Program 25 Jan - 20 Feb - By Jasmine Lee-Jones - Darlinghurst Theatre Company

By Jasmine
 Lee-Jones

Program

25 Jan -
 Presented by
20 Feb

Acknowledgment of Country

 We’re gonna start things properly, taking stock of
 place and herstories. We’re creating and presenting
 this work on Black land—the unceded lands of the
 Gadigal. Sovereignty was never ceded and it always
 will be Aboriginal land.

 As a team, we are making a small contribution to the
long history of caring for, holding and sharing story on
 this land and nations across this continent. We pay
 our respect to the elders that have cared for land,
 water, air and community to this point and the elders
 who continue that work today. We recognise the
 ancestors and histories that are with us in this
 process, from the many nations represented in our
 team.

 Biggest love to the Aboriginal and Torres Strait
Islander siblings we get to make this work with. And to
 any family that enters the world of this work.

seven methods of killing kylie jenner was first performed at the Royal Court Jerwood
Theatre Upstairs, Sloane Square, on Thursday 04 July 2019.

Its Australian premiere was first co-produced by Darlinghurst Theatre Company and
Green Door Theatre Company in April 2021.

 From the playwright

 “Now, it is not addressed particularly to white people,
 though it does not put you down in any way: it simply
ignores you. For my people need all the inspiration and
 love that they can get...”

 – To Be Young Gifted and Black,
 Nina Simone, Black Gold (1970)

 “Thinking ahead of time
 Why don’t you spend the night?
 I know you love me...”

 – Hold On, The Internet (2017)

We KNOW you want a hardcopy of the script. Grab it here!

SYNOPSIS
 This duo is serving the tea hot ☕ and keeping receipts. PERIODT.

 Forbes Magazine claims Kylie Jenner’s a “self-made billionaire” and Cleo
 isn’t having a bar of it. She’s got a lot to say and on the internet, actions
 don’t always speak louder than words…
 “Look it’s two tweets that helped me vent my frustrations. It’s really not
 that deep…”

 As URL beef brings up IRL tensions, Cleo and Kara have more issues
 than getting #blocked will solve. If Black Twitter hasn’t snatched your
 edges yet, these two bawss-babes surely will. seven methods of killing
 kylie jenner is a deep dive into the murky waters of colourism and the
 commodification of Black women.

 Run Time:
 90 mins (no interval)

 Content Warnings:
 Descriptions of Racial Violence
 References to and Graphic Descriptions of Rape and Sexual Assault
 Haze and strobing

Join us in the Darlo Foyer after the show for #vybnyts!
 Vyb Nyts are all about subverting the traditional
 concept of what a night at the theatre looks like.
 Admission is FREE with your show ticket.

 Thursday 27th January
 Maina Doe + CMJ

 Friday 4th February
 Yawdoesitall + CMJ

 Friday 11th February
 Chikazaza + The Fireside

 Friday 18th February
 Mawuli + CMJ

Mini Vybs

 Saturday 29th January
 Lounge Trivia

 Saturday 5th February
Live Flex Card Conversation with
 Henrietta Amevor

 Sunday 13th February
Live Flex Card Conversation with
 Henrietta Amevor

 Sunday 20th February
 Black-raoke

Cast & Creative Team

@Co-Director Shari Sebbens
 Shari is a resident artist at Sydney Theatre Company. In 2018 she was
 named the Richard Wherrett Fellow. 2020 saw Shari mark her
 directional debut with Superheroes for Griffin Theatre.

 In 2021, she directed Seven Methods of Killing Kylie Jenner for
 Darlinghurst Theatre Company and The Seven Stages of Grieving for
 Sydney Theatre Company. Throughout the 2021 COVID lockdown, she
 directed three online creative developments; The Lookout for Moogahlin
 Performing Arts, Untitled Work for Ilbijerri Theatre Company and
 Curiosity for STC’s Rough Draft.

