You do not expect this level of musical theatre off West End, and that is the first thing that lands. Already Perfect arrives confident in its voice and scale, with music and lyrics that sit inside the story rather than decorate it. The quality feels high from the start, not in a showy way, but through control, clarity, and a sense that every element knows its place.

The story opens in a Broadway dressing room after a disastrous matinee, just hours before a performance that will be filmed and fixed in time. Levi stands at a breaking point when Ben, his sponsor, interrupts the spiral, and the night slips into a confrontation with Matthew, his younger self. Memory does not behave neatly. Moments shaped by faith, ambition, fear, and desire surface and contradict each other, and the theatre never disappears from view. Props arrive when summoned, reality bends, and you are reminded that this is a version of truth being staged, not a confession asking for permission.

Casting is central to why the show holds together so well. Levi Kreis, Yiftach Iffy Mizrahi, and Killian Thomas Lefevre form a trio that feels perfectly matched. Their voices sit naturally together, their timing feels shared, and their emotional range stays aligned throughout. They listen to each other on stage, which creates trust and keeps the balance between sadness, grief, and joy steady. The show would not land the same way without that chemistry.

The intimacy of the venue works in the production’s favour. Sitting so close to the actors pulls you into the story rather than asking you to observe it from a distance. This feels like a Broadway shaped musical that understands how to live in London, not by reducing itself, but by allowing closeness to do the work. The audience becomes part of the room, part of the tension, part of the release.

Direction keeps the movement between scenes smooth, even though the story unfolds from event to event. Songs arrive frequently, yet the rhythm never loosens. The pacing is one of the show’s strongest elements. You do not feel time passing. Scenes move, emotions shift, and suddenly it is the end. That sense of flow matters, and it is handled with confidence.

Lighting and sound deserve clear recognition. At King’s Head, technical delivery does not always reach its full potential, yet here it is precise and reliable. Lighting guides shifts in time and memory without confusion, and sound keeps vocals clear and present, allowing lyrics to land as intended. The band supports rather than overwhelms, holding the space with care.

The message at the centre of Already Perfect reaches beyond one life story. What you do to survive can cost you later. That idea is not limited to religion or geography, and it resonates with queer audiences who recognise those patterns in different forms. The show does not chase perfection. It knows its shape, its limits, and what it wants to say. Strong performances, clear direction, and assured pacing hold it together from start to finish. Almost perfect feels honest here.

Already Perfect is now playing at King’s Head Theatre.
The show runs until 15 February.

Tickets you can grab here

Cast and creative team

Already Perfect is written by and stars Levi Kreis.
He is joined on stage by Yiftach Iffy Mizrahi as Ben and Killian Thomas Lefevre as Matthew.

The show is directed by Dave Solomon.
Music supervision and orchestration are by Matthew Antonio Perri.
Lighting design is by Ian Scott.
Sound design is by Jessica Paz.

Photography by Pamela Raith.