Head Over Heels

Prince William Little Theatre

Photo credits: @prince_william_little_theatre on Instagram

See those people walking down the street?

Falling in line?

Walking in time?

It’s the cast of Prince William Little Theatre’s latest production of Head Over Heels, and yes: they’ve got the beat.

But more than that, they’ve got a feel-good production that’s bound to leave you walking out of the auditorium smiling. Trust me, I’ve still got the greatest hits of The Go-Go’s running through my head--it’s impossible not to be happy. 

Let’s cut to the chase and dive right in!

Head Over Heels

Buckle up: Head Over Heels is truly a show that spans centuries. While the story is based on Sir Philip Sidney’s The Countess of Pembroke’s Arcadia, a long prose pastoral romance from the 16th century, bookwriter James Whitty (of Avenue Q) has largely updated the plot to fit today’s world. 

I mean, the show is essentially Arcadia fanfiction. Stay with me.

We begin in the city of Arcadia, a peaceful town guarded by its “beat.” King Basilius and his wife Gynecia have two daughters: Pamela, the eldest whose beauty has attracted princes to court her from all across the land, and Philoclea, her younger, plainer counterpart. Out of the blue, King Basilius is summoned to hear four prophecies from a mysterious oracle, and unleashes a journey of chaos and revelation that seemed plucked straight from a Shakespeare play.

Unlike a Shakespeare play, however, Head Over Heels caters to its modern audience by bringing Arcadia’s LGBTQ+ undertones to the forefront. Instead of pursuing suitors, Pamela falls in love with her handmaid. Philoclea’s childhood best friend has to disguise himself as a woman, and learns to embrace the identity. The oracle is non-binary, and made history as the first lead role to be portrayed by a transgender actress on Broadway.

Plus, everything is set to the unmistakably catchy music of the Go-Go’s! 

Now that we’ve got the map drawn, let’s take a trip through Prince William Little Theatre’s production of Head Over Heels.

This Production

This show was bright in every aspect: color radiated from Joey Olson’s set, style exuded from Susy Moorstein and Riley Leonhardt’s costumes, and attitude was bursting from the energetic ensemble. The ensemble brought infectious energy to every number and were whole-heartedly committed to director/choreographer Melanie McGuin’s artistic vision. In addition to townsfolk, the ensemble transformed into lambs, snakes and mermaids (oh my!) to bring Arcadia and its surrounding landscapes to life. What can I say? I always love a fun backup chorus of farm animals, and the actresses who played sheep in “Mad About You” truly infused the number with an extra sense of whimsy.

Zeroing in on the royal family, Grace Miller portrayed youngest daughter Philoclea with a charming sense of bright-eyed innocence, especially opposite Nathan Peck’s delightfully dorky Musidorus. Miller’s sweet vocals and sense of character truly shone in the number “Good Girl,” which ended up being one of my favorites of the entire production. Accompanied by Brittany Washington as Pamela and Meredith Kilmartin as Mopsa, the three women sang in crystal-clear harmony that pulled at the heartstrings as they grappled with their newfound desires.

With both a princess’s posture and a diva’s upturned chin, Washington commanded the stage as Pamela. Every line exuded confidence, and it was clear Washington would do whatever it took to get her way. Kilmartin portrayed the fiercely loyal Mopsa: exceptionally eager, yet also repressing her love for Pamela--with sky-high vocals to boot.

Overseeing the affairs of Arcadia were Chris Anderson’s King Basilius and Jolene Vettese’s Queen Gynecia; a royal couple with less-than-royal feelings for one another. Anderson stepped into the macho persona of Basilius with gusto, rallying the kingdom with his rendition of “Get Up and Go.” Vettese, meanwhile, showcased power in the form of a wry smirk. Opposite Anderson, the two made a comical couple. Throw in some deceptive schemes, and chaos was bound to ensue; Pythio, the vibrant oracle brought to life by Clayton Alex James, made sure of that. Andrew Morin’s Dametas elevated the comedy even further, raising a hilarious bout of panic at every ribbon dropped: the sign of prophecies being fulfilled.

Who Is It For?

Prince William Little Theatre markets Head Over Heels with a PG-13 warning on their website. While I initially figured this production would be fun for the whole family, I very much stand by the PG-13 recommendation after watching this production. Not for overall content, per se, but for one specific scene.

Let me put it this way: if you’re on the younger side of being a teen… maybe take a quick bathroom break during “Heaven is a Place on Earth.” Remember how I mentioned this show was written by the same guy who did Avenue Q? It’s that type of scene, minus puppets. Just silhouettes that leave little to the imagination. 

But anyway, real talk.

The state of the world we currently exist in is one ridden with fear and hate; Head Over Heels embraces the joy of freedom and love. It invites the audience to escape into a world where our most authentic selves are celebrated as they deserve to be.

So, if you’re looking for a production with catchy tunes, an energetic cast, and plenty of love, check out Prince William Little Theatre’s production of Head Over Heels. The show continues this weekend, and runs March 20-22 next weekend in the Gregory Theater of the Hylton Performing Arts Center in Manassas.

Visit pwlt.org/headoverheels.html for tickets and more information.