Head over Heels
at Robinson Secondary School

Reviewed on May 6, 2022

Pranav Choudhary
Langley High School
Submitted for publication to Cappies News

In a world of legendary fortune, rock music and comedy may just save the day! Robinson Secondary School's production of "Head Over Heels" beautifully brought forth a display of comedic charm.
 
Based on Sir Phillip Sidney's "The Countess of Arcadia," "Head Over Heels" is a jukebox musical comprised of music from The Go-Go's. Set in the 16th century, it explores a flourishing kingdom whose prosperity revolves around a famed "beat." When the kingdom's nobility is given four prophecies, the community is forced to rethink its identity before it loses the beat forever.
 
Parker Mott commanded the stage as the enthralling oracle Pythio, belting through rock scores with immense vocal power. Amid mysterious prophecies and sonorous songs, Mott deftly explored the non-binary Pythio breaking free of the label of womanhood and moving the kingdom into a new dawn.
 
Playing a mistress to the king's daughter, KP Porter animated the production's might as Mopsa. Navigating a doting bond with Kat Nickel's Pamela, Porter cast upon scenes with wide-ranging vocals and authentic displays of emotion, leading through numbers like "Vacation," in which Mopsa finds refuge on the island of Lesbos, and dominating harmonies in "Good Girl" and "Turn to You."
 
From within its beauty and prowess, "Head Over Heels" found its greatest strength in its ensemble. The performance's company powered through rigorous choreography, with the group's well-rehearsed musical numbers and resonant singing serving as a backbone for moving the story forward. 
 
Vibrant lighting effects (Haley Novotny, Katie Eagan, Chad Kassan) complemented the musical's dynamic vibrance, with strobing effects and an array of washes working in sync with actor motions to craft a compelling visual image for audiences.
 
Regal costume design (Jessica Boalick, Andy Lawrence, Lora-Berkeley Macaranas, Ella Patterson) brought the world of Arcadia to life, with palette choices reflecting the complex identities of each character and bringing cohesive elegance to large groups in ensemble scenes.
 
Seamlessly bringing together old prose and modern rock, Robinson Secondary School's production of "Head Over Heels" was a testament to the boundless possibilities that can be realized when we have the courage to believe.

Sara Kaufman
Justice High School
Submitted for publication to Cappies News 2

To unlock one's true potential, going against the grain of what is expected is often required. With enchanting vocals, dazzling dancing, and superb acting, Robinson Secondary School's production of Head Over Heels conveyed the message that embracing identity is the key to happiness.

Written by Jeff Whitty and James Magruder, with music by The Go-Go's and based off an Elizabethan-Era comedy by Sir Philip Sydney, Head Over Heels follows the story of the Arcadia's dysfunctional royal family as they undergo a treacherous adventure to preserve the "beat" that maintains their kingdom. Complete with forbidden romances and damaging secrets, Head Over Heels takes an unconventional approach to the classic fairy tale structure, allowing for characters to present themselves as a diverse array of sexual orientations and gender identities.

Portraying the sweet, younger princess of Arcadia, Philoclea, was Elyson Mader. Mader excellently depicted the full arc of her character while maintaining fantastic stage presence and a wide vocal range. Her interactions with Musidorous (Luke Stephens), her forbidden lover, were authentic, and garnered the support of the entire audience.

Kat Nickel, performing as the endearingly bratty Pamela, was a force to be reckoned with. Constantly engaged with her character's emotions, Nickel depicted both the fear and relief that come with accepting one's sexuality. Seamlessly bouncing between both comedic and serious line delivery, Nickel proved her versatility as an actress.

Also of note was the ensemble. Providing strong backup vocals, and dancing in complex numbers, the ensemble served as a driving force in this story. Though each actor worked together to form a collective whole, they also developed engaging individual characters on stage.

The technical elements of this show were commendable, and comparable to that of a professional production. The colorful ambience of the lighting, designed by Katie Eagan, Chad Kassan, and Haley Novotny, added to the electrically fantastic mood of the musical. Colors changed to highlight different themes, for example Pamela and Mopsa were lit in hot pink to emphasize their femininity. The blend of the sound both from the singers and prerecorded instrumentals was completely balanced, allowing for the audience to clearly hear each song. Scene transitions were completely smooth, thanks to stage manager Hannah Moser, and allowed the audience to remain captivated by the show. Set changes were quick and unobtrusive to the storyline at hand.

