Exposure the Musical – Life Through a Lens Is One for the Instagram Generation

"Shut up and shoot me," Pandora (Niamh Perry) says to Jimmy (David Albury), photo courtesy of Pamela Raith

             At the beginning of July, I wrote about visiting the cast of Exposure The Musical – Life Through A Lens during their rehearsals. It made me all the more eager to see the show come to fruition, especially after learning about its back-story and hearing from the creative team. For a recap of what happened, read my post here, where you’ll also find a general synopsis of the musical.

             As I entered the St. James Theatre, where there is not a bad seat in its steep setup, I experienced the uncanny feeling that I was being watched. An unwavering eye stared out at the audience, blinking only sporadically. We were exposed as the subjects of an unknown photographer, with camera shutters clicking all around us. Then suddenly, a surge of images commanded the screens on stage to an echoing chorus of “live life, love life” that increased in urgency with each newly revealed photograph. They have all been sourced from the vast archive that is Getty Images. The stock photo agency was a supporter of the production from the very beginning and its library of photographs makes up the majority of Exposure’s “set.”

Jimmy with his two loves: Tara (Natalie Anderson) and his camera, photo courtesy of Pamela Raith

             The songs are a medley of gospel, soul, and rock, all delivered by an ultra talented cast. When David Albury (protagonist Jimmy Tucker) sings with Kurt Kansley (Jimmy’s deceased father) in “Father’s Lament,” the result is goose bump-inducing. Niamh Perry’s (Jimmy’s childhood friend Pandora, who becomes a famous singer) rendition of “My Last Goodbye” is heartbreakingly beautiful and places her incredible vocal range front and center. Natalie Anderson is instantly likeable as the warm and engaging Tara, who becomes Jimmy’s love interest. Michael Greco is stellar in his role as Miles Mason, a PR mogul who just happens to moonlight as the devil. Manny Tsakanika (dance captain), along with the rest of the ensemble, is a delight to watch dancing to Lindon Barr’s fluid and effortless choreography.

             Exposure is a musical for the Instagram generation, a generation that is so accustomed to a constant influx of images and visual stimuli. The material is energetic and relatable, but it also serves as a warning to our faltering attention spans. It’s a wonder that the two girls in front of me managed to stay off their phones during the duration of the show. As soon as the intermission rolled around, they were off chasing elusive Pokémon once again and scrolling through pictures of cats (I kid you not). What there needs to be is a conversation, a meeting of minds and ideas, and that is what Exposure is giving us. It’s opening up a discussion about good and evil, right and wrong, true and false. A photograph used to be pure; the camera never lies. Except, now the camera, or Photoshop and Instagram for that matter, can tell monstrous, ferocious lies and sometimes we don’t even know it.   

Snap it! (ensemble from left: Kurt Kansley, Andy Barke, Jahrel Thomas, Manny Tsakanika, and Zeph Gould), photo courtesy of Pamela Raith

             Photographer Jimmy wrestles with these moral dilemmas. His subject matter is typically worn-out people from war-torn countries. While these kinds of images are horrific, it raises the question of whether we have become desensitized to suffering. Will it take more and more extreme scenes to shock us? Jimmy’s own father died after taking a photo that he knew he wasn’t supposed to take of a rainmaker hiding his face from the soul-stealing camera. Clearly it stirred up some bad juju and Jimmy goes on to snatch a secret photo of Tara when she’s asked him not to. Miles takes his chance to burst onto the scene. He showers Jimmy with presents: the same type of camera his father used and an aptly named Diavel Ducati.

             Thus, we have arrived at the main premise of the musical and it’s a very good one at that: the seven deadly sins. Above the London skyline, way up in the Eye, Jimmy sells his soul to the devil. Jimmy initially writes off the notion of the seven deadly sins as a somewhat draconian concept. With all of the guile that one would expect from a horned demon, Miles merely laughs through his maniacal smile: “Sinning never goes out of fashion.” He’s right of course. Ensnared by Miles’ offer to photograph the seven deadly sins alive and kicking in London in 24 hours, Jimmy doesn’t quite realize how dangerous they truly can be until his mission hits a little too close to home. I would have liked there to be more emphasis on Jimmy trawling the city to find and capture the different sins. The rest of the musical builds up to this moment and the song “7even Deadly Sins” seems hurried and doesn’t do the crux of the plot justice. However, Exposure’s script was originally about three times the length of the current one, so understandably something had to give.

