Kimberly Akimbo: a musical (MTC, in a co-production with State Theatre Company South Australia), at Playhouse - 2 hours 30 minutes, including interval

MTC keeps lifting the bar. Kimberly Akimbo is a superb, zany, comical and tender production.

The five-time Tony Award winner, which included Best Musical, concerns a lonely girl about to turn 16 who has a very rare genetic condition.

She ages four to five times faster than normal, which means she looks old long before she is.

Truth be told, the average life expectancy for someone with her affliction – which is unnamed, but similar to progeria – is only 16.

The year is 1999. Her name is Kimberly Levaco and she lives in New Jersey.

Photos by Sam Roberts

She and her dysfunctional parents have just moved, after leaving their previous home in a hurry.

The reason they did so becomes clear late in the piece.

Kimberly’s father, Buddy, is unreliable and perpetually drunk.

Her mother, Pattie, is pregnant, a narcissist who complains a lot and records videos for her unborn child.

Much to Kimberly’s father’s initial chagrin, Kim is befriended by Seth, who shows her kindness and more.

Seth works at the local ice-skating rink, shares a biology class with Kim and is obsessed with anagrams.

Also making an unwelcome reappearance in Kimberley’s life is her crooked aunt, Debra, who has spent time behind bars.

Now, she is plotting to get Kim and some of her school mates involved in the latest scheme she has cooked up.

While Kim dreams of adventure, she never had this in mind. Yet, circumstances dictate otherwise.

The question posed in Kimberly Akimbo is how to live your best life when you have only limited time.

The odds are against Kim in more ways than one – think health, family and isolation.

But that doesn’t mean she doesn’t have the same needs and wants as everyone else.

The result is pure gold, with all elements coming together seamlessly to create an unforgettable theatrical experience.

First up, there is the off-centre book and lyrics by David Lindsay-Abaire, based on his play of the same name.

Then, there is the music by Jeanine Tesori, who brings diverse styles to bear.

While the pair has created the environment, the eccentric nature of the script requires adept performers to pull it off … and have they what!

A magnificent, super talented cast, including several big names, deliver big time.

How does the leading lady of musical theatre – Marina Prior – convincingly play a 15-year-old, going on 16? Not just with supreme vocalisation (was that ever in doubt?), but with mannerisms reflective of a teen. I kid you not. It is beautiful, amusing and moving.

Opposite her is a newbie going places, who makes a huge splash in his professional debut. I speak of Darcy Wain, who is the awkward Seth … and plays the tuba. Wain is charming and potent, and enjoys a fine dynamic with Prior.

Christie Whelan Browne’s ability to emote – to pour out her character Pattie Levaco’s frustrations from the get go on video – is mighty impressive. Her facial expressions are priceless.

Pattie’s husband, Buddy, is realised in equally fine style by the deliberately off-kilter Nathan O’Keefe. In a decidedly physical showing, he does a great job of enacting Buddy’s struggles to control his many shortcomings.

Who better to play the larger-than-life aunt than the big, big voiced Casey Donovan. She revels in realising the bad girl of the piece, immediately letting her presence be felt, with no let up or beg pardons.

Finally, we have the four actors who play Kimberly and Seth’s school mates – straight and gay characters – all trying to find their way. They inject youthful enthusiasm, drive and trepidation.

I speak of Marty Alix as Martin, Allycia Angeles as Delia, Alanna Iannace who is Teresa and Jacob Rozario as Aaron. Individually and collectively, they “pop”, generating laughs and poignancy.

I must also credit the efforts of musical director Kym Purling and the strong band in finding the beating heart of Tesori’s musicality.

The sets by Jonathon Oxlade, inspired by Kimberly’s collection of snow domes, are a feast of movement and colour, with pieces wheeled in and out.

The starting point is an ice-skating rink, but we also have the lounge room of the family home, Kim’s bedroom, the school lockers and library, among others.

Costuming is bright and gaudy, unmistakably reflective of the ‘90s. Bravo to Ailsa Paterson.

With sight and clarity being paramount, plaudits to Matt Scott for the lighting and Andrew Poppleton for sound design.

Fine choreographer from Amy Campbell and immaculate direction from Mitchell Butel see the conceit realised with aplomb.

Kimberly Akimbo (the title is drawn from an anagram of Kim’s full name) is a timely reminder of making the most out of every moment we have.

It rocks. It is fun, funny and fantastic, exploding onto the stage and leaving a lasting and most favourable impression.

It is on at Playhouse, Arts Centre Melbourne until 30^th August, 2025.