30 working days for the refund to appear in your account after the refund has been requested.
If you do not provide the correct details, Ticketek will be unable to refund your tickets.
- If your credit or debit card has been permanently closed/cancelled or the card has expired, please email Ticketek with updated bank details in order to process your refund.
- Patrons who purchased tickets in a Ticketek agency using cash or EFTPOS will receive a full refund to a bank account. Please email your bank accounts details.
- Please note for PCI compliance reasons Ticketek 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 five business day maximum timeframe for call backs.
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.
Thank you for your support. We look forward to welcoming you back
Another great year has almost flown by and what an interesting one it has been. Three spectacular productions that brought over 25,000 patrons into the theatre at a time when Christchurch most needed some fabulous entertainment and escapism.
In the final quarter of the year, both Michael Bayly and Markham Lee resigned from their roles as General Manager and President, heralding in some new and exciting changes ahead of us!
I’m absolutely thrilled to have stepped up into the role of President, leading Showbiz into 2020 and beyond. We have a fantastic season ahead of us in 2020, packed with beautiful and brilliantly written music, including the groovin’ in your seat kind. I’m looking forward to working with you all, onstage and off, or seeing you in the audience.
We Will Rock You
“With the stunning success of Showbiz Christchurch’s recent productions, it is no longer extraordinary to see three tiers of musical theatre fans rise to their feet in a standing ovation.”
Ruth Agnew, What’s Up Christchurch
Showbiz rocked the first part of the year with the NZ theatre company season of the Queen & Ben Elton musical We Will Rock You. The timing for this show couldn’t have been better, hot on the heels of the multi-award-winning film Bohemian Rhapsody.
Despite opening shortly after the tragic events of 15 March, and dealing with upgraded security measures at the theatre, the rock concert nature of the show drew a new audience of theatregoers who wouldn’t have otherwise come to see musical theatre. We were also able to offer First Responders from the Civil Defence, NZ Police and Medical Staff the opportunity to enjoy a night off and see the show.
The Music of Andrew Lloyd Webber in Concert
“Showbiz Christchurch is bringing Broadway sizzle to Christchurch on a cold weekend.”
Kate Divett, Backstage Christchurch
The mid-year concert was a roaring success due to the creativity and commitment of the creative and production team, the talent of the performers, and the enormous popularity of Andrew Lloyd Webber. This was the first time in recent years that Showbiz has worked alongside the CSO which helped increase the reputation of the concert. It is a combination we will be working with again in 2020.
“Miss Saigon is one of the iconic shows of its generation and this production goes right to the heart of it..”
Patrick Shepherd, The Press
Ten years after our premiere, the creative team breathed new life into the beautiful yet tragic story of Miss Saigon.
It’s a show not without its challenges. Miss Saigon required a strong cast of Asian performers which allowed us to cast the net wider and engage more deeply with the local and international Asian communities. We even had reviewers and patrons come from Australia specially to see the show, such is its popularity amongst the Filipino community.
Miss Saigon also provided opportunities to tell the stories of those most connected with the show including our local Vietnamese community, NZ Vietnam Vets, and Hagar NZ who are involved in supporting the victims of human trafficking.
The principal cast and heads of departments hosted a backstage Touch Tour for audience members with visual impairments. This was organised by our Marketing Manager and Blind & Low Vision NZ (formally Blind Foundation). It was a huge success, audience members came specially for it, some from as far away as Blenheim. They were able to touch pieces of costume and props, walk on the set, and meet the cast before they attended a performance.
Miss Saigon may not have been the sell-out show we hoped for, but those who attended were not disappointed. Miss Saigon raised Showbiz’s standing as a world-class producer of musical theatre.
Show Companies – Cast, Crew and Production Teams
Showbiz has over the past years built up an astounding number of skilled volunteers and theatre practitioners in all areas of our productions. I want to specially acknowledge their work, particularly the teams of volunteers – there would be no shows for you to enjoy without them! We appreciate their time, skills and knowledge. The Showbiz Board and Management team look forward to having them involved in the 2020 season and beyond.
Markham Lee, Past President
As mentioned earlier, Markham Lee resigned as Board President in October. Markham has been President on and off since 1990 but has been an active member since 1973. As President he has lead us to new heights with his drive, support and passion for theatre, putting in long hours and dedication. I’d like to take this opportunity to thank Markham. I know that he will continue to be a supportive member, on and off the stage, with his family. His son, Matthew, has already appeared on stage in a Showbiz production.
Michael Bayly resigned in August as GM and moved into a new position with Cassels & Sons Brewing in September. Michael joined us in 2015 after Phantom and has worked hard to successfully raise the profile of Showbiz. His love for theatre, along with his passion and drive, saw us through some of our most successful seasons. We thank Michael, and we wish him all the best in his new role.
