ALREADY PERFECT

King’s Head Theatre

★★★

“brims with vulnerability and heart”

Tony Award–winner Levi Kreis steps into new territory with his writing debut, ‘Already Perfect’, a defiant yet tender coming out story urging us to embrace every part of ourselves. Though an imperfect gem, it gleams with life.

Troubled Broadway actor Levi reaches breaking point after a disastrous matinee, hours before the evening show is due to be immortalised on film. Luckily friend and sponsor Ben steps in and channels his turmoil into music. As the piano breathes its first notes, buried truths resurface, sparking a painful but necessary reckoning. Can Levi make peace with the past and finally love all of himself?

The book, by Kreis with additional material from Dave Solomon, charts a deeply personal journey from growing up as a gay Christian in the American Bible Belt, to the heartbreak of being cast out and beyond. The writing is raw and emotionally charged, tackling homophobia, drug use and suicide among other things, yet sparkles with humour and ends with a message of self acceptance. The structure, however, needs further shaping. The narrative feels more like a blow by blow than a cohesively crafted arc, and the central succession of dark chapters paired with back-to-back ballads feels a little lost – though to be fair, so is Levi. The redemption arc could do with more buildup, leaving the finale feeling underpowered. Though because the material is so personal, it’s packed with heart and soul.

Solomon’s direction draws the audience in with an intimate setting, fourth wall breaks and auditorium excursions. We witness the pain and trauma up close, underscoring the idea that “someone here has lived it too”. The staging is never static, with sharp blocking and Jennifer Rooney’s fluid movement direction bringing each scene to life.

Kreis’ music and lyrics, enriched by Matthew Antonio Perri’s musical supervision, arrangements and orchestrations, pulse with Southern spirit – a blend of Gospel, blues, country and Americana that feels contemporary and inviting. The sharp arrangements showcase gorgeous harmonies and blistering riffs, anchored by the band’s assured delivery (Perri, Tom Sansbury, Mat Hector). My only gripe is the back-to-back ballads: though strong individually, stacking them dulls the emotional impact. Still, the 11 o’clock number cuts through as a genuine standout and delivers a welcome shift in tone.

Jason Ardizzone West’s set, with associate designer Ellie Wintour, is deceptively simple: an almost plain dressing room hides a revolving panel, snapping us into new spaces with dreamlike ease. Secreting the band behind a two-way screen in the heart of the action leans into the slightly surreal edge.

Jessica Paz’s sound design, with associate Andrew Johnson, is cleanly balanced and smartly detailed. The sharp sound effects land at just the right moments, and the tannoy voiceover neatly bookends the piece.

Jason Antone’s costume design neatly defines each character, using swift on stage changes to rally a plethora of personalities.

Ian Scott’s lighting design nimbly navigates the show’s many locations, shifting tone and focus with an impressive range of settings. The dramatic overhead spots preceding each Bible drop are particularly striking.

Kreis’ Levi, perhaps unsurprisingly, steals the show with a raw, affecting intensity and sheer musical brilliance, unleashing spectacular vocals, astonishing riffs and fiery piano work. Yiftach ‘Iffy’ Mizrahi’s shape shifting Ben provides a deft counterbalance, with disarming charm and cutting wit that ground weightier moments. Killian Thomas Lefevre’s Matthew is the show’s emotional core, bridging past and present with a moving journey from naive optimism to bitter reality. Hearing all three singing is a real treat.

‘Already Perfect’ may still be finding its way, but it brims with vulnerability and heart. With standout performances across the board and a message for everyone, it’s worth exploring.

ALREADY PERFECT

King’s Head Theatre

Reviewed on 15th January 2026

by Hannah Bothelton

Photography by Pamela Raith

ALREADY PERFECT

★★★

“a charming, spirited take on this musical theatre classic.”

‘Guys and Dolls’ lands in Cambridge courtesy of the Cambridge Operatic Society, a seasoned amateur society known for high quality staging. As the only non professional company to grace the Cambridge Arts Theatre stage, expect a show packed with charm and ambition, if a little rough around the edges. But then, who isn’t?

In 1950s New York City, small time hustler Nathan Detroit needs dough to keep the heat off his illegal craps game – so he wagers high roller Sky Masterson that Sky can’t charm missionary Sarah Brown into a trip to Cuba. Meanwhile, ageing showgirl Miss Adelaide finds her patience wearing thin with marriage shy Nathan, and Sarah’s mission is on the line without more ‘sinners’. By helping each other, maybe they’ll end up lucky in cards and love.

Jo Swerling and Abe Burrows’ classic book receives a subtle lift of modernity under Helena Petrovna and David Barrett’s direction, choreography and production. Yes, there are ‘Noo Yawk’ accents, neon lights and circle skirts; but there’s also pleasing takes on time worn tropes. Sarah boldly initiates all the kisses; a line swap lets Sky side-step non-consensual drinking; Adelaide is humanised beyond the ‘long suffering fiancée’ archetype; likewise Nathan shows affection long before ‘Sue Me’. Perhaps most pleasingly – and unexpectedly – Arvide Abernathy subtly reveals a lost queer love, adding poignancy to hope. All scenes are dynamic, bringing the characters and setting to life. The choreography is a little mixed, with a show-stopping ‘Sit Down, You’re Rockin’ the Boat’ sitting uneasily alongside cheesier numbers. Though thanks to the thoughtful interpretation, the production retains a certain charm.

James Harvey’s musical direction boosts Frank Loesser’s score with a brassy 20-piece band. Some entries and intonations could be tighter, but the overall effect remains impressive for an amateur production.

The set design conjures New York with smart use of levels and light strips, while onstage screens supply visual detail – including the delightful correction of a certain Bible quote.

Dominic Plunkett’s lighting deftly evokes the skyscraper silhouette of nighttime New York, offering a pleasing contrast with balmy Cuba. The base state could use a touch more attention, with slightly patchy cover.

Jonathan Armitage’s sound design, supported by Sophie Ruh and Rhydian Green, fills the space with orchestra, voices, and ambient sounds that place us in the streets and the sewers. The balance and mic cues could use fine tuning, with an overpowering orchestra and some late entries breaking the flow.

The costume design evokes the 1955 film, with crisp red missionary uniforms and sharp suits of the gamblers. The Hot Box girls sport suitably saucy numbers and, in the spirit of gender equality, so do the men at one point (!). Everything loosens in the shift to Cuba, though clothing a Cuban child in a sack feels like an unnecessary misstep.

The four principals are fantastic, with Saskia Edwards-Korolczuk’s Sarah and Luke Thomas’ Sky offering assured, engaging performances with standout vocals. Vikki Jones’ Adelaide is irresistibly charming, with a confident accent, nuanced characterisation and soaring vocals giving her great warmth and humanity. Scott Riley’s Nathan has easy comic rhythm, gentle tenderness and secure singing, making him an endearing hustler. The remaining company is more variable, particular the gabbling gamblers who lose stretches of dialogue and lyrics. The ensemble’s enthusiasm is undeniable, but a touch more precision would help their work land with greater impact.

With commanding leads, richer characterisation and some genuinely fabulous vocal work, the Cambridge Operatic Society’s ‘Guys and Dolls’ delivers a lively, good hearted night out. It may not reach West End heights, but it’s a charming, spirited take on this musical theatre classic.

Tag Archives: Hannah Bothelton

ALREADY PERFECT

★★★

King’s Head Theatre

ALREADY PERFECT

King’s Head Theatre

★★★

“brims with vulnerability and heart”