Kill Sister, Kill! A Musical – Crew Spotlight – Director Jamieson Child

Jamieson Child is co-writer and director of the show. Here he shares his thoughts on the process so far.

This is my third time directing this frigging show. You think I’d be sick of it by now. I’ve worked on numerous projects in the intervening years since my brother [Drac] and I first put on the earliest version of this show back in 2010 when it was nothing more than a very serious joke–but whether I’m acting, writing, or directing some other thing, I just keep coming back to Kill Sister, Kill!. I think we’re a little obsessed with our own idea and get too much joy freaking out an audience with new challenging material, mostly using humour and shock. I hate watching a lot theatre, but there is so much potential in the live format to grab people in their seats and give them a good shake, so this is me being a pissed off spectator wanting something entertaining out of the experience if I’m going to leave my house and spend more than $20.

A lot has happened since that first show and this time we’ve managed to assemble an amazing crew of very talented artists with a new perspective. Bygone Theatre helped us get the show back on its feet. Finding Mike Zahorak (Composer) and David Backshell (Lyricist) has launched us deeper into the depravity with more juice than ever before. They gave us the creative power we needed to expand and hear this story in a whole new way; now proudly, a full-length 90 minute musical. *Tears of joy.

However, this is my first time not acting in the show. I leave the character of Ronnie in better hands with Tom [Finn] anyway. So it goes. Taking off my performer cap was easy when he walked into the audition room. That’s how you know when you’re making the right decision out of a hard one…when the answer simply lands in your lap; it’s just following your instinct. I’d love to say that’s how easy my decision making process has been throughout the whole production so far, since I know the track so well, but we’ve changed the story so much, added new characters, big all-cast musical numbers, that I’ve been digging like a fiend into books, watching video, researching, pulling favours asking friends and colleagues for assistance wherever I need it. I’m lucky to be surrounded by a wicked cast who do more to empower me than they know. The true joy is in seeing our material come to life.

As for now, my excitement for taking Kill Sister, Kill! to the NYC Fringe off-Broadway stage is completely stunned by the colossal amount of work that remains to see this show reach the high level of thrilling performance that myself and my team demand from it. Will it be easy? No, but will we kick serious ass and blow minds? We’re ready for it.
I told you I like a challenge.

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Kill Sister, Kill! – Cast Spotlight – Aaron Williams

Aaron Williams is starring as the punk low-life, Dagger, in the upcoming production of Kill Sister, Kill! A Musical.

 

Tell us a bit about yourself.

 

My name is Aaron Williams. I am an actor and vocalist from Mississauga. I studied Philosophy, Religion and Music History at the University of Toronto before starting my journey as an actor. I think has given me a the tools necessary to deal with the multiple existential crisis’ that I’m sure will arise from choosing this career path.

 

How did you first hear about the production?
I first heard of the production through a Facebook forum and sent an email and never heard anything back. I assumed that they had cast everyone. I forgot about the production until one day I received a message from Tea the associate producer who had seen me playing Judas in Hart House Theatre’s Jesus Christ Superstar and asked me to come down for an audition and was lucky enough to be brought on board.
What has been your favourite moment of the rehearsal process so far?
I have no one favourite moment, though the fundraiser was a great time. Generally rehearsals have been very enriching, being so close to the creation of a show like this with such hard working people has been a highlight. It has given me an opportunity to play a wild, outlandish character who’s evil as all sin, which honestly is the funnest part about acting, creating those dynamics.
Tell us about your character – what has been fun or challenging in playing this role?
Dagger is most definitely a sadist. He takes pleasure in the pain of others, even those close to him. He has absolutely no regard or respect for other humans, whatsoever, and is a villainous junkie fiend. What I like about him is that he’s completely void from concern. He does not give shit, which I can appreciate. Some of the difficulties is bringing myself to simulate some of the actions Dagger has to carry out in the script.
Why should people come see the show?
People should come see the show because it will definitely be one which will keep peoples mouths ajar, while at the same time being comedic and vile yet very very tense. Not to mention how raw and raunchy it is.
You can check out Aaron’s performance August 26-30th at Theatre 80 in NYC. For tickets, go online.

