Kill Sister, Kill! A Musical – Cast Spotlight – Astrid Atherly

Astrid Atherly plays the sinfully seductive Vegas dancer, Kitty!

Tell us a bit about yourself.

My name is Astrid Atherly and in Kill Sister, Kill!  I am playing Kitty, Lily’s little ex-stripper sister. I envision Kitty being a restless soul looking for adventure. Tired of small town life, leaves home for greener pastures and ends up in a world of sex, drugs and alcohol, the trifecta of fun right! I feel her time in Vegas wasn’t all fun and games, but puts a happy demeanor because the truth sucks and she doesn’t want her sister to worry about her. I feel that Kitty loves her sister with every bone in her body. Yes, Lily is older, but Kitty’s street smarts lends to a protective side, that when confronted by danger in a grimy bar, protects her sister. I just recently finished playing Martha in Flotow’s Martha. It’s actually a lot of  fun to play such different characters. Going from a Lady in Waiting to the Queen to a Vegas dancer from Kansas, is a challenging and I am finding rewarding.

How did you first hear about the production?  

I first heard about Kill Sister, Kill!  a few years ago when they were at the Toronto Fringe Festival. I worked with Emily Dix, as a volunteer backstage crew at the New York Fringe last year! She told me about this production, found the audition notice and history wrote itself after that!

What has been your favourite moment of the rehearsal process so far?

My favorite moment was being introduced to the timbit song! I also have to say working with Samantha has been inspirational and a blessing. I honestly learn so much from this woman, I felt like I met a long lost sister. Also the fact that we have the exact same ethic background is crazy! I learn so much from this whole cast and seeing people so talented, working together is a great moment in itself.

Tell us about your character – what do you love about her? What are some challenges?

I love how out-going and sensual Kitty can be, but she is also smart and has a heart. She is strong and she doesn’t follow some rule set out for her years ago, she goes by the beat of her own drum. Some challenges I have with her, is Kitty’s death scene and some language within the script. My own personal beliefs are different from that of Kitty’s and I sometimes struggle to bring that as her truth, when it’s not my truth. What make her fun is that she is fun. She doesn’t want to have a care in the world. Things happens and one must move on, but I think she knows sometimes you need to be safe.

Why should people come see the show?

People need to see this show, because of its message. We don’t live in a perfect world, THERE ARE PEOPLE ACTUALLY LIKE THIS IN THE WORLD! The audience may feel uncomfortable at times, but these are very real issues and events that happen still today. You go from being disgusted to laughing in seconds.  To watch the story of a woman, who literally has her world torn apart, and see how she deals and rehabilitate her life is one of the biggest reasons to come. Her story is so powerful, it’s not pretty but life is not always pretty.

Any funny embarrassing rehearsal moments to share?

My pants slowly moving down, during combat practise of my death scene. I just had to lay there and take it!

Want to learn more about the show? Check out the website – www.killsisterkill.com

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Kill Sister, Kill! A Musical – Cast Spotlight – Felicity Adams-Hannigan

Felicity Adams-Hannigan or Fifi as most of us call her plays Kourtney, the hooker, in Kill Sister, Kill!

Tell us about yourself.

I play Kourtney the local hooker. I’ve envisioned her from the beginning as that party girl who came into the city from the suburbs one weekend, and just never took the train home.

This is the first time workshopping a musical for me, and my first time doing an original musical. Before this all of my work has been roles already originated by somebody else. This time I haven’t had anybody else’s interpretation influencing me, and that has been so scary, but so amazing at the same time. That being said, my favourite roles up until now have probably been Rossignol in Marat/Sade (Soup Can Theatre), Young Phyllis in Follies (Wavestage Theatre) and Pinkalicious in Pinkalicious the Musical (Vital Theatre).

How did you first hear about the production? 

I heard about the production through my friend Astrid (playing Kitty) who introduced me to Emily of Bygone Theatre through one of their Retro Radio Hours. I then met Michael the composer and musical director at a theatrical event in the city and he mentioned they were still searching for people and the rest is history. (Found out later at the same event I had met Jamie the director, but I didn’t know that’s who he was at the time). So, moral of the story: get your butt out to events! You never know what cool productions you’ll be hearing about.

What has been your favourite moment of the rehearsal process so far?

Hands down when our lovely director pointed at me and said “this, is a low level hooker”. Hopefully in reference to Kourtney, and not me.Tell us about your character – what do you love about her?

