The Cast Photo by MollyJay Photography

This musical sets an epic work of 16th century English pastoral literature, "The Countess of Pembroke's Arcadia," or simply, "Arcadia," by Sir Philip Sidney, to music by The Go-Go's, the all-women American rock group spawned in the punk era of the late 1970s who had their peak in the first half of the 1980s. Yes, it is a crazy mashup that seems to go way out on a limb, and yet, it works!

Sir Philip's story is, itself, a wild mashup of plot strands involving prophesy, class distinctions, gender confusion, infidelity, the responsibility of leadership, and the dispensation of justice. It's a lot. Jeff Whitty developed the book of Head Over Heels as the basis for its original staging in 2015 at the Oregon Shakespeare Festival. That book was adapted by James Magruder for a revised version that opened in summer 2018 on Broadway, running five and a half months.

The show treads lightly on themes of governance and justice, focusing on romantic relationships propelled by love, lust, or both–and the possibilities that lie beyond hetero-normative couplings and binary gender designations. While all being in good fun and slathered with wit, it does makes strong points that underscore the mantra "Love is Love."

Then there is the music, comprising eighteen songs by The Go-Go's (actually a couple of them were recorded by the group's lead singer, Belinda Carlisle, in her solo career following the group's disbanding in 1985). Most of the songs were composed by different combinations of The Go-Go's five core members: Carlisle, Charlotte Caffey, Gina Schock, Kathy Valentine, and Jane Wiedlin. I was not, back in their time, a particular fan of the Go-Go's, though I recognized many of the songs when I heard them. What was an offspring of punk forty years ago now comes across as mainstream pop-rock, with most of the songs pretty easy on the ears, containing catchy melodies and astute lyrics.

How well do the songs work in the context of a book musical? As a jukebox musical, Head Over Heels veers from the template established by Mamma Mia!, which gathers songs together and devises a book that is able to employ the songs with some narrative logic, as a means of propelling the plot or illuminating characters. In Head Over Heels, the plot already existed in the form of sir Philip's Arcadia, albeit abbreviated and reconfigured by, first Whitty's, then Magruder's book. This would seem to be a greater challenge, yet the show's devisers have done a splendid job of finding good matches that make the songs feel at home in their plot placement, with just a couple that are shoe-horned in without much bearing on anything–such as "Vacation," one of The Go-'Go's more popular songs, and given a lively production, but to no purpose.

Put to far better use are such songs as "Beautiful," "Mad About You," "Get Up and Go," "Good Girl," "Our Lips Are Sealed," "How Much More," "Heaven Is a Place on Earth," and "Here You Are." The opening number is "We Got the Beat," their biggest hit. In this case, there might not have been a reason to include the song, which would have been unthinkable, so Whitty/Magruder invented one, which not only makes a case for the song, but triggers all that follows. In the land of Arcadia, where the story begins, the kingdom maintains its autonomy by virtue of its special power: "The Beat."

When King Basilius receives word from the oracle Pythio that Arcadia is at risk of losing "The Beat," he, along with his loyal Viceroy, Dametas, seeks out the oracle's Pythio's counsel. Pythio foretells the following: 1) Thy younger daughter (Philoclea) will bring a liar to her bed. He thou shall forbid, she he'll then assume; 2) Thou elder daughter (Pamela) will consent to wed. She will consummate her love, but with no groom; 3) Thou with they wife (Gynecia), adultery shall commit; and 4) You will meet and make way for a better king."

Basilius is both confused and disturbed by these, especially the last. To avoid losing his throne, he takes to the road, the royal family and entourage in tow, to find and slay this would-be usurper. Of course, anyone who's read the ancients knows that trying to stop a prophecy from coming true is a losing proposition–just ask Oedipus.

In addition to the above-mentioned characters, the story includes Musidorus, a lowly shepherd desperately in love with Philoclea (and she with him), and Dametas' daughter Mopsa, who is companion to the princesses, and who harbors her own secret passion. There are enough mixes and matches in the course of this romp to keep us on our toes. The book is chock full of funny lines and comic business, while The Go-Go's songs deliver an over-riding theme of female-empowerment with a beat you can dance to.

Kari Steinbach directs Head Over Heels with a flair for the ways in which this tale set in times long ago and far away is a spoof on contemporary society and values. Arcadia is meant to be in Greece, but the story progresses into what could be taken for an alpine forest, logic notwithstanding. To this end, the video design by Christian Unser provides a motley mix of backdrops, which are both effective and an additional ingredient in this comedic soufflé.

The stage at Lush is small, with a runway extension that is well used, no doubt, during the drag performances the venue often hosts. Choreographer Michael Terrel Brown employs wizardly skill at devising lively dances for a cast of thirteen in this confined space. Eleanor Schanilec's costume are fantasy realizations of ancient and medieval garb, adding to the atmosphere of a giddy party where the host has devised a wacky but well-constructed show for the merriment of his guests.

All of the actors give game performances and deliver the Go-Go's songs with hearty, well-tuned voices. Bridget Benson is a comic force of nature as Pamela. Xae Copeland delivers as Pythio, an oracle with plenty of attitude. Jake Mathey, as Musidorus, is persuasive in transitioning from a meek shepherd boy to a swaggering Amazon, exploring alternate gender possibilities. As Gynecia, Andréa Gregori gives the most overall polished performance. The program notes that she is a recent transplant to the Twin Cities from New York and, having seen her performance here, I hope to see her often on our many stages. That said, there are no weak links in the cast, which includes the hard working and talented ensemble.

The Go-Go's music is brought to life by an off-stage five-piece band led by music director Mary Cay Stone that does full justice to the rocking songs. We get a brief glimpse of them via a remote camera during the curtain call. My only disappointment is that the camera doesn't remain on them for the duration of the finale and play-out music, so that we could enjoy watching these talented musicians doing their thing.

Head Over Heels was not a major musical nor a big hit, but it does have a legion of devotees, and I can now understand why. It thumbs its nose at convention, while at its core, has a well-constructed (albeit ludicrous) narrative, which reminds me of nothing less than the unlikely lunacy of some of Shakespeare's comedies. Perhaps that should not be a surprise, since Sidney's and Shakespeare both were products of 16th century England. Top off that treat with a layer of frosting by way of The Go-Go's and you have one rollicking entertainment.

Head Over Heels, a Minneapolis Musical Theatre production, runs through October 10, 2026, at Lush Lounge & Theater, 990 Central Ave. NE, Minneapolis MN. For tickets and information, please visit aboutmmt.org.

Music and Lyrics: The Go-Go's; Conceived and Original Book: Jeff Whitty, based on The Countess of Pembroke's Arcadia by Sir Philip Sidney; Adaptation: James Magruder; Director: Kari Steinbach; Choreographer: Michael Terrell Brown; Music Director: Mary Cay Stone; Fight and Intimacy Director: Mason Tyer; Costume Design: Eleanor Schanilec; Lighting Designer: Jak Blythe; Sound Design: Abe Gabor; Prop Design: Ashley Pupo; Video Design: Christian Unser; Stage Manager: Jessi Kadolph.

Cast: Bridget Benson (Pamela), Elyssa Bickford (ensemble), Xae Copeland (Pythio), Erin Grams (Mopsa), Andréa Gregori (Gynecia), Mallory Harrington (ensemble), Lydia Lee (ensemble), Jake Mathey, (Musidorus), William McIntyre (ensemble), Jack Moorman (ensemble), Ellie Turk (Philoclea), Christian Unser (Dametas), Riley Webster (Basilius).