Head Over Heels (Ipswich Civic Centre and That Production Company with Mira Ball Productions)
Ipswich Civic Centre
May 31 – June 1
The Renaissance-meets-‘80s pop musical “Head over Heels” is a little like “& Juliet”, with an even thinner plot premise, but just as much fun. Instead of featuring a collection of songs from Swedish pop songwriter Max Martin, however, this jukebox musical comedy is built upon music and lyrics from the catalogue of The Go-Go’s and Belinda Carlisle, appropriately beginning with ‘We’ve Got The Beat”. And what a glorious beat it is, literally thumping through as the heart of its story.
The plot is an adaptation of that of “The Countess of Pembroke’s Arcadia”, the 16-century prose romance by Sir Philip Sideny, with follow, instead of the royal family of the peaceful and prosperous Arcadia on its journey to keep their famous ‘beat’. As King Basilius (Henry Kafoa) and his wife Gynecia (Aurelie Roque) consider the romantic futures of their daughters Philoclea (Ella Jaz Macrokanis), who is in love with her childhood friend Musidorus (Willian Kasper), and the older Pamela (Erika Naddei), the most beautiful and sought-after woman in the land who cannot find a man of her liking, a message arrives from Arcadia’s new non-binary oracle Pythio (Freya Armani) devastatingly warning that the beat of the now too-rigid kingdom will be lost if four prophecies about the family are fulfilled.
There is certainly a lot going on within Jeff Whitty’s original book (then adapted by James Magruder) with literary language of the Shakespeare sort, metatheatre nods and quips about arts funding et al and appearance of a giant snake as part of Nevin Howell’s vision design used to effectively move the narrative through its players’ journey on the road from the kingdom of Arcadia to a beckoning Bohemia, where the beat will be returned, although not necessarily the status quo of the story’s start. In particular, there are many conventions of Elizabethan theatre adding to the layering of what is more than the somewhat superficial storytelling of its initial impression; a band of travelling actors move through the forest as if in “A Midsummer Night’s Dream”, there is a “The Tempest” revelation of the brave new world of the musical’s conclusion, a cross dressing character in disguise, easily-understood innuendo, especially in Princess Pamela’s to self-discovery of her feelings for her handmaiden Mopsa (Nykia O’Keefe), and a feminist-themed ultimate outcome. It’s all a bit bonkers really, yet That Production Company’s Company’s (with Mira Ball Productions) lean into the boisterous storytelling and ensuing audience suspension of belief as the chaos of its plot’s circumstances unfolds, make it an easy experience of laughter, love and (albeit lesser-know) ‘80s hits.
This is a polished production, elevated by some excellent performances from its lead players. Kafoa is strong from the start as the hot-headed King Basilus, delivering a dynamic performance throughout, while Naddei and Macrokanis showcase impressive vocals in each of their numbers. In particular, Naddei and O’Keefe’s duet as an unsure Pamela and Mopsa rejoice in misunderstandingly finding another couple like themselves, stands out due to their powerful vocal competition, in a ‘Take Me or Leave Me’ “Rent” type way.
The script’s slapstick and farcical comedy is easily accessible in its campy pantomime sensibility, often from Kasper as the lovesick young Sheperd who awkwardly attempts to court Philoclea with stop-start declaration of how’s he’s ‘Mad About You’, before later becoming something for everyone is humourous lead-in to Kafoa and Roque’s rich ‘Heaven is a Place on Earth’. And while the characters are all appropriately, farcically two-dimensional, Roque still conveys wisdom and strength through the dry wit of Queen Gyencia’s wisdom.
Jennifer B Ashley’s detailed, fast-paced choreography contributes much to the show’s infectious energy. While there are some lapses in execution of dance numbers, the smaller ensemble numbers featuring Peter Wood, Jaya Fisher-Smith, Sam Carunan and Nathaniel Savy simply sparkle in their precision and the pops of their every punchy move. And their appearance as shepard Musidorus’ back-up flock makes for an Act Two highlight of hilarity.
Costume design keeps the ensemble cohesive while still adding interest, and contributes to thematic undertones through juxtaposition of the sisters’ personalities from the start, Pamela as fearsome and dramatic in comparison to Philoclea’s more grounded spirit and generous sensibility. And the lush aesthetic added to by Wesley Blugg’s lighting ensures a visual feast of opening royal reds and then the midnight silvers of Pytho’s ‘Vision of Nowness’ messaging.
Timothy Wynnn’s nuanced direction focusses on every detail in the irreverent show’s gender identity focus on celebration of love in all its forms, resulting in a fun-filled audience experience of this creative new musical’s vibrant Queensland debut. The talent of its performers and the score provided by the live band (musical direction by Nick House), revealed from behind the action as part of a thunderous opening night curtain call, make its full circle journey to a modern paradise found, worth the trip from Brisbane, especially for those of vintage enough to recall the tunes of its initial era of exuberance.
Photos c/o – Brit Creative Studio
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