The Amazing Cunt & Lil’ Bitch take Raleigh packs a punch and hits the stage this Friday, August 12 at the Green Monkey in Raleigh. Written and Co-Directed by Kay Koop, it’s a dark comedy about justice, rape, friendship, and the choices we make. There are super heroes, torture, and revenge... It ponders the question, is vigilante justice the solution that we need?
Below I have posted our interview[edited] about all things Amazing Cunt and the Festival. Get your tickets now for this badass show and click here four our complete schedule.
What show are you working on? And in What Capacity?
I’m co-directing my show The Amazing Cunt and Lil’Bitch Take Raleigh! With my sister, Sarah. I’m also designing the show and collaborating on some set design concepts for the show.
I’m stage managing The How and the Why, directed by Diana McQueen
What drew you to this particular show?
I wrote The Amazing Cunt and Lil’Bitch Take Raleigh! And it’s kind of been my baby in terms of the show I’ve been pushing to theatres everywhere. I finished writing it some time ago and realized I can’t know where I need the show to grow without having it on its feet.
A year ago I worked with director Caleb Caudill at Raw Theatrical’s 2015 Duct Tape and a Dream Festival in NYC to workshop a portion of the play “Hostage Ballet” as a theatrical dance piece. Just a couple months ago, the play was produced at Gadfly Theatre in their Final Frontier Festival: Heroes and Villains as The Amazing Cunt and Lil’Bitch Take Minneapolis!
Why I wrote it? I hate this answer but I don’t really know. Like I watch a lot of Law and Order:SVU and I love hearing the way they tell the stories of rape survivors. But I feel like we only ever get to see Rape Survivors as victims. We get to see they cry. We don’t get to see them win. I didn’t want that. I had this idea of these vigilantes that were bad people, but then tortured and killed rapists. They were the good guys. But they were also the bad guys. So I wrote it for my advanced playwriting class. As I worked through it and often read it through with my only other classmate, Rimsha Afzal, her read of Lil’Bitch brought away the action of torture and general badassery from the forefront, and brought the story of someone trying to restructure who she is supposed to be and how to deal with pain in the right way. How to be a good person. So Lil’Bitch became my main character. I tried to write about this semi-platonic, semi-romantic relationship between these two women as an examination of what it is to be that good person, what it is to be a good friend.
Like, I know women in this festival have, just statistically-- but I’ve never been raped or assaulted. Which is why Rape is the backdrop of the play, it’s the environment. That’s not what it’s about. I think it’s important that the play talks about it, but it is really about two women. The only thing I’m probably trying to work through in this play is being friendzoned a lot or about you know, the same thing Bojack Horseman is trying to tell. Someone trying every day and sometimes failing to do the right thing. Sometimes you get lost. Sometimes you wonder why you did the thing you did and if you could ever be a good person. Like, that’s the question.
Also it is a comedy. Absurdist-y but it is funny. Also the title. Many people have talked to me about the title. And I’m not changing it. But it just happened and it’s my baby and I’m glad it’s happening in Raleigh.
How are rehearsals going? Any specific aspects of the show that you are excited about or inspired by?
They are going well. My actors are doing great work and we’re making some great discoveries. We’ve made an interesting discovery that this play is a memory play. That’s something that didn’t come out until like 2 weeks ago. The only way this play makes sense, really, is if you have it starting from the point that the play ends. And this is Lil’Bitch remembering her time as a vigilante and her relationship with Cunt. We’re doing some interesting stuff for when Cunt is actually looking at Lil’Bitch and playing with the idea of how much of their relationship is real or imagined. Which is very sad, but very cool at the same time. I’m also looking at some cool lighting effects.
I hate to say it, but we’re looking a lot at Brecht. Like I like Brecht, but I think in terms of causing discomfort and seeing the actors process sometimes people go too far. I don’t think we’re going that far. When you see the show you know you’re going to be in a theatrical space. You’re going to notice stylistic movement. And you’re going to be uncomfortable. But with the kind of play it was, even if we didn’t draw on some brechtian style, you’d be uncomfortable anyway.
How long have you been involved with theater? What role do you generally find yourself in? Is this your first time in the role (director, writer, etc) you are in now?
I did musicals in high school, but I really got into theatre when I got to Meredith College. I declared my sophomore year a theatre major and I’ve been pretty nonstop ever since. I find myself doing a lot of Stage Management and Props. Occasionally I get a comedic role (because that is the kind of role I play) and I write A LOT but not always for theatre. I do a lot of personal essays or writing about feminism. This is my first non-collegiate time directing, though I devised and directed a lot of student productions in school. I’ve been published a great deal, but I guess it’s my 4th production of theatrical work.
What does the women’s theatre festival mean to you?
It’s a means to finally do some interesting, innovative work around here, that’s not all men. It’s so hard to even think about getting new work done in this area, at least it’s my experience. So hopefully NC will become more of an artistic hub than it already is.
Anything else you’d like to add?
I have the smallest venue! Sell me out please. Only 20 seats per show and it’s a comedy. My actors need bodies.