 Shari’s acting credits in theatre include: for Griffin: The Bleeding Tree; for
 Griffin Theatre/Queensland Theatre: City Of Gold; for Griffin/La Boite: A
 Hoax; For Belvoir: Back At The Dojo, Radiance; for Black Swan State
 Theatre Company: Our Town; for Darwin Festival: Wulamanyuwi and the
 Seven Pamanui; for Queensland Theatre: An Octoroon; for Sydney
 Theatre Company: A Cheery Soul, Black Is The New White, The Battle of
 Waterloo. Shari’s film credits include: Australia Day, The Darkside, The
 Sapphires, Teenage Kicks, Thor: Rangarok, Top End Wedding.

 Her television credits include: for ABC: 8MMM, Aboriginal Radio, Black
 Comedy, The Gods of Wheat Street, The Heights, Redfern Now (for which
 she was awarded the Logie Award – Graham Kennedy Award for Most
 Outstanding New Talent) and for SBS: The Whole Table and A Chance
 Affair.

 Shari trained in Aboriginal Theatre at WAAPA and graduated from NIDA
 with a Bachelor of Fine Arts (Acting).

@Co-Director Zindzi Okenyo
Soon after graduating from NIDA in 2006 Zindzi was cast in THE
VERTICAL HOUR and THE CRUCIBLE for Sydney Theatre Company and
SCORCHED for Company B Belvoir. From 2009 to 2011 she was a
member of the Residents Company at STC. In 2012 Zindzi toured Europe
and USA with A HISTORY OF EVERYTHING and began as a presenter on
ABC’s PLAYSCHOOL. In 2013 Zindzi won a Best Female Performer Award
for her role in STCSA’s RANDOM. She has performed for Griffin in
MASQUERADE and THE GIRL IN TAN BOOTS. For STC: GRAND
HORIZONS, THE GOLDEN AGE, BOYS WILL BE BOYS, A HISTORY OF
EVERYTHING, MONEY SHOTS, BEFORE/AFTER, BLOOD WEDDING, THE
COMEDY OF ERRORS, THE ORESTEIA, VS MACBETH, THE CRUCIBLE, THE
MYSTERIES: GENESIS, THE VERTICAL HOUR, MTC: AN IDEAL HUSBAND,
DISGRACED, Belvoir: PRIZE FIGHTER, LA TRAVIATA, SCORCHED, Bell
Shakespeare: MUCH ADO ABOUT NOTHING, ANTONY AND CLEOPATRA,
Ensemble: THE RASPUTIN AFFAIR, GOOD PEOPLE, State Theatre
Company of South Australia: RANDOM, Darlinghurst: GAYBIES, Theatre
Ink: ANGELS IN AMERICA.

Most recently Zindzi was Co-Director on Darlinghurst Theatre’s highly
acclaimed first season of SEVEN METHODS OF KILLING KYLIE JENNER
and was Assistant Director on DEATH OF A SALESMAN for Sydney
Theatre Company.

As well as PLAYSCHOOL Zindzi’s television roles include, WAKEFIELD, THE
CODE, HIDING, JANET KING, HARROW and GET KRACK!N (ABC) and
WONDERLAND and SISTERS (Network 10). In feature films she has
appeared in Abe Forsythe’s LITTLE MONSTERS and Dean Murphy’s THE
VERY EXCELLENT MR DUNDEE.

Zindzi also performs her own music under the name 'OKENYO'.

@Kara Iolanthe
 Iolanthe views the world from a both a curious and critical lens. It is in
 this sentiment that she finds comfort and purpose in acting; especially
 in works that pose new and fresh narratives. Iolanthe is a biracial young
 woman of Afro-Caribbean, British and Norwegian background, and has
 lived in so-called “Australia” (Sydney, Hobart, Melbourne) for a decade.
 The other half of her life was spent living in Reading (England), where
 she started learning Norwegian. The duality of places-of-residence and
 of cultural heritage brings a fresh perspective to her work, and a
 widespread awareness of stories across the world. When she’s not
 working, you’ll find her watching Broad City or Chewing Gum with a
 cuppa tea! In the past few years she has found a keen interest in writing
 and the idea of development of her own work. Iolanthe is currently
 studying at NIDA (BFA Acting) and is set to graduate in 2022.

