Loosely based on a memoir of the same name, Keeley, a former model, is auditioning to play herself — or at least one version of herself, even if she doesn’t recognise it.
Located in Bunker Two at Pleasance Courtyard, it is a small venue, to say the least, allowing for a very intimate feel for this very intimate show.
Throughout the performance, Keeley explores her working-class upbringing in South London, her rise to fame as a Page Three topless model, and her subsequent reckoning with objectification, class, and the emotional toll of mass public exposure. What is especially prevalent is the depth with which she delves into the exploitation of women, specifically in relationships with strong financial dynamics.
The set itself is simple: a chair, a bag and a water bottle. Even though this isn’t the most interesting set design I’ve ever seen, I think it worked well with the dynamic of her being in an audition, which would usually take place in bare medical-like rooms.
However, the set did let itself down when it came to scene changes, of which there were many. The chair itself was not enough to remind me whether she was in a car, on a plane or in bed in her parents’ house. This therefore led to a confusing bulk of the show, where I spent most of the time looking around me to see if other people were as lost as I was.
For such deep topics, I expected at least some reaction from myself and the audience around me, but for the most part, the room stayed quiet. The mixture of comedy, sadness and memorisation led to an odd mix of emotions, where I didn’t know whether to laugh or cry. But perhaps that is exactly what this act was meant to do: show her confusing life and take us along for the ride.
Keeley Hazell: Everyone’s Seen My Tits, 17.40, Bunker Two at Pleasance Courtyard, August 5– 29 (not the 17th)
https://www.edfringe.com/tickets/whats-on/keeley-hazell-everyone-s-seen-my-tits
