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Aborigines believe that the camera steals the soul…

Jimmy Tucker inherits the camera of his father a photojournalist who has disappeared in the Australian Outback. The camera becomes his talisman and inspiration and Jimmy decides to follow in his father’s footsteps, his mission to highlight poverty and injustice. But has he inherited something more than just a camera… the trapped soul of an Aborigine elder?

Tempted by his media guru stepfather to do a project on the Seven Deadly Sins he finds himself lured into the seedy world of the paparazzi and toxic fame, becoming as corrupt as the world he wants to expose. The conflict between the desire to expose the truth and the right to invade the private world of his subjects leads Jimmy into increasingly darker places. When in a near death experience his past comes to haunt him, he is forced to realise that in the right hands one camera click can create an icon, but in the wrong hands it can destroy a life! Will there be a guardian angel looking out for him, or has his camera stolen his soul? Can he set the aborigine free?

Every now and then something comes along that makes us sit up and pay attention, reaching out to us in a more profound way than usual. Something that touches the soul because it has heart and integrity… Exposure, a new musical, is that something.

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CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 CONTENTS

Capture the Moment 3 An Opportunity to Invest

Corporate Structure 5 Camera Theatre Productions Ltd

Exposure 7 Our Commitment To Stakeholders

The Book 8 Story Synopsis

Who’s in the Frame 11 Creative and Production Team

Workshops 16 The Development Story So Far

The Market in Focus 18

Design Concepts 20 A New Theatrical Language

Financial Arrangements 25

Financial Promotion Order 30

Important Notice 31

Procedure for Investment 32

Application to Invest 34

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CAPTURE THE MOMENT AN OPPORTUNITY TO INVEST

This document outlines the investment opportunity in the production of the brand new musical Exposure - a unique invitation to be part of a creative legacy with a solid financial footing.

Exposure The Musical will premier at ’s St James theatre in the Summer of 2016 prior to it’s premier. Camera Theatre Productions are proud to announce that the shows will be directed by critically acclaimed Phil Willmott with an award winning creative team that will set a new benchmark to be announced in the near future.

Exposure The Musical tells a universal story relevant to our modern world. With a completely original book (script), musical score and lyrics, Exposure reveals how life can be changed by the click of a camera shutter.

Our exclusive investment partnership with Getty Images enables Exposure to feature the world’s largest and most remarkable collection of still and moving imagery. Just as black and white gave way to colour, Exposure is a state-of-the- production that uses the latest technology without losing the traditional strengths of - a combination that promises a truly sizzling live experience with unforgettable songs and choreography, and the intimacy of traditional story-telling enhanced by the raw power of a stadium rock concert.

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CORPORATE STRUCTURE CAMERA THEATRE PRODUCTIONS LTD

Camera Theatre Productions Ltd was established in 2007 to finance the development of Exposure the Musical to the highest performance standard.

Camera Theatre Productions Ltd has entered into a licensing arrangement with Getty Images International which entitles it to use up to 10,000 images from the Getty Image Archive in relation to Exposure The Musical in the West End and on tour throughout the United Kingdom.

Camera Theatre Productions Ltd is a wholly owned subsidiary of Camera IP Ltd, an Isle of Man registered , which owns the intellectual property rights in the creative elements for Exposure the Musical.

Camera IP Ltd will grant a licence of the intellectual property rights in Exposure the Musical to Exposure West End Ltd a company set up in 2010 in order to present Exposure the Musical in the West End.

The shareholders of Camera IP Ltd are:

Robert Court FRICS ACI Arb Robert is a Chartered Surveyor and Investor and was formerly Global Head of Real Estate in Deutsche Bank’s Private Wealth Management Division.

The Balinski Brothers Kaz and Zygi Balinski have interests in hospitality, media and entertainment investment. Kaz is a Director of Ionrex, a surface oil and shallow hydrocarbon development company.

Warwick Woodhouse Warwick was a Senior Vice President and a Member of the Executive Committee of Getty Images with a broad ranging remit covering almost every aspect of the business. After retiring from Getty Images Warwick turned his hand to writing and has had his first novel published and is on his second. He is the author of a book on Italian food and on management and leadership.

Quentin Russell Quentin is an historian, writer and producer who runs his own creative business.