The green-eyed monster, envy (Kurt Kansley as Jimmy's father), comes out to play in the devil's (Michael Greco as Miles Mason) lair, photo courtesy of Pamela Raith

             I can only imagine how writer Mike Dyer must be feeling after 12 years working on the project, one that he developed after a fatal motorbike accident and the death of his father – themes that we have seen emerge within the musical. Since its previews, he has been reworking elements of the production until he gets it just so. It is the same high standard that all of the cast uphold. During the stirring “Rainmaker” finale, their faces illuminate, each and every one of them glistening with eagerness and pride (in this case, it’s definitely not a sin). It’s the expression that someone has when they truly believe in what they’re doing and they’re scanning the room to see if we believe too. Well, I certainly left the evening as a believer and with several of the songs stuck in my head.

             Exposure The Musical – Life Through A Lens is playing at the St. James Theatre until August 27^th. Snap up tickets here.

Exposure the Musical – Life Through a Lens Will Steal Your Heart and Soul

Interviewing the cast of Exposure: from left, Michael Greco (Miles Mason), Niamh Perry (Pandora), Natalie Anderson (Tara), and David Albury (Jimmy Tucker), photo courtesy of EJ Stedman

             To be let into the inner sanctum of a cast’s rehearsal space for a new West End show is a rare occurrence. Rarer still is being able to meet the actors and the writer behind all of the magic, the one who has set their “baby” off into the world not knowing whether we’ll embrace it or reject it. Yet, I’m able to say that’s exactly what I did this week, and I embraced it with open arms like I know the rest of you will too.

             I took a trip to Brixton Community Base for an exclusive look at the all-singing, all-dancing members of Exposure The Musical – Life Through A Lens. This new production will make its world premiere at the St. James Theatre on July 16^th, where I have previously seen the musical Urinetown (read my review here) and the play McQueen, inspired by the late, great fashion designer Alexander McQueen. Not a theatre to shy away from taking on gritty storylines, the St. James will be pleased to add Exposure to its repertoire.

From left, Kurt Kansley (Jimmy's father), Andy Barke, Manny Tsakanika, and Jahrel Thomas (all ensemble) get snapping, photo courtesy of  Pamela Raith

             Exposure is set in 2006, during Tony Blair’s Britain. Our main characters are photographer Jimmy Tucker (David Albury), his childhood friend Pandora (Niamh Perry), and his love interest Tara (Natalie Anderson). He is attempting to follow in his deceased father’s footsteps, no mean feat considering he was widely respected for his craft. Jimmy’s just returned from capturing horrific images of war in Sudan, leaving him with a posttraumatic syndrome. One day, he encounters a stranger called Miles Mason (Michael Greco). The devil in disguise gives him an “offer he can’t refuse” and he embarks on a 24-hour mission to photograph the seven deadly sins. Forget Las Vegas, London is about to become the new Sin City when residents are caught in the act.

Main characters Tara (Natalie Anderson) and Jimmy (David Albury), photo courtesy of  Pamela Raith

             I took my seat in the front row before the preview began, with the actors performing right there in front of me. No seat in any theatre could do it justice! It doesn’t get much better than being introduced to the musical numbers by none other than writer Mike Dyer, who has been working on this special project for years. Along with his co-writers, he also produced the music and lyrics, of which we heard “Eyes of the World,” “Love Comes Knocking,” “Bandit Country,” “Last Goodbye,” “Father’s Lament,” and the finale, “Rainmaker.”

The cast performing the finale, "Rainmaker"

             Dyer’s evident attachment to the music was poignant to say the least. He explained that the reference to “life lines” in “Father’s Lament” signified the identical life line that his father who passed away, his son, and he all share on their palm. At the heart of all of the songs is a rock ‘n’ roll soul that’s been around the block a few times, which makes it a unique musical feat. The dancing is also just as supercharged, combining elements of street dance and classical styles, with choreography by Lindon Barr. The production possesses the ability to change with the times in an organic way, which means Exposure The Musical we see this month might not be the same Exposure The Musical we see on its next tour.

