This post was updated Oct. 31 at 6:39 p.m.

Unlike an anagram, “Kimberly Akimbo” scrambles itself to form something that fails to spell anything out.

The five-time Tony Award-winning musical has skated its way to the Hollywood Pantages Theatre this fall. Based on the 2001 play of the same name, “Kimberly Akimbo” follows the lonely Kimberly Levaco (Carolee Carmello) on the edge of 16 with a rare progeria-inspired syndrome, making her body age 4 1/2 times faster. As she attempts to stay optimistic with her declining health, she is forced to navigate her first crush, familial dysfunctions and check fraud. Although the comedy presents a heartwarming story of determination and resilience in the face of adversity, “Kimberly Akimbo” is easily forgettable with messy writing and a lackluster plot.

As the curtains rise, audiences are immersed into the small suburb of Bergen County, New Jersey, and into the life of Kimberly – the new girl in town and the only one of her peers who looks like an elderly woman. Carmello, a 62-year-old actress, masterfully brings out her inner teenager, portraying the complexities that come with being in high school with ease. Every line delivered, note belted and mannerism made by her is done with a certain childlike wonder that fuels the desire to continue rooting for Kimberly, despite her obstacles and time coming to an end.

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Beside Carmello in drawing the all-too-familiar difficulties of the adolescent experience is Miguel Gil as Kimberly’s gauche, yet good-natured crush, Seth. Together, Carmello and Gil charismatically bring to life their characters’ blossoming first love in a way that is equally awkward and endearing.

With the success of Kimberly’s love life, everything else falls short of expectations, especially considering the numerous accolades the musical has garnered. The most explicit plot fiasco from playwright David Lindsay-Abaire is with the entire construction of the Levaco family – the core of the entire show.

Kimberly’s genetic condition is revealed in snippets to be a larger thematic metaphor for failing to meet expectations of those around you, in this case with the rocky relationships with her alcoholic father Buddy (Jim Hogan) and narcissistic and pregnant mother Pattie (Dana Steingold).

In what should have been the emotionally climactic scene of “Before I Go,” Kimberly sings of her hope for her parents to accept her for who she is before running away. The song falls flat due to a lack of in-depth construction of how her illness has impacted their lives and inadequately written chemistry between the family.

Perhaps where the show hits the ground the hardest is with Debra (Emily Koch), Kimberly’s formerly incarcerated and manipulative aunt. Debra, an unnecessary character clearly created for mere comedic relief, convinces Kimberly, Seth and five of their classmates to participate in check fraud that results in a senseless side plot. The second act builds up for an explosive “Great Adventure” of possible felony charges but ends with a boringly successful end in which they obtain the money without any repercussions, fueling the narrative forward and even showing the act itself.

It is also later revealed that the Levacos had to move due to Debra killing their old neighbor. Buddy supposedly hired Debra to scare him, after Buddy found out his neighbor slept with Pattie, to ensure their new child would be healthy. With the constant hints of a huge reveal as to why the Levacos are so secretive and need to lay low in Bergen County, the disclosure is dropped once and never addressed again. Even worse, the reasoning is outright outlandish and less than comprehensible.

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Against the writing shortcomings of “Kimberly Akimbo,” the music holds a strong chance of redeeming it, but ultimately does nothing to leave a mark on viewers. Similarly to “Before I Go,” numbers such as “Good Kid” miss the emotional nerve, while others like “Better” are comically entertaining yet do not implant an earworm once the curtains close. Every lyric and musical composition feels generic and provides nothing remarkable or new to make it stand out from other contemporary musical soundtracks.

The foundation of “Kimberly Akimbo” has the opportunity to share a story that is devastating, moving and entertaining all rolled into one, particularly with its distinctive hook of Kimberly’s disease. Unfortunately, it ends with a final product that attempts to do too much and trips over its loose ends.

Possibility has called for “Kimberly Akimbo,” but sadly it did not pick up to make itself better.