Review: EXPÖSED (Lion and Unicorn Theatre)

Review by Oliver Briggs

⭐️⭐️⭐️⭐️⭐️

Baby Lamb Productions has brought to the stage a new, fresh comedy that completely takes you out of modern-day life and lets loose on all of your laughter. EXPӦSED is a revelous, farcical and slightly raunchy retelling of the Emperor's new clothes dressed in the best of comedic wit, satire and timing that left me in stitches.

The story follows ‘ze Emperor,’ a fashionista whose ego takes a hit when critics suggest his spark is fading. Desperate to reclaim his throne, he falls for the charms of a mysterious French duo claiming to have created a "new cloth" visible only to the worthy. What follows is a classic tale of vanity and deception, as a parade of trusted acquaintances, and eventually the Emperor himself, pretends to see the invisible fabric to avoid being labelled boring and uncool. It all culminates in a fashion show where the "cloth" is finally revealed to the public, leading to an exposing and expressive ending.

This play has such strength in every aspect of the production, with facial expressions ripped straight from cartoons. Comedy and wit on par with the likes of Operation Mincemeat and Fawlty Towers. Fittingly chic costuming, a well-composed lighting design and a tailored soundtrack to the play's every need. Then let's not forget the sleek choreography and movement throughout, Audience interaction, Accent, Wordplay, Pop-Culture referencing, and every niche moment that happens between characters. Allow me to break it down further.

Before the performance has even begun, you are immediately transported into a world of fashion and high-end clothing. The set is immediately visible, draped in clothes of all sorts, patterns of leopard-print, cow-print, glitter in pink and silver, trousers tops, and floral print, a little bit like it was all pulled straight out of LMFAO’s ‘Sexy and I Know It’ music video. And speaking of music. The pre-show playlist was filled with songs that played with clothes or the idea of clothes, from Nelly’s ‘Hot in Herre’ to Ella Eyre’s ‘We Don't Have To Take Our Clothes Off’. This playlist gets you excited and invested. It also provides a good laugh trying to listen out for all of the clothing references. Even in songs where you’d least expect it. Before there’s a single performer onstage, I'm already entertained and hooked in.

A good item of clothing will appear seamless…  just like the transition from scene to scene, which is a result of Hannah McLeod’s spectacular direction. Every moment flows smoothly into the next, leaving no time for awkward pauses, no energy lost, and a tight, well-knit story. Every scene sew-ing-credibly well patched together; each moment carries purpose or adds to the story, there was nothing that happened that had me wondering what it was for. There were also some smaller niche moments of direction that had me cackling. As part of their disguises, the two French designers greet everyone they meet with a kiss on the cheek, and then proceed to almost take it too far and mistakenly go to kiss each other, which I found became a brilliant motif.  And another moment of a fairly familiar incident to the audience, I'm sure. Going to fist bump, a high five. I’ll leave that one there. It’s these character interactions that keep the whole machine sewing… sorry, going… I'm clearly too wrapped up in all of this fashion talk.

The ensemble is remarkably tight, with each performer leaning into distinct, cartoon-ish character choices that ensure no two roles feel alike. Jacob Baird is a comedic standout, pairing an egotistical, provoking smile with a relaxed demeanour that clashes brilliantly with Ashok Gupta’s more rigid, upright presence. a relationship just like that of a chaotic Batman and his long-suffering Alfred.

The frantic energy of the production is anchored by Hanna McLeod, whose total commitment to her character’s desperation (and a particularly wild "jungle" moment) is a masterclass in physical comedy. This is matched by Kiera Murray, a blur of high-speed physicality whose performance feels so natural and spontaneous it’s easy to forget it’s meticulously choreographed.

Rounding out the "runway" are Nisha Emich, who showcases an impressive range by flipping between a hardened, tough exterior and a meek reserve, and Nick Alexander, whose hilarious focus on his own physique and nonchalant attitude provides the perfect final stitch to this colourful cast.

Ultimately, EXPӦSED is a gloriously silly, sharply stitched comedy that never drops a thread. Bursting with invention, charm and laugh-out-loud physicality, it proves that sometimes the boldest fashion statement is simply committing fully to the bit. Whether you come for the satire, the spectacle or the sheer ridiculousness, this is one show well worth getting dressed up for.

EXPӦSED is modelling at the Lion and Unicorn Theatre until 21st February. Tickets from https://www.thelionandunicorntheatre.com/whats-on

Photos by Lidia Crisafulli