01 Immersive live entertainment director
Creative direction, dramaturgy and performance design for theme parks and leisure destinations.
The concentration compassFeeling at the centre. Every discipline in the same direction.
Story · Performance · Guest journey
02 The premise
03 Selected work
In developmentHalloween Nights 2026
Currently in development · Toverland
A new haunted experience unfolding across seven hectares of towering maize behind Fēnix — twice the size of Avalon. Inside the dense fields, standing still is not an option: the guest journey is built around one urgent rule. Keep moving.
Discover at ToverlandHaunted experience · Scare zone
Concept · Dramaturgy · Experience direction
Two experiences built as one continuous story: a mysterious approach through a ruined estate that opens into a baroque vampire ball. The guest journey moves from curiosity to suspicion and finally participation.
Interactive family show
Scenario · Dialogue · Direction
A warm winter story created for Toverland’s pop-up theatre. A domestic setting, a missing snowfall and one magical object turn a simple problem into a musical family experience.
Seasonal event · Live entertainment
Creative direction · Guest journey
A layered summer programme in which parade, shows, roaming characters and intimate encounters create rhythm across the entire day — from first arrival to collective finale.
Roaming theatre · Character world
Character direction · Improvisation · Interaction
An ensemble that does not perform in front of visitors but lives among them. Long-form character play, direct interaction and improvisation turn a themed environment into a socially believable world.
Live entertainment · Interactive theatre
Writing · Character development · Direction
Direction and performer training for roaming entertainment and interactive puppet theatre, including Bakker Krümel & Frau Schmetterling and three productions for the Anton Pieckplein puppet theatre.
04 The concentration compass
I connect concept, dramaturgy, storytelling, performance, music and operational reality into one coherent direction.
The first question is not what happens, but how people should feel.
Story, space, sound, performance and operation must support the same emotional arc.
The audience is never absent. Every moment defines their place inside the story.
“How do we want people to feel?”
05 Michael Bot
I help theme parks and leisure destinations transform ambitious ideas into emotionally authentic, operationally achievable experiences.
My path from performer and company manager to director shapes the way I work today. I understand what a concept asks of the people who must perform it repeatedly, of the teams who operate it and of the guests who complete it.
A new experience starts with a conversation