The costuming in this production blended both modern and traditional fairy tale elements. Traditional clothing was worn, such as corsets and gowns, but maintained a modern twist with bright fabrics and unique patterns.

Robinson's production of Head Over Heels taught the audience the importance of being unapologetically yourself.

Nhi Nguyen
Annandale High School
Submitted for publication to FCPS Community News

"Hear ye, hear ye!" The year is 1600 and it's time to get funky!

Robinson Secondary School's production of Head Over Heels was a warm addition to an otherwise gray and rainy Saturday evening. With soaring vocals, strobe lights, and the whirl of flashy skirts, Robinson transported its audience to another time, another dimension.

In the kingdom of Arcadia lives an ancient and divine power vested to the land by the Greek gods. It is called… drumroll please…the "Beat." King Basillius and Queen Gynecia live with their daughters Pamela and Philoclea in Arcadia, where the sun is always shining, and the people are always bursting into spontaneous dance numbers. One day, an Oracle delivers four prophecies divining the loss of Arcadia's beat. Thus begins the journey of the royal family, and their many servants, into the unknown to save their beat, and perhaps discover some romance along the way.

Head Over Heels is a classic, jukebox musical that combines the classic beats of the Go-Go's with the vernacular of Elizabethan England. Jeff Whitty conceived the show and wrote the original book, which was then adapted by James Magruder. Head Over Heels opened at the Oregon Shakespeare Festival in 2015, later moving to Broadway. Adapted from The Countess of Pembroke's Arcadia written by Sir Philip Sidney in the 16th century, this musical showcases separate yet converging storylines, witty one liners, and sheep. Oh, the sheep.

From the opening sequence, Robinson set the stage for a seductively welcoming and spunky performance. The cast, including background characters, were consistently engaged and in character, never missing "a beat." The opening sequence, "We Got the Beat" showcased the talents of the main cast and the well-knit ensemble. Sisters Pamela (Kat Nickel) and Philoclea (Elyson Mader) contrasted each other with Nickel's warm mezzo vocals and Mader's pure soprano, showcased in "Good Girl." Nickel displayed Pamela's character development through her growling vocals, her over the top mannerisms, and her dynamic with her handmaiden Mopsa (Katherine "KP" Porter). Porter's clear, sharp voice created a character that was both fiery and no-nonsense, harmonizing as well as battling with Nickel's in "Automatic Rainy Day." The respective couples of Philoclea and Musidorus (Luke Stephens) and Pamela and Mopsa displayed extraordinary stage chemistry from glances to touches. Stephens himself displayed incredible range acting as both the boyish Musidorus and the seductive Cleophila.

Brooke Hanser, Daniel Weaver, Dani Donathan, and Eli Weaver designed a fully mobile set that brought the various locales of Arcadia to life. Most exceptional was their commitment to doing so in an eco-friendly way - 80% of the set was derived from recycled materials and the greenery frequently featured in forest scenes, was biodegradable. Tasked with enhancing this effect were special effects, costumes, and lighting. Special effects by Jacob McCabe, Kendall Proper, and Izzy Bockman featured a fog machine enhancing dramatic scenes and cold spark. Costumes by Jessica Boalick, Andy Lawrence, Lora-Berkeley Macaranas, and Ella Patterson were student-created and student-modified, featuring a fusion of medieval and 80s fashion - such as Pamela's sparkly, hot pink gown to the ensemble's uniform yet colorful dresses, complete with knee socks. Haley Novotny, Katie Eagan, and Chad Kassan's lighting was constantly changing to adapt to different environments, helping to direct the audience's focus. Stage manager Hannah Moser helped coordinate and organize this sprawling and meticulously choreographed show.

Head Over Heels was a musical that displayed the rich and colorful nature of life and diversity cleverly disguised as a fairy tale. Let it be a message to all - don't be afraid to "get up and go!"

Gabriella Sanchez
Langley High School
Submitted for publication to Patch (Fairfax/Alexandria)

In a magical land far, far away, the royal kingdom of Arcadia embarks on a quest to preserve peace, prosperity, and order within society. But when love takes unexpected turns and chaos erupts, will the dynasty ever return to its conventional ways?

