A quirky, quintessentially queer celebration of love, liberation, and life lived out loud, Head Over Heels serves as an amusing amalgamation for the ages combining three uniquely different yet somehow also inherently connected elements: 1) a story based on Sir Philip Sidney’s 16th-century pastoral prose romance The Countess of Pembroke’s Arcadia; 2) music from classic ’80s pop-rock group The Go-Go’s; and 3) strong LGBTQIA+ representation. Originally conceived by Jeff Whitty and adapted by James Magruder, the jaunty, jubilant jukebox musical Head Over Heels is now playing at The Prince William Little Theatre under the direction of Melanie McGuin.
Sir Philip Sidney’s work exists in two versions, which have come to be known as Old Arcadia and New Arcadia. This production of Head Over Heels focuses its plot on the more stripped-back Old Arcadia while incorporating tonal elements of the ethical dilemmas presented in New Arcadia. The story follows the royal family of Arcadia, who, after receiving four looming prophecies from a mysterious oracle, set out on a long journey of self-discovery.
The show is recited primarily in iambic pentameter, much of which in rhyming format, therefore, falling right in line with the theme of a kingdom known for its “beat.” You’d think a 400-year gap with dialogue from 1580 and music from 1980 would create more intense juxtaposition; however, the lyrical nature of the dialogue allows for a smooth transition between the Elizabethan prose and the interjected ’80s soundtrack.
The band playing these classic pop hits was positioned above the stage, allowing us to peer up on occasion and spot conductor Matthew Scarborough keeping the beat through soft rhythmic taps to his chest. He led with both precision and passion, bringing the entire show to life, not only through the hit songs, but through extra instrumental moments such as a musical heartbeat heard between two lovers. The show was also elevated by the background dancers/singers. Two performers in particular, Sydney Morefield and Cristina Casais, really embodied the kingdom’s philosophy of keeping the “beat” alive.
Although the spoof-like nature of the show made several vocal performances feel forced, there remain many moments of note. The top vocal standout of the night definitely came from Grace Miller as Princess Philoclea, the younger of the two sisters, particularly during her rendition of “Good Girl.” Harmonizing with her older sister, Princess Pamela (Brittany Washington), and Pamela’s lady maid and eventual lover, Mopsa (Meredith Kilmartin) brought forth some stunning moments. However, as a consistent performer throughout the entire show, Miller maintained the tightest control over her wide range and dynamics.
Jolene Vettese’s performance as Queen Gynecia during “This Old Feeling” was another high moment. Her vocal tone felt intriguingly reminiscent of Olivia Newton-John as Sandy in Grease, which had me smiling. Then, there’s the endlessly stylish, nonbinary oracle Pythio (Clayton Alex James). He absolutely sparkled each time he walked across the stage, and not just because of the multiple jeweled outfits he donned but because of his glamorous, radiant energy. His vocals were best displayed during “Heaven Is a Place on Earth,” a song suited perfectly to his mezzo-soprano range.
James’ costumes weren’t the only fun pieces from costume designers Susy Moorstein and Riley Leonhardt. King Basilius (Chris Anderson) sported a pair of quilted, velvet-looking, burgundy loafers that I just died for. The entire cast, though, was outfitted in bright, jewel tones, indicative of a rainbow — highlighting the LGBTQIA+ symbols that were also incorporated through accessories, as well as makeup from makeup designer Melissa Jo York-Tilley, and props from properties mistresses Draconia Craig and Melanie McCleerey.
The costumes, makeup, and props played on the campy juxtaposition of the Ancient Greek fantasy narrative against the modern-era tone/themes by incorporating various pieces from each category. This was seen with Musidorus (Nathan Peck), a lowly shepherd, wearing a toga but paired with synthetic socks and oxford-style shoes. Musidorus, when disguised as his female counterpart, Cleophila (an alleged Amazonian warrior), also took on the accessories of the most famous Amazonian warrior who just happens to be an LGBTQIA+ icon — Wonder Woman. He (or rather, she) accessorized with the classic golden belt, cuffs, and lasso.
The fantasy elements were also present in the setting, furthered by the images projected on a screen center stage. Projection multimedia designers Laura Mills and Melissa Jo York-Tilly included various fantasy images to ground location stops along our characters’ journey, such as enchanted forests or regal, Elysium-like campsites. They also utilized the screen as a plot device to enforce comedic moments such as during “Beautiful” when photos of self-obsessed Princess Pamela’s face were superimposed onto famous paintings like the Mona Lisa.
The set built to look like a fairytale castle structure was a lot of fun. Unfortunately, I found myself squinting at the stage on multiple occasions as the lighting was entirely too bright. The first four or five rows seemed to be just as illuminated as the actors on stage. We probably would have benefited from having several of the overhead lights either left off or dimmed substantially.
At first, I found myself curious as to why the Go-Go’s music was chosen to pair with this story. But it’s actually quite simple. As an all-female band, the Go-Go’s existed as a pure representation of “girl power,” of challenging norms and expressing one’s truth, and that’s largely what Head Over Heels is all about. It’s really a love letter to the queer community. It’s a story about self-expression. It’s about acceptance of identity; acceptance of our own as well as that of those around us. It’s about love in all its many, wonderful, glorious forms.
Running Time: Two hours and 15 minutes, including a 15-minute intermission.
Head Over Heels plays through March 22, 2026, presented by Prince William Little Theatre, performing at the Gregory Family Theater, Hylton Performing Arts Center, 10960 George Mason Cir, Manassas, VA. Patrons may purchase tickets online in advance: $35 adult; $29 senior, student; $24 youth (12 and under) and military (active). Prices include fees.
The program is online here.
Head Over Heels
Songs by The Go-Go’s
Based upon The Arcadia by Sir Philip Sidney
Conceived and with Original Book by Jeff Whitty
Adapted by James Magruder