@Cleo/Community Engagement Consultant Moreblessing Maturure
Moreblessing Maturure is a multi award-winning
Zimbabwean/Australian inter-disciplinary artist, TEDx Speaker and the
Creative Director of FOLK Magazine. Her work across literature,
stage and screen as a performer and writer has included engagements
with Playwriting Australia (PWA), ATYP, and Sydney Theatre Company.
She’s developing various Screen Australia funded projects: 'Afro
Sistahs' and ‘MASC’ (Revlover, Easy Tiger) alongside live works ‘Milk &
Honey & Lemons’ (Campbelltown Arts Centre, Next Wave) and play ‘No
Pink Dicks’ (Darlinghurst Theatre Company, PWA). She wrapped up a
chaotic 2020, with a Best Artist win at the FBi Radio SMAC awards and
started 2021 with the runaway success of ‘seven methods of killing
kylie jenner’. Parallel, she works across the entertainment industry,
advocating for anti racist practices alongside considered and diverse
representation in her role as Co-Chair of
MEAA’s Equity Diversity Committee.

@Stage Manager Ayah Tayeh
 Born on Wurundjeri land and currently working on Gadigal land, Ayah is
 a stage manager with a passion for new work and diverse storytelling.
 Her credits include: The Boomkak Panto (Belvoir), A Room of One’s Own
 (Belvoir), 7 Methods of Killing Kylie Jenner (Darlinghurst Theatre Company),
 My Brilliant Career (Belvoir), Breaking Glass (Sydney Chamber Opera), and
 Double Delicious (Contemporary Asian Australian Performance with
 Sydney Festival).

 @Lighting Designer Kate Baldwin
Kate Baldwin is an emerging Asian-Australian Lighting Designer, who lives
and works on Gadigal and Wangal land. She is a Design Associate at
Sydney Theatre Company.

She has had the joy of collaborating as a lighting designer on recent
projects such as; Death of a Salesman (Associate Lighting Designer -
Sydney Theatre Company), seven methods of killing kylie jenner
(Darlinghurst Theatre Company and Green Door Theatre Company),
Ching Chong Chinaman (Slanted Theatre), and Blue Christmas (New
Ghosts Theatre Company). Furthermore, she is currently a Design Artist
with Kallective Productions, and a graduate of NIDA’s Technical Theatre
and Stage Management BFA.

Kate is passionate about creating more opportunities and safe spaces
for First Nations Artists and Artists of Colour. She is committed to
working with other artists who are actively and openly working towards
anti-racism, as well as those who are also learning how to decolonise
their arts practice.

@Sound Designer Kim 'Busty Beatz' Bowers
Music Director, Composer, Sound Artist and Multi-disciplinary
performance maker, Busty Beatz has been creating fearless art to
activate, pollinate and liberate for over 25 years. Of Xhosa heritage
and living on the unceded territories of the Yuggera People, Busty
works across music, theatre, film, dance, circus, visual arts and is
the co-creator and MD of Hot Brown Honey – the smash-hit, genre
defying, award-winning firecracker of a show that’s taken the world
by storm. Adhering to a manifesto of creative, collective power
through collaboration, Busty Beatz creates global sonic
experiences intersecting disciplines, politics, activism and
soundlines.
@Production Designer Keerthi Subramanyam
 Keerthi is a Sydney based set and costume designer for film and live
 performance. Keerthi is a National Institute of Dramatic Art, BFA
 (Design for Performance, 2019) graduate, and a member of the
 Australian Production Design Guild.

 In her final year at NIDA, Keerthi worked as a set and costume
 designer on theatre shows including The House at Boundary Road and
 Flora, and co-designed a music video for Blue Velvet as part of Triple J
 Unearthed.

