Tony Award winner Levi Kreis brings their brand-new musical Already Perfect to King’s Head Theatre this January. Known for Million Dollar Quartet and Hadestown, Levi now steps into the spotlight as both writer and performer.
Already Perfect is an uplifting and deeply personal story that blends soaring gospel rhythms with tender ballads. It asks what it takes to make peace with your past and discover that you’re enough just as you are.
Performances run from 9 January to 15 February 2026 at King’s Head Theatre, Upper Street, London. Book tickets here.
You’re starring in Already Perfect at King’s Head Theatre, what can you tell us about the show?
Already Perfect is a theatrical self-reckoning set in a dressing room where past and present collide. My character is preparing for his Broadway show to be filmed for the archives, but he’s coming undone.
When his sponsor Ben confronts him, the room splits open and three men morph through dozens of characters, bringing memories to life. The score moves from gospel tambourine to tender ballad—music becomes the truth-telling device.
At its heart, the show asks: what does it take to make peace with your story? We land on something radical and simple: there’s nothing to prove. You are already perfect.
This is also your musical theatre writing debut. What inspired you to create Already Perfect?
I’ve been writing songs my entire life, but I’d never attempted to weave them into a theatrical narrative until this show.
The inspiration came from a simple question: what happens at midlife when you’re forced to reckon with all the parts of yourself you’ve been running from? I wanted to explore how we make peace with our past—not by erasing it or rewriting the facts, but by changing what those facts mean.
I was drawn to the power of imagination as a healing force, and theater felt like the perfect medium to explore that. The show examines intergenerational healing, identity beyond labels, and ultimately, self-acceptance. It’s queer, it’s universal, and it needed to be told through music because sometimes words alone can’t capture the truth.
The show explores themes of self-reckoning and acceptance. How much of this story is drawn from your own experiences?
The show is autobiographical in spirit, though I’ve taken theatrical liberties to serve the story.
The emotional truth is deeply personal—the reckoning with faith and sexuality, the journey toward self-acceptance, the humor we find in survival. But I approached it as a writer creating characters, not as confession. There’s a distance that allows the work to breathe and become universal.
What matters isn’t whether every detail is factually accurate, but whether the emotional journey resonates. I wanted anyone who’s ever felt erased, anyone who’s struggled with shame, anyone who’s been told they need fixing—I wanted them to see themselves in this story and leave feeling hopeful about their own.
You’ve had an incredible career on Broadway and beyond. How did those experiences influence the music and storytelling in Already Perfect?
Every show I’ve been part of taught me something essential. Million Dollar Quartet taught me about finding your voice in a room full of legends and honoring musical tradition while making it your own.
My years in Nashville gave me storytelling economy—how to say everything in three and a half minutes. Playing Hermes in Hadestown reminded me that music and narrative are inseparable, and that audiences hunger for theatricality, for myth-making.
All of that fed into Already Perfect. The score is genre-fluid—gospel, soul, country, contemporary musical theater—because my life has been genre-fluid. I wanted the music to feel lived-in, authentic, emotionally true. And I wanted the storytelling to be bold, to embrace theatrical conceits, to use the stage as a space where imagination can literally transform reality.
What has it been like working with Killian Thomas Lefevre and Yiftach ‘Iffy’ Mizrahi to bring this story to life?
Killian and Iffy are phenomenal talents, and they bring such depth and authenticity to their roles. Watching them inhabit these characters has been revelatory—they find nuances I didn’t even know were there.
There’s a generosity in their work, a willingness to be vulnerable and truthful. As a writer-performer, I need collaborators who can challenge me, who can bring their own artistry to the piece while honoring the story we’re telling together. That’s exactly what they do.
The three of us create this alchemy on stage where the boundaries between past and present, between memory and reality, become beautifully blurred. Their commitment to the material elevates everything.
What would you say to anyone thinking of booking to see Already Perfect?
Come experience what happens when past and present collide on stage. Come for a theatrical reckoning that’s brutally honest and defiantly hopeful.
This isn’t a heavy night at the theater—it’s funny, it’s moving, it’s entertaining. You’ll hear music that ranges from gospel revival to intimate ballad. You’ll witness theatrical magic.
And you’ll leave with this message: your story, exactly as it is, is already perfect. There’s nothing to prove.
If you’ve ever struggled with shame, if you’ve ever felt like you needed to earn your worth, if you’ve ever wondered whether you could make peace with your past—this show is for you.
