The Go-Go’s, Elizabethan Romps, and the Power of Creative Safe Spaces
There’s something undeniably magical about watching young people light up when they find a place where they can truly be themselves. Personally, I think that’s the real story behind Bellingham Arts Academy for the Youth (BAAY) and their latest production, Head Over Heels. Sure, it’s a musical featuring the Go-Go’s iconic songs, but what makes this particularly fascinating is how it’s become a vehicle for something much bigger: a safe space for self-expression in a world that often feels like it’s pulling kids in a million different directions.
A Musical That’s More Than Just a Show
Let’s start with the production itself. Head Over Heels is described as an “Elizabethan romp” with mistaken identities, love triangles, and self-discovery. Sounds like your typical Shakespearean farce, right? But here’s where it gets interesting: the show is set to the music of the Go-Go’s, a band that defined the 80s with their bold, unapologetic energy. In my opinion, this mashup of eras and genres is a brilliant metaphor for what BAAY is trying to achieve. It’s not just about putting on a play; it’s about blending the past with the present, tradition with innovation, and giving young people the tools to navigate their own complexities.
What many people don’t realize is how rare these opportunities are becoming. Arts programs are dwindling, and with them, the spaces where kids can explore their identities without judgment. BAAY’s approach feels almost revolutionary in this context. As Assistant Director Avery Wisner pointed out, the social divisions we see among adults are amplified for kids today. Having a place where they can connect with others who share their passions—or even those who don’t—is a lifeline.
From Student to Director: The Cycle of Inspiration
One detail that I find especially interesting is the story of Kaleb Van Rijswijck, who first attended BAAY at 12 and is now directing Head Over Heels 19 years later. This isn’t just a feel-good story; it’s a testament to the long-term impact of programs like BAAY. If you take a step back and think about it, this cycle of inspiration is what keeps organizations like this alive. Former students become mentors, passing on the same sense of belonging and creativity they once received.
What this really suggests is that BAAY isn’t just a place to learn theater—it’s a community. And in a world where loneliness and disconnection are on the rise, especially among young people, that’s invaluable.
The Broader Implications: Why This Matters
This raises a deeper question: What happens when we lose these spaces? As arts funding gets slashed and extracurricular programs become luxuries, we risk depriving an entire generation of the tools they need to express themselves. BAAY’s model—where kids have ownership over the space and are encouraged to be themselves—feels like a blueprint for what’s missing in so many educational environments.
From my perspective, the arts aren’t just about creating the next great artist; they’re about teaching resilience, collaboration, and empathy. Head Over Heels might be a musical about a royal family saving their kingdom, but the real story is the one playing out backstage: kids saving themselves, one rehearsal at a time.
Final Thoughts
As I reflect on BAAY’s work, I’m struck by how much it mirrors the themes of the show itself. Just like the characters in Head Over Heels, these young people are on a journey of self-discovery, navigating their own prophecies of doom—whether it’s social pressure, self-doubt, or the chaos of adolescence. But here’s the thing: they’re doing it together.
In a world that often feels fragmented, that sense of togetherness is everything. So, yes, go see Head Over Heels if you’re in Bellingham. But more importantly, think about what it represents. Because what’s happening at BAAY isn’t just theater—it’s a reminder of what we all need: a place to belong, create, and be unapologetically ourselves.