 In 2020 and 2021, Keerthi has worked as a designer on short films
 and music videos, has styled promotional photoshoots for theatre
 companies, and was an assistant costume designer on Belvoir’s
 Cursed and The Boomkak Panto as well as an assistant set and
 costume designer on Hayes’ Young Frankenstein. She also designed
 set and costumes for Darlinghurst Theatre Company’s Seven Methods
 of Killing Kylie Jenner, Chop Chef at Riverside Theatres, and designed
 the costumes and is an associate set designer on Belvoir’s At What
 Cost. She is currently working across theatre and art installation.

 @Voice and Dialect Coach Angela Sullen
Angela Nica Sullen is an Italian, African American woman from the United
States. She grew up in California and on Noongar country in Western
Australia. Angela is an actor, vocal coach, writer, mc and stand-up
comedian. Now based on Gadigal land, she studied at the National
Institute of Dramatic Art, completing Bachelor of Fine Arts (Acting) and
Master in Fine Arts (Voice). She has performed in Force Majeure Nothing
To Lose (2015), Blackbirds (2016), STC Mosquitos (2019), Brown Skin Girl
(2019), Faust (2019). Angela’s screens credits include I Am Woman (2020)
and Bump (2021). Angela is currently an Associate Lecturer for Voice at
the National Institute of Dramatic Art and is also working on Seen, a new
TV series produced by Rough Diamond, inspired by Brown Skin Girl - a
play she collaborated with creative collective Black Birds.

@Audio Visual Deisgner Wendy Yu
Wendy Yu is an interdisciplinary artist actively practising in the fields
of dance and computational design. She’s recently completed a
residency with the Centre for Projection Art where she worked on
mounting installations of interactive dance through creative coding,
as well as conducted theoretical research into dance and urban
media art. She is currently completing a Masters degree in urban
media interface design and aims to pursue further research into
creating interface between dance and future city spaces.

@Producer Leila Enright
 Leila is a creative producer with a strong commitment to new writing. She
 is the Creative Producer of Green Door Theatre Company, which develops
 work (Orange Thrower in Griffin's 2021 season and Lady Tabouli in 2020
 Sydney Festival). She produces award winning theatre: If We Got Some
 More Cocaine I Could Show You How I Love You by John O’Donovan, Lady
 Tabouli and Omar and Dawn both by James Elazzi, How Dare You by Kate
 Chalmers and Good Dog by Arinzé Kene.

 She is currently the Producer and Head of New Writing at the
 Darlinghurst Theatre Company. She has produced the 2018 National Play
 Festival, was the Associate Producer at Playwriting Australia and
 Playwrights Associate for Festival Fatale 2018. Leila began working in
 independent theatre in Melbourne, as the Artistic Director of FLW Theatre
 Company and General Manager. She has been involved in the Melbourne
 Fringe Festival, Short and Sweet and Mudfest as a producer and
 performer.

 Leila has a Bachelor of Arts majoring in Literature and History, a
 Certificate in Classics from London Academy of Music and Dramatic Art,
 and a Diploma in Community Arts and Cultural Development. Leila is a
 2020 Churchill Fellow.

@Lead Community Engagement Consultant/Cleo Understudy Effie Nkrumah
Effie Nkrumah is Benumah, an interdisciplinary artist, writer and
performer brought up on Gadigal and Darug countries.
She is the voice of Astra, the first Ghanaian Agent in Valorant by Riot
Games, creators of League of Legends, and a contributor in Maxine
Beneba Clarke’s Growing up African in Australia anthology. Her
practice relies on memory and the archive and is driven by the
concept of challenging the single story of Africa through stories of
continental Africans in diaspora. She thinks and writes about the
concept of Blackness, the construct of race and how these shape
lives, creating work that is entertaining, aesthetically pleasing and
discussion prompting. Her installation See What I See has been
performed in Sydney, New York and Accra.

