Bringing "Heathers the Musical" to Life: A Journey Behind the Scenes

A photo article about the process of making Heathers the Musical with Happily Ever After Productions by Camille Gribbons with photos by Lennart Wong

INtro

The cult classic film Heathers found a vibrant new life on stage as Heathers the Musical, captivating audiences with its dark humor, catchy songs, and surprisingly poignant story. But what does it take to transform a beloved movie and a complex musical score into a live theatrical experience? Through the lens of photographer Lennart Wong, we invite you on an exclusive journey behind the curtain, chronicling the intricate process of bringing Westerberg High to life.

From the very first notes sung in music rehearsals to the dynamic energy of dance rehearsals and the meticulous shaping of scenes during blocking and run-throughs, Wong's photographs reveal the dedication of the cast and creative team. Witness the precision of fight choreography, the artistry involved in making costumes, and the technical wizardry that unfolds as the team practices directly in the theater. Scroll through the photos below and enjoy going through the process with us!

Cast ReadThrough and Music rehearsals

Before the choreography or blocking begins, the foundation is built in the music room. After a high-energy initial sing-through, our first weeks were defined by music rehearsals, where we meticulously balanced individual soloist tracks with the wall-of-sound energy of the ensemble.

Day One at **The GoDown**. Between introductions and creative briefings, the cast held their first complete read-through and sing-through of *Heathers*, marking the official start of our rehearsal process.

Laying the musical foundation: Leads **Vera Sophie Huibregtse** and **M Monteiro** work through solos and duets with vocal director **Roel Bakkum**. These early sessions ensure every note is perfected before the added complexity of staging and choreography begins.

Finding the perfect blend: The cast works through intricate group numbers with Music Director **Michael Crowley**, focusing on the tight harmonies and vocal power that define the sound of the show.

Dance rehearsals

As the music begins to take shape, the rehearsal room shifts from song to spectacle. In parallel with their vocal work, the cast dives into the high-energy world of choreography. Pictured here, choreographer Justyna Borowiecka breaks down the razor-sharp movements of the iconic 'Candy Store' with the trio of Heathers.

Pictured: Justyna Borowiecka teaching Brittany Sanders, Evelien Vermeulen, and Nanda Dolman

Pictured: Camille Gribbons, Mukti Murton, and Nanda Dolman during dance rehearsal

Blocking (Staging) rehearsals

The production maintained a rigorous schedule of three sessions per week, consisting of two weekday evenings and a full-day weekend intensive. The cast navigated a complex juggling act: mastering solo vocals and intricate group harmonies with Roel Bakkum and Michael Crowley, and drilling choreography with Justyna Borowiecka. Simultaneously, directors Sara Watts, Camille Gribbons, and assistant director Shiro Mungai guided the company through the blocking of the entire show. A vital component of this phase was intimacy coordination led by Shiro Mungai, ensuring the show’s more sensitive scenes were handled with the utmost safety and professionalism.

The ensemble of Heathers working on their freeze frame position during the song “Fight for Me”. Pictured: Mateo Abrahami de Melverda, Laura Maurer-Stroh, Neja Zrimšek Žiger, Leire Rabenberg, Sandrine Ott, Brittany Sanders, Ramona Harrison, Mats de Winter, Mukti Murton.

The actresses playing the Heathers and Veronica during the scene where they meet for the first time in the song “Beautiful”. Pictured: Camille Gribbons, Vera Sophie Huibregtse, Brittany Sanders, Mukti Murton.

The actors playing Kurt and Ram during the song “You’re Welcome”. Pictured: António De Souza and Yorgos Gerakianakis

The ensemble actors in a freeze frame before the song “Shine a Light”. Pictured: Anne Homburg, Carolina Brás, Rodney Giano

Learning Fight Choreography

Adding to the complex mix of disciplines was the show’s essential stage combat. In a compelling twist of 'life imitating art,' the fight choreography was blocked and staged by Ties Jansen. While Ties was busy portraying the volatile JD on stage, he wore a very different hat behind the scenes—ensuring that every punch, shove, and scuffle was executed with professional precision and, above all, absolute safety for his fellow cast members.

Vera Sophie Huibregtse and M Montiero learn fight choreography for “Dead Girl Walking (Reprise)”

Costuming the Show

While the cast works to get the show on its feet, a dedicated production team is operating behind the scenes to craft the visual world of Westerberg High. Costume designer Vivii Valpuri is at the heart of this transformation. Throughout the rehearsal process, actors cycle through Vivii’s studio for fittings as she meticulously constructs the show's aesthetic. Beyond styling a vibrant ensemble of characters, Vivii tackled complex technical challenges—most notably the engineering of 'tearaway' costumes for Heather Duke’s high-stakes costume reveal.

