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!

Advertisements

Kill Sister, Kill! A Musical – Cast Spotlight – Samantha Walkes

Samantha Walks is starring as weapon of hellbent vengeance, Lily!

BIO: Samantha began her passion for theatre in high school which led her to perform for local community theatres in the area, and the Hamilton All-Star Jazz Band. Samantha was accepted to the American Musical and Dramatic Academy where she studied in LA and New York, making great strides in the industry. She took a break from theatre and returned to Canada in February of last year. At the start of 2015, Samantha decided to finally return to the stage and begin a career here at home. She formed a 70s-80s Motown, Disco group with her younger Sister, Candace, called Sister Walkes, which performs throughout the year with their 6 piece band. Her Canadian credits include: Three Testaments: Shalom, Pease, Salam (Niagara Falls, NY), Kill Sister, Kill (Bygone Theatre, New York City Fringe Festival), and The Man With the Womb (GRIP Media). Samantha gives all gratitude to God, her biggest supporter, closest friend and life partner.

Tell us a bit about your character.

I am playing the character, Lily. She is Kitty‘s older sister and is quite protective and concerned for the state of her soul. Ultimately, Lily had to be the mother they both never had and continues to feel responsible for Kitty. She is sweet, kind, considerate, nurturing and above all, want to do the Lord’s Will. This manifests in the ways she cares for the lost souls of New York City.

How did you first hear about the production?

I found a posting online that led me to the audition information. I wasn’t sure what to expect! But having lived in New York and knowing the hype that surrounds The Fringe Festival, I wanted to be apart of this project, no matter how big or small the role.

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

The stage combat scenes with Ronnie and Dagger  have been a lot of fun. Making every hit feel real to the audience is my primary focus. When they can feel it in their gut, we have accomplished something worth celebrating.

 Tell us about your character – what do you love about her?

I love the closeness between the sisters and Lily’s love for God. My own Sister and my relationship with God are both very important to me and there are many events in Lily’s journey that parallel to my own life.

 Why do you think people should come see the show?

I think as human beings we are fascinated with suffering and punishment. We have a natural desire to see justice prevail. And so, the fall of an angel (Lily) and watching her struggle to find her way through the muck of life and it’s sufferings are worth more than the price of admission.

Kill Sister, Kill! A Musical – Crew Spotlight – Associate Producer, Tea Nguyen

Associate Producer Tea Nguyen joined the team about a month ago, coming into a project that has been steadily pumping along since October 2014. We asked her for some insights on the show and her process.

Some people would be intimidated by joining a team late. The team has already created bonds, had great moments together and they have the ball rolling. In joining the team, there was a slight moment of panic, as there is any project. Luckily, Kid Switchblade and Bygone Theatre has welcomed me onboard with open arms. As their associate producer, I work under Emily Dix. This will be my second time under her care and I must say, I’m very excited to return to New York with her to do our second New York International Fringe show. The show is dark, comical and tells a great story about two girls who have grown up under the grace of God and have gone in complete opposite directions in life. If you are squeamish or have a small stomach for gore, this isn’t the show for you. Watching these talented actors is so inspiring. We had a full day of learning stunt choreography and they gave it their all. Blood sweat and more sweat (referring to Thomas, playing Ronnie). They are eager to learn, thriving to do well and hungry to perform. I’m quite excited to see it all put together, yet enjoying the journey along the way.

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!

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.