I liken Kourtney to a struggling actress. She knows she’s hooking in the minor leagues right now, but in her mind she’s just waiting for her big break. I’m loving her and mooky because they are much needed comedic relief in a very dark world.

Why do you think people should come see the show?

Because I’m in it, duh??!!
Okay, being serious, the feminist tones of the show appeal to me. I love that it’s a woman taking back the night. This is something I hold dear to my heart the older I get as I do not want my daughters (future tense) to live in a world where they think that if they are out late, or dress a certain way, or talk a certain way that they are asking for any kind of harassment from men.

Any funny rehearsal anecdotes to share?

When I sing high above the staff, I’ll admit it’s a challenge to even out my vibrato. One rehearsal Heather (Teresa) pointed out that I was an operatic hooker, and now during certain parts of songs I can’t stop giggling when I listen to myself.

Anything else we should know?

Just that this girl can now cross an item off her life “to do” list. NYC stage before age thirty!

Kill Sister, Kill! A Musical – Cast Spotlight – Heather Motut

Heather plays tough-as-nails bartender Teresa in the upcoming Kill Sister, Kill! A Musical.
Tell us a bit about yourself.
My name is Heather Motut and I am an actor/singer.  I do both of those things, sometimes at the same time!  I’ve done a little bit of everything: plays, musicals, film, television, improv, and sketch comedy. I love any kind of collaborative project that allows me to work with fellow creative types in the community.  In Kill Sister, Kill!, I  play Teresa, the brassy, trashy, punk bartender who works by choice at “The Butt-hole,”  the most garbage establishment in New York City.
How did you first hear about the production?
I heard about this production through Jamieson.  We were on set for another project and he told me about the auditions.

What has been your favourite moment of the rehearsal process so far?
My favourite moment of the rehearsal process was the call back.  It was the first time I got to work with the material and I had an absolute blast.  It was also the first time I saw Astrid and Samantha work together, and I thought they were the bees knees.  Seeing these ladies, and hearing Drac and Jamieson’s hilarious script, and Mike’s gorgeous music, made me really want to be a part of this show.

Tell us about your character – what do you like best about her? What do you find challenging?
Teresa is an absolute treat to play.  She’s Queen of the Dregs for sure, but she’s got a good heart and is a smart judge of character. She stands up for people being abused or taken advantage of.  She sees Ronnie for the good egg he is and takes an interest in his making something of himself, something better than just his brother’s lackey. I love how honest and irreverent she can be.  Teresa is a true punk who celebrates complete freedom of action and attitude. It’s such a joy to play a character that is so  uninhibited, and I get to indulge so many delicious parts of my personality. The New York dialect definitely presents a challenge, but I’m finding so much of it comes from an attitude more than anything.  Watching a lot of George Carlin’s stuff has really helped me find that “Balls to the Wall” attitude this character needs.

Why should people come see the show?
I think people should come see this show because its going to be a lot of fun. Where else are you gonna see ”Kill Bill meets Sister Act” !?!!!??!?!?  It’s one of the most electric, bold, and joyous productions I’ve ever been involved in.  I’m a fan of anyone who takes risks in what they create, and the people involved in this production should get a friggen medal for that.
Have any funny rehearsal stories to share?
I have absolutely no funny or embarrassing rehearsal anecdotes to share. Rehearsals have all been very run of the mill, restrained, and all business all the time.  Very little fun has been had by anyone, and we’ve really kept a lid on silliness and mischief of any kind. Very serious bunch.
Check out Heather on the off-Broadway stage at Theatre 80, August 26-30, 2015. Tickets available now online.

Kill Sister, Kill! A Musical – Crew Spotlight – Writer Drac Child

Kill Sister, Kill! co-writer Drac Child shares a bit about the writing process, and gives us a brief history of the production.

Five years ago, my brother and I wrote Kill Sister Kill, then titled Sister, Sister (sorry Tia and Tamara); it was a simpler, shorter script with less-refined profanity, restrained displays of wanton violence and only five (!) songs. A lot has changed over the resulting period, including yet another version of the script for a 2013 production, an infusion of new music and lyrics and a new cast. Come 2015 and the addition of Bygone Theatre to the production, with an entirely new creative team, Kill Sister Kill is in it’s best shape yet. Imagine the past productions were Tim Allen on a coke bender: disgusting but funny, but looking worse for wear. This year, KSK is Jonah Hill in 21 Jump Street: increased stamina, better looks, yet still comically adept and more importantly, revolting.

