Constellation’s ‘Head Over Heels’ a Spirited Romp with a Rock and Roll Heart

Gleefully absurd and tenderly heartfelt, Head Over Heels at Constellation Theatre Company is a vibrant season closer that blends Elizabethan romance with the electric pulse of The Go-Go’s greatest hits. Directed by Founding Artistic Director Allison Arkell Stockman, this production confidently leans into the show’s maximalist charm—a whimsical swirl of mistaken identities, queer love stories, and anachronistic pop anthems, all set in a world that feels equal parts Renaissance and retro punk.

Based loosely (very loosely) on Sir Philip Sidney’s The Arcadia, the show’s literary roots are overshadowed by its more pressing mission: to celebrate joy, gender fluidity, and personal freedom through campy comedy and catchy music. With a book adapted by James Magruder from Jeff Whitty’s original concept, the plot careens through romantic entanglements, royal decrees, and divine prophecies with high energy, if at times a bit too much narrative clutter.

In short, the Kingdom is about to experience a dramatic shift, and an oracle has predicted precisely how it will come about — but the King takes drastic measures to avoid it. As each divination plays out, the antics get wilder, with twists at every turn.

What grounds the mayhem is the committed and charismatic cast. Julia Link’s Pamela and Ariana Caldwell’s Philoclea share standout sisterly chemistry, and Nico Ochoa brings an arresting presence to the oracle Pythio—a role that centers the production’s queerness with flair. Rebecca Ballinger (Mopsa) and Harrison Smith (Musidorus) deftly handle the show’s broad humor while anchoring it in emotional sincerity.

The Go-Go’s soundtrack—featuring hits like “We Got the Beat,” “Vacation,” and, of course, “Head Over Heels”—is delivered with polish and punch under the musical direction of Walter “Bobby” McCoy. Maurice Johnson’s choreography offers energetic movement that matches the music’s effervescence, even if a few ensemble scenes feel more crowded than cohesive.

Visually, the production delights: Frank Labovitz’s costumes are a riot of glitter, leather, and period flourishes, and E-hui’s lighting bathes the action in a colorful, rock-concert glow. The Source Theatre’s intimacy amplifies the audience’s connection to the cast—lending the show a house-party feel that matches its irreverent tone.

Head Over Heels may not be the most refined production of the season, but it’s FUN, and what it lacks in subtlety, it makes up for in heart. This is an affirming spectacle that doesn’t shy away from its message: love boldly, live freely, and never underestimate the power of a good beat.

Performances run through June 1 at Source Theatre.

Constellation Theatre Company has also announced that Head Over Heels will be the comapny’s final production at the Source Theatre; a new location for future productions will be announced at a later date.