Moving to the Theater

One of the greatest challenges in any production is the 'spatial gap.' For most of the process, the cast rehearses in studios, navigating imaginary platforms and set pieces marked only by tape on the floor. To bridge this gap, we were fortunate to secure dedicated rehearsals in the theater itself. This time was crucial for 'spacing' the show, allowing the actors to move from 2D tape to 3D platforms—a vital step for both the precision of the performance and the physical safety of the cast.

Pictured: Mateo Abrahami de Melverda and Michael Schilder setting up the platforms for a run through on the stage.

Pictured: Assistant Director and Intimacy Coordinator Shiro Mungai running the room as we get into the theater

Pictured: Director Sara Watts taking notes as we start running the show in the theater

The cast practicing on the platforms for the first time. Pictured: Anne Homburg, Rodney Giano, Carolina Brás, Mateo Abrahami de Melverda, Elisa Meli, Ramona Harrison, Evelien Vermeulen, Camille Gribbons, Nanda Dolman, and Ties Jansen.

Cast and team members watch as we run through scenes on stage. Pictured: Sara Watts, Shiro Mungai, Michael Schilder, Leire Rabenberg, Aoife O’Mahoney

Mateo Abrahami de Melverda and Rodney Giano practing the cop scene on stage

Setting Up Band and Sound In the theater

The heartbeat of Heathers is its high-octane score, and we were fortunate to have a live band to provide that pulse. After weeks of separate rehearsals, the cast and musicians finally merged for the Sitzprobe. This unique rehearsal is dedicated entirely to the music, allowing the actors to lock in their vocals with the live instruments for the first time. The energy then moved from the studio to the stage, as the band and company transitioned into the theater together to find their final show sound.

Stuart Gilfedder, our sound tech, setting up the band area in the theater

The tech booth at the Amsterdams Theaterhuis with our sound desk set up

The band getting set up in the theater for tech week

Pictured: Dionne “the doot” Vasmeer on the trumpet

Pictured: Elliot Morgan on bass guitar, Elena Scherer on reeds

stage managing / Calling Cues

The technical precision of Heathers rests in the hands of Stage Manager Amy Nelson. Calling cues is the art of 'conducting' the crew; Amy sits at her desk, headset on, following her 'Prompt Book' to the letter. As the production's pilot, she issues the verbal 'Go' for every light, sound, and set change, ensuring the entire technical team moves in perfect synchronization with the performers on stage.

Learning from the best: First-time Stage Manager **Amy Nelson** (right) receiving mentorship and technical guidance from veteran SM **Ellen Brooker** (left) as they prepare the prompt book for opening night.

Amy and Ellen going through her prompt book in the theater

Pictured: Anggre Panjaitan, our assistant stage manager, taking notes in the theater

Figuring out special effects

As both a Director and the actress playing Heather Chandler, I knew one thing was non-negotiable: a powerhouse entrance for the Heathers during 'Beautiful' required the perfect amount of atmospheric fog. However, the theater's resident smoke machine had other plans. What was meant to be a dramatic reveal became a lesson in patience and technical troubleshooting, as we battled a temperamental machine that seemed to have a mind of its own.

Pictured: Shiro Mungai, Amy Nelson, and Mateo Abrahami de Melverda figuring out the smoke machine

Pictured: Camille Gribbons, Shiro Mungai, and Amy Nelson screaming to close the door to the theater to prevent the fire alarm going off since the door was opened when we were testing the smoke machine.

Designing and building the set

Transforming the stage was a feat of strategic design and construction. We utilized the existing platforms at the Amsterdams Theaterhuis, building upon them by adding custom flats to the front to create the show's multi-level look. To define the world of the play, we installed large flats on stage right and stage left to represent our various locations. These were all designed by the talented animator and designer Marc de Wolf, whose artistic vision provided the vibrant, stylized backdrop necessary to bring the story to life.

Pictured: Shiro Mungai taping the back of the flats to go in front of the platforms to create Westerberg High.

A view from the booth of the entire set, designed by Marc de Wolf. The cast is getting into positions and reviewing how their staging is affected in the theater.

Getting ready backstage

With the music, staging, and choreography firmly locked in, the final pieces of the puzzle began to fall into place. By this stage, the set had been fully constructed in the theater, providing the physical world for Westerberg High. Before the lighting design could be finalized, the entire company moved into full hair and makeup. This is a crucial step: the intensity of stage lights can easily 'wash out' a performer’s features, so everyone—regardless of their role or gender—must apply a base of theatrical makeup to ensure their expressions remain sharp and visible even from the back of the house.

