Somehow I missed seeing the 2023 Tony-winning best musical
Kimberly Akimbo on Broadway, so I'm thrilled that it finally made its way to Minneapolis for one short week. I went into the show knowing almost nothing about it (which is rare for me), other than it was about a teenage girl with a disease that caused her to age rapidly. As the show unfolded, every moment was a delightful surprise. This is not a big splashy huge-cast over-the-top kind of musical. It's a small intimate story that's told well, with complex, distinct, relatable characters, and music that perfectly expresses the emotions of the story. Truth be told, that's my favorite kind of musical. It's similar to a
Next to Normal or
Fun Home in scope, but much lighter in tone, although it does deal with some heavy themes as our Kimberly deals with turning 16, the average life expectancy of someone with her (unnamed) disease. But it's also really funny, sweet, and touching, with fun, catchy, singable songs. It's the kind of musical that will lend itself well to regional productions, and I look forward to that, but in the meantime,
don't miss this opportunity to see this well-deserved Tony winner live and in person - through July 13 only!
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one happy family (Laura Woyasz, Emily Koch,
Carolee Carmello, and Jim Hogan, photo by Joan Marcus) |
We meet Kimberly Levaco shortly after she arrives in a new town, the family having left their previous home for reasons that will soon be revealed. As if being the new girl in town isn't hard enough, Kim is also dealing with an alcoholic father, a pregnant narcissistic mother, a grifter aunt, and a disease that causes her to age at 4-5 times the normal rate (explaining the signature drink at the Orpheum: "16 going on 72"). But she soon finds a friend in Seth, the sweetest tuba-playing Elvish-speaking word nerd, an anagram-lover who turns her name into "Cleverly Akimbo." The two become involved in a check fraud scheme with Kim's aunt, along with the high school show choir (the cutest love quadrangle since
A Midsummer Night's Dream). For a while, this gives Kim a sense of purpose and adventure, until thing don't go quite as planned. Unlike her classmates who are looking forward to a whole life in front of them, Kim knows she's at the end of hers, and finds a way to make her own adventure while she still can.
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Kim (Carolee Carmello) and Seth
(Miguel Gil) at the lockers (photo by Joan Marcus) |
The incredibly talented nine-person cast (several of whom were understudies for the Broadway production, which closed last year) is led by Broadway and TV/film vet Carolee Carmello, who despite being a woman in her prime is very convincing as an unsure and lonely teenager. After a short while you believe she is the same age as her young castmates, including scene stealer Miguel Gil as the adorkable and very endearing Seth. The fabulous foursome of Grace Capeless, Darron Hayes, Skye Alyssa Friedman, and Pierce Wheeler create a strong chorus, providing background vocals and movement, and they also manage to create distinct characters despite not having a lot of individual moments. Jim Hogan and Laura Woyasz are both very funny as Kim's not very good parents, and manage to give them some humanity too. Last but not least, Emily Koch is a hoot as Debra, the kind of aunt you can't help but love despite her flaws (and crimes).
With direction by Jessica Stone and choreography by Danny Mefford, the show flows very smoothly from one location to the next, and from humor to pathos. There aren't really any dance numbers per se, but the movement of the chorus adds a lot to the story, and there's a car scene with three characters smushed uncomfortably into the front seat that may be the best seated choreography I've seen.
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| the cutest chorus in town! (photo by Joan Marcus) |
Under the frame of a house, the set easily transitions from skating rink (where they actually skate, on skates!) to high school to family home, with set pieces that are rolled in and backdrops lowered from above. It's refreshing to see an entirely practical set with no projections, that's clever and deceptively simple. The unassuming late '90s costumes are character appropriate. (Scenic design by David Zinn, costume design by Sarah Laux).
Book writer and lyricist David Lindsay-Abaire (a Pulitzer Prize winner for
Rabbit Hole) adapted his play of the same name, with music by Jeanine Tesori (
Fun Home,
Violet, etc.), and they won Tonys for the score and book. The eight-piece pit orchestra led by Music Director Leigh Delano plays this wonderful score that's so clever and funny and unique, and most importantly clearly expresses the emotions of the piece and moves the story forward. I will need to listen to it again (and probably repeatedly).
Kimberly Akimbo is kind of an unlikely Broadway musical - small cast, based on a little known play, no tie in to a popular movie or musician. But that's what makes it so special. It succeeds because it's a unique and relatable story - we're all going to get old and die, if hopefully not as fast as Kim, and we all have issues fitting in, and families that don't live up to expectations. And it's a story that's so cleverly and smartly told through music, dialogue, and movement. Along with
Some Like It Hot (which is one of those big splashy musicals), Kimberly Akimbo is definitely the best new musical of this
touring Broadway season at the Orpheum Theatre.
