A “black box of possibility” is what Founding Artistic Director Allison Arkell Stockman called Constellation Theatre Company’s longtime home, the Source Theatre on 14th Street. Unfortunately, due to CulturalDC’s sale of the Source, Head Over Heels will be Constellation’s last show in this venue. But what better show to dabble in the theme of possibility than Head Over Heels, a rock musical with music by the Go-Go’s and a storyline straight out of Shakespeare, but not quite?
Head Over Heels takes place in Arcadia, a fictional kingdom somewhere in Greece, famous for its Beat. Arcadia is ruled by King Basilius and Queen Gynecia, who have two daughters, the beautiful Pamela and the plain Philoclea. The King and Queen have been trying to marry off Pamela for five years, but no suitor has matched her expectations of excellence. Whereas unsuspecting Philoclea has already found love in her unfortunately low-status childhood friend and shepherd boy, Musidorus. Word reaches the King that Arcadia is in grave danger, and so he and his viceroy, Dametas, depart for the forest where they encounter an oracle, Pythio, who is neither he nor she but they. Pythio reveals four prophecies about the royal family that, once fulfilled, will cause Arcadia to lose the Beat. These prophecies serve as the plot’s driving force; as each one is fulfilled, the Beat is in further peril. Basilius and Dametas flee home and herd the royal family (plus Mopsa, Pamela’s lady maid) to Bohemia, hoping to escape the prophecies. Will they find a way to fix what’s been broken in Arcadia, or will the Beat be gone forever? You’ll have to head to Constellation Theatre Company to find out.
The production, directed by Stockman herself, leans into the pure joy of this musical. The addictive rhythm of the rock music is complemented by the hilarity that masquerades throughout and the pure love emitted into the air. A romantically and musically inspiring, feel-good experience, the show provides a much-needed dose of joy and laughter.
The music by the Go-Go’s, which is in many ways the anchor of the show, booms through the small theater from a pit of excellent musicians, led by Music Director Bobby McCoy, and enriched by the vocal prowess of the cast. The show opens with the hit “We Got the Beat” as the actors come on stage in dazzling costumes (costume design by Frank Labovitz), dancing to the Beat (dynamic and sharp choreography by Maurice Johnson), and singing their hearts out.
The space (as Stockman said, “full of possibility”) is transformed into a fairytale-like castle of ivy and stones, with two balconies put to good use and a hidden tunnel from which the actors occasionally emerge. Samuel Klaas’ scenic design not only allows the show to fluctuate between all the locations without any extraneous set changes but also immerses the audience in the world of Arcadia.
The show featured a small cast of principal characters and an ensemble of three. But these three ensemble members (Jordan Essex, Caroline Graham, and Cristen Young) played all the roles in the production not performed by the principals, bringing Johnson’s choreography to life and immediately turning around to become a chorus of sheep (with hooves and hats) in “Mad About You.”
Julia Link’s Pamela was magnetic in her unwavering confidence and belted her face off with elegance in all her songs (especially “Beautiful” and “How Much More”). Basilius and Gynecia were an unmatched duo, with Oscar Salvador Jr.’s powerful and relaxed presence contrasted by Fran Tapia’s crazed, loving, and sensual queenliness. Stephen Russel Murray was ever alarmed and endlessly endearing as Dametas (what a joy when he finally sings in “Mad About You Reprise”).
While there are many superb songs in the musical, “Automatic Rainy Day” — when Mopsa, Pamela’s lady’s maid (an innocent and lovestruck Rebecca Ballinger), and Pamela discover their love for each other — is full of rage, lust, and possibility.
“A Vision of Nowness” featured Nico Ochoa as commanding, serpentine, and sassy Pythio, supported by a chorus of slithering (and singing) snakes (puppet design by Matthew Pauli).
“Our Lips Were Sealed,” the Act I finisher, at which point two of the four prophecies were fulfilled, featured the two new couples: Musidorus (with constant amazement in Harrison Smith’s hands) and Philoclea (Ariana Caldwell, subtle and feeling), and Mopsa and Pamela.
