Review: KIMBERLY AKIMBO at Orpheum Theatre Minneapolis

The national tour of Kimberly Akimbo, the five-time Tony Award-winning musical, opened this week at the Orpheum Theatre in downtown Minneapolis — and it is, quite simply, a triumph of storytelling.

Written by David Lindsay-Abaire (book and lyrics) with music by Jeanine Tesori, Kimberly Akimbo tells the story of a teenager with a rare genetic condition that causes her to age rapidly. But instead of becoming a weepy melodrama, the show delivers something far more refreshing: a dark comedy full of awkward adolescence, family dysfunction, and raw, awkward hope.

At the heart of it all is Carolee Carmello, a three-time Tony nominee, in a performance that’s nothing short of extraordinary. As Kimberly, Carmello captures the contradictory essence of a girl wise beyond her years, yet desperate for the experiences youth is supposed to offer. Her voice is rich and expressive, and her portrayal is so deeply felt that it’s easy to forget you’re watching a woman in her 60s play a high schooler. She doesn’t imitate youth — she embodies it.

Playing Kimberly’s loyal and equally offbeat classmate Seth is Miguel Gil, in his national tour debut. Gil brings warmth and sincerity to the role, with the right mix of teen awkwardness and quiet wisdom. His chemistry with Carmello is sweet and believable — they’re a misfit duo you genuinely root for.

Emily Koch is a chaotic delight as Kimberly’s grifting Aunt Debra, crashing into scenes like a walking crime spree with a Jersey accent and a duffel bag full of bad decisions. Koch plays Debra’s unfiltered outrageousness with impeccable comedic timing, but also grounds her with just enough desperation to feel real.

Jim Hogan (Buddy) and Laura Woyasz (Pattie), as Kimberly’s emotionally stunted parents, find humor and heartbreak in their roles. Hogan brings a quietly devastating presence to Buddy, a man paralyzed by guilt and alcoholism, while Woyasz delivers Pattie’s endless medical monologues with sharp-edged absurdity and undercurrents of pain.

The teenage ensemble — Grace Capeless (Delia), Darron Hayes (Martin), Skye Alyssa Friedman (Teresa), and Pierce Wheeler (Aaron) — are uniformly strong, bringing energy and heart to the show’s high school scenes. Their harmonies are tight, and their characters, though quirky, are drawn with authenticity.

Director Jessica Stone keeps the tone buoyant and sharp without losing the emotional core. The pacing is crisp, the transitions seamless, and the emotional beats land with real impact. David Zinn’s scenic design offers a flexible suburban backdrop, while Sarah Laux’s costumes and Jeanette Oi-Suk Yew’s lighting help move the story fluidly between the mundane and the surreal.

Tesori’s score is deceptively simple — less about grand melodies and more about capturing emotional truth. Numbers like “Anagram,” “Skater Planet,” and the showstopping “Great Adventure” blend humor and heartache in a way few musicals dare. Lindsay-Abaire’s lyrics are witty and poignant, managing to be both specific and universally relatable.

At just over two hours (with intermission), Kimberly Akimbo delivers a satisfying and deeply human story that lingers long after the final note. The musical reminds us that life, even when cut short, can be full of meaning — and that sometimes the most extraordinary thing you can do is live truthfully, joyfully, in the time you have.

Performances run through July 13 at the Orpheum Theatre. Whether you’re a musical theatre devotee or someone just looking for a night of compelling storytelling, Kimberly Akimbo is one not to miss.

For more ticket and show information, please click the ticket link button below.

Minneapolis / St. Paul Awards - Live Stats

Best Musical - Top 3

1. 9 TO 5: THE MUSICAL (Eagan Summer Theatre)

14.1% of votes

2. URINETOWN (Buffalo Community Theatre)

9.9% of votes

3. CHURCH BASEMENT LADIES (Rags to Rags Productions)

8.2% of votes

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