Review: KIMBERLY AKIMBO at Dolphin Theatre

Congratulations on bringing this New Zealand Premiere to us with such flair. Directed with skill by Emma Love, with superb attention to scene shape and comic timing, this “complex, honest and deeply human” production is exceptionally well acted, cleverly staged, and immediately engaging. Kimberly Akimbo has genuine philosophical depth within a comic and realistic storyline about flawed and imperfect individuals.  It is entirely heartwarming and yet not sentimental, it is funny without saccharine sweetness, it connects with our everyday emotions – pathos, selfishness, fear, desperation, hope, laughter. This is delightful entertainment centred around living our lives every moment, making the most of whatever time we have.

This prize-winning playwright, David Lindsay-Abaire, may not be formerly familiar to some –  but he’s certainly a master craftsman. This is entirely evident in the superbly constructed script. Each of the episodic scenes are like short stories – providing slices of life that develop character and plot, whilst providing insight into the thinking of the characters.  It’s as if we are inside their minds. “Dad says a lot of things that don’t happen”. Much of what the characters share is familiar and often funny because of this reality eg. “the swearing jar” that teenage Kimi instigates because her parents swear such a lot.  Mum’s line about women smiling at her in the supermarket because women like to see pregnant women, is undercut by Kimi’s “No, it's because you are fatter than they are.”  A genuine highlight is the sense of anticipation that builds within each scene – we know there’s going to be something unfolding, and we wait. There are many memorable last lines – leaving us with something to ponder.

In the lead as Kimberley Akimbo, is well-known respected director and accomplished actor,  Penel Keegan. Decades of experience (and observations of teenagers) lie behind her consummate immersion as a sixteen-year-old teenager who has progeria (also called Hutchinson-Gilford syndrome) a rare genetic disorder that causes rapid aging of the body. This disease makes Kimi age four and a half times as fast as normal.  Penel Keegan’s physicality is entirely convincing, facially and vocally, through her every movement, right down to teenage feet and mannerisms. “Mum, couldn’t we just be normal here, just for one moment?” Her delivery of witty teenage quips and rebellion are easy to identify with and capture the young girl we can see in the older woman’s body. Superb costume choices (Avril Hunt) and hairstyles reinforce her youthfulness.

Benjamin Wickers adeptly captures the socially awkward and unpopular, straight-faced, anxiety-ridden geek, Jeff. He copes with his world by creating witty anagrams, is a stickler for rules, and in true geek style, introduces Kimi’s family to Dungeons and Dragons. We get a new twist with the gumption of outcasts. One of many crowd-pleasing scenes is the vividly executed gauche moment as Jeff and Kimi move oh so awkwardly toward that first kiss. The audience comes to love him – not least because he’s able to understand the girl trapped inside Kimi’s aging body.  

But the “aging” condition is just one of many problems Kimi faces. She is not only trying to find happiness whilst dealing with a dysfunctional body, and coping with isolation and bullying at school, she’s living within a complicated and severely dysfunctional family. Pattie, her mother, (Ruth Edgar) is heavily pregnant, entirely selfish, self-serving, loud and a hypochondriac convinced she has many diseases that will kill her before the baby is born. Wonderful work in this portrayal from Ruth Edgar.  Excellent characterisation from Romain Mereau as “trapped” Dad, Buddy who doesn’t want to come home, and is unreliable, “Don’t tell your mother” but who is obviously supportive of his daughter and his wife. After all, he says “most guys in the world are just guys who go to work”. There’s an undercurrent in the house, and these two capture the tension with skilled intensity.

The plot becomes even more complicated with the dramatic entrance of Aunt Deb, Pattie’s sister and an ex-con. Like the others, she has dreams that seem impossible. Sheree Veyesy brilliantly brings out the witty wonderful contradiction of pranks and illegal schemes that create the action of the second half. A terrific moment – her dragging home several blocks a US mailbox! Her lines “life flies right past you so you need to grab the good stuff. When it’s gone it doesn’t come back” hit home.

As always, the creative teamwork support the director’s vision to make sure the production is smooth running and staged with flair. Many different set locations merge with prompt pace keeping the action fast-flowing and seamless. Excellent work from the stage managers Carolyn Loader and Robyn Bull who keep the play moving with pace, ingenious set design (Ian Milnes), effective and skilled lighting design (especially those final dramatic scenes) by Paul Richardson and Shane Richardson, and clever sound design (Ray Gabites).

Fast-moving, heartwarming, inspiring, witty, with exceptional characterisation, and superbly directed and executed – this is a play not to be missed.

The play runs until 19 August.

Tickets at P: 09 636 7320
E: admin@dolphintheatre.org.nz

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