In a show that lives in both heightened language and rock music it is easy to get lost in the fantastical, comedic nature of it all, but one of the final numbers, “Here You Are,” showed the deeper roots that grew beneath each character, a song where the production came off the pedestal of fairytale and landed down into the heart, leaving most of the cast in tears and most of the audience enraptured.
This production of Head Over Heels is not just a celebration of love but a jubilant ode to love in all its various forms. As Constellation closes its chapter at Source, this show leaves its mark on the building and the wider community by choosing love and joy over and over again.
Running Time: Two hours and 10 minutes, with one 15-minute intermission.
Head Over Heels plays through June 1, 2025, presented by Constellation Theatre Company, performing at Source Theatre, 1835 14th Street NW, Washington, DC (near the corner of 14th and T). Tickets range from $24–$63 and are available by calling the box office at 202-204-7741 or going online.
The run will include Head Over Heels Cosmic Events:
MAY 9, 7:00 PM: Zillenial Night; Pre-show Reception for Millennial and Gen Z patrons
MAY 11, 18, and 25: Epic Exchanges; free Post-Show Talkbacks
MAY 15, 8:00 PM: ASL Interpreted Performance
MAY 23, 8:00 PM: BLACKOUT NIGHT; an affinity night welcoming Black-identifying audience members
MAY 22 and 30, 8:00 PM: Pride Night; featuring guest drag artists and discounted drink at Trade Bar after the show
Masking optional for all performances except for Saturday matinees when they are required. Masks will be available at the theatre for all performances.
Head Over Heels
CAST
Mopsa: Rebecca Ballinger
Philoclea: Ariana Caldwell
Ensemble: Jordan Essex
Ensemble: Caroline Graham
Pamela: Julia Link
Dametas: Stephen Russell Murray (Fight and Dance Captain)
Pythio: Nico Ochoa
Basilius: Oscar Salvador, Jr.
Musidorus: Harrison Smith
Gynecia: Fran Tapia.
Ensemble: Cristen Young
US Pythio: Jayson R. Broadnax
US Pamela / US Gynecia: Lily Burka
US Basilius / US Ensemble: James B. Mernin
US Philoclea / US Ensemble: Valerie Nagel
US Musidorus/ US Dametas: Jack Taylor
US Mopsa / US Ensemble: Ava Wilson
CREATIVE TEAM
Songs by: The Go-Go’s
Based on The Arcadia by: Sir Philip Sidney
Conceived and Original Book by: Jeff Whitty
Adapted by: James Magruder
Director: Allison Arkell Stockman
Music Director: Walter “Bobby” McCoy
Choreographer: Maurice Johnson
Scenic Designer: Samuel Klaas
Costume Designer: Frank Labovitz
Lighting Designer: E-hui
Sound Designer: Kevin Lee Alexander^
Props Designer: Chelsea Dean
Puppet Designer: Matthew Pauli
Fight & Intimacy Director: Sierra Young
Production Stage Manager: Tori Schuchmann
Associate Director: Aria Velz
Associate Music Director: Stella Monshaw
Assistant Choreographer: Janine Baumgardner
PRODUCTION TEAM
Technical Director: Chris Stoutjesdyk
Assistant Production Manager: Casey Parker
Assistant Stage Manager: Hansin Arvind
Assistant Stage Manager: Sophia Menconi
Assistant Costume Designer: Bailey Hammett-Colwell
Lighting Assistant: Jasper Weymouth
Wardrobe: Rukiya Henry-Fields
Head Carpenter: Spencer Munshi
Scenic Charge Artist: Yaritza Pacheco
Head Electrician: Dazinsky Muscadin
Light Board Programmer: Cody Whitfield
Light Board Operator: Maddie Southard
Audio Engineer: Garrett Parker
A1/ Audio Mixer: Zak Starry
A2 / Audio Assistant: Alyssa Foy
SEE ALSO:
Constellation Theatre Company announces final production at Source Theatre (news story, May 6, 2025)
Constellation Theatre announces cast and creatives for ‘Head Over Heels’ (news story, March 27, 2025)