Musical theatre productions that challenge conceived norms and push back the boundaries are nothing new for Hope Mill Theatre, their latest offering gives a European premiere to this 2015 ‘queer jukebox musical’ and is thoroughly vindicated with a hugely entertaining spectacle that poses pertinent questions around love and acceptance in the modern world.
There is no denying that the genesis of ‘Head Over Heels’ is an oddity. Not many people would have thought of making a Broadway musical based on ‘The Countess of Pembroke’s Arcadia’, a prose romance written by Sir Philip Sidney in 1593; still fewer would have then decided to add in songs from late 1980’s indie-punk popsters, The Go Go’s. Then again, not everyone is the iconoclastic figure of Jeff Whitty, the writer of Avenue Q, who once again utilises the musical theatre format to put patriarchal politics and the queer experience at the heart of his work.
The original story revolves around the fictional kingdom of Arcadia falling foul of a prophecy from Pythio (Iz Hesketh), an Oracle who makes four predictions to King Basilus (Fed Zanni), that if fulfilled will result in him losing his crown and the realm losing its life giving ‘Beat’. The King and his court embark on a quest to prevent these calamitous events, with daughters Pamela (Jenny O’Leary) and Philoclea (Maiya Quansah Breed) finding, losing and finally finding love again with Mopsa (Khadija Sallet) and Musidorus (Luke Bayer).
If this all sounds a little like a Shakespearean romantic comedy then that’s because that’s exactly what this is, complete with original blank verse and language, punctuated with a few modern asides, the writing is still fresh and has relevance even after over 400 years. When Basilus verbally sparks with his Queen Gynecia (Julie Stark) you can hear the echoes of the ‘merry war’ fought out by Beatrice and Benedick in ‘Much Ado’. However, Director Tom Jackson Greaves adds layers to the sexual politics by ensuring the queer relationships are given equal footing; the gradual realisation by Pamela and Mopsa of their burgeoning love is as well developed as the Philoclea/Musidorus storyline, the message of acceptance and tolerance shown by ‘New Arcadia’ at the conclusion is positive and life affirming.
In addition to great source material for the original story, Whitty also brought an absolutely banging soundtrack to the party. Unlike me, you don’t have to be an ageing indie kid with an unrequited love for 64-year-old Belinda Carlisle to appreciate the musicality of this show. The pioneering all girl, five-piece band grew up in post punk Los Angeles and their guitar heavy riffs and licks permeate the show, acting as sharp relief to the heavier dialogue. Whilst not every song bears strong examination when illustrating the events of the storyline, there is no doubt that hearing ‘Cool Jerk’, ‘Vacation’ and ‘Heaven is a Place on Earth’ played by a rocking six-piece onstage band brought smiles to the audiences faces, whether they were familiar with the back catalogue or not.
The deft skills of the band were supplemented by the vocal range of the onstage performers, the powerhouse talent of Jenny O’ Leary (Beautiful) matched by Khadeja Sallet during their fantastic duet (Automatic Rainy Day) and Zanni and Stark sparkled during ‘This Old Feeling’. Hope Mill veterans will have been delighted to see Bayer, Hesketh and Quansah Breed filling the tiny stage again, all three having starred in this theatre’s seminal production of ‘RENT’. Hesketh in particular has developed greatly as a leading performer during the intervening two years with their introduction onstage (Vision of Nowness) a real highlight. My only criticism was that the delivery of the dialogue strayed perilously close to adult pantomime at times, one particular scene involving Pamela’s delivery of a poem felt crude and unnecessarily out of character with the timbre of the production.
The production looks ravishing, with Set and Costume Design by Sophia Pardon – strongly influenced by Alexander McQueen and Vivienne Westwood – the kingdom of Arcadia invokes both ‘The Wizard of Oz’ and ‘The Hunger Games’ in its feeling of eccentric fantasy. Jackson Greaves also brings his expert choreography experience to bear, utilising every square inch of the stage to allow the four strong ensemble to shine.
Overall, the ostensibly risky decision to stage this production pays off admirably, the Venn diagram splicing of an Elizabethan romantic comedy with a Hedwig/Spring Awakening style rock musical is totally vindicated. Belinda Carlisle is currently touring the UK and reaches Manchester on 17th February, I strongly suggest whilst she’s here she takes an Uber to Ancoats to check out the latest success from the Factory of Creativity.
Playing until 4th March, https://hopemilltheatre.co.uk/event/head-over-heels/
Reviewer: Paul Wilcox
Reviewed: 1st February 2023
North West End UK Rating: ★★★★