Keeley Hazell, a former glamour model who became a recognizable face in the mid-2000s through Page 3, is set to debut a new stage show at the Edinburgh Fringe festival. Titled Everyone’s Seen My Tits: Stories and Reflections from an Unlikely Feminist, the production is based on her 2025 memoir and serves as an exploration of her experiences with trauma, the hollowness of the high life, and the exploitation she faced within the tabloid industry. Hazell describes the writing process as a necessary release, allowing her to reclaim a voice during a period where she previously felt voiceless.
Reflecting on her early career, Hazell notes that topless modelling never truly aligned with her identity. Born in Lewisham, London, she entered the industry at 16 while working at a hair salon. After a colleague suggested she apply for modelling work, she sent photos to various addresses, eventually winning a Daily Star “beach babe” competition followed by the Sun’s “Page 3 idol” contest. She recalls being a “canvas” for photographers, noting that safeguarding for young women in the industry was effectively nonexistent at the time. While she acknowledges the financial success and travel opportunities the job provided, she expresses regret over her lack of control and the emotional numbness she experienced, often relying on alcohol to navigate the lifestyle.
Hazell, who moved to Los Angeles to pursue acting after leaving modelling in her early 20s, now works as a writer on Ted Lasso. During her time as a model, she maintained a separate identity, often dressing in vintage or grunge clothing, which allowed her to avoid being recognized in public. She recalls how people would often deny she looked like a Page 3 model, an experience that highlighted her own sense of separation from the persona presented on magazine covers.
The show, which runs at the Pleasance Courtyard from 5 to 29 August, addresses the lasting impact of her career, including the trauma associated with a sex tape sold to the Sunday Sport. Hazell credits therapy for helping her process these events and move past the shame associated with sexual violation. She views the performance as an opportunity to reconcile her past, describing the process as performing as herself while simultaneously inhabiting a version of her younger self, much like a Russian doll.
