Written by Isa Pierry

Following the productions of The Addams Family two years ago and Into the Woods last winter, this year’s musical Head Over Heels did not disappoint. With lyrics taken from the 80s band The Go-Go’s, the production was infused with infectious and electric tunes that had the audience dancing in their seats. The musical’s opening night, on February 21, welcomed a crowded Performing Arts Center. Led by director Mr. Hogan and assistant director Lily Leand ‘27, the show captivated audiences as soon as cast members first took the stage. It began with a pre-show entertainment where ensemble members took turns dancing, juggling, and even whipping nunchucks. As main cast members joined the ensemble on stage for the opening number, the energy emitting from the stage was acutely tangible. 

Based on the play The Countess of Pembroke’s Arcadia by 16th-century author Sir Philip Sidney, an English poet and scholar, the story revolves around a royal family’s journey to protect the “Beat” that influences their kingdom. After receiving an ill-fated prophecy from the Oracle of Delphi, the King of Arcadia leads his family and his subjects away from their land towards the Kingdom of Bohemia, hoping to prevent them from realizing the prophecy. Throughout the journey, the audience witnesses complex dynamics on the spectrum of love: a strained marriage between the king and queen, an ill-tempered older princess questioning her sexuality and her definition of love, a forbidden love story between the younger princess and a shepherd, and the love of a father for his daughter. As these multiple storylines pan out, characters are seen discovering different parts of their identity and finding the true “beat” that thumps inside of them, shaping their actions in the face of love and unity.

In terms of casting, every actor perfectly delivered the diverse range of personalities the show had to offer. The chemistry between each “pair” of characters from the main cast was undeniable. 

King Basilius, played by Colin Lauri ‘25, and Queen Gynecia, played by Vreeland Tuncer ‘26, worked together to paint the picture of a troubled relationship. Lauri, who delivered many lines with witty humor, was often met with Tuncer’s stern tones, building tension as the play progressed. This buildup led to a cathartic musical number of “Heaven is a Place on Earth” where both characters voiced their true desires. Haley Millowitz ‘27 played Pamela, the oldest daughter of the royal family, and had a complex dynamic with Mopsa, her liaison, played by Dominique Alvarez ‘26. What starts as a resentful dynamic evolves into a story of exploration of sexual identity and ends with a love story between the two. Much like Lauri and Tuncer, Millowitz and Alvarez have their own moment of cathartic release as they transition from the musical number “Automatic Rainy Day,” where they describe loathing each other, to performing the song “Turn to You” where they rekindle their feelings for each other. The last “pair” with a spectacular performance was between Rosie Isiyel ‘25, who played Philoclea, the younger princess, and Nicholas Arakas ‘25, who played Musidorus the local shepherd and Isiyel’s love interest. Their story was centered around forbidden love between social classes and the power of desire. This yearning for one another transferred in their shared, heartfelt dialogue, Musidorus’ hilarious yet heartwarming efforts to reach Philoclea, and their shared song (and proposal) “Mad About You.”

However, it would be indispensable to not mention stellar performances by Dana DaCosta ‘26 who played Pythio, the nonbinary oracle, and Chaim Sciamma ‘27, who played Dametas, King Basilious’ courtier and Mopsa’s father. Usually standing atop a road case, which is used at many points throughout the performance, DaCosta delivered powerful lines and songs, including kicking off the “Heaven is a Place on Earth” number. Sciamma further added to the lightheartedness and humor first introduced by Lauri’s character with his expressive actions and soliloquies. However, Sciamma brings a duality to his character and the musical as a whole by connecting to his estranged past after banishing his wife to Egypt. 

The ensemble was also a force to be reckoned with. In every number, they added to the palpable energy by providing elaborate and detailed characters on the back of numbers. Whether it be through subjects of the kingdom of Arcadia, snakes from the oracle, or even dancing sheep in the back of the shepherd’s musical declaration of love, the ensemble brought their best and brightest to the stage.

The set and lighting, designed by Mr. Robinson, and costumes, designed by Ms. Hallen, perfectly evoked a grunge, punk feeling that captured the essence of many of The Go-Go’s songs while also bringing in 16th-century elements such as corsets and crowns from the original play. Students Julia Kroin ‘25, as the Production Stage Manager, and Matthew Lee ‘26, as Crew Chief, also played integral roles in helping the stage harmonize with the storyline. 

As the musical is largely centered around questions of love and its inclusivity across the spectrums of gender and sexuality, it felt very pertinent to discussions the world has today. These discussions have greatly increased LGBTQ+ and Women’s Rights movements. Pairing these themes with the soundtrack of The Go-Go’s seemed like a rightful homage to the pioneering rock group. The Go-Go’s, which was composed of five women, broke gender role barriers in the rock music genre, and its innovation can be used as inspiration for the themes discussed in Head Over Heels.

Ultimately, this musical was almost a full two hours of pure joy. It achieved everything a successful musical should achieve: a stellar cast with stellar numbers, humorous moments where the audience could laugh out loud, and plenty of moments of reflection that pertain to modern-day society. Head Over Heels was a huge success and set the bar high for next year’s winter musical.