Tag Archives: Gilli Jones

2026

“Kimberly Akimbo” at the Hampstead Theatre

The heroine’s full name in this Tony Award-winning show is an anagram of “cleverly akimbo”. And that pretty much sums up what’s going on. David Lindsay-Abaire’s intelligent take on the high-school musical, which brings a different perspective to the genre, with music by Jeanine Tesori, is close to fantastic.

There are some excellent songs: for the school choir quartet, a budding romance and a fantastic finale to the first act. The lyrics are smart and, like the score, always interesting. Michael Longhurst’s direction is assured; the set, by Soutra Gilmour, is superb, and every performance deserves praise. So why any reservations?

The show’s big twist is that an older performer plays the sixteen-year-old lead. This isn’t blind casting: Maria Friedman takes the titular role because the character has a genetic disease that ages her. It’s the antidote to shows where kids’ problems are just problems for kids. Kimberly’s limited life expectancy is real; we know this is going to get grim. Friedman embraces the challenge, sounds great and is a true star. She is joined by the school’s “good boy” Seth, a fantastic performance from Gilli Jones, and the exploration of their tentative romance is as smart as it is sweet.

It should be enough. But Lindsay-Abaire adds more. Kimberly’s parents are troubled, not just by their child’s condition but by a criminal subplot that the kids are drawn into, and a family divide that is dismissed too awkwardly. It makes uncomfortable roles for Alice Fearn, Peter Hannah and Niamh Perry, who try hard but never seem to know how useless and nasty they are supposed to be (my answer would be very). There’s a similar issue with the choir. These are strong performances – from Sara Hajizadeh, Ronav Jaim, Robin Simões da Silva and Aviva Tulley – but it isn’t quite clear how interested we are supposed to be in these thin characters.

The distractions still manage to be fun. Fearn deserves special praise for bringing some restraint to her role. They make sure the tragic heroine isn’t the only surprise in Kimberly Akimbo. Dark humour and bleak moments meet sincerity and sentimental touches. There are simple lessons alongside an acknowledgment of how messy life can be. If credulity is pushed too far for some tastes, Kimberly has no choice but to grow up fast. Her tragedy brings the show to a strong conclusion: not great or grand, bittersweet, of course, but very special in its own way.

Until 7 November 2026

www.hampsteadtheatre.co.uk

Photo by Marc Brenner

2025

“Brigadoon” at Regent’s Park Open Air Theatre

“Brigadoon” at Regent’s Park Open Air Theatre

Lerner and Loewe’s show is the kind that people who don’t care for musicals dislike. From the Golden Age of the genre, even with adaptation by playwright Rona Munro, it feels old-fashioned. There are people bursting into song and dance, of course, and all in a mystical village that only appears every century. And there’s little plot to the tear-jerking romance. But director Drew McOnie leans into the hopeless romanticism with abandon. This rare revival is a quality one.

Even if you can let the twee setting – that Munro tries to make interesting – go, the characters are a struggle. It’s hard to claim anyone in the story has depth. But the cast sound good (if a little too keen to bring out accents) and give it their all. The humour is so dated it is dire. The role of Meg shows the problem, despite a spirited performance from Nic Myers, with her flirtation coming across as unhinged.

You’d have a hard heart, though, not to be swayed by the pairs of lovers on offer. Louis Gaunt portrays GI Tommy with suitable machismo. Opposite him, Georgina Onuorah makes Flora (a role she will alternate with Danielle Fiamanya during the run) falling in love at first sight convincing. The chemistry is great. As the younger couple, Charlie and Jean, Gilli Jones and Jasmine Jules Andrews hold their own and it’s all very sweet. Both are exciting performers, the former making a tremendous professional debut.

Cavan Clarke at GI Jeff in Brigadoon
Cavan Clarke

To be fair to Lerner’s book, and Munro’s updating, there’s a lot of love lost in the show, including a tragic ending. It’s a shame this disappointment doesn’t make it more moving. Still, there’s a stronger than most role for Cavan Clarke, as the more cynical GI Jeff. And the lovelorn Harry means that Danny Nattrass can shine. Both could be viewed as villains – it is creditable that this doesn’t happen.

The songs are lovely, if also old-fashioned. The lyrics take a back seat. Musical director Laura Bangay ensures a big sound (well done on the bagpipes and drums). As Nattrass illustrates, the strongest part of the production is the choreography. Given the show’s original date, the amount of dancing isn’t a surprise and, of course, this is McOnie’s forte. 

Chrissie Brooke in Brigadoon at Regent's Park Open Air Theatre
Chrissie Brooke

On a surprisingly constrained stage (Basia Bińkowska’s set has ramps, used to great effect) wonders are worked. And lyrical gestures look stylish, aided by Sami Fendall’s costumes. But scenes of violence are even more impressive. Harry breaking up a wedding, the chase scene and a Ghillie Callum (I looked that one up) are all superb. And time is taken over subsequent grief – praise for Chrissy Brooke here.

There are breathtaking moments, although probably not enough to make any converts, but Brigadoon is certainly worth a visit.

Until 20 September 2025

www.openairtheatre.com

Photos by Mark Senior