Director Phil Willmott and writer Mike Dyer with David Albury and Natalie Anderson, photo courtesy of Pamela Raith 

             While we didn’t see any of the set elements during rehearsal, “Bandit Country” will be sung against the backdrop of the London skyline as Jimmy and Miles are high up in the Eye. In a perfect partnership with Getty Images, Exposure is about being exposed to the bombardment of media images, so expect lots and lots of visuals – starting with the posters you see on your tube journey advertising the musical.

             Dyer believes that the person behind the camera can lose their soul. Jimmy grapples with this problem when he realizes that instead of helping the people he photographed in Sudan, he documented their dire situations with a shutter click. Various cultures hold the opposite belief to be true – that your soul is stolen when a photo is taken of you. In fact, paparazzo is derived from the Italian word for mosquito. Are they not both bloodsuckers? 

Better the devil you know...Michael Greco as Miles Mason, photo courtesy of Pamela Raith

             I am captivated by the notion of the seven deadly sins in Exposure. I asked the main cast members what they personally think is the worst to be guilty of. 

Michael Greco (Miles Mason): I really hate it when people are greedy, not in the sense of food, but in the sense of what they want from life. I’m very much a sharer. I like to share things and help people out, helping someone upstairs with their bag on the tube and stuff like that. Greed is, for me, the worst sin.

Niamh Perry (Pandora): I don’t like anger. I think I used to lose my temper a lot more, so as I’ve grown slightly older, I’ve learnt to control it. If we were going to go for any of the good ones, they would be lust and pride.

Natalie Anderson (Tara): I think envy’s dangerous, especially in this industry. Envy is quite a dangerous thing to feel or have. Everybody’s got their own thing and you just do you and that’s it, so that’s a scary one for me.

David Albury (Jimmy Tucker): I’m not a massive fan of gluttony, because it’s that idea that you can constantly do something to yourself without realizing the effect that it’s having on you. That, I think, can be very dangerous for anyone.

             I think we’ve all indulged in one or more of the deadly sins at one point or another in our lives, so go ahead and indulge in Exposure. It’s going to be sinfully good.

             Exposure The Musical – Life Through A Lens is playing at the St. James Theatre from July 16^th until August 27^th. Book your tickets here.

Say cheese!, photo courtesy of Pamela Raith

Vogue 100: A Century of Style Celebrated in Style at the National Portrait Gallery

Getting my Vogue on

             Whenever I tell people that I am pursuing fashion journalism, I am usually met with responses such as, “Working at Vogue would be your dream job then, right?” Right. Vogue’s prestigious reputation precedes its namesake, even for those less fashionably inclined.

             I’m sitting here drinking tea from my Vogue 100: A Century of Style mug, which I purchased with the precise intention of being inspired. It’s hard not to be motivated when drinking tea that’s tinged with the fantasy of Vogue, so close that I can almost taste it through my English Breakfast blend.

"The Varnished Truth: Jean Patchett" (1951) by Clifford Coffin, photo courtesy of British Vogue

             To celebrate British Vogue’s centennial, the National Portrait Gallery is showcasing 100 years of photography commissioned by the magazine since its conception in 1916. It was born from the rubble of World War I, when the U.S. version of Vogue was unobtainable. The exhibition brings together over 280 prints from the Condé Nast archive and international collections for the very first time.

"Kate Moss at the Master Shipwright's House, Deptford" (2008) by Mario Testino, photo courtesy of The Guardian

             Starting in 2016, we weave through the rooms and are transported all the way back to the Roaring Twenties, where the art deco covers are truly a sight to be seen. Vogue 100 is a visceral, visual delight. Fashion fans need not bother to read the images’ accompanying placards. The exhibition’s rapturous audience will no doubt be familiar with the photograph’s subjects and the photographers themselves, easily identifiable by their unique styles.

How fabulous is this cover from May 1926?, photo courtesy of British Vogue

             Photographs by Mario Testino, Patrick Demarchelier, Bruce Weber, Steve Meisel, Lee Miller, David Bailey, Irving Penn, Lord Snowdon, and Cecil Beaton have graced the hallowed pages of Vogue throughout the years. Now their accumulated wealth of talent proudly lines the National Portrait Gallery. Models include modern-day muses Edie Campbell and Cara Delevingne, as well as throwback stars Grace Coddington, Jean Shrimpton, and Twiggy.