She has choreographed, performed in and stage-managed over 20
productions for Ghana’s Roverman Productions and holds an MA in
Arts Politics from NYU’s Tisch School of the Arts.
@Community Engagement Consultant Henrietta Amevor
 Henrietta Amevor is a Sydney Based Ghanaian artist who made her
 professional stage debut playing ’Naome' in Outhouse Theatre’s The
 Rolling Stone. Henrietta’s further theatre credits include Bontom's 'The
 House at Boundary Road Liverpool', and Tinderbox Production’s ‘Claudel’.
 On screen, Henrietta has made her professional debut playing ’Talia' in
 the Stan Original Series, BUMP. Henrietta has also participated in
 multiple play developments such as the Belvoir's Artist’s at work
 shutdown residency with Greendoor Theatre, for the development of
 Chika Ikogwe's ‘Chioma’s Party', Darlinghurst Theatre Company’s
 development of Kirsty Marillier's ‘The Zap’, and the development of new
 work 'The Yam Corsage' for Riverside’s National Theatre of Parramatta’s
 playwriting festival, True West. Henrietta was also a part of the
 community engagement team for the sold-out Jasmine Lee-Jones play, ‘7
 Methods of killing Kylie Jenner’.

@Community Engagement Consultant Bernadette Fam
 Bernadette is a multidisciplinary artist working across interdisciplinary
 theatre-making, directing, writing, dramaturge and creative producing.
 She was a Create NSW Young Creative Leaders Fellow and is currently the
 Artist in Residence at PYT. She is Co-Creative Producer of Green Door
 Theatre Company and Creative Producer at Critical Stages Touring.
 Devising & theatre making credits include: tutaj/ ‫( هناك‬here/there) (Griffin
 Theatre Company BATCH Festival/Green Door Theatre Company) Poo
 Shame, Vagina Curiosity and Other Things That Won’t Kill You (Edinburgh
 Fringe Festival), Mouth of the River (Q Theatre), Spider in my Soup
 (Shopfront ArtsLab/Bondi Feast) and Swimming Pool (PYT Fairfield).
 Directing credits include: Young Artist Ensemble for St Marys Kid (Q Theatre),
 tutaj/ ‫(هناك‬here/there) (Griffin BATCH/Green Door Theatre Company).
 Dramaturge: Future Remains (Sydney Chamber Opera/SydFest), By the
 Grace Of (Antipodes Theatre) and assisted on Dorr-e Dari (PYT/SydFest).
 Bernadette has also served as Director/Dramaturg on multiple new work
 developments including The Lifecycle of Blanco by Vonne Patiag (Antipodes
 Theatre Company), Sunlit by Jojo Zhou (Critical Stages Touring) and
 Tataraimaka Moana by Daley Rangi (Green Door Theatre Company).

@Community Engagement Consultants 2 Sydney Stylists
(Niwa Mburuja & Wanyika Mshila)
2 Sydney Stylists is a transdisciplinary Curatorial Agency that works to
help our clients craft and tell stories that foster Cultural Diversity and
Inclusion. We do this by creating content, facilitating workshops (IRL and
URL), hosting experiences and curating visual and performing Arts. We
are skilled Creative and Artistic Directors as well as Project Managers with
a combined experience of over 10 years.

Our previous clients include Sydney Opera House, Youth Off the Streets,
Bankstown Youth Development Services (now Outbound) and
Africultures Festival. We have been supported by Australia Council for the
Arts, Screen Australia, Multicultural Arts Victoria and Inner West Council.

In addition, we run community-based events for women that foster self-
expression, development, education and agency through our Series -
Your Crown, Your Style, Your Story, Money and Me and Boss Babe. And
we supplement these with Live interviews of people we admire from
different walks of life, through our 2SS conversations Instagram series.

