Stage Review - Freak the Mighty (Seattle Rep)

Stage Review - Freak the Mighty
Presented By: Seattle Rep - Seattle, WA
Show Run: July 30 - September 06, 2026
Date Reviewed: Wednesday, August 05, 2026 (Opening Night)
Run Time: 2 Hours, 45 Minutes (including at 15-minute intermission)
Reviewed by: Greg Heilman

Seeing a new musical while it’s still in the process of becoming what it is meant to be is a treat. Too often we see only the finished product, without an appreciation for the countless hours spent refining a script, finding the right songs (or writing new ones between rehearsals or even performances) or reshaping characters to better realize the vision of the writers and director. I’ve had the opportunity to see productions like Seattle Rep’s Come From Away and La Jolla Playhouse’s The Outsiders while they were still evolving before eventually making their way to Broadway, and experiences like those have given me an appreciation for just how polished a production must become before taking that next step. Freak the Mighty, the world premiere musical with book and lyrics by Anthony Drewe and music by Ryan Fielding Garrett, isn’t quite there yet, but it is remarkably close. Co-produced by Seattle Rep and Cleveland Play House, the musical runs through September 6 and opens Seattle Rep’s 2026-27 season.

Directed by Michael Barakiva, Freak the Mighty is based on Rodman Philbrick’s 1993 novel of the same name, a staple in classrooms and a story that was later adapted into the 1998 film The Mighty. The story follows Maxwell Kane, a teenager burdened by a traumatic family history and years of bullying, whose unlikely friendship with Kevin Avery, a brilliant boy living with Morquio syndrome, changes both of their lives. Together, they become the synergistic “Freak the Mighty,” finding courage, imagination, and belonging while confronting prejudice, violence, and the challenges that life continually places before them. It’s a heartfelt story that balances adventure with genuine emotional weight, making it a story ripe for a musical adaptation.

As with most world premieres, there are still areas where the piece feels like it’s searching for its final form. Those moments are less about the music, which is consistently strong, and more about plot refinement and character development. Maxwell’s initial friendship with Kevin, for instance, develops a little too easily considering the isolation and bullying he has endured. While the script eventually addresses his reluctance to trust others, the earliest scenes don’t quite earn the immediate bond between the two boys. It’s the sort of storytelling gap that could easily be bridged through a musical number or by tightening the surrounding dialogue. Likewise, the sequence surrounding “Better Off Without Him” feels as though some of the dramatic material framing the song could be trimmed without sacrificing its emotional impact. During that same scene, Iggy makes an observation about something his son, Blade, has done that seems to rely on knowledge he shouldn’t yet possess, a small but noticeable inconsistency. There are a few of those plot points that feel as though they’re jumping ahead of themselves, but they’re a rarity in a script that has clearly been developed to a large extent.

The one creative decision that gives me pause involves Kenny “Killer” Kane, Maxwell’s incarcerated father. Wade McCollum gives a commanding and genuinely intimidating performance, but the character has been written with an exaggerated accent that feels disconnected from coastal New Hampshire and instead evokes a broad Southern caricature. In a musical that thoughtfully explores the harm caused by stereotypes and preconceived notions, this characterization risks undermining some of those themes. Pacific Northwest audiences may not give it a second thought, but as the production continues its development, it’s worth considering whether a more grounded approach would better serve both the character and the story, and make this aspect of the show less problematic.

Those observations aside, Freak the Mighty is an immensely enjoyable musical that walks the fine line between lighthearted adventure and genuine heartbreak. At times it is funny, at others devastating, and it succeeds because each emotional extreme informs the other. The joy of Maxwell and Kevin’s friendship makes the darker moments land with even greater force, while those moments of loss and hardship make the victories feel all the more meaningful. More importantly, the remaining refinements feel like polishing rather than rebuilding. The foundation is already impressively solid.

Ryan Fielding Garrett’s score contains several memorable highlights. “A Day in the Life of Maxwell Kane” serves as an outstanding opening number, efficiently establishing both the world of the story and Maxwell himself while providing audiences with immediate context. “I’m a Freak” allows Cornelius Kittrell to showcase his rich, blues-inflected voice in one of the evening’s strongest solo moments. “King Arthur’s Round Table” is an energetic ensemble piece that also provides the best showcase for Suzanne Chesney’s imaginative costume design, while “Raising a Boy” is a wonderfully tender duet that ranks among the score’s emotional high points, and for those of us who have had the pleasure of raising a boy, so relatable. Patrick Sulken’s music direction keeps the orchestra and performers moving confidently through the varied score, which already feels remarkably mature for a musical making its world premiere.

The musical succeeds overall because its central friendship succeeds. Netza Jimenez gives Maxwell an earnest vulnerability that makes his personal journey compelling from beginning to end, while Cornelius Kittrell delivers a wonderful performances as Kevin “Freak” Avery. Cornelius combines sharp wit, unwavering confidence, and exceptional vocal ability into a character who never asks for sympathy, only understanding. Together, the pair develops a believable chemistry that forms the emotional heart of the musical.

Among the supporting cast, Astrid Van Wieren is delightful as Gram. Sporting the evening’s strongest dialect, she creates a character who feels like a New England version of Edith Bunker—warm, optimistic, endlessly caring, and quietly funny. Christopher Gurr provides an excellent counterbalance as Grim, delivering his gruff exterior with impeccable comic timing while revealing the affection that lies beneath. Kenoa Sims brings warmth and sincerity to Gwen Avery, creating a fiercely protective mother whose love for Kevin never feels sentimental. Wade McCollum, despite my reservations about the characterization itself, gives Kenny Kane a genuinely unsettling presence, creating a man who is unpredictable, intimidating, and impossible to ignore. The remainder of the cast, including Harter Clingman, Anita Hollander, Spencer LaRue, Caleb Miosky, Analise Rios, Sharone Sayegh, Bart Shatto, and Nicole Sumlin, all contribute to an ensemble that, to a person, provides excellent support in the storytelling.

Visually, the production is equally well done. Wilson Chin’s scenic design embraces simplicity while providing just enough architectural detail to establish Portsmouth, New Hampshire, immediately. Slanted rooftops, window frames, and other visual cues leave no doubt where the story takes place while allowing scenes to transition fluidly. Set pieces slide on and off stage to provide location-specific detail, keeping the pace of the show moving. Suzanne Chesney’s costumes are another strong aspect of the creative design, particularly during “King Arthur’s Round Table,” while Miriam Nilofa Crowe’s lighting beautifully supports the shifting emotional landscape of the story, lightening the mood when needed, or adding to the heaviness of the darker scenes.. Ken Travis’ sound design keeps both dialogue and music clear, allowing the score and lyrics to shine in balance.

Even in its current form, Freak the Mighty is a compelling new musical with an enormous amount of heart. The pieces are almost all in place, and the remaining refinements feel more like polishing than rebuilding. That’s precisely why productions like this are mounted before taking the next step. Seattle audiences have a rare opportunity to watch a new musical continue to discover exactly what it wants to become, and if Freak the Mighty ultimately finds its way to a larger stage, as I believe it very well could, those who saw it here at Seattle Rep will be able to say they witnessed an important part of that journey.

The Seattle Rep production of the World Premiere Musical Freak the Mighty runs on stage through September 6. For more information about the show, including ticket availability and sales, visit https://www.seattlerep.org/.

Photo credit: Bronwen Houck