Review: Tony-Winning Musical KIMBERLY AKIMBO Amuses at OC’s Segerstrom Center

A quick glance at a brief synopsis of the stage musical comedy KIMBERLY AKIMBO—winner of five 2022 Tony Awards including Best Musical—and one's expectations may not be met right out of the gate. 

Initially, the show drops down a fairly serious log line: an awkward but sweet teenage girl suffering from an illness tries her best to live a normal life, but is constantly bombarded with exacerbated obstacles. Feels like your standard-fare, angst-filled, teen-centric storyline, right?

Well… not so fast.

Because what ends up unfolding on stage through the course of its two laugh-filled but bemusing acts defy a bit of its anticipated predictions. 

Instead, KIMBERLY AKIMBO brings forth a thematically zig-zagging—though generally entertaining—show that is at once intentionally endearing but also surprisingly (and amusingly) chaotic, as it hurls itself towards a warm, comforting embrace of an ending that audiences will welcome with a collective awwwwww. 

And all that crazy hilarity that happens along the way? Well, it is at times so over-the-top and brimming with curse words that one sort of forgets that there is a young teenager with a terminal disease at the heart of all this action—posing a pesky little conundrum that may poke at certain audience members from time to time… including, to be honest, myself. 

Nonetheless, the overall takeaway is so shrewdly pre-designed to be pleasing when all is said and done that one tends to eventually forget that there is still this feeling of strange oddness lingering in the atmosphere.

But with that said, I really did enjoy the sum of KIMBERLY AKIMBO's thematically-combative parts—from its pleasant and eccentric songs to its nutty jokes and heightened premise. 

And buoyed by an incredibly likable ensemble cast led by three-time Tony Award nominee Carolee Carmello in the title role and adorable newcomer Miguel Gil as the nerdy boy-next-door, the musical's smile-inducing national tour production continues performances at OC's Segerstrom Center for the Arts in Costa Mesa through February 2, 2025.

If the show sounds familiar to some, it might be because this KIMBERLY AKIMBO—helmed by director Jessica Stone—is actually a musical adaptation of David Lindsay-Abaire's 2001 play of the same name, now featuring original music by Jeanine Tesori (THOROUGHLY MODERN MILLIE and FUN HOME) and book and lyrics also provided by Lindsay-Abaire. 

A touching coming-of-age story wrapped in varying degrees and levels of comedic set-ups that range from cutesy adorkable to ridiculously outrageous, KIMBERLY AKIMBO is, at its basic core, a strategically heartwarming but darkly comedic musical about a "special" teenager named Kimberly Levaco (played with winning gusto by Carmello), who is afflicted with a rare genetic condition that causes her to age at an accelerated rate—making her look decades older than her peers (hence why she is played by a more mature actor in the show compared to her teen co-stars). 

Aging four times faster than normal, Kimberly, as one might expect with someone living with this kind of ailment, has trouble merging her age-appropriate thoughts with her age-inappropriate body.

Despite her unusually aged-up appearance, Kimberly acts, speaks, and feels just like a typical teen, navigating typical teenage desires and struggles, including trying to find her identity and place in the world, trying to fit in with others at school, and, yes, even trying to experience first love.

Set in pre-social media 1999 in suburban New Jersey, the story takes a turn when shy-new-girl-in-town Kimberly befriends a quirky group of nerdy, show choir "misfits" at school that include her sweet and awkward classmate Seth (the endearing Gil, who you will instantly love), a young boy who shows her genuine kindness. The two are kismet-ly paired up to work on a science project where students must study and prepare a presentation on a specific disease (three guesses which disease they end up researching), launching a relationship that proves beneficial for both.

Meanwhile, at home, Kimberly's off-beat, dysfunctional family adds chaos and strife to her already challenged life. Her immediate family includes a pair of neglectful parents: an alcoholic dad named Buddy (Jim Hogan) who can't seem to remember specifics about her daughter, and a self-absorbed, very-pregnant hypochondriac mom named Pattie (Dana Steingold), who seems far too preoccupied with her recovery from double carpal tunnel surgery and making self-made videos for her unborn child than to pay any attention to her blossoming teen daughter. 

Seeing Kimberly be dismissed so nonchalantly is actually a bit triggering for me to watch, but the show uses it as another notch on the list of why Kimberly deserves our empathy (the show mentions her disease frequently, but we don't really see a lot about it, which feels like a missed opportunity).

Add to this the sudden appearance of Kimberly's selfish, unabashedly-scheming aunt Debra (the outrageous, big-voiced Emily Koch) who manages to track the Levaco family down from their abrupt departure from Lodi. Once there, Debra forces her presence on them by setting up shop in the family basement to concoct her latest get-rich-quick idea which, unfortunately, also ends up recruiting Kimberly and her new friend group to be a part of it.

But despite their flaws, Kimberly's relatives and their family dynamics add layers of complexity to her journey, ultimately highlighting how love and connection can somehow persist and surface even amidst chaos and dysfunction.

Of course, all of these crazy shenanigans are happening as Kimberly—now on the brink of turning 16 years old—faces the grim reality of her condition: that it limits her life expectancy, and that she must now rush to find ways to live fully in the time she has left. Of course, she's got a lot to get through in her bucket list: own a treehouse, maybe take a trip to Six Flags, and, yes, get a first kiss.

