Kimberly Akimbo

Welcome to New Jersey 1999 and the life and times of an eccentric, somewhat unpredictable collection of characters who endure a few surprising plot detours (no spoilers here though).  With a phenomenal cast commanding the stage at Her Majesty’s Theatre and a dream crew fashioning the magic behind the scenes, opening night attendees were passionate in their appreciation of this production.

Delivering a surprisingly quirky and complex storyline for a mainstream, five-time Tony Award-winning musical, Kimberly Akimbo transferred to Broadway in Autumn 2022 with praise for Jeanine Tesori’s score and David Lindsay-Abaire’s lyrics and book.  It is based on the latter’s 2001 play of the same name whose work includes Rabbit Hole (2007 Pulitzer Prize for Drama), a play where a couple mourns the death of their son.

This Australian premiere is a co-production of State Theatre Company South Australia and Melbourne Theatre Company and is consummately directed by the talented and empathic Mitchell Butel.  Kimberly Levaco, fifteen about to turn sixteen, lives with a genetic rarity causing her to age at four times the rate of everyone else.  Referred to as “the disease” throughout the show (the word progeria is never uttered, which is a wise and ethical choice) we observe Kimberly as she navigates her world and her emotions.

While suspension of disbelief is a necessary process here, as in most musicals, Butel and his cast have brought depth and spirit to the diverse characters as they are buffeted by the twists in this tale.  Similarly the juxtaposition of pathos and hilarity is beautifully and thoughtfully established so that moments both poignant and amusing unfold without leaning too much into the trauma around living with a terminal illness.  Strange, sometimes toxic family dynamics cloud a story rife with secrets and lies as Kimberly experiences disappointment and frustration when her parents’ faux pas point to her ‘non-normal’ status time and again.  However love, attachment, friendship, and connection are the main messages so that audiences will be uplifted, entertained, and inspired - the songs too are a large part of this.

The cast is truly a ‘dream team’ who imbue the whole with gusto and utter conviction to effortlessly welcome the audience into this magical, slightly absurdist world.  Parts of the score are atypical in comparison to many Broadway musicals and the lyrics poetic and meaningful while deftly progressing the story.  Jonathon Oxlade’s candy-coloured, whimsical set design helps frame the absurdity and is manipulated seamlessly by crew, a little reminiscent of a giant, fold-out storybook.  Set ‘rooms’ on raised platforms subtly magnify perspective or the size of some characters so that Kimberly appears smaller or shorter, as appropriate.  Lighting by Matt Scott and costuming from Ailsa Paterson also perfectly support the production and its late 90s feel while the choreography from Amy Campbell is on point and beautifully executed by the cast.  I must also mention Andrew Poppleton’s flawless sound design incorporating the excellent but unseen musicians, who appeared on a rear screen during the bows, as well as Kym Purling’s brilliant musical direction.  It really does take a village to produce a work of this calibre.

An adult portraying a teen might cause consternation in some situations but fortunately Marina Prior’s characterisation projects a winning combination of innocence and wisdom, melancholy and audacity as required by the situations into which Kimberly is thrust, or else chooses to inhabit.  Looking comparatively petite in an oversized denim pinafore, Prior has subtly and brilliantly adjusted her physicality and expression to morph into this woman/child entity yet still hypnotises with her songs which allude to Kimberly’s inner maturity.

Christie Whelan Browne is exceptional as Pattie Levaco, a narcissistic, possibly hypochondriac mother living in denial but masking her deeper fears around Kimberly’s future.  Both the characterisation and vocals are sumptuous and never overdone to the point of farce.  Particularly with “Father Time”, the words and Whelan Browne’s voice created an evocative hush over the space.  As Buddy Levaco, a troubled, alcohol-dependent man, Adelaide’s Nathan O'Keefe immerses himself in a very different yet so very watchable role.  Great also to witness this fine actor singing forth with a gorgeous voice and channelling deep emotions without crossing into caricature, and perfectly manifest in “Happy For Her”.

Kimberly’s criminally-inclined, largely unwelcome Aunt Debra soon storms onto the scene and Casey Donovan is simply elemental in this role.  I have so enjoyed watching this dynamic performer’s rise over the years as her theatrical talents have expanded exponentially.  Donovan is such a powerhouse vocalist and obviously has loads of fun with this role while the audience were on the edge of their seats applauding.  Darcy Wain in his professional debut as Seth Brett Weetis (Kimberly’s new friend) is also outstanding.  Seth lives with his own tale of sadness and a good dose of teenage anguish yet entertains himself (and us) by concocting anagrams of his friends’ names - be sure to catch the show-relevant one he fashions from Kimberly’s name! Wain embodies this character with ease, flair, and professionalism, his acting and singing both captivating and affecting.

The talented ensemble of four are Marty Alix, Allycia Angeles, Alana Iannace, and Jacob Rozario.  They are the ‘show choir’ teens - Martin, Delia, Theresa, and Aaron - who befriend Kimberly after some initial awkwardness.  These characters illustrate that teenage stage where we feel like outsiders, have little control of our own bodies and emotions, plus feel misunderstood by most adults.  These young performers (some graduated from and one still attending Adelaide’s Elder Conservatorium Music Theatre course) added a great deal to the energy and cohesiveness of Kimberly Akimbo and were an absolute delight as their harmonies soared.

An idiosyncratic, endearing, and precious gem has been crafted with this Australian production of Kimberly Akimbo combining dark comedy with hope and a glorious array of songs.  Although an underlying hint of tragedy pervades, Kimberly’s spirit is one that embraces the moment and focusses on resilience and the compulsion to make what time we have left count.

Lisa Lanzi

Photographer: Sam Roberts