This brings me to the next piece of excellent news, the appointment of Paul Christ as our new General Manager. Paul has a wealth of international experience in the musical theatre industry having supervised, conducted and directed for Disney Theatrical Production, Cameron Mackintosh and Vienna State Opera. He comes to us from the Auckland Philharmonia Orchestra after completing his contract as Operations Manager. We are fortunate to have him leading the Management Team from 8th January 2020.
A recent article printed in the Star about these changes included this quote from Paul:
“Showbiz offers the perfect opportunity to draw on my professional musical theatre experience along with my work in the commercial and not for profit arts sectors. I am thrilled to join the Showbiz team and work alongside the Christchurch Operatic Inc. Board, to ensure the organisation continues to consistently produce shows to the highest international standards and offer opportunities for local performers, musicians and stage crew to engage in a passion for performing.
I am looking forward to not only growing the overall commercial performance and success of the organisation but building on Showbiz’s reputation as an industry leader and continuing to offer the community of Christchurch a world-class musical theatre experience.”
My Fair Lady: 3-18 April
What an exciting line up for 2020 we have for you to participate in!
Opening on 3rd April is the beautiful classic My Fair Lady, with a strong cast in place and under the direction of the dynamic team of Stephen Robertson, Richard Marrett and Glen Harris.
A magnificent set designed by Harold Moot is currently under construction. The costumes, created initially by Stephen for another production, are being refurbished at Showbiz and will undoubtedly prove to be a hit.
When My Fair Lady was first performed in Christchurch in 1962, it set the record at the Theatre Royal, running for 171 performances to an audience of 200,000.
The 60th Anniversary of My Fair Lady was celebrated in 2016 with a production directed by Julie Andrews. A Broadway revival followed in 2018 and received a Tony Awards nomination, and won three awards for “Outstanding Revival of a Musical”.
We are delighted to bring a stunning new production of this “musical of all musicals” back to Christchurch in 2020.
Chess in Concert: 19-21 June
Written by ABBA songwriters Benny Andersson and Björn Ulvaeus, with lyrics by Tim Rice, Chess in Concert brings all the intrigue, drama and romance of the musical together in concert with the Christchurch Symphony Orchestra for a three performance season.
In a celebration of immerging new talent, we have appointed Jeremy Hinman who will make his Showbiz directorial debut. Ravil Atlas returns in the role of Musical Director. They will be supported by the same strong production team that brought to the stage the successful 2018 and 2019 concerts.
Buddy –The Buddy Holly Story: 11-26 September
It’s only been eight years since we staged Buddy – The Buddy Holly Story in the Aurora Centre at Burnside High School shortly after the earthquakes. We always thought this show was well worth a more significant season, so we are excited to be restaging it at Isaac Theatre Royal.
This hugely successful rock musical will have the audience out of their seats and grooving in the aisles.
We welcome Sarah Brodie back as Director and have Richard Marrett leading the band as he did in the 2012 season.
This annual season of informal open mic concerts staged at the NASDA theatre continues to be well-loved by audiences for its intimate and supportive nature. It remains a popular way for Showbiz to support new talent to perform before a friendly audience, and for seasoned performers to try new material. Peter Hewson has taken over as MC from Michael Bayly, and the concerts continue to be one of the most delightful and inexpensive ways to sample a wide range of show music and new talent.
A huge thanks to NASDA for their contribution and on-going support for Way Off Broadway.
Led in 2019 by Kate Taylor, Vocal Studio continues as another vehicle for nurturing singing talent. We thank Kate for the time and music skills she brings to the classes. These are always well attended and we will be continuing them for 2020.
With our 2020 Season already underway, we also have begun exciting new plans for 2021 and beyond. The Board have been focusing on the Future Shows Programme for the next two years, and already have firm plans in place as well as concepts for the latter part of the programme. So watch this space!
As Showbiz does not receive any central government arts funding and relies heavily on ticket revenue to fund the production of our shows, we immensely value our partnership with core sponsor Saunders & Co who have agreed to continue as season sponsor for 2020.
Without the support of Saunders & Co, the ticket-buying public and funders like the Christchurch Musical Theatre Trust, Christchurch City Council and Mainland Foundation, Showbiz would not be in a position to offer world-class Broadway-style musical theatre to local audiences. We thank you wholeheartedly for your continued support.
In turn, it is essential Showbiz actively participates in supporting local musical theatre talent, and contributes to the development of a vibrant performing arts community, both locally and nationally.