With punky 80s music written by "The Go-Go's," and adapted plot of The Countess of Pembroke's Arcadia by Sir Phillip Sydney, "Head over Heels" combines renaissance dialogue with modern twists to create a timeless musical. When the princesses of Arcadia spark romance with unconventional characters, the kingdom undergoes a long-winded journey of betrayal, self-discovery, love, and gradually, acceptance. With majestic costumes, impressive singing, and a spectacular ensemble, Robinson Secondary School's rendition of "Head Over Heels" truly transformed the theater into a heavenly place on earth.

Frequently engaging in flirtatious gestures, Pamela (Kat Nickel) and Mopsa (Katherine Porter) forged a powerful bond that electrified the stage. The dynamic duo, joined by Philoclea (Elyson Mader) delivered heart-breaking melodies in "Good Girl," delving into the perpetual high expectations demanded by them as women of the kingdom. Raising their eyebrows and widening their eyes, the actresses emanated a sad, defeated aura as they gently sang the somber song. Further, Philoclea perfectly embodied a stereotypical young princess, shining with her effortless harmonies and endearing giggles when immersed in love trances with Musidorus (Luke Stephens). Stephens' versatility was displayed as he dichotomously played the role of the Shepherd boy unfit to marry Philoclea, and Musidorus, a courageous female warrior.

Away from the realm, the ensemble joined Mopsa on the sandy shores of Lesbos. Aimlessly walking along the stage and hopelessly gazing in various directions, Mopsa showcased her tender singing and aching desire for Pamela in "Vacation." Wearing mini dresses and tossing beach balls, the ensemble accentuated the balmy atmosphere to create a fun, eccentric performance. After Mopsa's vacation and temporary isolation from Pamela, Pamela's character develops as she learns to embrace her sexuality and blossom into a newfound persona. Later in "Heaven is a Place on Earth," the ensemble donned magnificent, silky bird costumes, gently flapping their large wings while Basilious (Jack Haley) and Gynecia (Naomi Fitzgerald) shared a sweet duet. In addition, the lighting (Haley Novotny, Katie Eagan, Chad Kassan) illuminated a wonderous scene of superficial creatures swarming the King and Queen, adding to the mystical nature of the show.

Adding comedic elements to a dramatic musical, inflated sheep humorously pranced around on stage and whispered sheep sounds while the set changed. Other quirky elements were incorporated, including the repetition of "Skid marks on my heart" to express overbearing emotions. Glittered papers fell from both sides of the stage, cold sparks skyrocketed into the air, and loud sound effects (Torri Layton, Sophia Baez, Hovsep Seferian, Gabi Vessal) reverberated throughout the theater.

Overall, Robinson Secondary School's high intensity performance of "Head over Heels" stunned the audience through gorgeous singing, bedazzled costumes, and a passionate ensemble!

Abby Wyland
South Lakes High School
Submitted for publication to Connection

Robinson High School has proved they "Got the Beat" after their production of Head Over Heels; a show that displayed impeccable skill, passion, and an intense fervor for performing that the audience was "Mad About".

Taking its score from iconic songs by The Go-Go's, Head Over Heels is a romantic comedy musical that combines the whimsical language and setting of Shakespearian-style literature with modern comedy and progressive themes. The plot is based on a 16th century book titled The Countess of Pembroke's Arcadia by Sir Philip Henry. Head Over Heels got its start at the Oregon Shakespeare Festival in 2015 and moved to the Broadway stage in 2018. Its run was short, ending in 2019, but its story of love and acceptance continues to be felt by audiences today.

The story of Head Over Heels began in the far-away kingdom of Arcadia, where all the people followed the guidance and control of an ever-lasting "Beat". Pamela, the older, beautiful daughter of King Basilius and his wife Gynecia, struggled to pick a viable suitor among the sea of men that stormed her door. Meanwhile, her younger sister Philoclea was madly in love with Musidorus, a lowly shepherd whom her father did not approve of. Love trials aside, the family faced real danger when the Oracle told of four prophecies that, if completed, would lead to the fall of the iconic 'beat', and therefore chaos across the land. King Basilius kept this foreboding reading from the rest of his family as he forced them to venture across wilderness to reach a neighboring kingdom. Will the King's efforts to save his family be enough to save the beat, or will the keeping of secrets be more detrimental than he could have envisioned?

