DIRECTOR'S NOTE

Any play is a leap of faith, as you create from a book of words and notes a whole world. Doing a play on the precipice of our return to normalcy after a year of Covid has been a blind leap into a void. When we began we didn't know what would be waiting for us when we got to performance--Zoom? Theater? Recording? We were not deterred as we charged forward and focused on what we could do given the present conditions. We were allowed to return to the theater but not to sing there, so we built our set in there and talked through our songs like really twisted beat poems. We realized we needed to be able to sing, dance, and speak at the same time so we built a second set outside the theater. Between incoming tennis balls and howling winds we powered through. Despite these tough conditions and having to remain masked throughout, cast, band, and crew stayed laser focused, and the show grew. When we finally moved to our performance home in the P-wing, the challenges multiplied. Lights, sound, set, props had to be transported, set up, modified, struck. Though tiring, I think we all missed the sweet chaos and community of mounting a production and working to exhaustion.

Why Heathers? This play is full of ugliness-- people being cruel to one another, things going too far, unresolved angst. You know, high school. But it also offers hope of a world beyond that ugliness, where we find and develop our better selves, and make hard choices, and grow. You know, high school. This play also explores how cruel words can lead to actions, and actions can lead to violence before you knew what happened. In a year in which we experienced the Capitol Riots, there is an important reminder here about the need to resist beginning down that path.

The other answer to "Why Heathers?" is maybe more accurate and simpler: because the students wanted to do it, and after they suffered through a year of isolation, we wanted to give them a joyous farewell and let them exit this year with their toes tapping. Hope you do the same!

MUSICAL NUMBERS

ACT ONE ACT TWO

Beautiful Dead Gay Son

Candy Store Seventeen

Fight For Me Shine a Light

Freeze Your Brain Lifeboat

Big Fun Kindergarten Boyfriend

Dead Girl Walking Yo, Girl/ Meant to be Yours

The Me Inside of Me Dead Girl Walking Reprise

You're Welcome Finale (Seventeen Reprise)

Our Love is God

DIRECTOR'S SPECIAL THANKS
Thanks to Maya Rogalski. Her precise, energetic music direction was the heart of the show, and she got the band and actors in sync seamlessly. Eric Richardson made our outdoor adventure move from a fun idea to an actual thing through lots and lots of labor and miles and miles of cable. Thanks to Tracy Traum for finding and creating so many "vintage" 80s looks. As a DHS grad in 1987 they caused me some serious flashbacks. Krissy Schwerin reminded me that the '80s were the source of really all the good dance moves, most of which she managed to cram into Big Fun. Thanks to Jordan Hayakawa for her great insights as assistant director and her willingness to help do what needed doing. Besides playing the leading role, Maya Bailey designed a great set that melted into the existing architecture of the school, and she helped create a dynamic sound design. Cassidy Carlson dove into so many areas of design and tech I don't know where to begin. Lights, projection, sound. Fingers clicking on two boards like a techie DJ. Sophie Grenke brought the organization, leadership, and attention to detail that a great stage manager needs, and as ASM Jacob Mejia-Hays kept things organized backstage and offered helpful insights. For pig piñatas, safe nooses, and Norwegians in the boiler room, thanks to our props master, Annika Fisk. Thanks to our producer Gwyneth Bruch for her support of all the extra expense moving outdoors cost us and for her tireless advocacy on the show's behalf.

THEATRE BOARD SPECIAL THANKS
To Chad Fisk, thank you for being an incredible director for the strangest of shows, your invaluable help with set design and construction (that curved cut!) and your constant support. You were keeping this show running smoothly before we even believed it could happen. To Eric Richardson, thank you for your steadfast belief in my abilities and your willingness to work through any problem. Alex Lewald, endless thanks for guiding me through the strange world of sound mixing, I could never have done it without your help. [-Cassidy] To Jordan Hayakawa, thank you for your assistant direction, eager help with tech, and genuine support and encouragement. Working with you on this show has been a joy. Thank you to Jordan and James Hayakawa for being the best spot-ops we could ask for. We’re so glad you came back to us. To Jade Chew, I send you my endless gratitude for all of your guidance as I navigated my first set design. [-Maya] Your ability to solve a lighting problem from two texts in five minutes is astounding. -[Cassidy] Even from 2,800 miles away, your mentorship and support means so much. Jason Joo and Kathy Peter, thank you for all you’ve taught us and all the help you still provide. We’ll get you all back here one day. To Sophie Grenke, endless thanks for being an amazing stage manager. You helped wrangle this show and kept us all on track throughout this hectic process. Tesla Boire, thank you for being an amazing light op. Your eagerness to learn and your help with the light board was fantastic, and we’re so glad to have you around. Rehan Utomo, thank you for being available so last minute and doing amazing with only one rehearsal under your belt. You rock.

"My Dead Gay Son"