My brother and I have been at this for awhile now; churning out scripts and making them into viewable entertainment is something we’ve done since childhood. I was tempted to say that the only thing that’s changed is that we fight less than we used to as kids, but that’s patently untrue. But, due to that history, our voices and ideas compliment each other; once the concept for a scene gets rolling, we just keep throwing dialogue at it until we’re both laughing or wincing. Year after year, Kill Sister Kill has always been a challenge, whether it’s tackling musical theatre for the first time, or producing shows with nothing but the small amounts of money in our staggeringly barren bank accounts, but this time, everything seemed to synchronize. The entire production is an assemblage of incalculable madness, but we’re all getting along and turning things around on time and no one’s died yet.

Success.

Want to help support the show? You can make a donation through our website or indiegogo campaign.

Kill Sister, Kill! Crew Spotlight – Producer Emily Dix

How did you first get involved with KSK?

I met Jamieson Child back in late summer/early fall of 2014, when he auditioned for Rope. We hit it off in rehearsals right away, and at some point KSK came up in conversation. I remembered hearing about it when it was in Fringe a few years ago, and as I was looking for something to take to the NYC Fringe in the summer of 2015, I wanted to learn more. He had me read the script in October and I knew right away I wanted to help expand the show and bring it to New York.

What drew you to the project?

A few things. For one, it fit with Bygone’s style & mandate; a period piece, kinda dark & funny, and it was very closely tied to film as it’s inspired by vintage exploitation cinema. As well, I LOVE musicals, and really wanted to be involved in one again. Then of course there is my twisted love of cult & exploitation cinema, and I was excited by the fact that there were these 2 talented & crazy brothers who were just as into that stuff as I was, and who had taken that passion for the genre and put it towards building a really unique play. We hit it off early on and I thought we all had great complimentary skills. It just seemed like a good fit all around.

Describe your work as dramaturg, what does that entail?

It’s basically a fancy word for saying that I have to be aware of every creative aspect of the show, and that I am there sort of over-seeing the creative process. I met with Jamie & Drac a lot in the early stages and we worked out script stuff, expanding the story, breaking down beats, talking about music styles etc. Then, as we got into producing, I had to have a knowledge of the inspiration for the show to make sure that it was coming across in the marketing & overall production; being aware of the time period, the filmic references, all of that. Now, in the rehearsal stage, it’s being there to help support J with providing extra info for the actors. Being able to give period references to help fill out some gaps, to give them a strong background so they have something to build their characters off of. It’s about as broad and all encompassing as producing is, but for the other side of things.

What do you do as producer?

Everything. There are roles that are specifically mine, but at the end of the day the number one thing is making sure that everyone else is doing their job too, and stepping in to do it myself if they aren’t. As for my regular stuff? I’ve written up contracts, coordinated with the Fringe and the venue, assisted in casting & hiring, written up budgets, organized fundraisers & funding campaigns, made some posters, designed a website, worked on promoting, scheduled production meetings – you name it, I’ve done some part of it. And then I’m stage managing as well, so there’s some cross over. With that I get to be in rehearsals working closely with J the director and the cast. Really all the roles I’ve taken on just require a lot of overseeing and organizing, so while it’s an INSANE amount of stuff to get done, it actually gets a bit simpler the more I take on, because there is a lot of overlap.

What are some challenges that you’ve had to overcome?

When you’re working with artists there’s always a lot of passion & energy brought to every conversation, which is almost always good. It can make for some loud fights and big clashes though, now and then. Plus, this is a big show for a lot of us. Taking something out of city adds so many additional challenges (and costs) that it makes for a lot more stress than a usual show, and that can put a strain on relationships. I’m used to being the one directing Bygone shows as well, and so it’s a new process having to step back from that while still managing all the other stuff – not bad, but very different.

What has been your favourite part of the process so far?

Working with incredible people. I know, it sounds like a cheesy answer but it’s really true. I knew very early on that Jamieson was someone I wanted to keep working with, and he’s been a great co-worker & friend, so that’s been great. And everyone we have brought on along the way has not only been really talented but a lot of fun too. While some have gotten tense, a lot of production meetings have been filled with laughs and good times, and I’m sure as everything falls into place we’ll see more of that. I’ve always said of any show I’ve directed that I think what’s made it is having a great cast, not just in regards to talent but personality too, and I’m very happy that the same result has happened here.

Any good rehearsal anecdotes to share?

