The concept of an actor writing the book and lyrics and then starring in a musical based on themselves risks appearing self‑indulgent, but Already Perfect avoids this entirely.
Written by and starring Levi Kreis, it follows a Broadway star struggling with his identity, leading him to confront his younger self. After a challenge from his sponsor, Levi enters a dreamlike state in which he attempts to rewrite, or finally accept, his past. Although this transition initially feels slightly disjointed, the device ultimately pays off, offering the audience a detailed exploration of Levi's life and giving him much‑needed closure.
The production uses witty and effective lighting changes (Ian Scott) to convey the shifts in reality, which is essential for a concept that could easily become confusing. One of the central challenges Levi faces is the strict Christian beliefs of his friends and family, which directly conflict with his ability to express his sexuality. At times this feels familiar in the context of the many similar stories seen on stage, but the dual perspectives of Levi at different ages offer a fresh angle. Dave Solomon's direction, supported by the writing, handles the tonal shifts with confidence; the piece is often hilarious, yet the comedy never undermines the emotional weight of the story. The contemporary score blends smoothly with the dialogue, and songs such as the title number are genuine earworms.
Levi Kreis is a commanding leading man. It is clear that this story is deeply personal to him, and he gives generously as a performer. His singing is a joy throughout, with impressive power and control in the upper range. Yiftach ‘Iffy' Mizrahi brings real sincerity to the role of Ben, playing off Levi with ease and delivering intensity when required. Killian Thomas Lefevre gives a heart‑wrenching performance as younger Levi/Matthew, balancing tenderness at Levi's lowest moments with painful vulnerability when he is taken advantage of. His crisp vocals create striking moments when he harmonises with his older self.
Jason Ardizzone‑West's set design is simple but adaptable, with the back wall shifting to represent different locations. Dave Solomon's direction is generally sharp, though the frequent movement into the aisles feels slightly unnecessary.
Although the show can feel a little frantic at times, it builds momentum as it progresses and ultimately delivers a feel‑good telling of an important story.
It runs until 15 February.
Review: James Simons Photos: Pamela Raith