Aimee Powell
6 Jul 2025
Following a sold-out run at Soho Rising Festival and a standout reception at the 2024 Edinburgh Festival Fringe, actor and writer Megan Prescott returns to London with her bold one-woman show Really Good Exposure, running at Soho Theatre from 2 to 13 September 2025.
Prescott, best known for her breakout role as Katie Fitch in the second generation of Channel 4’s Skins, has since navigated an unpredictable and often precarious career in the arts. Like many actors juggling auditions with the realities of rent, bills, and dwindling opportunities, she took on an eclectic range of jobs over the years—nannying, bartending, bodybuilding, even guiding gin distillery tours. But it was her foray into sex work—first as a stripper, then as an OnlyFans creator—that ultimately shaped the core of Really Good Exposure.
In the wake of the pandemic and amid an increasingly hostile economic climate for emerging artists, Prescott turned to OnlyFans not only as a source of income but as a means to fund the production of her work. “I’m proud to use my lived experience to challenge how society judges and devalues certain kinds of work,” Prescott has said. “We’re surrounded by portrayals of sex work in the media, yet so few are created by those who’ve actually done it.”
This tension—between performance as art and performance as survival—sits at the heart of Really Good Exposure. The play follows fictional protagonist Molly Thomas, a former child star who rose to fame young, only to find herself, a decade later, broke, disillusioned, and contemplating a move into pornography. What unfolds is not just a personal story, but a broader critique of an industry—and a culture—that relentlessly builds up young women, only to cast them aside when the spotlight fades.
Prescott’s script pulls no punches. Through Molly’s journey, she explores the social and emotional cost of growing up in an era defined by body shaming, sexualisation, mental health stigma, and a media machine all too eager to commodify adolescent fame. As Molly wrestles with the fallout of her early success and the choices available to her now, the audience is asked to confront uncomfortable truths about who gets to perform, who gets paid, and who gets judged.
Really Good Exposure also interrogates the double standards that govern different forms of labour in the entertainment industry. Molly, like Prescott, has always been paid to perform—whether in front of a camera, a crowd, or a private subscriber base. But as the play deftly illustrates, not all performances are treated equally. The piece spans Molly’s transformation from Disney-obsessed tween to exploited teen star to adult navigating strip clubs, casting couches, and online platforms in search of both financial stability and creative freedom.
Prescott’s decision to fund her own Fringe run through OnlyFans is not only a powerful statement of agency—it underscores the financial barriers that continue to shut many voices out of the arts. “We’re seeing more and more stories exposing the darker corners of the industry,” she notes, “but it’s still incredibly risky for actors to speak up. And ultimately, I needed the money to make this show happen.”
Really Good Exposure is as much a personal reckoning as it is a cultural critique—a sharp, uncompromising look at the intersection of fame, labour, gender, and survival in the 21st century. It’s theatre that refuses to look away.
Megan Prescott’s Really Good Exposure runs at Soho Theatre from 2–13 September 2025.[Find tickets here]