Theatre Review: ‘Head Over Heels’ at Monumental Theatre Company

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Read the original review on MD Theatre Guide's website here.

This is one of the most exuberant, silly, funny and irreverent jukebox musicals I have ever seen. Just like “Mamma Mia” or “Xanadu” or any of a number of jukebox musicals, the book by Jeff Whitty (conceived and original book; adapted by James Magruder, and based on “The Arcadia” by Sir Philip Sidney) is more of a backdrop for the songs.

But that really doesn’t matter because the journey is just fun. Plus, the cast does an incredible job of throwing themselves into this world of Arcadia and suspending disbelief. In the intimate black-box theatre this is staged in, you feel very close to everyone and somehow more invested in their stories.

This is a double first for Monumental—the first jukebox musical they’ve staged, and the area premiere of ‘Head Over Heels,’ which at its heart has an uplifting message about inclusiveness and acceptance, and forgiveness.

As plots go, it’s a mishmash of Shakespearian gender and identity mix-ups and scavenged themes from the ancient world (prophecies and such). The kingdom of Arcadia is peaceful and prosperous and its people’s lives governed by a mysterious “Beat” (“We Got the Beat” introduces us to this.). King Basilius and his wife Gynecia have two daughters—Philoclea who is in love with her childhood friend Musidorus, a shepherd, and Pamela—a queen bee who is considered the most beautiful woman in the land. But she keeps sending the suitors away. In the midst of the family drama, a message arrives from Arcadia’s new oracle Pythio for a meet-and-greet-and-warn—Arcadia will lose its beat if a certain four prophecies come to pass, and, more importantly to the king, he’ll lose his throne. Two of the prophecies involve his daughters and the third his wife.

So what else would a vain, hard-headed ‘mansplainer of a king do? Lie to his family and force them to go on a camping hunt for a mythical golden stag. He’ll keep his eye on them, with the help of his loyal viceroy, Dametas. He’s bound to beat the curse because after all, he’s a king.

So there will be shenanigans and false starts, and face palming, and ridiculousness galore, all set to the Go-Go’s, and Belinda Carlyle’s songs. There will be some pretty good dancing too.

The cast obviously has fun with this. As the adult in the room, Candice Shedd-Thompson as Gynecia can send a burn with her eyes second to none. While she’s very funny when she’s all atwitter and girlish over Musidorus the shepherd (a hysterical John Sygar) masquerading as an Amazon warrior, she’s hysterical when she’s sending the burn, especially to her husband, King Basilius (a superbly cluelessly commanding Brice Guerrier).

As “plain” younger sister Philoclea, Lauren Farnell has the gentleness and moony-eyes of a young girl with her first love and darned if she doesn’t try to find the good in everyone. Rachel Barlaam is her yang as the beauty Pamela, whose duty is to get married, but can’t quite bring herself to pull that trigger.

But it’s really the second leads and the ensemble that make this show such a dizzy delight; as Dametas, Greg Atkin has the thankless task of being a loyal courtier while keeping a clear head; he’s stalwart even as he’s drowning in the insanity Basilius leaves in his wake.

Adelina Mitchell is graceful steel as Mopsa, Pamela’s handmaiden, who is sharp-witted, sharp-tongued, and clear-eyed about her love interest. She’s a pleasure to watch. The ensemble—Cam Shegogue, Morgan Kelleher, Savina Barini and Ricardo Blagrove—are magnificent. They dance quite well (Shegogue’s moves are particularly sharp) and they play so many different characters (there’s a bit when they’re sheep—it has to be seen to be believed) believably it has to be exhausting. Besides, you know when they come bounding/crawling/running/leaping/sidling onstage, it’s time to DANCE!

Finally, Garnet Williams is Pythio, the oracle, who also has a secret (well, frankly, who doesn’t in this show?). Williams is the most consistently dramatic character with a gliding walk and echoing voice, and then she thuds to earth—trying to get these at times, dimwitted mortals, to actually think. You can almost see her mentally wondering what she did to tick off the gods so badly that she ended up with this assignment.

The staging is cleverly done in the round at the Ainslie Arts Center by scenic designer James V. Raymond. The costumes by Jenn Pinkos are artfully done for most of the cast; although at times the short white pantaloony-things the ensemble wore looked a bit awkward. But she got all the lovely little details that turn characters into other identities perfect.

There is a band in this show; the music director is Markia Countouris. There was some discussion in the audience at the end about where in the world they were hiding the band, but they were certainly heard. A few times the rock/pop sound almost drowned out the actors in spite of them being miked, but that might just be a matter of balance.

This is a high-octane, insanely loony show; just let go and enjoy the lunacy. It’s a delicious romp all the way around.

Running Time: Two hours including one 15-minute intermission.

“Head Over Heels,” runs through March 23, 2020, at Monumental Theatre Company at the Ainslie Arts Center on the grounds of Episcopal High School, Alexandria, VA. For more information, click here.