Kimberly Akimbo ⭐⭐⭐⭐

“Kimberly Akimbo in London focuses on Kimberly Levaco, who is almost 16. She is living with a rare genetic condition that makes her appear far older than her peers. After her family moves to New Jersey under questionable circumstances, Kimberly is forced to start again at a new school, all while her parents are anything but stable. Then she meets Seth, a sweet but awkward classmate, and life begins to feel much better than the one that awaits her at home. But when her ex-con aunt Debra arrives with the money-making scheme of a lifetime, Kimberly and her friends are pulled into a very dangerous plan that will put her and her new life on the line.”

Michael Longhurst's direction was wonderful. There is a real genius use of space, and the production moves at a good pace while giving the more emotional scenes the time they need to breathe. The show never feels like it's rushing through its story to get to the next number, and its balance of comedy and emotion is one of its greatest strengths. The choreography by Matt Cole was something I really enjoyed. It is quite simplistic in places, but I actually loved that. It gives the movement a naturalism that works beautifully with the piece, rather than making every number feel like a big, polished musical theatre routine. Some of the more understated movement helps the characters feel like real people living their lives, which makes the bigger musical moments all the more enjoyable.

Soutra Gilmour's set was lovely. The revolve, combined with a relatively small number of pieces, keeps the storytelling clear, and its familiar rotations make it easy to follow location changes. I particularly liked how the house opened up into other spaces, letting the production move between locations without losing its visual identity. It is clever, practical design that makes the most of the space. Her costumes were another highlight for me. I particularly liked Kimberly’s style, which has a slightly hippie-inspired feel that gives her a distinctive identity. The family also has a lovely sense of cohesion, with their clothes feeling like they belong together while still letting each character have their own style. I especially liked Debra’s costume, which suited her wonderfully and established her personality before she even said a word.

Jack Knowles's lighting was dynamic and exciting, keeping each scene feeling fresh. I particularly liked the LED strips around the set, which added another visual layer and worked well with the location changes. The lighting helps the production move between the everyday world and its more theatrical moments without making those transitions feel too abrupt. Paul Groothuis's sound was mostly nice and clear, though at times it felt slightly unbalanced, making it tricky to hear the performers over the music. Overall, though, it was a nice mix that worked well with the production and helped create the world around the characters.

Luke Halls's projections annoyed me. The mapping and alignment of the images seemed slightly off in places, and I found myself distracted more than I wanted. If this was intentional, I am not entirely sure why, because images that could have looked really beautiful instead appeared blurry and misaligned. It is a shame, because the projections themselves could have added a lot to the production, but for me, the execution took away from their impact.

David Lindsay-Abaire's book and lyrics are full of emotion, heart, and love. The writing is incredibly clever, tackling a wide range of subjects without ever feeling preachy or boring. It explores family dysfunction, adolescence, friendship, mortality, and the desire to make the most of the time we have, while staying genuinely funny. There are moments when the humour catches you off guard, followed by moments that hit much harder than you might expect. Jeanine Tesori's music is beautiful, and each song feels memorable. The fun songs are genuinely fun, and you find yourself having a great time, but the emotional numbers are the ones that really get you. The score understands the characters and their distinct journeys, enabling the music to develop seamlessly from the story rather than feeling like a pause in the action.

Maria Friedman as Kimberly was just wonderful. The characterisation has so many levels, and her singing is absolutely beautiful. There is a real emotional intricacy to the role, balancing the experience of someone who looks much older than her years with the vulnerability of a teenager who is still trying to work out who she is and where she belongs. Friedman brings a great deal of heart to the character, and there are moments when the emotional power of the story really lands.

Alice Fearn as Debra was incredible. She has so many fantastic comedic moments, bringing a wonderfully unruly energy to the character, but there is also a real sense of commitment behind the comedy. Her big number is a particular highlight, giving her the chance to command the stage and deliver a showstopping performance. She manages to make Debra both outrageous and entertaining, whilst making sure that she never becomes a one-dimensional caricature.

What I particularly liked about Kimberly Akimbo is how it finds humour in genuinely difficult circumstances without making light of them. It lets its characters be messy, selfish, funny, and vulnerable, which makes them feel much more human. Nobody is perfect, and the show is all the better for it.

The production also makes some clever staging choices, using the revolve and a relatively simple set to create a world that feels much bigger than it is. The smaller details help keep the storytelling clear, whilst the performances and score give the show its emotional power. Ultimately, Kimberly Akimbo is a funny, heartfelt, and beautifully performed musical that makes you laugh while quietly reminding you how precious time is. It has a wonderfully unusual premise, but underneath it is a story about family, friendship, love, and making the most of the life you have.

Kimberly Akimbo is playing at Hampstead Theatre from 28 August to 14 November 2026. The running time is approximately 2 hours 45 minutes, including the interval, and the suggested age guidance is 14+. Click here to book tickets.