Richly imbued with tender humanity, Kimberly Akimbo deftly balances affecting pathos with delightful comedy, all wrapped up in a sweet, eclectic musical score.

Winner of five 2023 Tony Awards, including Best Musical, Best Book (David Lindsay-Abaire), and Best Score (Jeanine Tesori and Lindsay-Abaire), Kimberly Akimbo has arrived quickly in Australia in this impeccably cast, creatively conceived non-replica production. A co-production between State Theatre Company South Australia and Melbourne Theatre Company, Kimberly Akimbo is the perfect follow-up for audiences who enjoyed recent local seasons of Dear Evan Hansen and Fun Home. 

Adapted as a musical from Lindsay-Abaire’s 2001 play, Kimberly Akimbo plants plucky Kimberly Levaco in our hearts, her optimism and resilience taking root to leave an inspiring message to embrace every opportunity and moment of life. Kimberly is afflicted with an unnamed condition that causes her to age four-fives times faster. Saddled with the most dysfunctional parents since Mr and Mrs Wormwood, Kimberly finds joy where she can, exploring a tentative romance with classmate Seth and taking centre stage in aunt Debra’s latest harebrained scheme.

All nine characters in the chamber musical are distinctively rounded, with particular complexity found in Kimberly’s parents, alcoholic Buddy and hypochondriac Pattie. There are no simple explanations for her parents’ poor behaviour nor are there any superficial redemptive arcs; the power of Kimberly’s irrepressible spirit is its own reward.

Director Mitchell Butel expertly grounds the heightened hi-jinx of the comic elements with raw, immediately accessible emotion. Levity turns to poignancy in a heartbeat; Kimberly’s pain is always keenly felt and her moments of happiness are equally touching. With the nine characters clearly established, company numbers are a particular joy, with act one finale “This Time” and act two finale “Great Adventure” delivering that most especial pleasure that is only found in musical theatre. 

Musical director Kym Purling leads a tight off-stage band of eight talented musicians, bringing the relatively broad range of styles in Tesori’s music to vivid life. With the teenaged (Greek) chorus of four being members of a show choir, vocal harmonies are at a premium and these are performed to perfection. 

Butel’s staging is neatly supported by characterful choreography from Amy Campbell, who has particular fun with both the show choir stylings and the cutely kitsch iceskating (impressively performed by the full cast on inline skates). 

Multiple settings for the story unfold smoothly and imaginatively on the gently abstract stage design of Jonathan Oxlade. In a close collaboration, Oxlade’s playful pastel patterns are beautifully lit by Matt Scott. Costume designer Ailsa Paterson successfully dresses the cast in the now-cringeworthy fabrics and odd outfit combinations of 1999 New Jersey.

Adding yet another aspect to the extraordinary range that has kept her firmly in the stage spotlight for decades, Marina Prior breaks hearts as dear Kimberly, drawing the audience towards her with a gently underplayed and tenderly sung performance. Modestly attired, Prior respectfully captures teenaged vulnerability in its purest form, elevating the performers playing Kimberly’s classmates by interacting with them like equals.

Gamely embracing their loud, unlikeable characters, Christie Whelan Browne and Nathan O’Keefe bring out compelling facets to Pattie and Buddy Levaco. Pretty in towel terry pink, Whelan Browne conjures every possible degree of sympathy for frazzled mother Pattie, especially when Pattie breaks out from her cute “Hello Darling” videos to gorgeous family lullaby “Father Time.” As the more monstrous parent, O’Keefe conveys Buddy’s desire to improve, tempering Buddy’s outbursts with moments of sincere care. 

In the fabulous featured role of devilish aunt Debra, Casey Donovan scores abundant welcome  laughs as the Fagin-like Debra self-servingly corrupts the show choir teens. 

In a highly auspicious stage debut, Darcy Wain proves an ideal partner for Prior, bringing an equally ingenuous sweetness to anagram-loving tuba player Seth. The combination of Prior’s generosity of performance and Wain’s innate talent allows Kimberly and Seth to be seen as a true teen pairing, making their fledgling romance all the more convincing and engaging. 

Each a clear triple threat performer, the four show choir teens round out the ensemble cast with flair. Marty Alix sparkles as fey Martin. Allycia Angeles shines as self-confident Delia. Alana Iannace brings perky sweetness to Teresa. Jacob Rozario amuses as straight boy Aaron struggles with the concept of a Dreamgirls show choir medley. 

As amusing as it is moving, original musical Kimberly Akimbo is ultimately most memorable for its inspiring message to live life to its fullest because “no one gets a second time around.”

Kimberly Akimbo plays at Playhouse, Arts Centre Melbourne until 30 August 2025. For tickets, click here.

The Kimberly Akimbo programme can be read online.

Man in Chair reviewed the original Broadway production of Kimberly Akimbo. 

Photos: Sam Roberts