Kimberly Akimbo at Hampstead Theatre Review
Following its hugely successful, Tony Award-winning Broadway run in 2023, Kimberly Akimbo has finally made its highly anticipated European premiere at London’s Hampstead Theatre. Written by David Lindsay-Abaire, with book and lyrics by Lindsay-Abaire and music by Jeanine Tesori, the creative team behind Fun Home and Caroline, or Change, the musical took home an impressive five Tony Awards, including the coveted Best New Musical. Needless to say, theatre fans this side of the pond have been eagerly awaiting its arrival ever since!
The story centres on Kimberly Levaco, a 16-year-old girl in New Jersey with a rare genetic condition that causes her to age about four times faster than the average person. While Kimberly may be a teenager on the inside, her condition means she physically appears much older, setting the stage for a story that is as unusual as it is heartfelt.
The piece is charming in every way possible and is unlike any other time-defying musical we have seen. But at its core, it’s a girl wanting to feel love and acceptance from those closest around her, and that is something everyone can relate to. It’s a story that manages to be incredibly specific to Kimberly whilst still finding those universal feelings that make you root for her from the very beginning.
This is an absolutely gorgeous production, with staging that is just stunning. Every rotation keeps the story flowing without missing a beat. The home setup is incredibly realistic and allows the story to feel authentic and raw, making Kimberly’s world feel like somewhere we could genuinely step into. The costumes are great too, with everyone looking the part, and, can I just say, long live the 80s jorts! Soutra Gilmour has done an amazing job with the design of this production, creating a world that feels both visually beautiful and completely lived in.
It’s my first time ever seeing Maria Friedman and I’m so grateful to see her in this role. She shines as Kimberly, bringing a youthful charm to the performance coupled with stunning vocals. It’s her heart that really makes the production soar, and you’re rooting for her at every turn. Friedman makes Kimberly feel so lovable and full of life, whilst also allowing us to really understand the things she is struggling with underneath it all.
Alice Fearn is a marvel as Debra, in a role unlike anything I’ve ever seen her do, and it’s wonderful! Her comedic timing is spot on, and the way she sings the score is stellar. She completely throws herself into the character, bringing so much energy and personality to every moment, and it’s an absolute joy to watch.
Gilli Jones as Seth Weetis was a really earnest performance. He channels the innocence of youth and being curious about everything, when the big things don’t seem all that big. His voice fits the character perfectly. He’s kind of awkward, but he never lets Kimberly down, and she’s not had that before. His importance in her journey is so beautiful to see, and Jones and Friedman work together so wonderfully. There’s such a lovely sincerity to their relationship that makes their scenes together some of the most touching moments of the show.
The two parents do a great job of essentially being bad parents, with so many nuances to show how they’ve failed and continue to fail Kimberly. With Niamh Perry as Pattie and Peter Hannah as Buddy, they were almost against each other to see who can make the most mistakes, whilst also providing some lovely vocals. It makes the triumphs of the story really interesting, especially in the first act, as there’s that underlying feeling that it just won’t work out the way everybody hopes. They both bring something different to Kimberly’s family life, but neither quite manages to give her what she needs.
I really enjoy the score. I think there are some definite highlights in there, and there’s a good mix of different tones throughout. You go from gorgeous and mellow songs about anagrams to fast-paced crash-outs about touching kneecaps! It’s a score that can be incredibly funny one minute and surprisingly heartfelt the next, which works so well for the story.
The choreography from award-winning Matt Cole is exactly what it needs to be. It’s prevalent when necessary, but quietly in the background when you don’t expect it, allowing the story and characters to remain the focus. The show choir does an excellent job as some sort of ensemble, and their harmonies were spot on! Ronav Jain, Sara Hajizadeh, Robin Simões Da Silva and Aviva Tulley do a great job together with their own interesting storylines, culminating perhaps with the biggest laugh of the night from a stellar delivery from Alice Fearn.
The way everything comes together at the end, no spoilers here of course, is just the icing on the gorgeous, if slightly smudged, cake. The piece is heart-warming, it’s thought-provoking, but it’s also fun and witty – just what London needs right now. It’s a show with so much heart at its centre, and whilst it might not be the perfect cake, it’s certainly one I’m very glad I got to eat.
Kimberly Akimbo is currently running at the Hampstead Theatre until November 7th so get your tickets quickly, if there’s anything this show can teach us, it’s that time is precious!
★★★★★
Written by Amelia for Theatre and Tonic, September 2026.
