You know that post-night-out buzz? The one after a really good date or wild night out with friends, where you’re smiling all the way home in the Uber, replaying the best moments in your head, before falling asleep in a dopamine haze. That’s the exact spell Head Over Heels cast on me.
This gloriously camp, joy-filled queer musical is basically the recipe for a perfect night out: a wacky story, boppy tunes played live on stage, impressive costumes and props, and a cast where every member channels ‘main character’ energy.
Brought to us by Hayes Theatre Company and Well Done Creative (the makers of Hedwig and the Angry Inch, Avenue Q and Spring Awakening), Head Over Heels is a brilliant reminder of just how vital and dazzling small theatre productions are in Sydney. As a humble theatre fan, I believe this show deserves to be a sell-out – so consider this your gentle nudge to snag a ticket before the season ends on March 22.
What is Head Over Heels about?
Combining Shakespearean-style romance with the iconic '80s pop anthems of The Go-Go’s, Head Over Heels is a joyous celebration of nonconformity. It’s set against the legendary all-woman band’s boppy tunes, like ‘We Got the Beat’ and ‘Our Lips Are Sealed’, with a side serve of Belinda Carlisle’s stratospheric solo career, including the anthemic ‘Heaven is a Place on Earth.' But if you’re expecting it to be a biopic about The Go-Go's rollicking adventures on the road, you might be in for a surprise.
Head Over Heels is actually a loose adaptation of the 16th-century epic poem Arcadia, written by Sir Philip Sidney. Conceived by Jeff Whitty (who wrote the original book), adapted by James Magruder and directed by Ellen Simpson, it tells the story of a royal family in the mythical kingdom of Arcadia. King Basilius (Thomas Campbell) is determined to preserve tradition in a changing world, despite the warnings of the oracle Pythio. What unfolds is a raucous story of family drama that’s ultimately about embracing the real you, whatever your true identity may be.
What are the highlights of Head Over Heels?
Head Over Heels had me grinning from the get-go (largely thanks to The Go-Go’s). As the curtains drew, the cast exploded into an upbeat performance of ‘We Got the Beat’, showcasing their outrageously Elizabethan-era costumes, high-energy choreography and exceptional vocal range.
What I loved about this production is that every character got their moment to shine, with moments of identity reckoning woven throughout. Special shout-out to the ensemble members (Ellen Ebbs and Alana Iannace) whose energy and facial expressions brought extra depth and sparkle to every scene.
Beyond the beats, this production shines for its pure celebration of queerness. It was such a joy – and a relief – to see a show where diversity is embraced and talent takes centre stage. From Pythio’s (Gaz Dutlow) dazzling onesie and winks to Pamela’s (Shannen Alyce Quan) powerhouse vocals, Philoclea’s (Jenni Little) captivating stage presence and Musidorus’ (Adam Noviello) perfectly timed deliveries, every character commanded the spotlight.
Highlights from the two-hour show included a charming puppetry scene with a Nemo-like fish, a hilariously cheeky shadow scene of the king and queen bonking, and the brilliant ‘light bulb’ moments that each character experienced along the way.
Who will like Head Over Heels?
Like any good Hayes Theatre production, Head Over Heels is perfect for anyone who enjoys an intimate, feel-good night out. It’s also perfect for romcom fans who don’t mind a bit of singing.
Basically, if you like She’s the Man – the modern, comedic take on Shakespeare’s Twelfth Night – you’ll probably enjoy the show.