AUDITIONS – Kill Sister, Kill! A Musical

Bygone Theatre is currently accepting audition submissions for our upcoming production of Kill Sister, Kill! A Musical, set to premiere at the New York City International Fringe Festival August 2015.

***MUST HAVE A VALID PASSPORT AND BE ABLE TO TRAVEL TO NYC FOR AUGUST 20 – 30TH, 2015 IN ORDER TO AUDITION***

Directed by Jamieson Child
Written by Drac Dillinger & Jamieson Child
Music by Mikey Zahorak
Produced by Emily Dix

SYNOPSIS:
A Psychotronic Hell-trip of Song, Sleaze and Revenge! A nun, doing God’s work on the filthy streets of 70s New York, reunites with her beloved sister to celebrate her wedding. Their night of revelry is despoiled by two vulgar, depraved sickos. Left for dead and robbed of her sister and her voice, the Woman of God rebuilds herself as a Weapon of Hellbent Vengeance!

CHARACTERS:
Ronnie: A young punk, eager to impress his big brother, Ronnie isn’t the brightest, the baddest, or the best with the ladies, but he has a good heart.

Dagger: Ronnie’s older brother, Dag is a violent, drug-fueled psycho who uses & abuses everyone he’s with, including his little brother.

Lily: A god-fearing nun doing her best to clean up the streets of NYC. Sheltered & a little naive, the only family she has is her sister, Kitty.

Kitty: A born wild-child, Kitty has worked in Vegas as a “dancer”. While she loves her older sister, she is the complete opposite of Lily and spends her time drinking, dancing & screwing.

NOTE: As the show is still being completed, vocal ranges can vary. We are looking for performers with great character and a strong voice who are willing to workshop the show for a couple months and develop songs that will suit their voices.

AUDITIONS:
To request an audition, please send your headshot & resume to Producer Emily Dix at emily@bygonetheatre.com, no later than Wednesday July 3, 2015. Those selected for an audition will be contacted to schedule a date and time in early June.

“Kill Sister Kill” – A Co-Pro with Kid Switchblade Productions

We are excited to announce that we will be teaming up with Kid Switchblade Productions to work on a dark new musical, Kill Sister Kill.

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ABOUT THE SHOW: A nun, doing God’s work in the filthy streets of New York City in the late 1970s, reunites with her once-troubled sister to celebrate her engagement. The arrival of a vulgar, depraved punk and his kid brother despoils their happy reunion. After watching the murder of her sister and being brutally attacked herself, the Woman of God turns her attention to revenge, rebuilding herself as a hell-bent woman seeking vengeance.

The show premiered at the Toronto Fringe Festival in 2013 and is now being re-written and expanded with new music. Being produced by Bygone’s AD Emily Dix.

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COMPANY INFO: Kid Switchblade Productions: If it isn’t offensive, it isn’t interesting. Kid Switchblade Productions are a brother-duo team of writer/ director, Andrew “Drac” and Jamieson Child (who you know as Rupert Cadell in our recent production of Rope). They are drawn to the dark, sleazy, horrific and hilarious, producing all things 1970’s low-budget cinema inspired. Previous original shows include No Commercial Interruptions (2010) and Sister, Sister (2009).

In order to expand the show, we need a new composer;

POSITION INFO: The composer will be responsible for the entire score of the musical, and may be asked to come on as music director as well. There may be an opportunity to assist with the writing of some lyrics. As this is a low-budget production, funding is relying significantly on fundraising and grants. Payment will depend on the success of these funding ventures and may only exist in a profit-share format.

QUALIFICATIONS:

* Formal music training

* Experience in composition

* Understanding of the Fringe circuit & amateur theatre scene

* Familiarity with 1970s genre & rock music as well as traditional musical theatre styles

* Ability to work quickly and effectively

* A positive attitude and sense of humour

OPPORTUNITY: The successful candidate will have an opportunity to be a key part of the creation of a new Canadian musical.

