World Premiere ‘Freak the Mighty’ at Cleveland Play House Is Full of Promise

The review of a professional, world premiere of a new musical is often accompanied with a pressing question: is Broadway calling?

“Freak the Mighty” has a lot going for it: a loveable duo, one the brains and one the brawn; source material that can attract a built-in, nostalgic audience; a feel-good story that introduces tough topics, but still maintains levity.

As far as new musicals go, “Freak the Mighty” at Cleveland Play House (CPH) is a solid showing, tackled with gusto and heart by a talented team. It contains so many of the ingredients that make up a Broadway musical, but it hasn’t yet tapped into the compelling, captivating elements that make for a can’t-miss hit.

Based on the novel of the same name by Rodman Philbrick, “Freak the Mighty” follows Maxwell Kane, a young teen with a hulking presence and a learning disability that sets him apart from his peers. Max has lived with his grandparents, Grim and Gram, in Portsmouth, New Hampshire since the death of his mother and the imprisonment of his father. Suffering from bullies and lingering trauma, Max has learned that it’s easier to be a loner; that is, until Kevin “Freak” Avery and his mother, Gwen, move in next door. Freak, who lives with a rare genetic condition that affects his growth and physical ability, embraces his differences and revels in using his brain. A fast friendship forms when the two discover that with their combined brains and brawn, they are powerful enough to take on any quest.

The premiere of “Freak the Mighty” is a co-production between CPH and Seattle Rep, where the show will play after finishing its run in Cleveland. While the deeper themes of overcoming trauma, finding community and embracing differences fit within CPH’s repertoire, the appeal of the show strays from the theater company’s typical offerings.

It’s not often that CPH provides a Family Guide alongside their productions, but such is the case with “Freak the Mighty.” The Family Guide, which provides supplementary activities and explains that the production supports Ohio Learning Standards for grades 6-8, provides insight into who is likely the show’s target primary audience.

While “Freak the Mighty” will resonate most with a young crowd, there is a broad appeal to be found in the story’s cuteness. This, of course, relies heavily on the ability of the actors at the forefront of the show to convince us of their adolescence and friendship.

Netza Jimenez plays Maxwell Kane, and while this is Jimenez’s professional debut, it appears that he has landed an ideal role on his first go. Despite his large presence–and the fact that he just graduated with his BFA–Jimenez plays an angsty, misunderstood tween with believability and heart. Jimenez’s portrayal makes it easy to feel sympathetic, and even protective, towards the downtrodden Max.

Rounding out the dynamic duo is Cornelius Kittrell as Kevin “Freak” Avery. Freak is a bright, sunny force that helps burn away the clouds that haunt Max. He is a bit reckless and too smart for his own good, and Kittrell gives Freak a witty, self-confident charm. The character, with his constant quips and extravagant vocabulary, could easily become grating, but Kittrell ensures that Freak never loses his childish charm.

Playing the parental figures of the boys are Christopher Gurr as the stoic and aloof Grim, Astrid Van Wieren as the preening Gram and Kanoa Sims as the sturdy, supportive Gwen. Each parent is given a moment that provides insight into their flaws, fears and hopes, all of which are delivered with heart.

Acting as the stereotypical bullies of the show are two football players and a cheerleader, played by Spencer LaRue, Caleb Miofsky and Analise Rios. On their adventures, Max and Freak also encounter Iggy and Loretta Lee, two common criminals played by Harter Clingman and Ryah Nixon, respectively. Clingman makes for a compelling character, while Nixon’s vocals practically steal the show.

Despite these encounters, Max and Freak’s true adversary is Kenny “Killer” Kane, Max’s scheming father who is scheduled for parole. Embodying Kenny with dastardly energy and a southern twang is the talented Wade McCollum. Scenes with Kenny threaten to tip the show into darker territory, but the musical maintains its safe footing.

As a family-friendly show, “Freak the Mighty” is solid, but for a new musical hoping to impress, it is rather safe. The story, with a book by Anthony Drewe, follows a predictable rhythm, and while the narrative does pull at heart strings, that predictability lessens its impact.

Drewe also contributed lyrics to Ryan Fielding Garrett’s playful musical compositions. There are a couple of earworms, such as the show’s anthem, “Freak the Mighty,” and the visually wonderful “King Arthur’s Round Table,” which features a larger-than-life dragon and dancing knights from choreographer Patrick McCollum. Overall, the numbers speak a familiar musical theater cadence, pulling the narrative along and giving deeper insights into a character’s feelings, but they fall slightly short of delivering that sweeping, emotional punch needed to leave truly lasting impressions.

Under director Michael Barakiva, former CPH artistic director, the show’s creatives have successfully brought Portsmouth to life. Wilson Chin’s set design includes impressive set pieces that are wheeled and flown in to create the various locales of Max and Freak’s adventures. Chin rings the proscenium with residential windows that designer Miriam Nilofa Crowe lights intermittently, while sound designer Ken Travis uses the sounds of a harbor to embellish the seaside setting.

“Freak the Mighty” is off to Seattle next, but its future afterward is yet to be determined. As it stands, the show certainly has what it takes to entertain families and adolescent crowds. The cute narrative has potential, but it may need to infuse itself with more of that wow factor, more punch and more memorability before it faces down The Great White Way, which will prove a demanding audience.

“Freak the Mighty” runs through June 21, 2026, at the Cleveland Play House,1407 Euclid Avenue, Cleveland. Tickets can be purchased by calling (216) 241-6000 or by visiting clevelandplayhouse.com, $60-$90.