When you spend a lot of time around a small group of people, you naturally begin to let your guard down, and when you’re an artist that usually means you start to get a little weird… I couldn’t tell you how exactly it started, but for the longest time our 2nd act opening number was called “The Timbit Song” (now “Fear City”). It came about somehow when we were discussing the potential issues of a Canadian show in a US venue, and I know that we had the music down but not the lyrics. Jamieson started improvising about what the character Ronnie could sing and (brilliantly) came up with “What’s a timbit? I want a timbit! Have a timbit, what’s a fucking timbit?” and for whatever ridiculous reason that stuck so long that we now have many very formal, serious looking correspondence talking about the “Timbit Song”.

Why should people come and see the show?

This really is a unique production. The show itself is unlike any other musical I’ve seen, and it’s a lot of fun to watch. We’ve got a really talented cast & crew of young Canadian artists, and our band is made up of some very experienced (Broadway-level) NYC musicians.

How can people help support the project?

If you’re in NYC August 26th-30th, come see the show! Tickets can be purchased online. And if you can’t make it out to see it live, you can still help support the show by making a donation – every little bit helps!

Friends of Bygone – Theatre Inamorata Presents Virgin Burlesque: You Never Forget Your First Time

375265-250The ladies of Theatre Inamorata (Hilary Carroll, Lesley Robertson, Michelle Langille and Tennille Read) have an exciting burlesque performance coming up – we asked Hilary Carroll some questions about their upcoming show, Virgin Burlesque: You Never Forget Your First Time.

1. Tell me about the show – who came up with the concept and what are you hoping to do with it?

It is a cabaret fundraiser, a fun evening of music, comedy, burlesque, silks, clown and more! For us, it is an exciting adventure into the world of Burlesque. I can’t remember exactly who came up with the idea, but it was thrown out amidst a brainstorming session and we all thought it was fabulous. Michelle came up with the name: Virgin Burlesque: You never forget your first time. We though it was a great way to explore themes of sexuality, body image, nudity, sex appeal, and could also be very enticing to a new audience.

2. What has got you most excited about the show?

Seeing the reactions from the audience! I think a lot of our audience will be new to the burlesque world just as we are, but there has been a lot of buzz. That, and seeing our wonderful professional burlesque acts in action, they are sure to blow the crowd away.

3. Any funny anecdotes from rehearsals?

Nothing specific comes to mind…just the fact that we are all practicing stripping in our living rooms 🙂

4. Why should everyone come out and see it?

It is guaranteed to entertain. It will be funny, sexy, musical, and provocative. What more can you ask for?

5. Where and when can we see the show? How about tickets?

June 9th doors at 7pm- Pravda Vodka bar 44 Wellington St E.
You can buy tickets online at http://www.brownpapertickets.com/event/694376 or at the door for 20$

6. Anything else you’d like to share?

Help us pop our Burlesque Cherries! Also, stay tuned for our upcoming projects at www.theatreinamorata.com

Friends of Bygone – Kenton Blythe in “Evil Dead: The Musical”

The very talented Kenton Blythe played Max Halliday in our recent production of “Dial M For Murder”. Kenton was recently cast in “Evil Dead: The Musical”, set to play in Toronto before moving on to the US. Our buddy took a few moments out of his very busy schedule to tell us a little more about his show, check it out and get your tickets soon! I know we will!
Kenton Blythe as Max Halliday, photo by Danielle Son

Kenton Blythe as Max Halliday, photo by Danielle Son

What is your role in “Evil Dead: The Musical”?
Ed/Evil Moose/Ash u/s

Give us the company’s history – how and why did it get started?
I’m not entirely sure, but they are helping produce Cats, and they also put on Potted Potter.

Give us a quick run-down of “Evil Dead”
Evil Dead the Musical is a musical adaptation of the Sam Raimi cult classic Evil Dead franchise. It follows a group of college students as they travel to an old cabin in the woods and reawaken an ancient evil that possesses them one by one. Ash, originally played by cult icon Bruce Campbell in the movies, must fend off his former friends and find a way to seal the evil up again once and for all.

What has been your favourite part of working on “Evil Dead”?
It’s been an amazing experience and very difficult to narrow down a single favorite part, but I’ll say working with the material and some of the original creative team has been amazing for me. The cast is also unbelievably amazing. SHOUT OUT!

Any fun rehearsal/performance stories or anecdotes you’d like to share?EvilDead-splashEvil Puns are a theme in rehearsal. I take credit for starting this.

Where and when can everyone see the show?
The show hits Toronto October 23rd at the Randolph Theatre (formally Bathurst Street Theatre) and tickets can be purchased here

Anything else we should know?
Anything you want to know about the show can be found on its website

Retro Radio Hour – Prizes!