HOW TO APPLY: Send a resume along with a cover letter highlighting your musical experience and detailing why you would like to be involved with this production. Samples of previous work (score, video or cd) are strongly encouraged. Submissions should be sent to:

Emily Dix (Producer) emily@bygonetheatre.com

Deadline: January 30, 2015

We thank all applicants for their interest; those selected for an interview will be contacted mid-January.

Keep an eye on our facebook page for show updates!

-E.

Rope – Cast Spotlight – Chelsey MacLean

While Rope is Chelsey MacLean’s first Bygone Theatre production, she and director Emily Dix met each other in high school and first worked on a play together in 2007! Chelsey plays the dim-witted Leila Arden.

1. What first attracted you to  Bygone Theatre and this production of Rope?
I had actually been directed by Emily Dix before, for my first play! I had always looked up to Emily and she inspired me to try my hand at directing the following year. I was eager to work with Emily’s professional and artistic skills once again with the added benefit of us bringing our new training to the table. I was also excited for this project as I am a big Patrick Hamilton fan (Let’s do Gaslight next!).

 

2. What is your favourite part of working on a site-specific play that runs in real time?
My favourite part of working in a site specific play is that both actor and audience can build a relationship with their environment, which I think brings both parties closer together; the actor endows the very setting the audience sits in while the audience has the advantage of not only watching a reality unfold, but find themselves immersed in it. I believe the real time aspect furthers the suspension of disbelief as the audience does not feel interrupted, and the actor can have the treasure of experiencing the minutia of their character’s moment to moment thought process.
3. What have you done to prepare for your role?
To prepare for Rope, I read a few of Patrick Hamilton’s works to familiarize myself with his style, researched the history and setting of the play, then the history and setting of where our production places Rope to find connections/ contrasts; understanding the norms for women at this time in history was quite helpful. As I further explored Leila Arden and her film buff nature, I have happily taken up watching movies from the 1920’s as an additional step to understanding her influences.
4. What has been your favourite part of the rehearsal process so far?
I really value the cast of Rope. Every rehearsal I have the gift of learning a little something from each member of this diverse group of actors and those pieces add up to creating a fantastic experience.
5. Why should everyone come and see Rope?
Everyone should come see Rope and support local theatre because its a provocative mix of terror, comedy, and psychological intrigue set in our very own Toronto with a timeless story that entertains and questions! Why watch another Whodunnit, when you can be in the room to witness what unfolds once “it” is done? Besides, Leila Arden saw it once, and she thought it was good, dear; why absolutely marvelous!

Want to see Chelsey grace the stage as the lovely Leila Arden? Get tickets through TO Tix, show runs November 21-29, 2014 at the Gibson House Museum

Say Hello To The Cast of “Rope”!

This weekend we had our auditions for our November production of Rope; what an amazing group of talented people! Some tough decisions had to be made but it’s made for what I’m sure will be a stellar cast. So say hello to the cast of Rope!

Leete Stetson as Brandon Wyndham

Leete Stetson

Leete Stetson

You may remember Leete Stetson as Tony Wendice in last August’s production of Dial M For Murder.

Bio: Last year, Leete Stetson played Tony Wendice in Bygone Theatre’s production of Dial M for Murder, and assisted with Doubt and the Retro Radio Hour series. Despite what you may assume from his previous work with Bygone, he has murdered hardly any people. Leete is also the General Manager of Theatre Double Take and one third of the creative force behind the comedy/mystery podcast Duotang Chesterfield’s Mystery Theatre. In his spare time, he serves you coffee.

Nicholas Arnold as James Kelly

Nicholas Arnold

This is Nicholas Arnold’s first Bygone Theatre production.

