Minefields and Miniskirts packs an emotional punch that I was not prepared for. Having no knowledge of the play prior to attending Redcliffe Musical Theatre's performance of the play, other than it was the stories of 5 Australian women through the Vietnam War, I was not prepared for the effect that these stories would have on me.

For those who have been shielded from the horrors of war, this play will change you forever. For those who have experienced war firsthand, this play may stir emotions long buried and forgotten. Minefields and Miniskirts is a play about how the Vietnam War affected the lives of five very young Australian women: Margaret, the Vet's wife (Pauline Davies), Sandy, the Entertainer (Madeleine Johns), Kathy, the Nurse (Phillipa Bowe), Eve, the Volunteer (Deborah Rubendra) and Ruth, the Journalist (Jacqueline Kerr). Stirred by the excitement of adventure in a foreign country, four of the five women felt compelled to volunteer their services and one woman was left back in Australia after her husband of 3 days was deployed to the war.

Throughout the play the audience is taken on an (extremely) emotional journey that begins with the enthusiasm of the women as they pack their suitcases ready for their adventure, one which they were not really prepared for. The women, now middle-aged, each take turns in presenting their stories which are shared in snippets one after the other. These stories have been recorded from real life events by women who were a part of the Vietnam War. Some of their stories are shocking and harrowing and are delivered with such emotion that it's difficult not to be affected.

With a cast of 5 incredible women who remain on stage pretty much the entire show it is hard not to get swept up in their stories and their emotions as their stories began to unfold and you learn more about their life and the harrowing ordeals these women went through. You could be forgiven for forgetting that they were 5 actors on stage relaying words from a script as each performance given was so heartfelt and real it was as if they all had each endured their character's journeys themselves. The commitment from these incredible women to their roles exceeded all my expectations and we felt every word they spoke and as an audience laughed and cried along with them as their stories unfolded. I cannot pick a standout amongst the cast as they were all equally as incredible as each other.

The most surprising element for me throughout the whole show was the singing. As I was expecting to see a play I was taken by surprise when the show was intertwined with classic songs from the 1960s. The songs were all sung acapella by the 5 women which added even more emotion to their stories. I am not sure if it was scripted this way but if it wasn't it was a stroke of genius by director Richard Rubendra as I feel backing tracks would have detracted from the meaning these songs had to each of the characters.

The set was simple with each character having their own "space" designed to reflect their personality and their occupation. They did from time to time cross each other’s spaces which also reflected how these women would forever be connected through the experiences they each shared. The lighting, sound and costume design were simple but effective and added to the whole experience.
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This was an amazing production, with faultless, quality directing and acting. If you appreciate sheer quality, then this immensely moving play is for you. I'm certainly glad I experienced seeing the production of Minefields and Miniskirts. It's one of the reasons I love watching live theatre, to see actors bring stories to life before my eyes.
Minefields and Miniskirts is only one for one more weekend and as Redcliffe Musical Theatre is operating under Covid Safe guidelines their audience capacity is reduced so I suggest booking in early so you don't miss out on witnessing this incredible production firsthand.

 Chicago: High School Edition
Redcliffe Musical Theatre Youth and ROAR Academy
 
Before I say anything more about this particular production it's worth noting that officially the show is “Chicago: High School Edition,” so some of the more risqué references are toned down or excluded entirely. However, I personally think the show should just be called "Chicago" as this never gets in way of the core of the story, and Maureen Bowra's direction has effectively communicated the glamorisation of a scandalous lifestyle that makes “Chicago” a timeless narrative with a very talented cast of young performers.
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The show is full of all the famous upbeat toe-tapping hit songs we all know and love including "All That Jazz", "Cell Block Tango", "When You're Good to Mama", "Mister Cellophane" and "Razzle Dazzle", so don’t think because it's a high-school edition you are going to miss out on hearing these classics.

“Chicago” follows the sensational cabaret singer Velma Kelly (Giulia Bortolanza), who kills her two-timing husband and sister. Fortunately, Chicago's silver-tongued attorney, Billy Flynn (Jordan Smith), is lined up to defend her, thanks to the sassy prison Matron “Mama” Morton (Melanie Evans). However, when Roxie Hart (Audrey Rose) also commits second-degree murder, Billy takes on her case as well, leading Roxie into a media whirlwind and providing her with the fame she’s always yearned for.