ImageWe’ve been posting so many awesome raffle and silent auction prizes on facebook that it’s getting hard to keep track of them all, so we thought it would be best to sum them all up here:

Silent Auction Prizes:

  1. Executive Producer Credit On Our Next Show:
    Want all the glitz and glamour of being a producer, without any of the work? Why not bid on prize #1, an Executive Producer Credit on our next show! Being an Executive Producer means you get credit on facebook, twitter, our website and in the program. You get to join us at the cast party and you get two free comps to the show! What’s not to love?​
    Value: Priceless 😉
    Bid Starting At: $200.00
  2. Two 45 Minute Monologue Coaching Sessions with Director Douglas Beattie: Two 45 minute sessions with director Douglas Beattie, to work on a monologue of the actor’s choice.​​This is a perfect opportunity for aspiring and accomplished actors alike to get some advice from a veteran in the theatre world. Douglas Beattie is best known for his work on the long-running Wingfield series (directed by Doug, written by Dan Needles and performed by Rod Beattie). In addition to directing the Wingfield shows, Doug has been guest director at the Stratford Festival, the Belfry Theatre (Victoria), Lighthouse Festival (Port Dover ON), Theatre Orangeville, the Blyth Festival, the Piggery Theatre (North Hatley PQ), Thousand Islands Playhouse, Gryphon Theatre (Barrie ON), and the Grand Theatre (London ON). He is the founding Artistic Director of Guelph’s Touchmark Theatre and President of Douglas Beattie Theatrical Productions Ltd.
    Value: Hour long sessions with many coaches generally cost about $100/hour
    Bids Starting At: $50.00
  3. Custom Portrait by Artist Philip Rice:
    Philip Rice is a talented Toronto artist and the man behind our awesome “Doubt: A Parable” poster. Philip has generously offered to create a custom portrait for the highest bidder! ​
    Value: $100.00
    Bids Starting At: $20.00
  4. 2 Season Subscriptions from Scarborough Music Theatre:
    Scarborough Music Theatre has generously donated 2 season subscriptions to their 2013/2014 season: “Spamalot”, “Little Women”, “A Funny Thing Happened On The Way To The Forum”.
    Value: $110.00
    Bids Starting At: $40.00
  5. A Pair of Tickets to a Jays Game
    Generously donated by an anonymous supporter, we have a pair of tickets to the June 22nd Jays game against the Orioles, section 114.​
    Value: aprox $100
    Bids Starting At: $35.00
  6. Mega Tea Set: Donated by Brian and Margaret McGrath, we have a box of 50 assorted whole leaf pyramid teabags from Tealeaves, and a 4 piece tea set; a mug with with a lid, saucer and tea infuser.
    Value: aprox $50
    Bids Starting At: $10.00
  7. Retro Comedy DVD Collection:
    Donated by Matt McGrath, we have a Monty Python’s Flying Circus 2 DVD box set (the second set) and a Comedy Classics 5 DVD box set, with films by The Three Stooges, Laurel & Hardy, Abbott & Cosetello and Danny Kaye.
    Value: aprox $45
    Bids Starting At: $10.00
  8. Five Prints by Photographer Chris Robinson:
    Generously donated by Chris Robinson, we have 5 of his awesome prints.
    Value: The photographer doesn’t generally sell these, so that makes them priceless!
    Bids Starting At: $10.00

Raffle Prizes:

  1. $20 Gift Certificate to The Lakeview Restaurant, donated by Maja Rakocevic.
  2. $30 Gift Certificate to The Dizzy Gastro Sports Pub, donated by Maja Rakocevic.
  3. Generously donated by the East Side Players, 2 tickets to their production of “Over the River and Through the Woods”, on the night of the winner’s choice!
  4. Buddies in Bad Times Theatre has generously donated 2 tickets to their upcoming production, “Of A Monstrous Child: A Gaga Musical”
  5. Generously donated by Angelwalk Theatre & KooGle Theatre Company, 2 tickets to “I Love You, You’re Perfect, Now Change”.
  6. ​Cahoots Theatre has graciously donated 2 tickets to their upcoming production of “Sister Mary’s A Dyke?!”.
  7. Generously donated by David Beattie, two cds from local artists: Charlene Nafziger’s “Now Is The Time” and George Meanwell’s “The Easy Straight”.
  8. Donated by the author, a signed copy of Andrew S. Thompson’s In Defence of Principles: NOG’s and Human Rights In Canada.