Kimberly Akimbo at Ottawa Little Theatre: A Sharp, Funny, and Moving Production

On now at Ottawa Little Theatre, Kimberly Akimbo by David Lindsay‑Abaire is a quirky, dark comedy—a coming‑of‑age story set in the early ’90s about a teenage girl trying her best to be a kid while living in a body that’s even more dysfunctional than her family.

The play opens with an older woman with long, kinky grey hair shivering on a bench outside a skating rink. When a man finally arrives to pick her up—her father—he tries to brush off her long, freezing wait by complimenting her warm, puffy jacket. She reminds him that the zipper is broken. In his drunken guilt, he “future fakes,” offering a promise he’ll never keep. She’s heard it all before.

At first, the audience may wonder whether there’s been a casting mistake. But Sharon Bernbaum quickly dissolves that thought, fully becoming 16‑year‑old Kimberly. It doesn’t take long before the audience is completely on board, following her through the chaos of her broken family and the reality of her accelerated‑aging disease, which leaves her looking more like a grandmother than a teen.

New to town, Kim has no friends, though it’s implied she never really did. Her own family struggles to relate to her, so how could other teens know what to do with a kid trapped in an old woman’s body?

Kim has no room for self‑pity, but her mother, Pattie (Katie Torresan), is a perpetual victim, draining every room with her latest medical crisis. Very pregnant and endlessly dramatic, Pattie avoids responsibility by keeping the spotlight firmly on herself. Her husband, Buddy (Sam Van Dusen), numbs his own issues with alcohol.

Rounding out the family is Aunt Debra (Glenys Marshall), who, despite her shady past and questionable schemes, is the one person who truly hears Kim. Marshall’s Debra is hilarious, unpredictable, and brings a fantastic twist to the plot. Kim’s new friend Jeff (Edgar Toyen) offers a glimpse of what a normal, yet nerdy, pre‑digital‑era teen might look like, even as he navigates his own family dysfunction.

The dialogue crackles with energy and is well‑paced, keeping the audience engaged from start to finish and laughing throughout. Paired with strong performances from the five‑member cast and seamless set changes—including a clever car bench seat that doubles as a sofa—Kimberly Akimbo becomes a thoroughly enjoyable production. Kudos to director Chelsey Prince, who also led the set design team. The plaid walls firmly evoke a 90s setting, while an analogue tape recorder will leave Gen Zers scratching their heads.

As the story unfolds, the audience learns the roots of Pattie’s constant ailments and Buddy’s alcoholism, both coping mechanisms that trap them in cycles of avoidance.

Kimberly, however, chooses a different path. She takes control and breaks free, Thelma and Louise‑style. She doesn’t “future fake.” Her life exists entirely in the present, and it’s slipping by fast.

Ottawa Little Theatre’s Kimberly Akimbo balances absurdity with tenderness, and this production nails it.

The play runs until April 18 at Ottawa Little Theatre, with evening performances Wednesday through Saturday and matinees on Sunday, April 5 and Sunday, April 12.

Tickets are available online through the Ottawa Little Theatre or by calling 613‑233‑8948.

For more information on the 2026-2027 season, visit www.ottawalittletheatre.com

Photos: Maria Vartanova