You often hear the platitude that “The best things in life are free.” When it comes to this year’s free theater production of “Head Over Heels” at Park Playhouse in Washington Park in Albany - you can believe it. It’s a joyous romp that is marvelously performed, to the point that the ensemble should share equal billing with the lead performers.
This is a work that has the major goal of entertaining. It is a truly collaborative piece of art where each of the parts supports the others. Director Michael LoPorto and his creative team find the fun and comedy in the show, while always respecting the underlying theme of having to love yourself before you can love others. LoPorto staging is as sensitive as it is comic. The onstage action is always fluid and he presents a convoluted story with amazing clarity. And even though I think the production would be better if 15-minutes shorter, I cannot fault the pace of the work.
Ashley Simone Kirchner’s choreography and musical staging is dynamic and almost relentless with its high energy. Though always energetic and vital, she finds the gentle beauty of some moments that could easily be overlooked.
It’s all wonderfully supported by Brian Axford and his marvelous five piece band. Costumes by Zahra Jangbar are sexy without being naughty. Samuel Reilly set design creates the mood of the show immediately and Alena Samoray’ lighting adds glitter and excitement throughout the show.
The barely known musical “Head Over Heels” is a difficult work to describe. In fact, I believe the less you know about the storyline going in, the better off you are. That’s because as things reveal themselves throughout the show, as predictable and as improbable they might be, they are surprisingly delightful. This is a work you should attend with open eyes and an open heart.
“Head Over Heels” is adapted from the 16th century romance novel “The Countess of Pembroke’s Arcadia,” written by Sir Philip Sidney. This gives the work the freedom that Shakespeare had to use contrived, nonsensical plots based on coincidence or characters who overlook the obvious, especially when it comes to gender-bending.
The music is by the Go-Go’s, a female punk rock group turned pop artists who thrived in flamboyant, sexually open 1980s. Instead of clashing, both the mixtures of fashion style and the literary mold into a show that fits the openness that defines the twenty-first century. It is an ideal vehicle for 2022.
Axford’s band is so good it made me rethink the music of The Go-Go’s. To me, they were noted for their individual hits, but I never considered them as having a true body of work. This show indicates the variety of moods they created, whether it is irresistibly danceable or thoughtfully tender.
In the show, there is, of course, the title song, as well as their most popular hit “We Got The Beat.” But throughout the show there are touching ballads that are tender and the duets are actually sweet. This music makes you realize how good the Go-Go’s were and wonder why they fell into semi-neglect.
The Playhouse cast is filled with voices that do them justice. The breakout stars are Jon Maltz as Musidorus, who plays a timid Shepherd in love with the King’s second oldest daughter Philoiclea, played sweetly by Elizabeth McGovern. When Musidorus dresses as a Wonder Woman look-a-like female Amazon, his love life changes, as everyone – and I mean everyone – finds him sexually desirable.
And here lies the true genius of the piece. Contemporary attitudes of being non-binary, bi-sexual, Queer or straight are introduced in a non-political manner and without preaching. You don’t need a LGBTQ handbook to understand the relationships.
The characters are not preaching for their way of life. They are only about coming to understand what relationship is proper for them. In “Head Over Heels” the search for the Holy Grail is finding love and the sense of independence of self. As it should be, it all seems very normal. Anyone having a problem with these themes being produced in a public park probably feels “Les Misérables” is a cautionary tale about the evils of stealing.
Adding to the lightness of the work is Luca Verna as the vain Princess Pamela and Claire Flynn as Mopsa, her handmaiden, who becomes her partner for life. Marc Christopher has great comic timing as the arrogant, chauvinist king, who spurns the advice of women. Since his wife is the feisty, sassy, dynamic and beautiful Joyel Kaleel, it shows he’s pretty much a fool as well.
Rounding out the perfect cast is Brandon Jones as the king’s advisor and the dynamic Ellie Francis as Pythio, the Oracle, who best teaches that a society capable of change is healthy and personal choice is a necessity for happiness.
“Head Over Heels” is not a blockbuster of a show that deserved a multi-year run on Broadway. Instead, it is a secret gem that will certainly entertain and possibly enlighten.
“Head Over Heels” plays 8 P.m. Tuesdays through Saturdays at Washington Park in Albany through July 23. Lawn seats are free and reserved seats can be obtained by going to playhousestage.org calling 518-434-0776
Bob Goepfert is theater reviewer for the Troy Record.
The views expressed by commentators are solely those of the authors. They do not necessarily reflect the views of this station or its management.
