REVIEW: HEAD OVER HEELS THE MUSICAL Pairs Elizabethan Age Literature With The Pop Rock of The Go-Gos
HEAD OVER HEELS THE MUSICAL
Saturday 14th March 2026, 7:30pm Hayes Theatre (In Season review)
HEAD OVER HEELS THE MUSICAL celebrates the music of 70’s and 80’s Pop Rock group The Go-Gos through a pairing with Sir Philip Sidney’s pastoral romance, The Countess of Pembroke’s Arcadia. Premiering in 2015, James Whitty (concept and book) and James Magruder’s (adaptor) musical theatre adaptation is another jukebox musical that pairs 16th century literature with 20th century music.
In bringing the Sidney’s The Countess of Pembroke’s Arcadia, generally referred to more simply as Arcadia, into the 21st century, the work, first published in 1593 is presented with a queer lens and a streamlining of characters. The Royal family of Arcadia have been summoned to an audience with oracle Pythio (Gaz Dutlow), but in his stubborn “wisdom” the King of Arcadia, the stuffy Basilius (Thomas Campbell) believes that it is his duty, with his servant Dametus (Nancy Denis/Ellen Ebbs), and not a task for his wife and daughters. Basilius and Dametus are told by Pythio, a being that cannot be bound by rigid binary terms, that Arcadia risks loosing its “Beat” if Pythio’s four prophecies come true. In another move of male arrogance, Basilius decides not to share this information with his family and even though his smart Queen, Gynecia (J Ridler) senses something is wrong, she goes ahead with his plans to hunt a golden stag that will bring a happy ending, the ruse that Basilius sold his family. This distraction provides eldest daughter, the vain Pamela (Shannen Alyce Quan) a reprieve from the line of suitors paraded for her ultimate rejection while it separates youngest daughter, the “plain” Philoclea (Jenni Little) from her childhood friend, shepherd Musidorus (Adam Noviello).
This work is presented in the manner of a contemporary interpretation of a Tudor minstrel show with historically inspired costumes, simple set (Josh McIntosh) and lo-fi ‘special effects’ that make the work even more comical. The work is high energy with Ryan González’s choreography reinforcing the connection to the 70’s and 80’s music. Director Ellen Simpson has bought together a strong cast of performers that can sing, dance and act while also having the comic sensibility to know how to lean into the absurdity of the work without it turning completely pantomime.
While some of The Go Gos music is possibly less familiar for some audiences, the numbers selected fit well with the storyline, even if some storylines are somewhat absurd to enable numbers to be used like Pamela’s handmaiden resigning and going on an island vacation. The main power of the work comes from how Whitty and Magruder have adapted the 16th century work, written well before writers really incorporated overtly queer elements, to tell the story for a modern audience. While at face value silly and fun, it explores the ideas of love and acceptance, feminine power and the importance of evolving to embrace new ideas.
HEAD OVER HEELS MUSICAL brings an old world Elizabethan era story that may not be as familiar as other source material for similar jukebox musicals but shares a compelling contemporary message. An easy to watch evening of absurdity that is brilliant in its creativity and the utilisation of a talented cast and on stage band, this is a wonderful escape from the real world for a while.
Head Over Heels | Hayes Theatre Co
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