Curtain Call: By Chris Barone
Publisher’s Note: This article was originally scheduled for earlier publication but was delayed due to unforeseen circumstances as I continue my recovery from a traumatic event. We appreciate your understanding and support as we work to bring you valuable content. Thank you for being part of our community.
I remember reading and hearing whispers about a new show called Kimberly Akimbo about two years before it opened on Broadway. I was intrigued and excited about a brand-new show, which is always welcome in a sea of themed and jukebox musicals. After a whirlwind 24-hour trip to NYC to see the OBC (original Broadway cast, for those who don’t speak fluent Broadway), I understood what all the hype was about. That afternoon, as I stepped out of the darkness of the theater, I knew I had just witnessed not only a (future) Tony Award-winning musical but also two (future) Tony Award-winning performances by Victoria Clark and Bonnie Milligan. (P.S. I was right on all three, by the way!)
When Kimberly Akimbo skated (show reference) into San Diego in October, I knew there were some pretty large skates to fill. This company was certainly up to the challenge—and achieved it triumphantly.
“It’s Saturday night in Bergen County” when we first meet our title character, Kimberly Levaco. Kimberly is about to turn 16 and has recently moved with her family to a new town in suburban New Jersey. In this “howlingly funny heartbreaker of a show” (The New Yorker), Kim navigates family dysfunction, a rare genetic condition, her first crush, and possible felony charges. Ever the optimist, she is determined to find happiness against all odds and embark on a great adventure.
Kimberly Akimbo was a brilliant choice to kick off Broadway San Diego’s 47th season and mark the West Coast debut of this piece. This original story will make you laugh, cry, and even say to yourself, “Did they really just say that!?” Laughter, tears, dysfunction, anagrams, and forgery blend for a perfect evening at the theater in this Tony Award-winning musical.
Led by three-time Tony Award nominee and Broadway powerhouse Carolee Carmello, the leading lady shined in the title role. From her opening spotlight, Carmello established a warm and lovable presence, bringing 16-year-old Kimberly to life in the body of a woman physically aging far faster than her mind due to a rare, unnamed genetic disease. Her juvenile voice and awkward physicality made Kim more than a character you just feel bad for. Let’s face it: this isn’t a happy-ending story. When she sang her big 11 o’clock number, “Before I Go,” my heart broke with every passing line. I was waiting for that big moment to hear her magnificent voice let loose, and I wasn’t disappointed. Carmello is a gift to American musical theater and has long been an undeservedly underrated talent. It was lovely to see her in such a beautiful role.
As Kim’s parents, Pattie and Buddy, Dana Steingold and Jim Hogan embody just about every quality of “bad” parenting (lying, cheating, stealing, adultery, alcoholism, etc.). It’s a classic case of the child parenting the parent. While their circumstances and choices might make you want to hate them, Steingold and Hogan’s portrayals do the opposite. Pattie’s song “Father Time” and Buddy’s “Happy for Her” soften these otherwise unlikable characters.
As Aunt Debra (self-admittedly my favorite character in the show), Emily Koch is a hoot! This character must be such a blast to play. Even though Debra makes poor life choices and is far from a good role model for Kim and her teenage friends, you can’t help but like her. Her big number, “Better,” sets the tone for her character. When she sings, “When opportunity knocks / When possibility calls / Take the bull by the horns / Grab life by the balls,” you know she means it.
With a cast of just nine, this show may be named after one character, but it is undoubtedly an ensemble piece. As Seth, Kim’s crush, Miguel Gil is endearing. He absolutely embodies a sweetness and innocence highlighted in his solo number, “Good Kid.” As for the rest of the characters—who also serve as the musical’s resident “show choir/Greek chorus”—they help drive the story forward and color in the leading characters’ adventures. Grace Capeless (Delia), Darron Hayes (Martin), Skye Alyssa Friedman (Teresa), and Pierce Wheeler (Aaron) all shine, and I predict promising Broadway futures for them.
With Tony Award winners Jessica Stone (direction), David Lindsay-Abaire (best score, best book), and Jeanine Tesori (music) at the helm, this production is a faithful transfer of the beautiful Broadway run, which had 32 previews and 612 performances at the Booth Theatre in New York City. Together, the team successfully captures the sights, sounds, and costumes that transport the audience back to Bergen County, New Jersey, circa 1999.
Kimberly Akimbo is a piece of theater that stays with you. It leaves you with an unexpected smile and gratitude for life. This bittersweet story reminds us that “no one gets a second time around.” It’s not a big song-and-dance extravaganza, and it may not be everyone’s cup of tea—but that’s the beauty of theater.
And as I always say: Until next time, friends. Be happy. Be kind. Go to the theater. It’s the perfect recipe for life.
–Originally from upstate New York, Chris Barone (aka “Miss B”) has been a part of the San Diego/Hillcrest community for 20 years. You probably know him mostly from Baja Betty’s, where he has worked since opening in 2004. Keen eyes may even remember him from his now retired drag persona, “Shalita Buffet.” Besides theater, his interests include cooking, traveling, New York Yankees baseball and anything involving Dolly Parton. You can reach him at [email protected].