Pictured: Laura Maurer-Stroh (who played Young Republicanette) doing her hair backstage

Pictured: Sean Olson Roy (who played Principal Gowan / Jock Dad) getting ready backstage

Microphones / Sound check

Competing with the power of a live rock band requires more than just vocal talent—it requires precision audio engineering. To achieve the perfect sound balance, every cast member is equipped with a wireless microphone. This transition into the theater is one of our greatest challenges, as sound is incredibly subjective and influenced by everything from the room's acoustics to the number of people in the seats. Each performance begins with a rigorous sound check: every actor is tested individually, followed by a full-company number with the band to lock in the levels and ensure every lyric is heard clearly over the instruments.

Pictured: Stuart Gilfedder troubleshooting microphone issues

Pictured: Shiro Mungai helping mic up Ramona Harrison

Pictured: Stuart Gilfedder in the tech booth during sound check

Finalizing the levels: **Nanda Dolman**, **Camille Gribbons**, and **Evelien Vermeulen** during a full cast sound check. We run a complete musical number with staging to ensure the audio balance between the live band and the performers is seamless before the curtain rises.

Pictured: Stuart Gilfedder prepping the microphones

Lighting

With the clock ticking toward opening night, the final—and most atmospheric—element is added: the lighting. Lighting designer Yann Belin collaborated closely with director Sara Watts weeks in advance to map out the visual emotional arc of the show. Because of our limited time in the theater, Yann arrived early the day before opening to hang and program the entire rig. This paved the way for the Cue-to-Cue (Q2Q)—a grueling but essential technical 'highlights reel.' Rather than running the full show, we jumped from one technical transition to the next, fine-tuning the millisecond timing of every light change before our final dress rehearsal.

Color-coded power. For the iconic finale of 'Candy Store,' lighting designer **Yann Belin** matched the stage lights to each Heather’s signature hue. Pictured here, **Brittany Sanders** is bathed in a sharp, vibrant green glow as Heather Duke, perfectly capturing the character's icy ambition and completing the trio’s visual dominance.

The lighting design extended beyond the overhead rig and into the hands of the performers. For the number 'Shine a Light,' flashlights were used as 'practicals,' meaning the cast became responsible for part of the scene's illumination. **Yann Belin** had to account for these mobile light sources, ensuring the stage lights complemented the flashlight beams to create a chaotic, searching atmosphere without overexposing the actors.

Pictured: Yann Belin in the tech booth running lights

Props

Bringing the world of Westerberg High to life required a 'divide and conquer' approach to stage properties. A dedicated team of cast members and volunteers collaborated to source and create the show’s essential items. While 'rehearsal props' like the iconic croquet mallets were used from day one to build muscle memory, other more intricate pieces were carefully crafted by hand and introduced as we neared opening night to ensure they stayed in pristine condition for the stage.

Pictured: Mukti Murton, Camille Gribbons, and Brittany Sanders with the pig mascot prop made by Reign Morton-Young

Pictured: Sandrine Ott working on the fake bomb prop for the end of the show

Multiple Casts and some super swings

Because our production of Heathers spanned two runs across the summer and September, we operated with a massive, 'double-cast' system. However, the true backbone of the show were our 'super heroes' who mastered multiple tracks. In theater, a track is a performer's entire roadmap—every line, harmony, and costume change. Brittany Sanders pulled off a staggering triple-threat feat, performing as Heather Duke, Heather Chandler, and Veronica Sawyer at different points. Rodney Giano transitioned from swinging for three ensemble roles (Hipster Dork, Beleagured Geek, and Preppy Stud) in the summer to a powerhouse performance as Ram Sweeney in September, as well as Mats de Winter who not only played the Hipster Dork but learned BOTH jock tracks (Ram Sweeney and Kurt Kelly), and performed as all three roles. Perhaps most heroically and off the cuff, Dance Captain Brigid Boyle stepped in as the Beleaguered Geek during a summer illness outbreak, learning the track the day of the show, proving that the 'show must go on' is more than just a saying—it's a commitment.

The transition to our September run added a new layer of intensity. We welcomed several new cast members who faced the daunting task of joining a high-speed production with a fraction of the original rehearsal time. These performers had to be 'quick studies,' mastering complex choreography and intricate vocal harmonies in just a few short sessions. Watching them step seamlessly into the world of Westerberg High alongside our summer veterans was a masterclass in professional discipline and a massive effort from the entire company.

Pictured: Brittany Sanders playing Veronica Sawyer and Rodney Giano playing Ram Sweeney.

Pictured here are **Aoife O’Mahoney**, **Sam Clarke**, and **Mukti Murton**. To sustain our five-week run, Aoife and Sam joined the September cast to share the mantle of the Heathers. This 'split-casting' allowed the production to maintain its high-octane energy across two different seasons, with our new members seamlessly integrating into the 'Candy Store' hierarchy.