Kimberly's rare, ultimately fatal condition places her in a unique position to confront mortality far earlier than her peers (who, for their part, worry about their much more extended futures for different reasons), forcing her to face life with this unfortunate knowledge of her limited time while also trying to balance the desire to live like a normal teenager—and doing normal teenager things—as the reality of her illness hovers in the periphery.

Through heartfelt and humorous songs mixed with funny situations, KIMBERLY AKIMBO, above all else, accomplishes to deliver a poignant message about embracing life's imperfections and finding joy in unexpected places. The show's humor often arises from the absurdity of Kimberly's situation and the eccentricities of her family, while its pathos is deeply rooted in the emotional weight of her condition and the limitations it imposes on her life. Blending laughter, tears, and all the trappings that make teenage life so awkward, painful, and, yet, giddy at the same time, the show succeeds just enough to feel likable.

Like other teen-centric shows like DEAR EVAN HANSEN and SPRING AWAKENING before it, Kimberly's journey mirrors that of many teenagers trying to figure out who they are and where they belong—albeit under extraordinary circumstances and the judgmental gaze of peers. The musical valiantly addresses themes of identity, belonging, and the universal desire for acceptance and understanding—making it relatable to most audiences regardless of age.

And despite its dark undertones (at least on paper), the show is ultimately about hope and resilience within the bleakest of prospects. Kimberly's character embodies an endearing spirit of perseverance—someone who can find joy and meaning in her life despite her many challenges. KIMBERLY AKIMBO suggests that even in the face of inevitable loss, one can find moments of happiness and fulfillment. 

While I have to admit that the show's songs don't necessarily represent Tesori's best musical offerings, her tunes for KIMBERLY AKIMBO do still manage to sound versatile and have the ability to convey characters' complex emotions. Standouts include the cute-sy "Anagram," which describes the blossoming romance between Kimberly and Seth, the surprisingly touching "Father Time," a lovely ballad from Kimberly's mom Pattie, "Better" the belty showcase song for Debra, and the finale, "Great Adventure," a hopeful, fun ditty that puts a bow on the show.

The music in the show ranges from lively and upbeat to introspective and melancholic, reflecting the varied emotional landscape of the story. Lindsay-Abaire's lyrical contributions are sharp, witty, hilariously acidic, and, yes, poignant when it calls for it, enhancing the narrative and deepening the audience's connection to the characters. Good songs? Sure. Memorable for multiple cast album spins? Not so much.

Danny Mefford's few bits of choreography mirror characters' emotional ups and downs as well. Visually, the show doesn't display much of a "wow" factor, but, then again, doesn't really need to do so given its low-tech subject matter. David Zinn's sets, however, do convey late 90's aesthetics effectively, especially during scenes at the local ice skating rink (bonus points for the brief moment of a snowstorm). Sarah Laux's retro costumes paired with J. Jared Janas' hair and makeup design also both do a great job recreating late 90's teen looks with great authenticity (whoever decided that Gil should keep his Justin Timberlake-like curls deserve our collective applause). 

And how can one hate a show where you see teens actually ice-skating on stage?

Overall, KIMBERLY AKIMBO accomplishes to be entertaining and heartwarming as both a raucous comedy and a hopeful celebration of human resilience. The musical's true strength, though, lies in its character-driven storytelling. Each character is, for the most part, well-developed, with their own arcs and struggles, making them relatable and multidimensional. Kimberly's interactions with her family and friends drive the narrative forward, creating a rich tapestry of relationships and personal growth. And though less developed, periphery characters still prove memorable and intriguing (kudos to the "show choir" foursome of Grace Capeless, Darron Hayes, Skye Alyssa Friedman, and Pierce Wheeler for their outstanding support work).

Ultimately, the show does feel unique and original, enhanced tremendously by the attempted emotional depth of its narrative and the superb performances of its incredible cast. I do, however, still wish the show made a better effort at explaining its title—a throwaway line that could have used an additional addendum or clarification from Seth, the boy who comes up with the moniker. 

And speaking of Seth… Okay… let's address the potential ick factor in the room: yes, the sight of young teen-looking Gil who plays Seth developing feelings for the more mature-looking Carmello playing Kimberly might seem a little out there to witness. But both, I have to say, make their fictional entanglement work. This isn't s a spoiler… but their relationship is more awwwww than ewwwww, believe me.

So, although I may have walked away slightly bemused, still trying to decipher what kind of show KIMBERLY AKIMBO wanted to be—an endearing, heartwarming tale or a slightly eccentric, out-there dark comedy—the show still left me smiling and awwww-ing (and, yes, that VHS-looking footage at the end got me right in the feels, too). 

Just because the show ultimately feels like it threw in broad laughs, crass, foul-mouthed humor, teen sight gags, adorkable rom-com-y elements, and even some manipulatively heartwarming scenes together into a blender doesn't mean something enjoyable won't come out of it.

* Follow this reviewer on Bluesky / Twitter-X / Instagram / Threads: @cre8iveMLQ *

-----

Photos by © Joan Marcus, courtesy of Segerstrom Center for the Arts.

Performances of KIMBERLY AKIMBO  continue at Segerstrom Center for the Arts in Costa Mesa, CA through February 2, 2025. Tickets can be purchased online at www.SCFTA.org, by phone at 714-556-2787 or in person at the SCFTA box office (open daily at 10 am). Segerstrom Center for the Arts is located at 600 Town Center Drive in Costa Mesa. For tickets or more information, visit SCFTA.org. 

To post a comment, you must register and login.