Well Done Creative’s Queer Mardi Gras offering Head Over Heels lands at the Hayes Theatre, Sydney as a joyfully absurd, pop-fuelled celebration of identity, love and letting your freak flag fly. Built around the endlessly catchy songs of The Go-Go’s, this is a musical that knows exactly what it is: silly, sincere and proudly queer. As part of Sydney Mardi Gras, it feels right at home—sparkly, playful and full of heart.
Loosely inspired by The Arcadia, the plot follows a royal family forced to flee their kingdom after a prophecy foretells their kingdom’s downfall if they continue living their truth. What unfolds is a tangle of disguises, mistaken identities, shifting gender expression and romantic entanglements, all wrapped up in Elizabethan language and pop anthems. While the Shakespearean text adds flavour, the combination of heightened language and brisk pacing can make the narrative a little tricky to follow at times. Still, the show’s infectious energy and commitment to fun mean you’re rarely lost for long.
Director Ellen Simpson works confidently within the Hayes Theatre’s intimate confines, allowing the comedy to land through character rather than spectacle. The pacing occasionally pushes too hard against the density of the text, but the clarity of intention is always present, and the absurdity is embraced rather than apologised for. The result is a production that feels nimble, playful and well attuned to the space.
Musically, Zara Stanton leads a tight, polished band, with excellent harmonies that do real justice to The Go-Go’s catalogue. The arrangements feel crisp and purposeful, never overwhelming the performers, and the sound supports the storytelling rather than dominating it. Ryan Gonzalez’s choreography is equally well-judged—clever, character-driven, and scaled perfectly for both the venue and the cast. Movement is used to enhance moments rather than crowd them, which pays off beautifully in such a compact room.
The cast brings boundless enthusiasm and commitment. Jenni Little’s Philoclea is endearing and vocally assured, while Adam Noviello’s Musidorus is an endlessly devoted romantic with genuine warmth. Gaz Dutlow brings fierce, unapologetic nonbinary energy to Pythio, commanding the stage with ease. Minerva Khodabande’s Mopsa is firm yet gentle—a quietly persuasive force of sapphic charm. J Ridler delivers a strong, well-defined Gynecia, though occasional sound balance issues slightly undercut an otherwise excellent performance. Thomas Campbell leans fully into Basilius as the gloriously dim, lovable king, while Alana Iannace and Ellen Ebbs squeeze every drop out of their ensemble moments.
Due to illness, WAAPA graduate Lucy Lalor stepped in as Pamela with script in hand, though you’d barely know it—she shines with confidence and poise. And Nancy Denis’s Dametus is comedy gold, her dry Ocker delivery leaving the audience absolutely pissing themselves with laughter.
Head Over Heels is a fun little show, bursting with queer joy and communal warmth. It may be a little chaotic, but it’s heartfelt, inclusive and absolutely worth supporting this Mardi Gras season.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world and try new gins.
Head over Heels runs for 2 hours (with a 20-min interval) and plays at the Hayes Theatre through 22 March 2026. Tickets are available through the Hayes Theatre Co.
Disclosure: The Plus Ones were guests of Good Humans PR.
Image credit: Kate Williams
