Keeley Hazell brings her memoir to the Edinburgh festival this year in a stage adaptation that revisits her time as one of Britain’s most visible glamour models. The show is drawn from her 2025 book, which she describes as a series of personal stories and reflections prompted by an industry she has since left. Hazell has spoken publicly about feelings of shame and embarrassment connected to that period, and the production aims to place those experiences in a broader context.
Keeley Hazell, born in Lewisham, London, left full-time modelling in her early 20s and relocated to Los Angeles to pursue acting. The era in which she rose to prominence—when Page 3 features and lads’ magazines were prominent in the tabloid press—remains a reference point in discussions about media representation of women. Hazell has said that “topless modelling never really aligned with me as a person,” language she uses in interviews and in the text that informs the stage piece.
The material in Everyone’s Seen My Tits: Stories and Reflections from an Unlikely Feminist addresses themes the author has linked to the high-profile lifestyle around modelling, including exploitation, trauma and a sense of hollowness despite public recognition. Hazell has described the process of writing the memoir as a “release” and a means to give herself a voice after a time when she felt “voiceless.” The adaptation is being presented as a theatre/comedy show at the Edinburgh Fringe, where performers and writers frequently rework personal narratives for live audiences.
In addition to her recent literary work, Hazell has moved into television writing, credited with work on the series Ted Lasso. That transition from modelling and acting to writing is part of the narrative she brings to the stage, reflecting on career shifts and creative reinvention. Organisers say the show combines memoir, stand-up rhythm and theatrical elements to explore the personal and cultural dimensions of Hazell’s story.
Advance details list the production as a reflection on a changing media landscape and an individual’s response to public exposure. The stage adaptation will be part of the Edinburgh run where audiences can view the material in a live format that supplements the book’s publication and public interviews given by Hazell.
