Head Over Heels
Actors will NOT be masked. Patrons must wear masks.
Viewer discretion advised; sexual content.
Love, tragedy, scandal, and the best of The GoGos!? In the kingdom of Arcadia happy subjects thrive off the glorious and ever-pumping beat. Alas their steady beat may die out according to the oracle! The royal family is looking for a suitor for their eldest daughter who seems to be interested in a landscape most familiar to her own, while their youngest daughter is in love with a lowly shepherd boy from her youth and trying to prevent the prophecies of the oracle from occurring it’s no wonder everyone is running around singing crazily, hysterically, passionately head over heels in love!
Head Over Heels Glossary:
A: Amazonian – Relating to, resembling, or befitting an Amazon or an amazon.
Arcadia – A region or scene of simple pleasure and quiet.
B: Ballroom – This is Ball culture, drag ball culture, the house-ballroom community, the ballroom scene, or ballroom culture. This is also referred to as KiKi Ballroom where houses come and compete, celebrate, and walk in many categories such as Voguing, Duck Walk, Butch Queen, Face, Floorwork, Hands, Spins, and Body. Their houses win trophies and titles. i.e. shows like POSE and Legendary.
Bohemia – Socially unconventional, artistic people and the areas they frequent, viewed collectively.
D: Delphi – An ancient city in central Greece, in Phocis: site of an oracle of Apollo.
G: Gender – Either of the two sexes (male and female), especially when considered with reference to social and cultural differences rather than biological ones.
Gender Identity – One’s own perception of one’s gender — could be as male, female, or neither/none of the above. Does not relate to one’s biological sex.
Gender Expression – External ways one exhibits gender. i.e. clothing, behaviors, etc.
Gendered – Relating or specific to people of one particular gender.
N: Non-Binary – Not relating to, composed of, or involving just two things.
O: Oracle – A priest or priestess acting as a medium through whom advice or prophecy was sought from the gods in classical antiquity.
P: Pronouns – Pronouns are words that refer to either the people talking (like you or me) or someone or something that is being talked about (like she, they, and this). Today we honor preferred gender-neutral or gender-inclusive pronouns that are self-selected by the individual in accordance with how they identify regardless of biology. For more information view this link https://interculturalaffairs.ecu.edu/pronouns-matter/
Q: Queer – Queer is an umbrella term for sexual and gender minorities who are not heterosexual or are not cisgender. Originally meaning “strange” or “peculiar”, queer came to be used pejoratively against those with same-sex desires or relationships in the late 19th century. However today, the term is used as an umbrella term to be more inclusive of the many identities and variations that make up the LGBT+ community.
S: Sex – Either of the two main categories (male and female) into which humans and most other living things are divided on the basis of their reproductive functions.
Sir Philip Sidney – Elizabethan poet and playwright.
T: The GoGos – The Go-Gos are an American rock band formed in Los Angeles, California, in 1978
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V: Verse – speak in, or compose verse; versify. i.e. “O posies verdant, grass, and hedges dure Drinkest thee this alizarin acqua Vita that issues from a yeoman’s dingle To slake thy thirsty roots.”
Who Was Sir Philip Sidney?
Sir Philip Sidney was an Elizabethan poet, statesman, courtier, soldier, and patron of many scholars and poets. Described as the perfect gentleman, Sidney served as cupbearer in Elizabeth I’s court. It is rumored that Sidney and the Queen were secretly lovers and involved with one another. According to several sources, Sir Philip Sidney was known for his charm, intellect, and for being a man of great integrity. He has been dubbed as a true prototype for the ideal Elizabethan man during his era. He is remembered for being courageous in battle and being romantic and expressive in his literary pieces of work. Allegedly, the rendezvous between Sidney and the Queen went on for years; the two would write letters back and forth when they were parted from one another.
Although Sidney married Penelope Devereaux in the summer of 1581, some had their speculations as to whether he was truly in love with her or was still hung up on his one true love Queen Elizabeth I. The following year he composed a sonnet entitled “Astrophel and Stella.” His most famous work was “Arcadia,” which he dedicated to his sister, and upon which our play is based. In 1584 he decided to revise this piece so it could have a more dramatic plot instead of the original plot, purposely left unfinished; it remains one of the best and most important pieces of prose fiction of the 16th century.
Sidney’s Love Sonnet, Sonnet 69 entitled Astrophel and Stella suggests that the two figures involved within this piece are Queen Elizabeth I (Stella) and Philip Sidney (Astrophel). In the sonnet Stella’s character is to be married and is also a woman of great stature and power. In the sonnet Stella is constantly being showered with gifts. The dilemma is with Astrophel who is a courtier of Stella and wants her love but cannot have it. There are many rumors that have surfaced since 1598 and today about Sidney and Queen Elizabeth I as potential lovers.
The Story of Arcadia
There are not too many differences between the original and our story in “Head Over Heels.” In the original story, Arcadia is said to be a quiet and tranquil province in Greece ruled by a thoughtful and caring man. Their ruler, Duke Basilius is well known for taking care of his subjects, and in return his subjects are faithful to him. However, Basilius is obsessed to know what the future will look like for him and his family, so he seeks the Oracle of Delphos. The Oracle’s report is foreboding: Basilius’s eldest daughter Pamela will be taken from him, his youngest daughter Philoclea will be entangled in a love affair with someone unsuitable, and his wife, Gynecia will commit adultery.
