Songs by The Go-Go’s / Book adapted by James Magruder based upon The Arcadia by Sir Philip Sidney at Hayes Theatre
Head Over Heels at Hayes Theatre Co is the kind of joyous, glitter-soaked theatrical experience that reminds you why small theatres can produce some of the most electric nights in Sydney. I love this little black box theatre in Potts Point and have seen some of the best productions of my life there – from Little Shop of Horrors, to Gypsy to Blood Brothers and their incredible Sideshow from a few years back. The space is small, intimate and no matter where you are seated, as an audience member, you feel immersed in the production. In Head Over Heels, directed by Ellen Simpson, from the moment the house lights dim, the production leans unapologetically into its anarchic, queer heart — and it absolutely soars (making it an excellent choice for the Sydney Mardi Gras season).
This particular performance came with an added layer of anticipation: a last-minute cast switch due to illness – recent WAAPA graduate Lucy Lalor stepped into the pivotal role of Pamela (with script / iPad in hand) with just 24 hours of rehearsal. Musical theatre has always thrived on the “show must go on” ethos, and here it has never seemed more alive. Lalor stepped in with extraordinary assurance (both in her acting and soaring vocals), delivering a performance that felt present, bold and fully realised.
Head Over Heels, with its long list of euphoric pop anthems from the Go-Go’s (and don’t worry, they do include the Belinda Carlisle solo hit Heaven Is A Place On Earth) and Elizabethan absurdity, is already a gloriously queer collision of worlds. This Hayes production understands that the show’s strength lies not in irony, but in full-bodied, authenticity and sincerity. The queer tone isn’t just decoration; it drives the entire production. Gender fluidity, self-determination and romantic liberation aren’t treated as punchlines but as the emotional core. The love stories unfold with genuine tenderness, even amid the camp excess and sparkling choreography.
The intimacy of the Hayes works magic in this production. In a larger venue, the show’s jokes and heightened style might feel diluted. In the Hayes, they feel conspiratorial and the audience is not only in on the joke, but plays an active part in its execution. Every subtle nuance, whether a facial expression, harmony or dance break lands with resounding immediacy. The choreography is sharp and athletic without overwhelming the space, and the band delivers the score with punchy precision.
What stands out most is the production’s confidence. It is unapologetically queer and also slightly off beat and wonderfully kooky. It is revelling in this that delivers the heart and joy of Head Over Heels. The cast work together beautifully – each person bringing a different yet chaotic point of view. Jenni Little (fresh from runs in Titanique and Putting It Together) and Adam Noviello (seen most recently as Yitzhak in last year’s superb production of Hedwig and the Angry Inch) are outstanding as Philoclea and Musidorus, respectively. They bring heart, warmth and depth to the story and play off each other earnestly and beautifully.
Lucy Lalor and Minerva Khodabande as Pamela and Mopsa have dynamite chemistry while Thomas Campbell and J Ridler as King Basilius and Queen Gynecia are wonderful, world weary and calculating delivering some of the production’s best “mistaken identity” comedy. Nancy Denis’ hapless Dametus is a great gender blind casting choice while Gaz Dutlow’s Pythia (played with great acclaim on Broadway by Ru Paul’s Drag Race alum Peppermint) almost steals the show as the mysterious Oracle of Delphi – setting the plot in motion with sass, vigour and some serious attitude.
In fact, the casting in this production is perfection which each actor understanding their assignment within the manufactured chaos. Props to Director Ellen Simpson for making seamless and fluid, what, in the wrong directorial hands could have been rather messy and disjointed with Shakespearean-esque dialogue juxtaposed with punchy pop anthems
By curtain call, the audience was eating out of the casts’ hands – enthusiastically applauding – grateful for a company who delivered a polished and fun piece with a last minute cast change. This sort of back stage drama is what audiences live for and makes a night at the theatre all the more thrilling.
Many words could be used to describe this production of Head Over Heels – exuberant, camp, sparkling, joyful, chaotic, brash, gay and queer. All in all it was a brilliant night out at the theatre. Productions at the Hayes usually sell out so don’t miss your chance to see a very, very good production of a lesser known musical in a very intimate space. This production sparkles brightly this season in every way possible – and that is exactly what it should do. 10/10!
Head Over Heels is presented by Well Done Creative in association with Hayes Theatre Company with book adapted by James Magruder based upon The Arcadia by Sir Philip Sidney. It is Directed by Ellen Simpson with Musical Direction by Zara Stanton. It plays at Hayes Theatre in Potts Point through 22 March 2026.
In his past lives, Damien was a drag queen and musical theatre actor. He made his stage debut as a fat cow in a school production of Joseph in 1984. He holds a BA with a major in drama from the University of Newcastle. He is completely obsessed with musical theatre – especially Broadway divas.
Since relocating to Sydney at the beginning of 2024, he attends every musical he can get to and lives with his partner and grumpy 12-year-old poodle.
His claim to fame is that he once met Patti Lupone in New York and she was nice to him.