The cast of “Head Over Heels.” Photo by Adam Blackstock, Meech Creative LLC.
Maryland Ensemble Theatre (MET)’s production of the jukebox musical “Head Over Heels” is a humorous and joyous way to welcome the summer season. As MET’s artistic director Tad Janes says, the show is “fun, thought provoking… [and] NOTHING like [our] previous shows. At a time when life feels like it is spinning into chaos, ‘Head Over Heels’” brings audiences to a stop, helping them remember light, love, and other good things that ‘too many turns of the hourglass might make us forget.’”
…Lively ensemble dancing and superb singing…Director Gené Fouché should be proud of her achievement…a night of good vibes and hopefulness.
Arcadia is a peaceful, plentiful kingdom whose citizens have long lived under a mysterious force known as the “Beat.” This precious, life-giving pulse is at risk warns the oracle, Pythio (Eric Jones). Arcadia has grown too restricted and will lose its Beat if four prophecies come true. Is there a way out? I’ll leave that secret to the tale.
Inspired by Sir Phillip Sidney’s “The Countess of Pembroke’s Arcadia,” the play is a delightful scramble of Early Modern English meets the Go-Go’s meets 2024. Gen Xers will appreciate many easter eggs from the 80s as well as classic hits such as “Heaven is a Place on Earth,” “Vacation,” and (of course) “We Got the Beat.” Lively ensemble dancing and superb singing provide a backbone to the complicated love triangles, political conflicts, and duels of words and swords. Director Gené Fouché should be proud of her achievement.
MET’s actors do a wonderful job bringing the story to life. Tori Weaver creates a luminous Pamela, the first-born daughter of the king, known for her beauty and rejection of suitors. Karli Cole’s rendition of Philoclea is anything but plain. Striking just the right balance of strong and sweet, Philoclea is the perfect love interest for Musidorus (Joseph Waeyaert). Waeyaert uses his impressive range to bring Musidorus’s alter-ego to life (an Amazon warrior that becomes a complete character of her own). I would be remiss if I didn’t mention the stellar performances of Kecia Deroly, Adian Chapman, Ray Hatch, and Mallorie Stern. These actors shone in their respective roles as Queen Gynecia, King Basilius, Dametas, and Mopsa. Jones’ portrayal of the non-binary Pythio left the audience in stitches or spellbound silence depending on the scene. Each actor brought a Broadway voice and full commitment to their role.
The ensemble was also mesmerizing. Kiersten Gasemy, Bryant Gutknecht, Jennifer Pagano, Randy Stull, Danielle Tuomey, and Jacob Waeyaert brought passion and enjoyment to the stage. Whether depicting synchronized swimming, water skiing, or animal wildlife, their song and dance numbers were always a surprise. The audience’s appreciation for their creativity and dynamism was palpable.
The entire production was characterized by noteworthy harmonies and reactions. Weaver, Cole, and Stern, for example, formed a powerful trio in “Good Girl” while Gutknecht, Stull, and Waeyeart (Jacob) brought the house down in their suitor chorus line. At any moment, you could watch a member of the cast living their own story through their reactions to the main action. The script, which on its own sometimes falls flat, needs this in order to work. MET’s company truly made the story shine.
On the production side, sound designer Tom Majarov and lighting designers Doug Grove and Tabetha White did a fabulous job bringing the show together. Other than a few opening-night microphone glitches (which the cast handled with ease), the show’s sound and light cues were seamless and invisible.
The work of costume designers Elizabeth Tringali and Judy Harkins did exactly what it should. Each character was dressed appropriately to their role and station. The variety of textures (including sparkly fabrics and leathers) pleased the eye. Pythio’s wardrobe was its own showstopper. The ensemble’s many costumes were always a delight and helped elevate the mood of each scene. I can only imagine what the dressing rooms were like with the number of costumes required for this show, but the many (and oftentimes quick) costume changes occurred without a hitch.
Props Designer Lori Boyd provided a clever collection of 80s memorabilia (including fun dip, ring-pops, and Elizabethan swords). With the help of the actors, Boyd even made the audience fall in love with a pink plush bear with a tragic fate. Shana Joslyn’s set was a bohemian mix of larger-than life records, forest groves, and curtain dreamscapes. At times I found myself distracted from the story with wondering what the set was trying to be. Even so, the uncertainty of the mix fit the play’s themes of growth and transition and the many set changes occurred smoothly.
The orchestra kept pace with the singers and the volume was just right for MET’s intimate space. The work of dance choreographer Lena Janes, music director Alison Shafer, fight choreographer Megan Behm, and intimacy choreographer Sea-Mikal Green was careful and thorough. From stomp claps to sword fights, their work collectively told the story and gave the actors freedom to fully embody their roles.
I mentioned earlier how the musical harmonies were a standout. I’d say that this concept extends to all of the cast and crew. This show elicited its own pulse of instinct, freedom, and community. From the laughter I heard throughout the audience and even in the bathroom lines at intermission, I can confidently say that everyone left feeling that they had witnessed something unique and meaningful.
“Head Over Heels” will spin you in more directions than you thought possible before, bring you full circle, and leave you more grounded than you were before attending. From 80s culture to pastoral romance, the play has something for everyone. Those who enjoy reading between lines, genres, and binaries will likely enjoy the show most of all. If it has been too long since you’ve been refreshed by a good peripeteia, visit the MET and enjoy a night of good vibes and hopefulness.
Running Time: Approximately two hours and 30 minutes with one intermission.
‘Head Over Heels’ runs through June 23, 2024 at Maryland Ensemble Theatre (MET), 31 W. Patrick Street, Frederick, MD 21701. For more information and to purchase tickets, go online.
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