From the opening number of "All The Jazz" I knew we were in for a treat. The set sparkled (literally with hundreds of lights on a backdrop curtain) and the ensemble worked their magic to engage the audience and set the scene for the rest of the show.

Obviously key to the success of a musical of this calibre are the vocals of the leads and I strongly believe this is why RMT's show soared. Giulia Bortolanza and Audrey Rose's vocals were outstanding and you would be forgiven for thinking that you were watching two leading ladies who had years of professional performances under their belts – not 18 years olds who each stole the show with their soaring notes and incredible stage presence.

I also must mention the two leading males in the show, Jordan Smith as Billy Flynn and Connor Chadwick as Amos Hart. Having such incredible leading ladies to perform alongside would not have been an easy task but these young men stood out in their own right. Jordan portrays the perfect smug conman and his vocal range equally matched his acting ability for such an iconic character. Connor Chadwick's rendition of Mister Cellophane was a highlight for me in this production and you couldn't help but feel sorry for him as the show went along and you learnt more of his back story. Again, the age of these young performers could have easily been forgotten as they both showed such maturity in their performances.

In fact the whole cast are young performers (bar the exception of Mama Morton) which makes this production even more incredible. I must make a special note of the ensemble in this show, both featured and junior, who all worked incredibly hard to add a certain flare to the show that was emphasised through the amazing choreography of Meredith Johns, especially "Cell Block Tango" and "We Both Reached For the Gun" which were two of my favourite numbers in the show.

The simple set and effective lighting are the perfect addition for the big songs and even bigger dance numbers. The costuming was also a standout for me in this show – it was glitzy, sparkly and was authentic to the era that "Chicago" is set in which really helped bring the story to life.

I definitely recommend you get along to see "Chicago" (I'm deliberately leaving out the High School Edition part) – it certainly won't disappoint and is a show not to be missed. It is showing for one more weekend only at the Redcliffe Entertainment Centre – 4 shows only July 12-14. 

​I have seen many different productions of Rent, both professional and amateur, in the past, including the movie, and it's definitely one of my favourite shows to go and watch for it's passionate and provoking story line. I was excited to see how the cast of Redcliffe Musical Theatre's production would approach the show and I have to say that they did not disappoint.

​​From the moment you walked into Theatre 102, which was the perfect venue to put on this production, I felt like I was transported back in time and living on New York's Lower East side along with Mark and Roger. The set was big and industrial and impoverished – everything a Rent set should be. Already knowing the story line I found it a great technique to leave the curtains open and allow the audience to get a feel for the set before the action started to allow us to immerse ourselves into the scene from the get go.
 
From the minute Mark (played by Jonathan Sweeper) walked out on stage with his camera and started telling his story I was captured. Every actor on that stage, including the ensemble, committed to their character 100% throughout the whole show and delivered some powerhouse performances worthy of any stage.
 
All the leads gave outstanding performances but for me special mention must go to Jesse Ainsworth (playing Roger), Zac Crisan (who played Angel) and Erickson Illustre (playing Tom) who stole a bit of piece of my heart as the show went on. Ainsworth's rendition of One Song Glory gave me goosebumps and I'll Cover You between Angel and Tom was a definite highlight of the show.
 
The relationships between all the characters were believable and there was genuine chemistry, compassion and maturity in their acting that meant you couldn't help but feel their emotions along with them. And, by the time we got to the I'll Cover You reprise I was sitting in the audience sobbing like a baby as I was overcome by emotion (as was the whole audience) – little word for the wise, if you go see this show pack tissues, you will need them.
 
Tying it all together was the musical direction of Helen Drew, and the amazing four piece band who we got to watch in action throughout the show. Having the band form part of the set simply added to the effect of a crowded New York City where creative artists are struggling to survive.
 
The lighting and costumes added to the story and the direction of Madeleine Johns gave the show a free-flowing more realistic feel, which really worked.
 
Do yourself a favour and go see this show before the season ends. It will make you think, it will make you cry but most of all it will remind you that there is "No day but today".
 