o you
 d
 many
 ?
how know

 1. acc.
 DICTIONARY
 actually
 2. AF as fuck
 3. BMT Big Man Ting
 4. BS bullshit
 5. BW black woman
 6. CBA can't be arsed
 7. DMs Direct Messages - private contact through various social media platforms
 8. DP Display Picture - on social media platforms
 9. DPMO don't piss me off
 10. DSTRKT glamorous night spot in London
 11. FFS for fuck's sake
 12. FR for real
 13. GTFO Get The Fuck Out
 14. IDC I Don't Care
 15. IKR I Know Right
 16. IONO I don't know
 17. IRL in real life
 18. JS Just Saying
 19. kl shortened version of cool
 20. KMT Kiss My Teeth
 21. NVM never mind
 22. OFC of course
 23. OMDS Oh My Days
 24. qt question
 25. ROFL Rolling On The Floor Laughing
 26. RT retweet
 27. s2g Swear To God
 28. SJW Social Justice Warrior
 29. SMH So Much Hate OR Shaking My Head OR Sydney Morning Herald
 30. SNM Say No More
 31. TBH To Be Honest
 32. TFW That Feeling When
 33. TL Timeline. Your home page where you can see the content of your news feed
 34. WTF What The Fuck
 35. WTH What The Hell
 36. YK You Know
 37. YT sounded out like 'White'

AN AFTERTHOUGHT - from the Playwright

 Saartjie, or Sarah Baartman as she became later
 known, was a South African woman born in the
 Eastern Cape in 1789. After being transported as
 a curiosity throughout Europe during the late 18th
 and early 19th century, she died at the tender age of
 26 due to unknown causes. In death, her body was
 put on display at France’s Musee de L’Homme until
 1974. On 9 August 2002, after a series of requests
 from Nelson Mandela, her remains were successfully
 repatriated to South Africa and buried in Hankey
 in the Eastern Cape.
 If you are interested in learning more about
 Saartjie Baartman’s story, I’d highly recommend
Representation and Black Womanhood: The Legacy of
 Sarah Baartman (2015), an essay anthology collated
by Natasha Gordon-Chipembere, a book which greatly
 inspired and influenced this play.

Thank you to:

 Reem El Nour Matt Quince
 Majeda Beatty Jesse Radatti
 Gloria Kolya Dylan Robinson
 Kelly Dezart-Smith Richard Whitehouse, Belvoir
 Sunny Adcock Paige Rattray
 Leith McPherson
 Dr Tinashe Dune
 Dannielle Callaghan
 Flex Factory:
 Norah Masige Lillian Ahenkan and Grace Taotua
 Esther Williams
 Chemon Theys Website Design:
 Mantshologane Maile Claudia Chinyere Akole
 Hannah Lai (MYAN NSW)
 Sydney African Youth Network Assistant Producer IRL Series :
 Sistas in Australia and New Zealand Shetu Simone
Morgan Graham (Information and Cultural
 Focus Group:
 Exchange Parramatta)
 Edem Dokli
 Mawuli Dokli
 Oge Ike
 Jane Inyang
 Dionne Davis
 Richmond Kobla/Kobla Media Chisenga Makomo
 Gladys Namokoyi / Kween G Daniel Gabriel
 Shanae Masters/ MADAM3EMPRESS Sayo Ogunsiji
 Daniel Gabriel Sunny Adcock
 Nancy Denis Mantshologane Maile
 Oge Ike
 Savannah Stimson Vyb Nyt Artists
 Ebube Uba Maina Doe
 Yawdoesitall
 Mawuse Ziegbe
 Chikazaza
 Oluwafisayo Ogunsiji
 Mawuli
 Original Spin
 Hot Brown Honey DJ’s:
 Saa Saleh Judy Okan / DJ CMJ (Call Me Judeeaa)
 Cecilia Dinh DJ OVO
 Alexander Okenyo & Black Swan Book Store
 Stephanie Dunlop Trivia Night Host:
 Benjamin Pierpoint Sharon Masige
 Cessalee Stovall
 Matt Quince Social Media Facilitator:
 Jesse Radatti Rebka Bayou
 Dylan Robinson
 Richard Whitehouse, Belvoir
 Paige Rattray Proudly supported by the NSW
 Leith McPherson Government through Create NSW
 Generously supported by the City of
 Sydney