In 2020 we will seek to grow our relationships with other arts-related organisations including:
- the Isaac Theatre Royal, Ticketek NZ, 4th Wall Theatre Services, The Light Site, Bounce NZ and Scenic Solutions who are cornerstone partners in delivering our 2020 season;
- NASDA and The Court Theatre, whose contribution to the NZ performing arts is unparalleled;
- Arts Access Aotearoa, so we may continue to work towards making our productions more accessible for all musical theatre-lovers.
I’ve been working in the Showbiz office most days since taking on the President’s role, and so I get to see the hard work and dedication that Wendy Riley (Marketing Manager), Sandi White (Admin Manager) and Johnny Morris (Production Manager) put into making our organisation work smoothly. Their knowledge has been a great support to me in this new role. Plus it’s also been a treat to work in an office and not standing behind a chair with scissors in hand (or a wig).
I must also acknowledge the excellent support of both Sue Beardsley and the Board. Sue has been in most days supporting me with preparing budgets and various other tasks, and the Board have been most supportive in their availability to handle the different tasks that need attention. A big thank you to everyone!
That wraps up another show-stopping year! On behalf of Showbiz Christchurch, I wish everyone a very Merry Christmas and a wonderful New Year.
President, Showbiz Christchurch
Updated 20 March 2020
After much consultation and deliberation, Showbiz Christchurch has made the difficult decision to postpone our 2020 Season. During these unprecedented times and in accordance with the ongoing updates from the Ministry of Health and from the Prime Minister, our primary consideration is the health and wellbeing of all those associated with Showbiz as well as with everyone that attends our performances.
However, we are delighted to announce that new dates for The My Fair Lady and Buddy – The Buddy Holly Story seasons will be announced in due course. Chess in Concert will hopefully be rescheduled to dates in the future.
Our hearts and thoughts go out to the people affected by this unparalleled event and we sincerely appreciate the support, time and passion you have all given to the Showbiz community.
We are excited that the Right Holders and the Isaac Theatre Royal have facilitated the postponement of My Fair Lady and we look forward to once again delivering a world-class musical production for the Christchurch community.
Kia kaha; stay strong
President, Showbiz Christchurch
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
Miss Saigon is one of the iconic shows of its generation and this production goes right to the heart of it.
Those who love the musical will not be disappointed and those who don’t know it, well, this is a great opportunity to do so.
This realistic and gritty rendition has all the familiar ingredients the audience hangs out for, from the appearance of Kim’s cute son to the visual spectacle of the helicopter.
As always, the Showbiz company worked hard and gave it their all, but the show’s success rests on the three main leads and especially the engineer.
Marcus Rivera was excellent as the sleazy, self-serving manipulator making a buck amid the chaos. Rivera made the transitions of the character credible with the punchy The Heat is On in Saigon and If You Want to Die In Bed, the menacing The Morning of the Dragon and a tantalisingly ironic The American Dream. Rivera relished this role, singing with an easy confidence and plenty of cheeky sauce.
As the thwarted couple, Tina Bergantinos-Panlilio (Kim) and Jack Fraser (Chris) dug deep in delivering two very powerful performances. I particularly enjoyed I’d Give My Life for You (Kim) and Why God Why? (Chris) and the tenderness they both showed in The Last Night of the World and Sun and Moon. Throughout they were superb and their intensity never let up.
The scantily clad girls were called on to do some fairly brazen things which they did, bravely and unselfconsciously. While the cast definitely looked the part and were robust when aggression was needed, on occasion they didn’t sound quite so secure with occasional weaknesses showing up in exposed passages, the wedding ceremony (Dju Vui Vai) a case in point which came across a tad strained.
The male chorus in Bui Doi, however, was as stirring a rendition as you could hope to hear. It also saw James Foster (John) at his dramatic best, hectoring from behind a lectern while heart-wrenching images played out on the screen behind him. Hannah Austin (Ellen) shone in an impassioned account of Now That I’ve Seen Her and her duet with Kim (I Still Believe) was similarly strong. Daniel Aguilar did well as the aggrieved Thuy, suitably officious and volatile.
The band was solid, a nice touch having the live sax player in the club but I did feel some of the ethnic samples were overly prominent in the mix at times. Sets were deceptively simple but very effective, the lighting effects bringing warmth to the sun, an eerie menace to the advancing mob and gravitas to Ho Chi Minh’s statue. The flags, political imagery and garish lights in The American Dream were also neatly offset by the monotone flats and hints of bamboo.
The cute “aw” moment of Tam’s reveal usually gets more of a reaction but curiously didn’t. However, look out for Thuy’s ghost in the second half – it is surprisingly chilling.
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
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.
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 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.
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.”