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Taking a Chance | "Kimberly Akimbo" @ Broadway in Hollywood
Well, that was different.
I went into Kimberly Akimbo not quite knowing what to expect. I knew that I absolutely loved the final song in the show. I knew the show was about a girl with progeria. I had listened to the cast album, and I knew it had won the Tony award. I had read the LA Times review of the show. I was hoping for good things.
Kimberly Akimbo was … different, but then again, Kimberly Levaco was different. It wasn’t bad; and it certainly wasn’t a Girl from the North Country, but it was (in many way) unlike a typical Broadway musical. It was less of a Shrek, and more of a Caroline or Change. As an example: At intermission we overheard the folks behind us discussing the show, and noting there wasn’t a single song that stuck in their head. Indeed, the only real memorable song in the show is the last one, “Great Adventure”, which reminds me of “Travel Song” from Shrek. The plot and the story build slowly, and it isn’t until you’re nearly at the end that the point of the show makes itself clear.
I’ll note that I ended up liking the show (although I won’t say it was a favorite); my wife was more “meh” on it. So this really is a show where your mileage may vary. It could also be a show like Soft Power, where your initial impression is one thing, but as you think about the show more (and perhaps see it a second time), that the message becomes clear.
I’m not going to do a full synopsis—you can find that on the Wikipedia page. Succinctly, the story centers on Kimberly, who has just moved to a new city in New Jersey after some incidents in Lodi NJ (not California). She’s attempting to make new friends in school, but she’s facing two problems: one, she looks like a senior citizen, and two, her disease has a live expectancy of 16 and it is her 16th birthday. Her parents are more focused on themselves than her, and her aunt (who shows up) has similar issues, on top of being a criminal. The show basically shows how Kimberly navigates this point in her life, making friends and finding her path forward.
What’s not to like, right?
FIrst, depending on the relationship with your parents, the show could bring up feelings and be triggery. I think the ultimate message of the show offsets that, but that message may come too late for the overall show’s impression. Second, much of the music is very scene specific, and doesn’t always have a hummable theme line.
What’s there to like, then?
First, the show has some very funny moments. In particular, the aunt, Debra, is a hoot. Second, the performances are top notch, especially from Carolee Carmello as Kim, Miguel Gil as Seth, Dana Steingold as Pattie, and Emily Koch as Debra. Carmello, in particular, was just outstanding with her facial expressions. I also note that most of the cast members were in the Broadway production (although the lead roles are different actors). Third, unlike many of the shows today, the show does not depend heavily on technology or projections; this increases the odds that the show will have a life at the regional and below levels. Lastly, I really liked the ultimate message of the show: You only have one chance at your life, so grab it, take that chance, and embrace the day.
At the end, the message of the show is what saves the show and elevates it. Kimberly realizes that she can either wallow in the sadness of her disease and her horrible parents, or she can move past it and take control over what is left of the rest of her life. Our past and our situation doesn’t define who we are: we define who we are. Kimberly goes out getting the wish she didn’t know she wanted: a roadtrip (and we can all use a good roadtrip).
This was a strange show to win the Tony for Best Musical, especially given the competition (all of whom are coming to Los Angeles in the future: New York New York, Some Like it Hot, and Shucked to the Pantages, and & Juliet to the Ahmanson). But the Tony awards have (of late) been awarding shows that are pushing or experimenting with the art form: the previous year’s winner, A Strange Loop, is an example of that.
So, now the real question: Should you see it? That’s hard to answer. As I noted before, this isn’t a bad show or a depressing show. It’s not Girl from the North Country. But I think if you go in expecting a traditionally structured upbeat musical, with big song and dance numbers, you’ll be disappointed. If you had a problematic relationship with your parents, you might have trouble. If you go in with an open mind, and just get into the story, you’ll be just fine. You just have to be willing to go on a great adventure.
Kimberly Akimbo continues at Broadway in Hollywood/Hollywood Pantages through November 3. Tickets are available through the BIH Box Office online.