Denise Britnell Denise is a theatre angel

David Lumby David is a multinational business angel

Mike Dyer Mike is Director of Camera Theatre Productions Ltd and Exposure West End Ltd.

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On stage, when you see these truly remarkable images which are used extensively, Exposure The Musical becomes a very, very powerful thing which sends out a clear message about the power of photography and also the evils of the world, warts and all - all encapsulated in the Exposure storyline which is simply wonderful.

MATTHEW BUTSON Vice President Hulton Archive

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EXPOSURE OUR COMMITMENT TO STAKEHOLDERS

• A totally new and original British stage musical

• An exclusive partnership with Getty Images, the world’s largest image archive

• A universal storyline that changes daily with the headlines

• A modern Rake’s Progress that explores the toxic effects of fame

• A magical synergy of live musical theatre, rock ‘n’ roll and digital technology

• A multi-award winning, world class creative team

• World Premier at London’s St James Theatre in the Summer 2016

• A show that features icons and iconic photographers

• An opportunity to invest in the startup of a global brand

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CS5_Exposure_Prospectus_LO_11_3.indd 6-7 CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 THE BOOK STORY SYNOPSIS Aborigines believe that the camera steals the soul… in the right hands one camera click can create an icon, in the wrong hands it can destroy a life!

A celebrated photojournalist disappears in the Australian Outback, leaving behind only his camera, which is inherited by his son, Jimmy, born on the same day in London. The camera (and with it the trapped soul of an Aborigine elder?) becomes Jimmy’s talisman and inspiration. Ten years on, he and his unmarried mother are the victims of malicious neighbourhood gossip, so she is relieved when Miles Mason, an enigmatic media guru, appears as if from nowhere to sweep her off her feet. At their wedding reception, Miles is intrigued by Jimmy’s crush, Janet, a young teenager with big aspirations to be a rock star. Miles takes Jimmy under his wing, but as the years pass his mother becomes strangely distant. Rumours surface that she is having affairs. Feeling betrayed the devastated Jimmy storms out and leaves home.

Jimmy decides to become a photojournalist like his father, his mission to highlight poverty and injustice. Gaining experience at a local newspaper, he photographs a young busker, Tara, outside Angel tube station and becomes besotted with her image. After using the picture in a spread on homelessness he wins a prestigious award. At the ceremony, while Miles is telling him that his mother is ill and he should visit her, Tara bursts in, angrily admonishing him for taking her picture without permission. As the feisty confrontation turns flirtatious the mercurial Tara vanishes into the night, leaving Jimmy bemused and lovelorn. As a result of his prize Jimmy is sent to famine stricken Africa, where, haunted by the sight of a dying mother and suffering from dehydration and heatstroke, he has a vision of his dead father.

During Jimmy’s absence his heartbroken mother dies. At her funeral, Miles offers his support, hoping to lure him into his nefarious world of tabloid spin and hype, but Jimmy sticks to his principles, going off to cover a military coup in Haiti. Miles, whose business empire is going global, has more success with Janet, who has morphed into rock vixen ‘Pandora’. While recording her ‘hit’ album in the Bahamas, Jimmy arrives from Haiti traumatised and disillusioned. Pandora, who has always held a torch for Jimmy, tries to tempt him into an easier life under Miles’ wing.

Back in London, on his way to celebrate Pandora’s global success, Jimmy bumps into Tara in a doorway selling tin angels made from cola cans. She proudly gives him one as a gift. At Pandora’s party, Miles entices Jimmy to do a project on the Seven Deadly Sins, and where better to start than now, explaining that to capture their true essence he needs to immerse himself in his subject matter. Finally he convinces Jimmy to sign his life, and soul, away to his organisation. When Jimmy staggers out from the venue, girl on arm, Tara, unnoticed, sees him clumsily drop her angel. Miles stamps on it.

Mike Dyer is a talented singer and writer.

SIR GEORGE MARTIN Producer EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 00

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Jimmy’s life starts to unravel. Filled with self-delusion, he becomes Miles’ puppet, a commercial photographer and paparazzi, fuelled by greed and ambition and as corrupt as those he wants to expose. In an attempt to resurrect the drug-fuelled Pandora’s faltering career, Jimmy is seduced into taking provocative shots of her, supposedly to promote her ‘Sin City’ album. Miles quells his unease that the vulnerable Pandora is being used, by reassuring him it is for her own .