Troubled by what he learns, Basilius takes his family and flees to lodge in the countryside leaving his friend Philanax in charge of Arcadia, bringing along his trusted, watchful, shepherd Dametas and his daughter Mopsa. After the royal family departs from Arcadia, two princes, Pyrocles and Musidorous, are shipwrecked in Lydia. Pyrocles finds a picture of Philoclea and it’s love at first sight; he makes up in his mind that he must have her. Determined, he disguises himself as an Amazon woman named Zelmane and sets out to find her in order to confess his love to her. His friend Musidorous travels with him to the countryside and tries to convince Pyrocles that love is folly. Pyrocles, now Zelmane, sings a very sad song that gets Dametas’s attention, and he goes to alert the Duke of this Amazon woman. With one look at Zelmane, the Duke falls in love with her.Zelmane is introduced to the royal family and asked to stay.
Meanwhile, disguised as Dorus, a young shepherd, Musidorous appears, and falls in love with Pamela as soon as he sees her. Dorus is taken on to serve as a servant to Dametas by lying about his purpose of being at the lodge. Zelmane risks his secrecy in order to save Philoclea from being attacked by a lion, after which his true identity is discovered by Gynecia who then falls in love with him. Meanwhile, Dorus is successful in saving Pamela from a bear but she is still not interested; Dorus moves to his next plan to win her attention. Later in the evening when it is time for the shepherds to entertain the Duke with their poems, songs, and dances, Gynecia and Basilius both declare their love for Zelmane.
Dorus, seeing that his attempts to woo are not working, finally reveals to Pamela that he is a prince. She instantly falls for him and they elope. While they are fleeing, Musidorous tries to rape Pamela and is stopped by a group of Arcadians. Dametas notices that Pamela is missing and goes to look for Philoclea and catches her and Pyrocles in bed together. He locks them in the room and goes to get Basilius. Both Basilius and Gynecia spend that night together, but tragedy strikes when Basilius drinks poison Gynecia left for Pyrocles. Basilius dies. After Philanax gets word of the death of his dear friend, he makes a trip to their lodge to investigate and decides to execute all involved with the murder.
He then puts Pyrocles in prison, searches for Pamela and Musidorous who are being held for ransom by the Arcadian group. He kills the Arcadians and throws Musidorous in prison with Pyrocles. Pamela reasons with Philanax to let her take her place as rightful leader of Arcadia, which he denies until the murderer of his friend. The people of Arcadia begin to grow restless and revolt. Then Euarchusa, a ruler from a province nearby, comes to visit Basilius not aware of his death, or that his son Pyrocles is in the city. Euarchus assumes the position of ruler of Arcadia while Philanax takes over the trial of Basilius’s death. Gynecia, Musidorous, and Pyrocles are sentenced to be beheaded for their crimes. Euarchus then learns of his son and his part in the incident after the trial, and carries out the death sentence. But miraculously, Basilius’s corpse starts to move and he wakes up from his apparent death in time to give mercy to the princes and marry them off to his daughters, thus ensuring the story has a happy ending.
written by Jessica Crenshaw.
Intimacy Direction in HEAD OVER HEELS
Our production of HEAD OVER HEELS with its playful and sexy content is an apt show to highlight Intimacy Direction in the School of Theatre and Dance at ECU. Propelled in some part by the #metoo movement, Intimacy Direction in theatre and film has become the industry standard. From Broadway to major networks such as HBO, Intimacy Directors (Theatre) and Intimacy Coordinators (Film) are now a required member of the production team alongside directors and choreographers to ensure everyone’s safety.
What, exactly, is an Intimacy Director? Intimacy directors are highly skilled collaborators trained in movement pedagogy, acting theory, directing, body language, consent, sexual harassment, Title IX, mental health first aid, and best practices for maintaining a healthy environment for performers engaging in any form of intimacy. The Intimacy Director takes responsibility for the emotional safety of the actors and anyone else in the rehearsal hall. The Intimacy Director is on hand to help coordinate stage action and guide onstage activity during rehearsal, particularly where moments of physical contact, sexual or otherwise, or moments of deep emotional intimacy are required of the actors. Intimacy Direction in rehearsal and performance practice involves the five pillars: establishing clear context for the story, continuous communication, establishing consent among all involved, and ensuring that the actor’s personal boundaries are respected, detailed choreography that is mapped out and maintained through the rehearsal and performance and closure practices to de-role and leave the drama on the stage. Adhering to these pillars allows actors to feel safe and confident throughout the process. For more information, see this link. https://www.idcprofessionals.com/about-intimacy
Here at ECU, Jill Matarelli Carlson our certified Intimacy Director. Jill is on hand at rehearsals to work with the director and performers in staging and rehearsing any onstage action that necessitates intimacy. For more information about Jill: https://www.idcprofessionals.com/bios/jillmatarellicarlson
written by Dr. Jen-Scott Mobley