“Already Perfect” Shines in London: Must-See Musical at King’s Head Theatre!

The name of this musical, inspired by the real-life experiences of its star, is a giveaway to its conclusion. On Broadway, Levi Kreis portrays a character much like himself, grappling with personal demons and revisiting his past, only to discover—perhaps unsurprisingly—that despite his imperfections, he is indeed “Already Perfect.”

Levi exits the stage, visibly shaken and freshly tattooed, reeling from a breakup initiated via text during a daytime performance. On the brink of jeopardizing his 11 months of sobriety, he considers using crystal meth again. However, his gentle-eyed sponsor, Ben (played by Yiftach “Iffy” Mizrahi), persuades him to address his younger self, through the medium of song no less. Skeptical, Levi remarks that his inner child resembles a human, gay version of Chucky who idolizes Elvis, but he nonetheless sits at the piano and sings through his torment.

Matthew, Levi’s birth name, emerges from a crack in the wall. Portrayed with flair by Killian Thomas Lefevre, this bold and youthful version of Levi guides him from a self-loathing adolescence—marked by conversion therapy and rejection—to a self-destructive adulthood filled with drugs and toxic relationships. The interactions between the older and younger Matthew are tense and biting, but gradually, they come to terms with each other.

The dialogue in the show, penned by Kreis, is raw and unfiltered, often eschewing subtlety for direct emotional impact. It forcefully lays bare what Levi is avoiding or suppressing, leaving little to the audience’s imagination as he explicates his emotions.

While the lyrics might be straightforward, Kreis’s music vibrates with a hidden, almost addictive quality. It transitions from the thunderous energy of a Pentecostal revival to the mournful strains of a Nashville tune, and into the depths of a heart-wrenching ballad that young Matthew likens to a fusion of Aretha Franklin and Tori Amos. The captivating melodies, paired with the compelling drama of rejection and the entrancing rhythms of spiritual fervor, illustrate the complex hold they have on Levi’s heart, even as they contribute to his struggles.

Under Dave Solomon’s clever direction, a mundane dressing room morphs into a dynamic stage environment (designed by Jason Ardizzone-West). The simple act of playing piano chords brings forth vibrant lights, costumes tumble out of wardrobes, and with a mere snap of the fingers, spotlights appear and props descend from above.

The commitment and talent invested in “Already Perfect” are undeniable, and Kreis’s powerful vocal performance ensures that each song profoundly resonates. He not only sings but seems to physically extract the essence of each piece, holding it out for the audience to experience viscerally.