Review: KIMBERLY AKIMBO at Curran Theatre

Set in the 1990s, KIMBERLY AKIMBO follows 15-year-old Kimberly, a newcomer to New Jersey and the new girl at her high school. What’s not new, however, is her reality of living with a rare condition that causes her to age rapidly, giving her the body of someone in their 70s. Navigating the typical struggles of adolescence and a highly dysfunctional family is tough enough, but Kimberly also faces the harsh truth that most people with her disorder don’t live past 16. It’s heavy stuff. Yet the musical might best be described as a comedy that holds a sustained note of reality throughout, never giving in to pathos. Instead, it masterfully blends poignant emotion with moments of hilarity, charm, and warmth, and a teenager determined to make the most of her life. Now playing at the Curran Theatre through December 1, this five-time Tony Award winner, including Best Musical, is a heartwarming, must-see gem. But life is short, so get your tickets now.

At its heart, Pulitzer Prize-winning playwright David Lindsay-Abaire’s story is about high school outcasts. But here, there’s no dealing with jocks or mean girls. Instead, the kids who never get invited to the cool parties spend Saturday nights at the ice-skating rink. There are the choir geeks—Delia (Bailey Ryon), Martin (Darron Hayes), Teresa (Sky Alyssa Friedman), and Aaron (Pierce Wheeler)—who are determined to win at the State Choir competition; Seth, the kid who’s a member of The Junior Wordsmiths of America and specializes in creating anagrams (Miguel Gil shines in the role); and, of course, Kimberly, played by the great three-time Tony Award nominee Carolee Carmello.

At first, Kimberly is hesitant to bond with Seth, unsure of why he would reach out to her. But when he asks if he can make anagrams out of her name, his geeky, open-hearted, and unassuming way disarms her. The song “Anagram” is filled with humor, playfulness, and a certain wistfulness, creating a warm moment where Kimberly begins to feel a little more accepted—a little more “rearranged” to fit in her own skin. It’s not a magical fix but a reminder of connection and creativity, a piece of hope for Kimberly and anyone who feels a little out of place. "Anagram" reminds us that love and understanding can help us transform, even if life can’t be perfectly solved like a puzzle.

Though she’s only 15, Kimberly is remarkably the grown-up in her dysfunctional family. Her kind but alcoholic father Buddy (Jim Hogan is wonderful) is always late picking her up, while her ditzy mother Pattie (Dana Steingold, hilarious) is pregnant and also harboring a secret. Her brash, scheming Aunt Debra (Emily Koch, who injects the role with humor and some serious chops) is intent on beating the system, even if it means dragging Kimberly and her friends along for the ride.

Though Kimberly Akimbo is brought to life by a cast of just nine performers, the musical has the heart, gumption, and power of a grand production. At first glance, one might wonder how such a compact ensemble can have the sweeping impact of a Broadway show. But the magic lies in the intimacy of the storytelling—each actor, with incredible depth and authenticity, contributes to a performance that is as expansive as any large-scale production.

Jeanine Tesori and David Lindsay-Abaire, who wrote the music and lyrics respectively, won the Tony for Best Original Score. (The theater geek in me recognized that the solos would make great audition pieces.) David Zinn’s scenic design is nothing short of masterful, with fluid transitions that allow the story to flow seamlessly from one location to the next, creating a sense that Kimberly’s world is both intimate and inescapably vast.

Lucy Mackinnon’s video designs elevate Kimberly and Seth’s final "Great Adventure," giving us a breathtaking glimpse of Kimberly living fully, defiantly, and without limits. As her journey unfolds on screen, Mackinnon’s visuals capture the thrill of breaking free and embracing life, even in the face of mortality. It’s both a poignant and exhilarating reminder to enjoy the ride—because “no one gets a second time around."