The September power-up! Pictured here are **Evelien Vermeulen**, **Sam Clarke**, **Nanda Dolman**, **Leire Rabenberg**, **Gabriel Zanella**, **Jose Ross Barredo**, and **Ties Jansen**. Special shout-out to Gabriel and Ross, who joined the company for our September run. They faced the daunting task of learning every ensemble harmony, block, and dance step with a fraction of the original rehearsal time—and they absolutely killed it, stepping onto the stage as if they’d been there from day one

Cast and crew bonding

Spending countless hours together across two months of rehearsals and five weekends of shows meant the cast and crew naturally formed a tight-knit bond. This backstage camaraderie often spilled onto the stage in the form of small, brilliant character choices that kept the audience—and the rest of the company—constantly entertained. A personal favorite was an inspired choice by Brigid Boyle, one of our Ms. Flemings during the summer run. Playing the school guidance counselor, Brigid decided that Ms. Fleming could never quite get the Heathers' names right. This led to fantastic nightly ad-libs like calling Heather McNamara 'Heather McMuffin,' Heather Duke 'Heather Duck,' and Heather Chandler 'Heather Charmander.' Anticipating what Brigid would come up with next became a highlight for the cast, band, and crew alike, and it’s just one example of the many 'bits' that made this production so much fun to be a part of.

Pictured: Mukti Murton, M Montiero, and Ramona Harrison chilling on stage before the show starts

Pictured: Cast members hanging out on stage before the show starts during the summer run

Pictured: Brigid Boyle as Ms.Fleming during the summer run

The Final Bow: A Journey of a Thousand Cues

If you’ve made it this far, we hope you enjoyed this deep dive into the "beautiful" chaos of making a musical. Through the incredible lens of our photographer, Lennart Wong, we wanted to pull back the curtain on a process that the audience rarely sees.

From the first vocal rehearsals and the precision of fight choreography to the high-stakes pressure of a Cue-to-Cue, every moment you saw on stage was the result of a massive, synchronized team effort. However, even this extensive photo journey only scratches the surface. For every actor in a spotlight, there are dozens of people working in the wings and behind laptops to make the magic possible.

The Invisible Engine

Beyond the rehearsal room and the stage lights, a production of this scale requires a relentless administrative and operational engine. We want to acknowledge the committees that weren’t mentioned in the article with photos but of course contributed to the success of the show.

Marketing & Social Media: The team that built our audience, shared our story, and kept you engaged from the first teaser to the final performance.
Fundraising & Public Outreach: The vital work of securing the resources and community partnerships that allow us to keep the arts accessible and vibrant.
PR & Media Relations: Ensuring that the word spread far and wide, from local press to digital platforms.
The Backstage Crew: The stage hands who move in the shadows, executing seamless set changes and managing the safety of the cast in a high-speed environment.
Front of House : Quincy and Cindy Kaagman were crucial in assisting as front of house volunteers, getting audiences in and out of the theater!

Theater is a unique art form where the acting, music, and dance are only half the story—the other half is built by the designers, technicians, administrators, and volunteers who work tirelessly to ensure the "business" of the show is as professional as the performance itself.

Heathers may be considered a "smaller" show in terms of set requirements, but the intensity and dedication required to pull it off—especially with our "super-hero" cast members learning multiple tracks and our new September members stepping in at record speed—was anything but small. We are immensely proud of the resilience this company showed, and if you were in the audience for any of our five weekends, we hope you felt that energy vibrating off the stage.

The Next Chapter: From Westerberg to the Swamp

While we said goodbye earlier this year to the 7-Eleven slushies and the red scrunchies of Westerberg High, the creative heartbeat of Happily Ever After Productions is already pulsing toward our next big challenge.

Many of the faces you saw in these photos—both on stage and behind the scenes—are already hard at work on our upcoming production of Shrek the Musical. Moving from the gritty world of Heathers to the whimsical, high-fantasy land of Duloc brings an even larger cast, massive technical needs, and even more complex costumes and makeup. It is one of our most ambitious projects yet, and we can’t wait to show you what we’ve been building.

Don't miss out on the magic—join us for our next journey! Get your tickets now at: www.heaproductions.nl/shrek-the-musical

About the Photographer

Originally from Hong Kong, Lennart has lived in Canada and the USA, and now calls the Netherlands home. A lifelong theatre lover, his true passion lies in creating beautiful and compelling images through his camera lens. Lennart aims to capture the energy, emotion, and artistry of both onstage performances and behind-the-scenes moments. Through his photography, he hopes to spark excitement for upcoming productions while preserving the cast and crew’s memories and legacy. You can follow him on instagram at @lwong_photography