Hope Mill Theatre in Manchester has built a reputation for promoting and producing both new and original musical theatre and the LGBTQ community within the industry, and here, with this new production currently running at their theatre until 4 March, it does both by the bucket-load.
'Head Over Heels' is a joyous romp of a show, in the tradition of shows such as 'Xanadu', 'Pippin', and 'Saucy Jack And The Space Vixens', this is a camp, upbeat fringe musical given the West End treatment. Being a juke-box musical, I had thought that perhaps I might need to have had some prior knowledge of the group's music beforehand, having never heard of The Go-Go's until this evening, but I was pleasantly surprised that this was not to be the case, in fact, it might well have been an advantage for me as I had no idea how the songs would have sounded in their original pop form. Although I did know one of the songs from the second act, 'Blue Heaven Is A Place On Earth', but had always assumed that Belinda Carlisle's version was an original not a cover.
And as for storyline, well it is - as in the above-mentioned shows, somewhat silly and left-side, but actually works well, and allows for a deal of humour to be brought into the script, lifting the show above the ordinary. In fact both the direction and choreography - deftly and superbly executed this evening - by Tom Jackson Greaves was slick, inspired, imaginative, and a sheer delight.
We are in Ancient Greece and the Kingdom of Arcadia is in danger. A shepherd falls in love with the King's younger daughter, and his older daughter who is of marrying age, finds she is in love with her handmaiden. The King travels to the Oracle to hear the prophesies (and thus the fate) of his realm given to him by a non-binary deity called Pythio, and then decides to lie to his wife and take all of his subjects on a long journey to find pastures new and try to escape the curses. It has elements of Greek tragedy thrown in for good measure, and has the cast speaking in a quasi-archaic form of English too just for fun. It's all very tongue-in-cheek, and nothing should be taken at anything other than face value, and that's what makes this show so much fun, you can simply go and be utterly and wholly entertained without having to think too much.
The costumes, lighting, sound, and even minimalist set design all worked superbly this evening in helping to create the world and mood of the story for a stunning and extremely talented cast to bring to life. Four ensemble players / dancers worked their little socks off the whole evening, and despite not being given names, they deserve first credit! They were Alison Driver, Timo Tatzber, Samuel Routley, and Marina Tavolieri.
The cast of principals were incredibly well chosen and each a delight. Fed Zanni and Julie Stark were Arcadia's King Basilius and Queen Gynecia respectively, whilst their two daughters were played by Jenny O'Leary (Pamela) and Maiya Quansah Breed (Philoclea) [last seen by this reviewer in the hit musical 'Six']. Musidorius the shepherd was played by Luke Bayer who is no stranger to Hope Mill and I have seen him in both 'Rent' and 'Yank' at this theatre. Daniel Page, a larger-than-life and effervescent presence in the company played Dametas, right-hand-man to the King, whilst his daughter Mopsa, handmaiden to Pamela was played with earnestness by Khadija Sallet. The company completed with Iz Hesketh as the oracle no-one has ever heard of, Pythio.
A hugely talented company, no less a talented team of creatives behind the production, and a truly feel-good and thoroughly modern LGBTQ musical for our contemporary milieu. Guaranteed to blow away the wintry blues and leave you with a huge grin on your face.
Reviewer - Matthew Dougall
on - 1.2.23
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