TUESDAY & THURSDAY @ 7 PM
WEDNESDAY, FRIDAY & SATURDAY @ 8 PM
WEDNESDAY & SATURDAY @ 2 PM
SUNDAY @ 3 PM
Never
$55.00 - $199.00
To enjoy Head Over Heels, which offers quite a lot to enjoy, it is probably best to kick up your heels and put your head on hold. That’s not to say that this saucy, boisterous musical doesn’t have a brainy side, starting with its ambitious crossbreeding of four time periods: It grafts a 2010s queer sensibility onto songs from the 1980s—by the all-girl pop-punk quintet the Go-Go’s (plus two hits from lead singer Belinda Carlisle’s solo career)—and fits them into a 16th-century story that is set in ancient Greece. The dialogue, in iambic pentameter liberally sprinkled with thou and thee, contrasts amusingly with the unornamented lyrics of such go-to Go-Go’s bops as “Vacation,” “Our Lips Are Sealed” and “We Got the Beat.”
If the premise of Head Over Heels sounds a little nutso, that’s because the show is a lot nutso, in the most delightfully daffy, exuberantly heart-open way. It’s an often clever, always loving send-up of our lasting penchant for the theatrical age of poetry and pumpkin pants, and a mischievous, meaningful twist on the Elizabethan era’s obsession with gender-play. In other words, Head Over Heels is joyfully queering the canon (which isn’t all that straight to begin with) and throwing a heady, hearty party while it’s at it.
The most groundbreaking new musical on Broadway is based on a long 16th-century prose work and uses the songs of the 1980s new-wave punk band The Go-Go's. Surprised? You're not alone. Head Over Heels at the Hudson Theatre, could end up being the biggest shocker of the still-nascent 2018-19 season. An uproarious romp inspired by Sir Philip Sidney's Arcadia, Head Over Heels is not only a sterling example of inclusivity, but also a beautiful model of how progressive Broadway has the potential to be.
To enjoy Head Over Heels, which offers quite a lot to enjoy, it is probably best to kick up your heels and put your head on hold. That’s not to say that this saucy, boisterous musical doesn’t have a brainy side, starting with its ambitious crossbreeding of four time periods: It grafts a 2010s queer sensibility onto songs from the 1980s—by the all-girl pop-punk quintet the Go-Go’s (plus two hits from lead singer Belinda Carlisle’s solo career)—and fits them into a 16th-century story that is set in ancient Greece. The dialogue, in iambic pentameter liberally sprinkled with thou and thee, contrasts amusingly with the unornamented lyrics of such go-to Go-Go’s bops as “Vacation,” “Our Lips Are Sealed” and “We Got the Beat.”
