Head Over Heals From Minneapolis Musical Theatre Has the Beat @ LUSH, So Much Fun You’ll Think You’re On Vacation

Head Over Heels is a musical that could easily lead you down the internet rabbit hole. I started down it myself before I came to my senses. It is a musical featuring the songs of The Go-Go’s and Belinda Carlisle. It is based on The Arcadia by Sir Philip Sidney, though the playbill doesn’t reflect whether it is The Old Arcadia or The New Arcadia. This 16th-century literary landmark also inspired some of Shakespeare’s work as well. And I think it’s fair to say that Shakespeare inspired some of the dialogue in this show. The show was conceived and the original book written by Jeff Whitty and then adapted by James Magruder. Just Google every other word of the above and spend a fascinating three to five hours on Wikipedia. You’re welcome, or I’m sorry, depending on how you feel about those lost hours.

So what is Head Over Heels? I can sum it up in two words: a blast! Is it Les Mis, Hamilton, or even Mamma Mia? Oh, Lord, no. It’s the music of The Go-Go’s, who were an iconic 1980s band, but they had like four songs you can remember. The level of recognizable songs grows to six when you add in Carlisle’s solo career contributions. This has to be the thinnest catalog of songs to ever spawn a jukebox musical. To be fair, the six songs are really bitchin’. And honestly, most of the songs worked well; they just weren’t familiar to this teenager of the ’80s.

The story is as follows. In the kingdom of Arcadia, a royal family discovers that love, gender, and identity don’t always follow the rules. When a series of prophecies from the non-binary Oracle Pythio start coming true, they realize the kingdom is in danger of losing its magical “Beat.” Add disguises, mistaken identities, and forbidden romances, and you have a queer Shakespearean comedy with an ’80s sensibility and a late-2000s social conscience. In the end, Arcadia learns that maybe the best way to save the kingdom is to stop worrying so much about who people are supposed to be and let them be who they are.

The queer nature of the musical makes LUSH Lounge & Theater in Northeast Minneapolis the perfect venue. The acoustics, to be honest, are not ideal, but that is made up for by the unique staging, which has cast members not only playing out along a long stage protruding phallically into the audience like a fashion-show runway, but they also enter, exit, and sometimes dance through the audience. This is a small mainstage, and it was a wise choice for Director Kari Steinbach to utilize the runway and block the characters out in amongst the audience. It allows for the show to open up. Choreographer Michael Terrell Brown, who has been doing some really exciting work out at Lyric Arts lately, faces the spacing challenge and comes out the victor. The movement is very fun, and the cast does a great job of not looking like they are crowded on the stage.

The cast is filled with folks I’m not familiar with; only two members of the cast are ones I know I’ve seen multiple times. I am always surprised when I come across someone I didn’t know by name who’s really good, and there were several folks here who were too good to have flown under the radar. There are essentially two would-be couples, the two princesses and their loves. Each of the quartet has some really strong moments. But we all know lists of who was great get old quick, so I’m going to hold myself to a moment that, amidst all the fun and energy of the show, caught me spellbound.

It’s toward the end, when Philoclea thinks her love has been killed. Ellie Turk, who plays the character, sings “Here You Are.” This is a show where you are always looking around; there is always something happening on or off stage, and then all at once you are instantly zeroed in on Turk. Her voice is perfect for this song, her performance draws your focus immediately, and you simply cannot take your eyes off of her. It’s a goosebumps moment.

There are a lot of standout moments in this show. Sometimes it’s the vocals on a song; sometimes it’s the hilarious performances from the cast. Is it RENT? No, but it isn’t trying to be. It had a Broadway run, but where this was always really meant to be performed were venues like LUSH, where the audience is loose and ready to have a good time. Children of the ’80s will have a blast remembering some of these songs and have acid-washed-jeans-induced flashbacks to some of the ’80s aesthetic. It’s one of those shows you need to see with a crowd, and one of those where you are tempted during the end number to get up and dance along.

Head Over Heels is an infectiously fun musical with an upbeat 1980s new-wave pop vibe that’s totally rad! This is the show that’s perfect to go out to with a bunch of friends. You’ll have such a great time that you’ll decide to make it a monthly thing. It’s also a great show for the LGBTQ+ readers among you; it has some beautiful messaging about love and gender.

Head Over Heals runs through October 10th at LUSH Lounge & Theater in NE Minneapolis. For more information and to purchase tickets go to https://www.aboutmmt.org/2026-27/

I want to alert you faithful readers to a new Website that has just started up in the Twin Cities. It’s called 79 Seconds on Stage and it is a free and full guide to local theatre in the Twin Cities.

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