             In amongst the fashion pack, you will also spy the likes of Boris Johnson, The Beatles, Jude Law, David and Victoria Beckham, Francis Bacon, Damien Hirst, Princess Diana, and Aldous Huxley, who used to work as a sub-editor and then an essayist at Vogue.

Aldous Huxley (1926) photographed by Charles Sheeler, photo courtesy of British Vogue

             Personally, I gravitate towards anything by photographers Nick Knight or Tim Walker. I practically floated in the direction of the massive Lee Alexander McQueen portrait by Walker, which occupies its own alcove. If you know me well, you know how much of a fan I am of the late, great designer (read my review of the V&A’s Alexander McQueen: Savage Beauty exhibition from 2015 here).

"Alexander McQueen with Skull and Cigarettes" (2009) by Tim Walker, photo courtesy of FashionUnited

             As I looked up in awe, almost moved to kneel at the altar of my fashion idol, the clearly gleeful expression on my face was apparent, while McQueen’s remained nonchalant in his presiding position – forever my king. My twitching finger had to be restrained from clicking my camera shutter, as photography was not permitted in the exhibition – unbearable as it was for me.

             Speaking of Knight, Vogue 100 features an ethereal print of model Lily Donaldson wearing John Galliano, surrounded by cotton candy pink Diwali dust. It took two years for Knight to arrive at the finished product. Now that’s dedication from a true master of his craft.

This print (2008) of model Lily Donaldson took photographer Nick Knight two years to finalize, photo courtesy of British Vogue

             The exhibition is the culmination of five years of hard work and research by curator and contributing editor to British Vogue, Robin Muir. Muir painstakingly analyzed 1,800 issues of the magazine. Whether you think fashion is frivolous or not, there is no denying the plethora of talent on display at Vogue 100. Copies of the magazine from each year are laid out next to one another, making me envy the rightful owners of these rare, and practically pristine, covers.

The first issue of British Vogue is dated September 15, 1916, photo courtesy of The Guardian

             Vogue 100 is full of smaller parts that help to bring the bigger picture of a magazine in focus, like the cutting room. It flicks through slides from the ‘40s to the ‘90s and shows which final images were chosen, while the others received the chop. Anna Wintour, the editor-in-chief of American Vogue, is said to make split-second decisions, indicating her picture choices with a simple wave of her hand. This type of skill takes a certain ruthlessness and a keen eye that only experience and time can provide.

             This is a task I face with my style blog, A Stitch in Time. It is incredibly difficult to decide what photographs to use when confronted with hundreds, or sometimes thousands of them. The money shot is in amongst all of those pictures like a needle waiting to be found in a haystack. It could be the difference between a smirk and a Mona Lisa smile, or a natural lighting alteration that only lasts for a fraction of a second.

So many choices, so little time, photo courtesy of FashionUnited

             While journalists write the words, the photographers capture the images to accompany them. We agonize over different types of continuity to ultimately illuminate the stories in a fantastical partnership. For without one, there could not exist the other, which is just another reason why I love fashion journalism so much. Vogue 100 only further solidified that for me.

             In the February 2016 issue of British Vogue, Muir comments, “The magazine's editor-in-chief, Alexandra Shulman, knew exactly what Vogue 100 was not going to be: black-framed pictures hung on the gallery wall in rows.” The exhibition is, in fact, quite the opposite. It’s engaging and captivating, so much so that I was still perusing when I heard the loud speaker announcing 10 minutes until closing time. I had to rush to the shop so that I could immortalize Walker’s McQueen print on my pin board and pick up my new writing companion – the aforementioned Vogue mug of course. It looks like it’s time for another cup of tea…

"Claudia Schiffer in Paris" (1989) by Herb Ritts, photo courtesy of CNN

             As I caress the glossy pages of my March issue with Edie Campbell on the front, I whisper, “Happy Birthday” to the influential magazine. Not only has it celebrated its 100^th in total style, but it has also ostentatiously blown its own trumpet in a way that only Vogue could – with its own exhibition.

             Vogue 100: A Century of Style is at the National Portrait Gallery until May 22^nd. The exhibition has proven to be very popular, so book your tickets in advance online here to avoid disappointment. I additionally recommend choosing a later time slot so that you don’t get caught up in the crowds.

"Limelight Nights" (1973) by Helmut Newton, photo courtesy of The Guardian