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
