Review: HEAD OVER HEELS at Cultural Arts Playhouse

HEAD OVER HEELS opened this weekend at the Cultural Arts Playhouse in Syosset this past Saturday night. Based on the 1593 story “The Countess of Pembroke’s Arcadia,” this 2018 Broadway hit features the music of the Go-Go’s, including “We Got The Beat,” “Heaven Is A Place On Earth,” “Vacation,” and, of course, “Head Over Heels.” Directed by CAP Artistic Director/General Manager Tony Frangipane and Diane Marmann, the production shines in all the right places. 

From the first beat of the opening number, the audience is transported into the world of the show. The energy within the cast is electric, and it is abundantly clear that they are enjoying their time with this material. This energy evidently had a positive effect on the audience. 

Appearing in the role of “Pamela,” the eldest daughter of the King and Queen of Arcadia, is Chrissy Ganci. Her performance was stand-out, Ganci possesses a stage presence that commands your attention. In “Pamela’s” first number, “Beautiful,” Ganci received a well-deserved outpouring of adoration from the crowd as her voice soared through the final minute of the song. 

In the roles of “Gynecia” and “Basilius,” the King and Queen of Arcadia, Jordan Dupré and Candis Alek are astounding. The two play exceptionally off of one another, and their voices are electrifying together. “Heaven Is A Place On Earth” shook the rafters of the theatre. For Dupré, “Get Up & Go” was simultaneously entertaining and energetic. The energy that he brought to the number had the audience dancing in their seats. A particular stand-out moment for Alek, of many, was at the end of the show. Without giving the ending away, Alek proves her character to be the pinnacle of strength and power. 

Rounding out the royal family of Arcadia, as the youngest daughter “Philoclea” is the angel-voiced Julie Fine. As she sang, the audience was on the edge of their seats listening to the clear and pristine sound that Fine let out. Her range seems never ending, especially on the song “Good Girl,” where her gorgeous soprano was on full display. 

Appearing as “Mopsa” companion to “Pamela,” Rita Sarli mystifies. Possessing a voice reminiscent of a sound you would hear on a victrola in the 1940’s, Sarli sends the audience to another world with her clear and powerful sound. “Vacation” put her voice on full display, it was worthy of a mic-drop. Sarli is unparalleled by others who have appeared in this role.

Adam Slawitsky as “Dametas,” the companion to “Basilius,” and father to “Mopsa,” is a performance not to be missed. Slawitsky gives a fine-tuned and perfectly uproarious performance as the king’s right hand. Perhaps what stood out most about Slawitsky’s performance, was his performances of “Dametas’” monologues about his family and past. 

Domenick Napoli appears as the lovesick and charming shepherd, “Musidorus.” Possessing an electrifying sound tailor made for this style of music, and an equally masterful stage-presence, Napoli gives a noteworthy performance. “Mad About You” was a stand-out moment for him, with his vocals spinning to the heavens, he had the audience giving a thunderous seal of approval long prior to the song's conclusion. 

Seneca LaBelle makes an appearance as the crowd favorite “Pythio,” the non-binary oracle. In this role, LaBelle is the definition of fabulosity and the pinnacle of a shining stage presence. “The Vision of Nowness” electrifies, and is the perfect display of LaBelle’s mastery at embodying a character and the character’s world.

The ensemble of this production was the sheer definition of energy and delight. Displaying immense dance skill and powerhouse vocals, the audience was in for a treat every time they turned loose on the stage. The ensemble featured Jenn Demopoulos, Sarah Biernacki, Samantha Eagle, Lily Leanaweaver, Jacob Hammerman, Trentin Chalmers, Pat Mesmer and Dante DiGiorgio.

Choreography for this production was provided by Dawn Slawitsky. It is evident that Slawitsky is a master at fusing the story and the movement, as each of the pieces of choreography were purposeful and crucial to each part of the story.

Musical Direction was provided by Rich Giordano. Giordano has a knack for putting together an electrifying sound from both the pit orchestra and the performers on stage. Each company member on that stage, band and cast, were perfectly in tune with one another, and masterfully blended whilst maintaining their individual sounds, thanks to Giordano’s direction. Featured in the band are Rich Giordano (Keyboard/Conductor, Zach Mandernach serves as the cover), Mike Kelliher (Guitar 1, with Luca Alexandru and Joey Sheehan serving as covers), Jared Grossman (Guitar 2), Kathryn O’Neill (Bass, with Brittany Washington as the cover), and Sean Ryan (Drums, with Rich Daly as the cover).   

Tony Frangipane and Diane Marmann served as co-directors for this production. There is magic afoot when this team comes together, and it was evident that the actors were well-prepared for this opening, and that they had a great time doing it. It must be noted how well each of the actors used the colloquialisms of the time period that this story is set in. Each one spoke as though they had spoken this way their whole lives. 

It is common at Cultural Arts Playhouse to double-cast in roles. In addition to the performers featured in this review, the cast features Karli Regan as “Gynecia,” Angelina Milici as “Pamela,” Hallie Roteman as “Philoclea,” Taneisha Corbin as “Mopsa,” Cyd Rosenberg as “Musidorus,” and Jess Bond, Danielle Coutieri, Laila Canelo, and Isabella Scarpa in the ensemble. 

HEAD OVER HEELS plays at Cultural Arts Playhouse in Syosset thru July 23, 2023.

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