The sisterly love (and sometimes rivalry) of Pamela and Philoclea was nailed by actresses Kat Nickel and Elyson Mader. Both displayed a true understanding of their characters behind every word they spoke. Mader's sweet, charming voice coupled with Nickel's enthralling comedic ability was a duo not to be rivaled with. Additionally, there were sparks between Kat Nickel's character and Katherine Porter's character (Mopsa) that the two managed to maintain during the performance. Porter's range of emotions in her physical self and enchanting voice revealed a fully fleshed out character that the viewer truly cared for.

Another member of the cast that stood out was Dametus, the right-hand man of the king, played by Judah Widzer. Widzer kept the eccentric and action-packed story grounded throughout the night with his consistent character choices that made him a gravitational force onstage.

A review of Robinson's Head Over Heels would not be complete without some applause to the technical aspects of the show. The lighting team, comprised of Haley Novotny, Katie Eagan, and Chad Kassan did an impeccable job of mesmerizing the audience. These students brought the magical world of Arcadia to life with vibrant colors, perfectly timed flashes, and stunning visual pictures.

Finally, the costuming work, fulfilled by Jessica Boalick, Andy Lawrence, Lora-Berkeley Macaranas, and Ella Patterson exceeded all expectations. It was clear that there was substantial effort, energy, and thought into every single costume; especially the dazzling dresses of Pamela and Philoclea, which fit their characters wonderfully.

Robinson's production of Head Over Heels was a true spectacle that handled themes of love, family, and attraction with a refreshing amount of charisma and playfulness that had the audience "Head Over Heels".

Diana Altenhof
Stone Bridge High School
Submitted for publication to Fairfax County Times

O, skid marks on my heart! Hath, I fallen for you? Or hath ye fallen into a world of shimmer and shaking up change? Push the language of the past aside and feel the love in Robinson Secondary School's "Head Over Heels"!

"Head Over Heels" debuted at the Oregon Shakespeare Festival in 2015 using writer Jeff Whitty's book but opened on Broadway in 2018 with writer James Magruder's revisions. Their source material debuted four centuries earlier when Sir Philip Sidney published "The Countess of Pembroke's Arcadia." The musical twist on Sidney's classic story introduces themes of self-expression, breaking tradition, and rejecting rigid views of gender and sexuality -- all while rocking the house down to music from The Go-Go's!

The great kingdom of Arcadia is guided by an ever-present "beat" that King Basilius maintains through strict traditions. When the Oracle of Delphi makes prophetic ultimatums to get Arcadia out of the past, Basilius attempts to outrun fate, leading his family and the rest of the kingdom to drag on with him or find their own paths.

As the lovestruck Princess Philoclea, Elyson Mader's crystalline voice and heartful performance leant itself to the youthful pain of disapproved, forbidden romances. Her complement, Luke Stephens as poor shepherd and lover Musidorus, imbued comedic flirtatiousness and femininity into his role as he secretly rejoined the princess while accidentally gaining half the cast's affections. Always by Philoclea's side is older sister Pamela, outgrowing her vanity and embracing her true self. Kat Nickel's powerhouse portrayal of the headstrong eldest daughter, fully engaged in her dynamic love story with Katherine Porter's Mopsa, gave "Head Over Heels" yet another "H" -- its heart.

Every citizen of Arcadia tackled a vision of nowness with every bit of the beat and more. The ensemble, from royalty and squire to bumbling, bouncing sheep, put indubitable effort and energy into their parts. They made taxing choreography and harmonies seem effortless during minor fumbles. The ensemble's mashup of cohesiveness and unique personalities spoke to the beautiful intersection of individuality and community. Jessica Boalick's costuming team donned these Arcadians in student-designed pieces that matched fit, color, and embellishment to personality. From Gogo-boots with bustiers to two-pieces with tiaras, costuming walked the divine beat down the wacky road of fantasy and history.

Robinson's scenic teams wasted no effort -- nor materials -- when creating a whimsical world. Brooke Hanser and Daniel Weaver's set team designed their lush, mystical forest around biodegradable greenery and recycled set pieces, all portable and transformable. Haley Novotny's foliage lighting effects and Jacob McCabe's rolling fog made for immersive stage pictures, while bold color shifts, confetti, and even pyrotechnic sparks created flashy spectacles synonymous with the show's vibrant themes. These technicians made heaven a place on earth with their thoughtful, sustainable environmental choices.

Life needs you to rock out to the beat, so get up and go! There are no automatic rainy days at Robinson Secondary School's "Head Over Heels" when they play it with love.