Bio:  Nicholas Arnold is an award-winning writer, director and producer in the film industry as well as a professional actor in theatre and film. Nicholas produced his first documentary at the age of 14 and followed that with his feature directorial debut, “The Vicious Circle,” a film on bullying and hatred, by the time he was 17. Recently, Nicholas premiered his second feature film, “William’s Lullaby,” this time focusing on depression and grief and how it affects child-hood development. As an actor, Nicholas was awarded the Bancroft Theatre Guild Award for Acting Excellence for his 2008 portrayal of “Sparkle” in Judith Thompson’s gritty drama, Habitat. He has also toured Ontario with his one-man show, A Tribute to Jerry Lewis and in 2012 toured the Southern US in The Best of Dean Martin and Jerry Lewis.

Jamieson Child as Rupert Cadell

Jamieson Child

Jamieson Child


This is Jamieson Child’s first Bygone Theatre production.

Bio: Jamieson Child is an actor/ filmmaker/ playwright and graduate of Ryerson University’s Film Studies program. He has directed, co-written, and appeared in three shockingly funny shows created with his brother, one of which, Kill Sister Kill, premiered to startled reviews at the 2013 Toronto Fringe. Some past theatre credits include Cosi and You Are Here (Alumnae Theatre), and Orsino in Shakespeare’s Twelfth Night (Ruckus Magazine). He is an original member of the New Drama Company (www.newdramacompany.com). This is Jamieson’s first experience on stage with Bygone Theatre. He is very pleased to join such great company for Rope. Enjoy the show.

Chelsey MacLean as Leila Arden

Chelsey MacLean

Chelsey MacLean

This is Chelsey MacLean’s first Bygone Theatre production, however, she worked with director Emily Dix back in 2007 on a play called Stalls.

 Bio: Chelsey MacLean is thrilled to make her Bygone Theatre debut in the role of Leila Arden. Past credits include Theatre Sheridan: Make-Up Artist in Merrily We Roll Along, Dance Ensemble/ Swing in Chicago, Bessie Bletcher in Colours in the Storm and ensemble in Oklahoma! The Singer’s Theatre: Mimi Maquez in Rent and Yvonne in Miss Saigon. Chelsey is a recent graduate of the Sheridan Music Theatre Performance Program and is grateful to her Sheridan family of faculty and friends.

Matthew McGrath as Kenneth Raglan

Matt McGrath

Matt McGrath

Producer Matt McGrath is thrilled to be acting in his first Bygone production!

Bio: Matt has been acting on stage for over a decade; for five years he performed in productions with the Youngest Shakespeare Company. He attended Cardinal Carter Academy for the Arts for their drama program, and graduated from U of T with a degree in Cinema Studies and English.

Selected Stage Credits: “Excuse You” (Theatre On A Though/Toronto Fringe); “Young Frankenstein” (Alexander Showcase Theatre); “Rosencrantz and Guildenstern Are Dead” (Hart House Theatre); “Absolute Alice” (Stratford Factory Productions/Toronto Fringe); “Hairspray” (St. Michael’s College); “Pigeons In Love” (InspiraTO Festival); “Arsenic and Old Lace” (Victoria College Drama), “The Philadelphia” (Victoria College Drama).

Ian McGarrett as Dr. Kentley

Ian

Ian McGarrett

You may remember Ian McGarrett (by voice at least) from Bygone’s production of Dial M For Murder; he played Thompson and all the voices on the phone and radio.

Bio: It was my grandmother who instilled in me an interest in theatre. I can remember when I was seven or so, acting out improvised scenes with her based on bits from The Beverley Hillbillies in which she was Miss Hathaway and I was Mr. Drysdale. My grandmother was a schoolteacher and introduced me quite early to Shakespeare, reading from The Merchant of Venice, Portia’s speech about the quality of mercy and all that glisters etcetera. Although I maintained my interest in theatre and even did some volunteer work at the Tarragon and Factory Lab but owing to inordinate stage fright we have to skip fifty years before I first appeared on stage. Three words. “Sir. Yes, sir!” but for that I got to take a bow and I was hooked. I next auditioned for Nuts and got a callback, hoping to play the court’s security guard or maybe the stenographer, only to be surprised when the director asked me if I was okay with playing the District Attorney. That’s fairly well up to date, not much of a bio and all I can say is… still hooked.

