Review: KIMBERLY AKIMBO At Broadway In Chicago

KIMBERLY AKIMBO is as oddball of a musical as its name. But ironically the protagonist Kimberly Levaco, who has an extremely rare, unnamed condition (perhaps similar to progeria) that causes premature aging at 4-5x the normal rate, is the least weird of the people around her. The national tour of director Jessica Stone’s 2023 Tony Award winning production has arrived in Chicago; it’s often strange, sometimes heartfelt (particularly when accomplished Broadway veteran Carolee Carmello takes the stage as Kimberly.)

Kimberly is a plucky, resilient 16-year-old who dreams of having her Make A Wish granted and visiting Six Flags Great Adventure near her hometown of Bergen County, New Jersey. She has a wildly dysfunctional family life — her parents had her when they were teens themselves. Her father Buddy (Jim Hogan) has a clear drinking problem (he’s three and a half hours late to pick up Kimberly from the skating rink in the first scene), her pregnant mother Pattie (Laura Woyasz) resents her, and her Aunt Debra (Emily Koch) is a scheming criminal. Yet David Lindsay-Abaire’s book and lyrics treat these serious family issues with a light touch. KIMBERLY AKIMBO aims to often be funny — but some of the humor didn’t land, and some of these complex family dynamics were painted too broadly.

Kimberly’s school classmates are likewise a group of proverbial teenage weirdos (and the musical’s surrogate Greek chorus) — Delia (Grace Capeless), Teresa (Skye Alyssa Friedman), Martin (Darron Hayes), and Aaron (Pierce Wheeler) — who make up a bizarre (and frankly, uninteresting) love square. All of the teen characters are wildly naive and childish — it almost seems like Lindsay-Abaire forgot how to write teens. Even though the book makes clear they’re a ragtag, geeky bunch, I thought they weren’t important characters — even if these four actors give it all they can.

I was much more interested in the central and sweet relationship between Kimberly and her nerdy classmate Seth (the ever charming Miguel Gil). Seth initially approaches Kimberly in the school hallway speaking elvish, which is weird and never referenced again. But beyond that initial introduction, Lindsay-Abaire’s lyrics and Jeanine Tesori’s score provide a great backdrop for this blossoming friendship. This musical is most successful when it’s focused on Kimberly and Seth together. The dynamic between a twenty-something actor and a 60-something female lead could be awkward, but it’s clear Gil and Carmello have a great sense of trust in each other. The purity and kindness of that friendship belies Kimberly’s optimism and joy; Carmello literally lights up singing “Anagram,” where she reflects on Kimberly’s crush and Seth’s love of anagrams.

Tesori’s score is tuneful, if not memorable. Likewise, Lindsay-Abaire’s lyrics are effective, if not always special. The more earnest numbers in the musical work best, when they can provide meditations on Kimberly’s hopes and dreams and the fleeting nature of life. The song “Our Disease” perhaps best embodies the crux of Kimberly’s challenges: While her classmates present on diseases that don’t affect them much personally, Kimberly and Seth present on her condition...which sends her spiraling. 

The more upbeat songs are a mixed bag. Gil totally charms in Seth’s solo “Good Kid,” in which he opines on always being well-behaved and accompanies himself on the tuba. I laughed out loud — the song gracefully balances earnestness and humor.

I was not that impressed by Debra’s numbers, even though those are ostensibly meant to be the funniest. While Koch is a capable performer, “Better” and “How to Wash A Check” (giving new meaning to “money laundering”) are not as funny as intended. They’re more “hah” than laugh-out-loud funny. 

Carmello is profoundly affecting. She’s the real reason to see this tour, and she truly demonstrates her Broadway chops by elevating the material. Carmello completely transforms herself into the teenage Kimberly, from her high-pitched, tentative voice to her slouchy posture. She beautifully swings between Kimberly’s buoyant optimism in her first solo “Make a Wish” to her devastating and gorgeous 11 o’clock number “Before I Go,” in which the character reflects on what she hopes to accomplish. I was deeply moved by “Before I Go” — it’s definitely Lindsay-Abaire and Tesori’s strongest writing for the show, and Carmello performs it with such power and vulnerability that it’s impossible to not become emotional. That number also encapsulates the crux of the show: Make the most of the time you have, and don’t be afraid to go after your dreams. 

KIMBERLY AKIMBO is supremely weird, but Carmello is absolutely the show’s heart in the title role, and it was a treat to witness her craft.