Review by Stacey Goodwin

DAY THREE – Sunday 17th September
Performance DAY !!
Our Mother Miriam is not well – the Indian dinner from Saturday night is cited as the culprit. We are all praying that she is well enough to perform this afternoon. So we have a very leisurely morning. Ashley and I eat brunch at a little place called Tomboys – AMAZINGLY good food and really healthy too.
Line run late morning – everyone seems focussed. Wait the Wellington WIND is back – not sure how Dr Livingstone’s hair will fare in the high wind and rain on the way to the theatre. We’re all packed and ready to go – props, costumes and scripts in our bags and off to the Hannah Playhouse. There are 4 plays in the afternoon session before us – 2 Youth plays and 2 open plays. One of the Youth plays I’ve seen before on the SE Qld Circuit – In the Tank. We are the last performance of the session just prior to the adjudication.
It’s a bit unnerving performing in another country without the comfort of all our familiar set pieces and props but as we get into costume things start to become more comfortable. The church bell tolls and we’re up – the 45mins flashes past and just like that it’s all over and lots of compliments for the performance. Sunshine Live and RMT – we have done you proud! I am sitting in front of one of the Youth cast groups – they loved the play, the suspense and tension.
It’s wonderful to hear the organisers talk about their plans for 2018 – announcing NZ Theatre month September 2018. I’m so impressed to see such collaboration and such a structured approach to NZ drama at a national level. And then the adjudication and even we are presented with a certificate – which is so thoughtful.
Casual dinner at the pub next door then back to our hotel for a celebratory drink and an early night.
We are all left thinking about the wonderful plays we have seen and the great friends we have made in theatre. What innovations can we take back to our own groups and region?

​DAY TWO – Saturday 16th September
The wind has gone and it’s a bright, clear day – perfect for a walk. We decided on a late breakfast and discovered a great local café which interestingly had the most amazing menu including “boozey shakes” like Silky Johnston (Dark Rum, Salt Caramel, Vanilla and Honeycomb). It’s way too early for a piratical diet but maybe we’ll get a chance to try one of these amazing drinks before we leave?
We have been enrolled into afternoon workshops at the Whitireia Performance Centre and Ashley and I head off to our “STAGE COMBAT” workshop as Richard heads off to Analysing the Text and Deborah joins Improvisation. Our workshop coach Allan Henry has worked on movies and TV shows as well as stage and takes us through how to stage fights and falls and stay safe while telling a story. My attempts at throwing him end in near disaster – as I’m falling and he’s falling all I can think of is how I can deliver my lines as Martha Livingstone from a wheelchair. But all’s good – I survive the workshop and we head back to the hotel to get ready for our evening at The Hannah Playhouse.
Richard has a gift from Sunshine Coast Live – a traditional gift from the Gubbi Gubbi tribe in Australia – to present to the Maori Elders to open the event and then we sit back to enjoy 4 of the finalist plays. There are 2 youth plays and 2 open plays. I am exceptionally moved by a play written by a NZ local called “Bittersweet Love” a script that I would like to be able to take back to our theatre and also enjoy “All My Love Paul” – which I have seen before on the SE Qld Circuit at the Sunshine Coast in 2015 and where it took out a number of awards. This production was also extremely well executed and enjoyable. It’s interesting to see that we share good scripts across the ditch.
 - Madeleine Johns.

DAY ONE – Friday 15th September
An early start for everyone off to Wellington on NZ 7914 – departing at 7.35am and arriving at 1pm. Landing at Wellington Airport is often very hairy and today was no exception landing into 90klm winds with the plane rocking from side to side - all the passengers cheered as we successfully touched down.
We arrived at our hotel The Apollo Lodge – a quaint hotel on the side of a steep hill – well after lunch and after settling in we set off to explore the city. It was incredibly windy as we walked along the main street noting the myriad of bars and restaurants and eventually settling on a café called ENIGMA where we enjoyed fantastic coffee and cake. A bit of shopping rounded out the late afternoon and then back to the hotel. We decided it was definitely too cold and blowy to walk back to the city so we opted for the local Thai restaurant a block away for dinner. We celebrated the start of our NZ adventure with a lovely dinner and a great bottle of Cloudy Bay sparkling and we are excited to anticipate the next few days of cultural exchange. We are really looking forward to seeing what the NZ Theatre Festival is like, the standard of the plays and understanding how they have managed to bring all their festivals under the one umbrella.
​- Madeleine Johns