Elizabeth Rose Morriss as Miss Kentley

Elizabeth Rose Morriss

You may remember Elizabeth Rose Morriss from our Retro Radio Hour. She also worked with director Emily Dix on the Newborn Theatre production of Noble Savages several years ago.

Bio: Elizabeth Rose Morriss has degrees in Music Theatre (Acadia University) and Education (Nipissing University). She has been involved with the Civic Light Opera Company since 1999, playing roles including Magnolia in Show Boat, Marsinah in Kismet, and Hope Harcourt in Anything Goes. Elizabeth has appeared in the Toronto Fringe Festival in Lord of the Rings: the Musical: the Musical (2007), SQUAT: A Super Secret, Back-Alley Musical (2013), and Group Therapy (2014). Other credits include the two-person comedy Romantic Fools at the Queen Elizabeth Dinner Theatre, Newborn Theatre’s 2012 Odds & Ends Festival at the Tarragon Theatre (with director Emily Dix), a recurring role as Mina in Dracula at Casa Loma, and Bygone Theatre’s 2013 Retro Radio Hour. Elizabeth is thrilled to be working with Bygone Theatre again!

Caitlin Robson as The Maid

Caitlin Robson

Caitlin Robson

This is Caitlin Robson’s first Bygone Theatre production.

Bio: Caitlin Robson is a Toronto-based emerging artist. Recent acting credits include Anna in Karenin’s Anna at Toronto Fringe (Outstanding New Play, Outstanding Production and outstanding Ensemble, NOW Magazine; Fringe Highlight, The Torontoist); Judith in Equivocation, Persephone Theatre (nominated for eight SAT awards) Caitlin is also an experienced drama instructor, and an independent director and producer. Thanks to her friends and family for all their love and support!

Production Crew
Emily Dix – Director

Emily Dix

Emily Dix

Our Artistic Director is going to be directing this production; she has directed all Bygone Theatre shows to date.

Bio: Emily is a founder member and the Artistic Director/Producer of Bygone Theatre. She has worked as an actor, director, stage manager and designer. In August of 2014 she traveled to New York with Promise Production to stage manage their production of “No Visible Scars” for the New York City International Fringe Festival. Emily is in charge of all of Bygone’s artistic decisions, as well as marketing and promotion.

​Selected Directing Credits: “Festival of Dance” (Hart House Theatre); “Dial M For Murder” (Bygone Theatre); “Festival of Dance” (assistant director, Hart House Theatre); “Revelation” (assistant director, New Ideas Festival, Alumnae Theatre); “Doubt: A Parable” (Bygone Theatre); “Plasterface” (Newborn Theatre); “Noble Savages” & “Children Don’t Cry” (Newborn Theatre, Odds & Ends Festival); “Pigeons In Love” & “Bucket” (InspiraTO Festival); “The Night of the Iguana” (assistant director, Hart House Theatre); “Hairspray” (St.Michael’s College); “Arsenic and Old Lace” (Victoria College Drama Society); “Stalls” (Sears Drama Festival); “Liars” (Sears Drama Festival).

Devon Potter – Stage Manager

Devon Potter

Devon Potter

Devon Potter is our stage manager for Rope; this is her first Bygone Theatre production.

Bio: Devon is a Toronto-based Stage Manager, Producer, theatre reviewer, writer and sometime performer who has been involved in theatre for the better part of two decades.  When not doing or reviewing a show, she spends her time watching Indie films and dreaming of life in Paris.  Selected credits include:  As Stage Manager:  Parade (StageWorks Toronto), South Pacific, My Fair Lady (Scarborough Music Theatre), Miss Caledonia (Lunkamud/Summerworks Theatre Festival), The Cat of Kensington (Cats in the Cradle/Toronto Fringe Festival FringeKids!), A Quest of Character (Kid-Safe Productions/Toronto Fringe Festival FringeKids!).  As Co-Producer:  Nine (Scarborough Music Theatre).  As Production Assistant:  The Canadian Premiere of Martin Crimp’s The City (Actors Repertory Company).