Review: KIMBERLY AKIMBO, Hampstead Theatre

Hampstead Theatre is not your typical destination for the UK premiere of a Tony-winning musical - but then Kimberly Akimbo is far from your typical musical. More interested in nuanced characters and complex feelings than tap numbers and top Cs, this deeply moving story of a teenage girl quite literally running out of time is refreshing and full of heart. 

Our show begins in a dead end New Jersey town, as the misfits of the local high school gather at the ice rink. Among them is new girl Kimberly (Maria Friedman), who despite being 16 looks to be at least in her sixties due to an extremely rare genetic condition that causes her to age four and a half times faster than the norm. This predicament in itself is the premise of David Lindsay-Abaire and Jeanine Tesori’s chamber musical, as we skate through a few months in the lives of Kimberly, her family, and her classmates, coming to understand how each of them have been shaped by her disease.

If you’re thinking that sounds rather bleak, you wouldn’t be wrong. At the core of this new musical, whose marketing is splashed with smiley faces and sunglasses, is tragedy. It’s inescapable, and if you dwell on Kimberly’s predicament for more than a few moments it’s quite heartbreaking. But what this show does so well is find the joy and mundanity in its heroine’s life. Lindsay-Abaire delivers a masterclass in tone, making light of the devastating and vice versa. It's a show about something tragic, but far from a tragedy in and of itself. 

This is, after all, a musical, and one that scored big on Broadway. Tesori’s songs are tenderly woven into the piece, making smart use of musical theatre as a form to pull out the nuances of each character’s journey. The solos are well-crafted and creatively imagined, while the show’s few ensemble numbers are true earworms, with sumptuous full-bodied harmonies. The Act 1 finale ‘This Time’ is a particular highlight, as well as the second act’s aptly named ‘The Inevitable Turn’. 

Kimberly Akimbo offers a different challenge for its cast of MT actors – while the songs aren’t especially challenging, and there’s minimal dance involved, the characterisation and acting demands are not to be sniffed at. Much of this falls on Friedman, who brings both a sweetness and grit to Kimmy. She particularly excels in the musical’s beltier numbers and the sadder story beats of the second half, picking up from a very slightly faltering start. She carries the heart of the show with such skill and potency that it’s easy to see why she’s led such an illustrious stage career. 

The other big sing of the show belongs to Alice Fearn as Kimberly’s scam artist aunt Debra. It’s a juicy part, landing most of the show’s biggest laughs and biggest belts, and former Elphaba Fearn excels in both departments. 

Building out Kimberly’s world is a Greek (or rather Gleek) chorus of sorts, made up of her high school’s show choir misfits. Their presence is a stroke of genius from the writers, juxtaposing what Kimberly’s life could have looked like if she had a future to move towards. Played by Ronav Jain, Aviva Tulley, Robin Simões da Silva, and Sara Hajizedah, each have their own character journey alongside an excellent Midsummer Night’s Dream-esque love sqaure. All fairly new to the industry, they’re a scene-stealing ensemble.

They’re joined by fellow newcomer Gilli Jones as Kimberly’s science class love interest Seth, who readily matches the Olivier-winner (no easy feat) with sweet vocals and a deeply believable teen boy awkwardness. 

The other star of this UK premiere production is Soutra Gilmour’s magical set, which transforms from a clock to a house to a school to an ice rink and beyond. It’s perfectly fit for purpose while also finding a sense of whimsy throughout, providing a playground on which this story of ageing too fast can unfold. This is where Michael Longhurst’s direction comes into its own – it's hard to separate from the set, as the two come together to build a contained, small-town claustrophobic world. Reminscent of Longhurst's Next to Normal, the three-story set allows characters to watch one another unnoticed and play out several moments on top of each other, an opportunity that Longhurst uses to great effect. 

It’s a total joy to see this show find its audience in London. Kimberly Akimbo is a real testament to both the heart and the craft that goes into creating a more intimate, character-led kind of Broadway musical –  one that leads with empathy and imagination, without ignoring the deep sadness that runs through its core. 

There’s a little neatening up to be done – some scene changes, some sound levels, some accents – but I have no doubt that all of this will get there. All I can hope is that this show gets the lifespan it deserves, and the time to grow into itself and flourish. It’s a real gem, and will have you grinning and tearing up in equal measure. 

Kimberly Akimbo runs at Hampstead Theatre until 7 November.

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