The Twelfth Night Theatre Club made headlines when it opened just before the theatre on 12 February 1971. The theatre club's "12 to 12 license was the first granted under provisions written into the liquor acts in a review last March". There was also significant for women in these new provisions, as suggested in "Sylvia's Woman to Woman" column: "The official opening of the Twelfth Night Theatre Club on Tuesday night was the most exciting event of the week. It's cozy and intimate and snugly positioned in the basement of the soon-to-be-completed Twelfth Night Theatre complex at Bowen Hills... It's a club where women share equal status with men (at least we've made it in one field, girls) and it's the first place I've been in where I've been able to front up to the bar, order a drink from Barman Eddy, pay for it myself and still feel feminine..." The Johnstones had loaned "magnificent pictures and sculptures" to the Club premises as an indication of their support. Twelfth Night Theatre opened with two productions: A Flea In Her Ear by Georges Feydeau directed by Joan Whalley and The Rose and the Ring based on the work of William Makepeace Thackeray. The latter production was directed by Bill Pepper, former Head of Voice at the National Institute of Dramatic Art, NIDA, Sydney. Noted designer, Gloria Ida Logan worked on the production. Among many other productions, a highlight was Guess Who's Coming to Dinner starring Frank Thring and Joan Whalley supported by a strong local cast. Whalley also directed the production. In June 1972, however, Marjorie's failing health forced her resignation from the Twelfth Night Theatre Committee. Despite this, she continued to support the theatre and its work, as evidenced in the 1994 memorial to her by later owner Gail Wiltshire. For years Twelfth Night Theatre had run a successful Junior Theatre Workshop, a training ground for many later successful actors. Tutors including such talent as June Finney, Judith McGrath and Carol Burns. The building of Twelfth Night Theatre at Bowen Hills was a brave and enormous undertaking. Due to the cost of the new building, Twelfth Night Theatre Company, which was initially established as an amateur theatre company under foundation artistic director Rhoda Felgate in 1936, was forced to turn professional in a bid to gain financial support from both the Queensland and Australian governments. However, sufficient funding was not