I wouldn't be a slave to the notation. Frankly I would just use my one and five fingers for each chord.
Sit in a chair with your knees apart and with your all your fingers together and your palm relaxed, play "duck duck goose" on your knee. Notice three things: it is your arm, elbow, shoulder that is placing the hand. Notice also that you most likely have a curve or arc as your arm moves from knee to knee. Your hand is raised by the arm so that it goes up, over then down, up over and down, almost circular. Third, notice you are not slapping your knee or pressing into it. Those are the movements which play those notes, minimized, of course.
To employ wonky fingering will do two things, abduct the fingers which will create tension or encourage you to twist the wrist in ulnar and radial deviation. I am an organist and thus not a fan of sustain pedals but I would definitely pedal these contingent upon the feel of the piece. Wonky fingering will strain your long flexor tendons. Strained long flexors leads to median nerve entrapment.
Always start from the biggest muscles and work your way down. Like casting a fishing pole, you don't cast from the fingers, nor the wrist, nor the elbow but you do cast from the shoulder, elbow, wrist and fingers. Well, actually you cast from the hips, abs and back, first.
Another reason not to play from the fingers with wonky fingering is that every motion MUST have an opposite motion, like casting that fishing pole, you backswing then forward swing. If you engage in wonky fingering it will rob you of up motions and rob you of that arc, gravity and lateral arm movement. Play any three note chord and notice that you first raise up, then down with gravity using no finger motion. Also, don't press into the key bed. After you make a sound there is no need to press because if you are pressing down you can't raise up.