Theatre Review: Head Over Heels-The Go-Go's Musical

By Cindi Sansone-Braff

The Gateway’s Long Island Premiere of Head Over Heels is a “Beautiful” Way to Celebrate Pride Month

Head Over Heels – The Go-Go’s Musical, running now through June 26, is The Gateway Playhouse’s first show of their new year-round season. This bawdy Elizabethan-era farce, complete with plenty of anachronistic jokes, follows the escapades of a royal family and their subjects as they explore gender fluidity, sexual awakening, the real meaning of beauty, and ultimately– acceptance.   Me thinketh the theme that “only loves matters” and “love is love” are befitting messages for any musical! Add the additional themes of “live your truth” and “find your true identity,” and you have the stuff of a hit show that leaves you feeling like there is hope for humanity after all.  

Head Over Heels – The Go-Go’s MusicalThis 2018 Broadway jukebox musical utilizes the music and lyrics from the catalog of the iconic 1980’s all-female rock band, “The Go-Gos.” The inspiration for this musical came from Sir Philip Sidney’s Renaissance pastoral romance “Arcadia.” Jeff Whitty conceived the show and wrote the original book, which James Magruder later adapted.

Belinda Carlisle’s “Heaven is a Place on Earth” and “Mad About You” are two songs also featured in this musical, and they were my favorite numbers in the show. “Heaven is a Place on Earth” had a sensual, steamy, shadow love scene that was breathtaking to behold. The energetic reprise of “Mad About You,” featuring the entire company, was a showstopper.

The musical opens with the entire company giving a rousing performance of the mega-hit “We Got the Beat,” which lets the audience know they are in a for a merry musical treat. 

As for vocalists, this show is chockful of major talents. Gina Ward as Mopsa, the Viceroy’s strong-willed daughter, and Renee Marie Titus as Pamela, the vain, oldest princess daughter, gave standout performances when they belted out the hit song “Turn to You.” Ms. Titus also rocked the song “Beautiful,” displaying her comedic acting skills as well during this number.  

Tyson Jennette as Basilius, the pompous King of Arcadia, and Jennifer Byrne, the bored, sometimes dutiful, sometimes sexually adventurous Queen Gynecia, gave memorable performances during the duet “This Old Feeling.” Ms. Byrne is a comedic genius, and with just a mere facial expression or wave of her hand, she had the audience roaring with laughter. She surprised the audience when she gracefully slid into a split, letting us know she could dance up a storm!

Molly Rushing as Philoclea, the younger princess daughter, smitten with a low-stationed shepherd boy, had an angelic voice and graceful demeanor reminiscent of a reserved Disney princess. Her moving rendition of “Here You Are,” where she opens her heart to her would-be lover, was one of the show’s highlights.

Josh Canfield portrays Musidorus, a shepherd who dresses in drag to win the hand of Philoclea.  Mr. Canfield displayed his comedic skills during a hilarious scene where he alternates between being the object of the queen’s desire, flexing his muscles to reveal his masculine side, and wiggling his hips sensuously, displaying his goddess energy, enticing the king. Mr. Canfield also delivered a knockout performance during “Mad About You,” joined by the Male Ensemble, who aced this number.

Turner Riley as Pythio, the Oracle of Delphi, an ethereal, non-binary soothsayer, who delivers four dire prophecies to King Basilius, wore some of the most breathtaking costumes in the show. Pythio, who likes to be referred to by the pronouns they/them, gave a riveting performance, accompanied by the sensuous Snakelets, to the song “Vision of Nowness.” 

Some of the campiest moments in the play came from Steve Brady as Dametas, the King’s Viceroy. He has a strong singing voice, and his acting ability was equally impressive.

Special mention goes out to Grace Benedetto, Delaney Gruber, Ashton Hololob, and Jaye Pegg, the glorious offstage voices that added harmony and depth to many songs.

This modern-day fairytale, complete with a “Happily Ever After” ending, was directed and choreographed with finesse and exacting precision by veteran director Keith Andrews with collaboration from Vincent Ortega and music direction by Andrew Haile Austin. 

The ultra-talented ensemble members included Lincoln Belford, Shannon Conboy, Jesse Jones, Maya Kazzaz, Ashley Klinger, Gracie Phillips, Vincent Ortega, and Jordan Vasquez. This versatile group of performers displayed a kaleidoscope of kinesthetic wonders throughout the show, from sky-high kicks to flips and cartwheels and even scooting by on a unicycle. Their nonstop energy and enthusiasm were the glue that held this rambunctious musical together.

The Gateway’s production of Head Over Heels features the original Broadway scenic design by Julian Crouch and original Broadway costumes designed by Arianne Phillips, adding another level of professionalism to this polished to perfection show. Throw in a live orchestra, lively choreography, powerhouse vocals, fun pop-up sets, and a triumphant finale, and Gateway has got themselves a must-see musical.

Tickets are on sale now for the full season and can be purchased as a curated or flexible subscription – giving you the best value on ticket prices and many other great benefits – or as single tickets (starting at $59). Teen and youth prices are available for select shows. For more information, contact the Box Office at (631) 286-1133, or visit the website at TheGateway.org.

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild and the Long Island Authors Group. She is the author of Grant Me a Higher Love, Why Good People Can’t Leave Bad Relationships, and Confessions of a Reluctant Long Island Psychic. www.Grantmeahigherlove.com.