Head Over Heels

This WA premiere was directed with a sense of fun by Melanie Hillman, performed by WAAPA Third Year Music Theatre students, and designed, built, and crewed by WAAPA Production and Design students.

Raising eyebrows at the matinee performance, this queer coded musical, with a lesbian romance and a non-binary major character, was met with expressions of “Ooh its very different!” Quickly followed by “And it’s very good”. This strong cohort lived up to its reputation with excellent singing, expertly performed dancing and intelligently acted characters.

For a jukebox musical, the plot is more complex than you would expect. Adapted from Sir Philip Sydney’s 16th century The Countess of Pembroke’s Arcadia, set and costume designer Josh McNeil gave the costumes a 16th century feel with some modern twists, while his clever topiary style set design revealed lots of surprises. Some fabulous lighting choices from designer Declan Fyneman added to the pizazz of this show.

The story involves the royal family of Arcadia on a mission to save their county’s “Beat” while their King tries to outrun a series of prophecies. King Basilius was given maturity and a lovely bluster by Taye Grant, working well with Sarah Bowers, bringing lovely sophistication to Queen Gynecia. Their daughter Pamela, a great beauty, who leans towards age narcissistic, was played with style and flair by Emma Caporaso, while younger daughter, the sweet Philoclea, is played with charm by Madison Randl.

Philoclea’s childhood friend, shepherd Musidorus, is considered an unsuitable match, and actor Blake Douglas steps into disguise in drag, in a lovely performance. Proving that love can be right under your nose, Pamela’s handmaid becomes her love interest, with Mopsa gorgeously portrayed by Lucy Laylor. Her father, loyal companion to the King, Dametas, is given knightly demeanour by Harrison Ion.

Oracle Pythio, non-binary, wise and powerful, was played with great strength and a sense of magic by Sophia Matthews.

A strong ensemble is kept busy throughout, singing up a storm (vocally this show was amazing) and completing Reed Laplau’s choreography with high energy and precision.

The show was supported by a vaguely visible band who played superbly, under the Musical Direction of Craig Dalton and conductor Mia Brine.

With less opportunity to see this fabulous cohort (they will not have the traditional “big theatre public production”), it was a privilege to watch this top-notch new production.

Kimberley Shaw