Last night my daughter (9 years old) and I attended the Redcliffe Musical Theatre's community theatre premier of Wicked. We have been waiting (very impatiently mind you) for the show to open and it certainly did not disappoint. Wicked is our all time favourite musical and having seen it twice before at a professional level we weren't sure what to expect going into the theatre.  Well, from the minute we walked in to the theatre there was a buzz, you couldn't help but get swept up in the magic that is Wicked – the fire pits hanging from the lighting platform, the Oz "clock cogs" on the sound desk – we felt as though we were Ozians waiting to see the Wizard. The atmosphere was electric even before the curtains opened. And, when they did and the ensemble opened with No One Mourns The Wicked and Glinda flew in on her bubble we were spellbound right until the end.
We have to say that the cast for the show was incredible. Each and every member of the cast were on point and showed amazing characterisation and truly made you think you were in another realm in the Land of Oz. I was absolutely blown away when I found out that the average age of the cast was 23 years of age. They all looked like they were seasoned professionals on that stage. The whole cast was amazing and I don't think I could pick a standout if I tried – they were all equally spectacular.
Special mention must be made to the two leading ladies of the show – I am sure that both Dani Haraud (Glinda) and Katharine Vacca (Elphaba) knew what big shoes (or witches hat) they had to fill in their roles but they each brought their own little something to the characters and captivated our hearts from the moment they both appeared on stage. They took us on a journey with every witty line, every amazing note they sang and their duets together were just breathtaking – they made you feel all different emotions as their unlikely friendship grew and their road to Wicked and Good hit a few bumps along the way.
We have seen many productions at a community theatre level and I must say that the decision to remove the orchestra from the pit and put them in another room was fabulous. In a small venue like the Redcliffe Cultural Centre a pit orchestra can at times drown out the voices of the cast on stage but not last night – we heard every word they sang and said over the music - a brilliant decision by the production crew.
We loved everything about this production – the set, the costumes (which were fabulous and quirky – everything a show like this calls for), the orchestra, the flying effects, the lighting – all the different facets came together to produce a show that was "thrillifying" and left you wanting more. In fact we wanted more so badly we are booking tickets to go and see it again!
If you haven't got your tickets yet for this amazing production then do so quick before they sell out. Thank you Redcliffe Musical Theatre for another great night out.

by Rebekkah Law (Guest Blogger)

​Under the guidance of debut Director, Reagan Warner, and Intern Director, Matthew Bapty, Disney’s classic French fairy tale is brought to life. Beauty and the Beast tells the story of a beautiful and intelligent young girl, Belle (Georgia Burnett), who is considered a bit “odd” by her provincial village. When her Father (Tony Ahchay) is imprisoned by a hideous Beast (Lindsay Cooper) in the woods, Belle courageously takes his place as prisoner. The castle’s enchanted staff; Mrs Potts (Kristie Pitt), Lumiere (Liam Wigney), Cogsworth (Liam J. Kirkpatrick), Babette (Stephanie Inches) and Madame Le Grande Bouche (Maddi Coleman) are excited by the possibility that the young maiden will teach the Beast to love again, reversing an enchantment which is turning them into household objects and the Prince into a Beast. As time goes on, the magical rose marking the time left to break the spell loses its petals. It is only when the Beast allows Belle to leave the castle that the two discover their true feelings for each other and are able to reverse the spell.

Beauty and the Beast proved a tricky show to attempt with such a small, female heavy cast; however, the production team have showed discerning ability to find and work with cast strengths to make full cast spectacle scenes such as Belle and Be Our Guest work. I was impressed by the rich, full sound the cast produced in Kill the Beast, a credit to Musical Director, Lucas D. Lynch. Lynch’s orchestra, featuring Grace Lutheran College students, improved dramatically throughout the show, providing sublime accompaniment for performers. Leads Georgia Burnett and Lindsay Cooper both delivered powerful and moving vocal performances, shining in Home and If I Can’t Love Her, respectively.