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Kimberly Akimbo. Book and Lyrics by David Lindsay-Abaire. Music by Jeanine Tesori. Based on the play by David Lindsay-Abaire. Directed by Jessica Stone. Choreography by Danny Mefford.
Cast: Carolee Carmello Kimberly; Miguel Gil Seth; Jim Hogan Buddy; Emily Koch Debra; Dana Steingold Pattie; Grace Capeless Delia; Darron Hayes Martin; Pierce Wheeler Aaron. Understudies: Sarah Lynn Marion u/s Pattie, Debra; Regene Seven Odon u/s Seth, Aaron, Martin; Marcus Phillips u/s Seth, Aaron, Martin; Bailey Ryon u/s Delia, Teresa; Brandon Springman u/s Buddy; Valerie Wright Kimberly Standby. All cast members are members of Actors Equity.
Music Department (* indicates local): Chris Fenwick Music Supervisor; John Clancy Orchestrations; Macy Schmidt Additional Orchestrations; Strange Cranium/Billy Jay Stein and Hiro Iida Electronic Music Design; Leigh Delano Music Director, Conductor, Keyboard 1; Ryan Edward Wise Assoc Music Director, Keyboard 2; Aveion Walker Reed 1; Alex Lemma Reed 2; Frank Zambrano Drums; Dominic Lamorte Bass; Azana Hightower Guitar; Kevin Irving Cello; Sean Franz* Reed 1 (Clarinet / Flute / Oboe / Alto Sax); Ken Fisher* Reed 2 (Bassoon / Clarinet / Bass Clarinet / Tenor Sax / Bari Sax); Ira Glansbeck* Cello; Eric Heinly* Orchestra Contractor; Brian Ge Assoc Music Supervisor; Antoine Silverman Orchestra Contractor; JoAnn Kane Music (Kyle Brenn, Russell Bartmus, Jessie Rosso) Music Preparation.
Production and Creative: David Zinn Scenic Design; Sarah Laux Costume Design; Jeanette Oi-Suk Yew Lighting Design; Kai Harada Sound Design; J. Jared Janas Wig, Hair, and Makeup Design; Lucy Mackinnon Video Design; The Telsey Office Casting; Ryan Emmons Assoc. Director; Brittney Griffin Assoc. Choreographer; Baily Ryon Dance Captain; Arabella Powell Production Supervisor; Shawn Pennington Production Stage Manager; Geoff Maus Stage Manager; Maya Bhatnagar Asst Stage Manager; Candace Hemphill Company Manager; Juniper Street Productions Production Manager; 321 Theatrical Management General Management.
Favorite Minor Credit: Ken Benson Skate Sharpening.
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Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.
Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending):
- November: ♦ American Idiot at CTG/Taper; ♦ Back to the Future: The Musical at Broadway in Hollywood/Pantages; possibly ♦ Fiddler on the Roof ⊕ at La Mirada PAC; ♦ La Cage Aux Folles at Pasadena Playhouse; possibly Santa Claus Conquers the Martians ⊕ at Maverick Theatre
- December: ♦ Wicked at Broadway in Hollywood/Pantages; ♦ Once Upon a Mattress at CTG/Ahmanson;
- January: ♦ Anything Goes (Concert) at Pasadena Playhouse (Pasadena Civic);
On the Theatrical Horizon:
Bruce Kimmel will be bringing the rarely done Drat! The Cat! to Lonny Chapman’s Group Rep in March 2025.
This entry was originally posted on Observations Along the Road as Taking a Chance | "Kimberly Akimbo" @ Broadway in Hollywood by cahwyguy. Although you can comment on DW, please make comments on original post at the Wordpress blog using the link to the left. You can sign in with your LJ, DW, FB, or a myriad of other accounts. Note: Subsequent changes made to the post on the blog are not propagated by the SNAP Crossposter; please visit the original post to see the latest version. P.S.: If you see share buttons above, note that they do not work outside of the Wordpress blog.