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 heartfelt tale of legacy and healing”

You might ask if we have any room for another interpretation of Dickens’ A Christmas Carol. How much more is there to squeeze out of Bob Cratchit and his ensemble? Well, ZooNation’s new production of Ebony Scrooge manages to find a genuinely refreshing take, exploring grief and identity through the medium of hip hop.

Dannielle ‘Rhimes’ Lecointe led the development of Ebony Scrooge as director, writer and choreographer, setting the framework of the original story against the fashion world, where Ebony reins. When she cancels Christmas to stage her best fashion show yet, the familiar trio of ghosts knock on the studio door.

The first act is the weaker of the two, as we’re slow to get into the action. There’s an animated introduction and then a narrator-led introduction, when the audience knows the beats of the story well enough to just want to get stuck in and see what this version has to offer us. Plus, the narrators disappear for long stretches, so it’s a bit jarring when they pop back in. Lindon Barr’s solo as Bob Cratchit is a highlight, mesmerisingly fluid amongst clean and crisp, but not particularly memorable, movement from the ensemble. Natalie Pryce’s costuming gives a fun, glamorous feel, and it’s impressive to watch Leah Hill pop and lock in towering platform heels, strutting around giving orders as Ebony.

We gain clearer momentum once we meet the first ghost, which is just one instance where Joanna Scotcher’s set is used in combination with lighting to enhance the movement with theatre magic. It’s frightening to see the mannequin come to life with uncanny choreography, and heed warnings from behind the gauze. The order of the ghosts has been switched, so we meet Christmas Present first, visiting Ebony’s niece Freddie at the Christmas party she’s throwing. Melissa Bravo is genuinely joyous as Freddie, her sparky movement delivered with lightness and a beaming smile, whether she’s handing out party tickets or driving a dance off. Christmas Future sees the arrival of an army of tracksuit-ed messengers, delivering the expected sombre warning with seriousness and flair.

Where the first act feels constrained by the original story, we exhale in the second half as the show expands way beyond Dickens’ building blocks and truly flies on its own. We finally meet the ghost of Christmas Past, escaping the fashion world Ebony has boxed herself into and diving into her Dominican heritage instead. There’s a beautiful fluidity to the flashback scenes which share the source of our titular characters’ grief. As the vocals fade away and the comfort of the drumbeats remains, it’s genuinely moving to watch Ebony take tentative steps towards the free flowing energy her ancestors demonstrate, and to eventually part a dance floor to reach Young Freddie. Michael ‘Mikey J’ Asante’s original music skilfully taps into nostalgia here, providing ethereal arrangements evocative of classic Christmas movies.

With solid choreography and a sharp ensemble, the dancing is as accomplished as you’d expect from the ZooNation team, but the real magic happens when the movement, music and narrative fuse into something unexpectedly tender. What starts as a funky visual spectacle transforms into a heartfelt tale of legacy and healing. This is A Christmas Carol reinvented with rhythm, warmth and unmistakable soul.

Tag Archives: Pamela Raith

ALREADY PERFECT

★★★

King’s Head Theatre

ALREADY PERFECT

King’s Head Theatre

★★★

“brims with vulnerability and heart”