★★★

“a polished, enjoyable production with plenty of charm”

After a multiple Tony award-winning Broadway run, ‘Kimberly Akimbo’ arrives in the UK. Though brimming with heart and hope, it never quite finds the edge it needs to resonate deeply.

Kimberly is running out of time. Born with a rare condition and ageing four times faster, Kimberly hatches an unlikely plan to make her dreams come true.

With a Tony-winning book and lyrics from David Lindsay-Abaire, ‘Kimberly Akimbo’ blends an offbeat coming-of-age story with a poignant bucket-list tale. Kimberly’s impending mortality – tragically on the cusp of adulthood – gives the story emotional weight, while her spectacularly dysfunctional family justifies her quest for autonomy. Yet despite a cast of flawed, often unlikeable characters, it rarely mines enough grit to offset its rather relentless optimism. The cheque-fraud strand feels oddly consequence-free, sidestepping the real stakes of Debra’s scheme, while Kimberly’s condition – inspired by a very real condition called progeria – is treated more as a narrative device than a lived experience. Overall, teen angst and premature mortality make for a compelling setup, but the emotional payoff falls short.

Jeanine Tesori’s score is consistently inventive. The conversational, quirky ‘Hello Darling’ offers an insightful glimpse into Pattie’s psyche, while ‘How to Wash a Check’ turns criminal activity into comic chaos through the teenage gang’s ineptitude. The finale, ‘Great Adventure’, lands with real poignancy, shifting between major and minor chords as it captures hope and heartbreak. Not every song may stick in the memory, but together they form a distinctive and effective whole.

Director Michael Longhurst makes impressive use of a relatively small cast, with inventive staging and a versatile revolving set conjuring multiple locations with ease. The transitions are slick, the pacing brisk, and the characters feel well rounded. Again, the sweetness could use more bite to sharpen its emotional impact, and some relationships feel a little lightly drawn. The central romance may also raise eyebrows given the actors’ age gap. Still, it’s a polished, enjoyable production with plenty of charm.

Soutra Gilmour’s design is a triumph, centred on an ingenious multi-level set that effortlessly shifts locations while incorporating lighting and projection surfaces. Jack Knowles’s lighting adds flair and focus to key moments, while Paul Groothuis’s sound design is atmospheric if occasionally overpowering the vocals. Luke Halls’ video design delivers a poignant glimpse of the life Kimberly fights to experience.

Multi-Olivier Award winner Maria Friedman captures Kimberly’s youthful optimism and insecurity with real sincerity. While there is room for greater emotional contrast in places, she remains in fine voice, delivering every song with warmth and honesty. Alice Fearn’s deadpan Debra cuts through the sweetness at just the right moments, providing the perfect counterpoint to Friedman. Peter Hannah and Niamh Perry as Buddy and Pattie Levaco expertly portray flawed parents whose love is buried beneath years of baggage. Gilli Jones brings both sweetness and resolve to Seth, making his connection with Kimberly wholly convincing. Meanwhile, Sara Hajizadeh, Ronav Jain, Robin Simões da Silva and Aviva Tulley form a superb teen quartet, their impeccable harmonies and comic chemistry providing some great highlights.

‘Kimberly Akimbo’ may be more charming than profound, but its warmth, wit and strong performances make the adventure worthwhile.

A SMALL AND QUIET LIGHT

Minerva Theatre

★★★

“Ambitious and undoubtedly well-intentioned”

Wartime heroes are often reduced to a handful of facts: names, missions, acts of courage and sometimes the date of their death. Stephanie Street’s a small and quiet light attempts to look beyond those headlines, bringing the extraordinary life of Noor-un-Nisa Inayat Khan, the first female radio operator sent undercover into occupied France by Britain’s Special Operations Executive, into intimate focus. Betrayed and captured in Paris in 1943, Noor faces interrogation and almost certain death.

The play moves between the interrogation room and memories of Noor’s childhood, young adulthood in Paris and her wartime service, gradually revealing a quiet, determined and courageous woman. Yet it only brushes the surface of a life that offers considerably more dramatic material. The dialogue is often overly explicit, while the production rarely generates the energy or passion needed to make Noor’s story feel truly urgent. For all that is at stake, there are times when it is difficult not to wonder: what is the point of it all?

At its heart, a small and quiet light should be a compelling story of courage and sacrifice, but the play remains frustratingly straightforward. Noor’s mixed Indian and American heritage is referenced, although it is unclear what significance the play intends it to have. Her father leaving the family to return to India when she was 13 and the fact that she had a fiancé before the war are also mentioned but barely explored. These details could have added greater depth to the story and it is frustrating that these glimpses are not explored further.

The decision to use an all-female cast is laudable, but its execution creates another barrier. Elin Schofield’s direction does not always provide enough clarity between the multiple roles, and we often have to wait for dialogue to establish who a character is and sometimes even whether they are male or female. Costume, physicality and vocal characterisation do not always do enough to distinguish the roles. This becomes particularly disappointing in a potentially poignant sequence towards the end, when it is not immediately clear what gender a group of people is meant to be, or even whether we have encountered them before.

A similar issue occurs in the first flashback, when Noor’s age is unclear. When the action flashes back to 1926, the same actress and costume are used and, although we understand that Noor is meant to be a child, the physical and vocal characterisation do little to establish that she is 12. It is a strange choice given that Kiah Arya is listed as Young Noor, although confusingly only appears as young Noor towards the end.

Priyanga Burford carries the production as Noor, bringing warmth and a quiet determination to a demanding role that takes her through decades of Noor’s life. Caoilfhionn Dunne is excellent as Vogt, Noor’s interrogator. Their interrogation, stretching from day one through to day 44, develops an unexpected arc of mutual respect, weariness and something approaching friendship. Dunne brings a subtle complexity to the relationship, making their increasingly personal exchanges among the production’s strongest material.

Anna Yates’ set and costume design is relatively simple. A raised platform surrounds a lower square well with a metal grid floor, which works particularly effectively as the interrogation room and prison but is adapted for other locations too. Piano stools, reflecting Noor’s love of music, create additional seating areas while concealing props. Costumes are generally appropriate to the period, although Noor’s much-talked-about blue suit for the wartime escapades is worn throughout, making that particular plot point feel rather pointless.

Ultimately, a small and quiet light is a disappointing production of a story that deserves to be more compelling. Noor-un-Nisa Inayat Khan’s life is extraordinary, but the play too often tells us why we should find it extraordinary rather than allowing us to experience that through the drama itself. Ambitious and undoubtedly well-intentioned, a small and quiet light leaves the frustrating feeling that there is a far more powerful play about Noor waiting to be made.

Tag Archives: Marc Brenner

KIMBERLY AKIMBO

★★★

Hampstead Theatre

KIMBERLY AKIMBO

Hampstead Theatre

★★★

“a polished, enjoyable production with plenty of charm”

KIMBERLY AKIMBO

Hampstead Theatre

Reviewed on 24th September 2026

by Hannah Bothelton

Photography by Marc Brenner

KIMBERLY AKIMBO

KIMBERLY AKIMBO

KIMBERLY AKIMBO

A SMALL AND QUIET LIGHT

★★★

Minerva Theatre

A SMALL AND QUIET LIGHT

Minerva Theatre

★★★

“Ambitious and undoubtedly well-intentioned”