NSU University School blended progressive themes with Renaissance prose, ‘80s pop-punk, and plenty of love triangles in their powerful production of Head Over Heels– and they did it all with the help of the Beat.
Head Over Heels premiered on Broadway in 2018 and ran until 2019. The show is what is known as a jukebox musical, a production whose soundtrack takes from previous music. Head Over Heels consists of 20 musical numbers from the hit ‘80s pop group the Go-Go’s. An unlikely pairing with the musical choices is the setting of Arcadia in Greece, inspired by The Countess of Pembroke’s Arcadia, written by Sir Philip Sidney in the 16th century. The winding storyline is centered around four ominous prophecies issued by the non-binary Oracle of Delphi. Over the course of the production, every single prediction comes true, threatening the “Beat,” the musicality that protects the kingdom’s wellbeing that is first introduced in the iconic opening number “We Got The Beat.” Through the lengths that King Basilius makes to avoid the prophecies inevitably coming to fruition, the members of his household discover their own sexual awakenings and gender fluidity.
The themes of self discovery and unconventional love were brought to life by a pair of Greek sisters. Jolie Lubar enchanted as Pamela with spectacular diction and comedic timing. Her vocal delivery wowed in numbers such as “Beautiful” and “Turn to You.” Her romantic bond with her maidservant Mopsa (Ellie Esquenazi) was touching as well. Pamela’s sister Philoclea (Lindsay Stern) was equally charming and was convincing in her love for the hilarious Musidorus (Jack Steinman). Both couples dazzled in “Our Lips Are Sealed.”
Further attitude and comedic relief was supplied by other members of the household. Queen Gynecia, played by Shayna Soffer, brought hilarious sass to the stage and impressive projection in songs like “This Old Feeling” and “Heaven Is A Place On Earth.” Sam Dyer, in his role as Dametas, guaranteed fits of laughter every time he stepped onstage. His body language and delivery was hilarious, but he also effectively portrayed more solemn moments.
The cast took an interesting approach to conveying their “Beat.” In the larger dance numbers, six featured dancers took to the stage to aid the characters in storytelling. They were beautifully coordinated in their movements and in their stylized costumes. Maddie Musso must be commended for her stellar choreography and performance alongside the dancers. Rubi Katz also gracefully excelled as dance captain in addition to convincingly reacting to the scenes occurring around her. Haleigh Mish provided the perfect balance between facial expressions and crisp movements as a featured dancer.
The props played an integral role to the fullness of the production, such as Queen Gynecia with her fan and the featured dancers with their drumsticks. Hair and makeup were also incredibly effective. The cosmetics were detailed and clear despite the distance, which was aided by the high quality lighting. Although certain technological aspects of the set were impressive, their usage often seemed repetitive. The sense of wonder could have benefitted if stage pieces were used more sparingly.
NSU University School delivered raunchy comedy in the form of 16th century English, which is no easy feat. Nevertheless, they still excelled in instilling the message that true love is unconditional and comes in many shapes and forms. Once the final curtains closed, the audience felt motivated to “Get Up And Go” spread change in the world.