Undoubtedly, Liam Wigney and Liam Kirkpatrick stole the show as Lumiere and Cogsworth. The dynamic duo had a great sense of camaraderie and excellent comedic presence, showcasing talent well beyond their years. Also of note was Timothy Kennedy’s “practically primeval” Gaston and Stephanie Inches’ saucy Babette- both performers perfectly portraying their Disney counterparts with flair. RMT newcomers Zachary Crisan (Lefou) and Maddi Coleman (Madame Le Grande Bouche) also performed admirably with near perfect vocal delivery. The ensemble sometimes lacked energetic presence; however, Jai Jackson and Georgia Gleeson lifted this energy with the enthusiasm and commitment they radiated.

On the technical side of things, Bruce Noy’s lighting design, whilst not always effectively operated, made use of a range of symbolic colours and spotlights to enhance the stage action, including the well-played transformation of the Beast. It would have been nice; however, to have drawn more attention to the rose, as this is central to story progression and increasing tension. I feel stage space could have been utilised more effectively, as action felt cramped at points- especially in Belle’s bedroom. Costumes were bright and colourful, giving the show the vibrant and story book feel it deserves. More work needs to be done on finding audio balance; the orchestra sometimes overpowered performers and the production was overall too loud for the audience. I was particularly impressed by efficient scene changes, the sign of a well prepared backstage team, headed by Brodie Jones, mentored by Christina Meredith.
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Congratulations should be extended to all the youths involved in the mounting of this production. Beauty and the Beast delighted audiences, bringing smiles to the faces of young and old. The production was by no means perfect but it did capture the essence of Disney wonderfully, an accomplishment all should be proud of.     ​

Everyone knows of the classic musical Wizard of Oz. It’s the musical that teaches us that you can’t take what you’ve got for granted; that over the rainbow seems like the place to be, but the view from down on the ground is just as wonderful. But I’m not here to talk about Dorothy and Toto, I’m here to talk about those Witches that live over the rainbow, better yet, in the wonderful village of Oz. And you know exactly what musical I’m talking about… Wicked!

I believe the key to developing a well-liked story is the message behind it. But what is the message in Wicked? Is it that we shouldn’t judge one another, or that there is two sides to every story or that love is blind? Well yes, it’s all of them. But what connects to me, is the underlying notion that if you’re passionate about something, and believe in it, then never give up!

Elphaba wanted justice and fairness towards animals. She wanted this so much that she let her image be tampered with just to stay faithful to what she believed in. To me, this is a powerful and meaningful message to all, but especially those involved in the arts. Every ‘musical theatre nerd’ would be able quote, sing and dance every line, lyric and move from Wicked. They know it well enough to know the plots, characters, accents, original casts and the meanings. Despite knowing and loving the message in Wicked, a lot of performers still end up giving up their art for various reasons. 

I get it, it’s hard, it’s costly and you need to be so lucky to land that role. But do you remember when you were little and you’d just sing or dance just because you loved it? You weren’t being paid and you didn’t even need to be good at it, but you still did it. As a 5 year old dreamer, that was something you were passionate about, so you just did it. My message is that you shouldn’t give up your passion, even if it's because your worried about your image, or what people say, or money. Do what you love, even if you turn green.

My name is Kaitlyn Maxwell, and I am so excited to be the intern director for Redcliffe Musical Theatre’s Queensland Community Theatre Premiere production of WICKED. With only two rehearsals down, there is some seriously beautiful sounds and such professionalism stemming from all of our cast. I’m excited to learn about what it takes to direct a production. Acting is something that I am very passionate about and so I’m hoping to help my fellow actors work on character development and nurture their growth. How does your character talk, walk, what are their traits, do they have natural or realistic gestures and expressions, etc? I want to help the actors get into great depths with their roles. My main forte is comedy, so I can’t wait to play around with some of the more comedic scenes. This cast has some great comedic timing already, so I cannot wait to work with them further. I hope to gain the skills to direct a show of my own someday, and I really am learning from the best.

I cannot wait to see how far this show goes, this show is already ‘Popular’ and will surely ‘Defy Gravity’. ‘Thank Goodness’ Redcliffe Musical Theatre is staging this production!