Caught in a storm Tara unexpectedly turns up at Jimmy’s flat. No longer homeless, she is selling artworks in Camden market. Jimmy turns on the charm to make amends and love is briefly in the air until she stumbles upon the uncompromising pictures of Pandora and Jimmy. Upset Tara rushes out and again Jimmy is left forlorn.

Miles encourages Jimmy to use his talent to rattle the corridors of power, promising him the scoop of the century by exposing and bringing down a powerful and adulterous politician. Working on Miles’ information Jimmy stakes-out his love-nest, unaware it is Pandora with whom the politician is having the affair. He snoops on them as they argue. The politician, angry at her lifestyle and the leaking of her pregnancy, storms out leaving the distraught Pandora to overdose. The hardened Jimmy can’t resist taking pictures of his dearest friend, stooping over her lifeless body. Back in his studio he is filled with remorse. Frantically examining his father’s old letters and photographs, Jimmy discovers that he had doubts as to the justification of invading the Aborigine’s space, and by taking the elder’s photograph, stealing his soul, was he in some way cursed? Jimmy decides to hold back Pandora’s pictures.

Hungover, Jimmy is awoken by Miles ringing to find out why he hasn’t received the headline pictures. Jimmy decides to confront Miles to stop the pictures of Pandora being released. As the morning papers hit the stands Tara is at her market stall. Shocked by Pandora’s death, she is furious when she sees Jimmy’s pictures of her being used in an advertising campaign. She phones Jimmy who informs her it is Miles’ doing, and that he loves her! When Jimmy meets Miles it dawns on him that Miles instigated the rumours of his mother’s infidelity, that he knew it was Pandora involved with the politician; that his devilish manipulations would stop at nothing, making Jimmy guilty of the very sins that he was trying to expose.

At the same moment, Tara is talking her way into Miles’ office, hoping to charm her way to recovering her pictures. But Miles is more than Jimmy and Tara realise. He threatens Jimmy, telling him that Tara is on her way to his office and that he will reveal the sordid truth to her. Consumed with rage, Jimmy speeds off on his Ducati motorbike through London’s rainy streets to save Tara. He little realises that at that moment Miles has already exposed his true devilish identity to Tara and she is rushing towards the Angel tube station to stop him. Speeding past, Jimmy is distracted by a blurry Tara-like figure going into the subway; he crashes... On the operating table, suspended between life and death, he experiences a vivid dream, a phantasmagorical journey into the bowels of London’s Underground careering along the Perdition Line. Demons, angels and famous icons, choreographed by the devil, Miles, confront him at seven tube stations with his own Seven Deadly Sins.

Jimmy wakes as if from a horrific nightmare; he has survived and Miles and his empire have vanished. He realises it was not the souls of others that his camera had stolen, but his own! Feeling born again, all that remains is for him to put his to rest, return the camera and its contents to the Outback and find another tin angel, and its creator!

I truly think this is a great original piece with fantastic music.

KATIE MELUA Singer

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Exposure: The Musical Press release interview with Matthew Butson, Vice-President of Getty Images, Hulton Archive

When you take a pioneering theatrical script and pair it with arguably the most extensive photo archive in the world, the end result, without question, belongs in lights. After a number of years of multiple revisions and ever-essential fundraising, Exposure The Musical will soon open at a theatre near you and, unlike any production of its kind, it will exclusively feature imagery from the hallowed archives of Getty Images. Matt Butson, Vice President of the Hulton Archive, says “Exposure The Musical is a ground-breaking and truly innovative production and, given Getty Images renown for innovation and reinvention of the image industry, Exposure was a project we did not hesitate to take part in”. With Mike Dyer ’s creative vision for Exposure and Matt Butson’s extensive knowledge of and for photography - having been in the industry for more than a quarter of a century - the two put their mutual passion for music and imagery to work. With access to over 150 years of imagery and more than 80 million images contained within the archive, they were somewhat spoiled for choice!

The musical is a significant statement on the power of imagery. “This is where Getty Images comes in,” says Butson. “We are extremely privileged to be the sole provider of still imagery for this production and it is a role that is fitting of our company whose goal is to inspire communication through creativity and innovation. It speaks to the power of the still image - and the integrity that goes with it,” continues Butson. “Our imagery perfectly complements the narrative of the show and is an ideal marriage in this respect. It gives us the opportunity to let our images breathe in a completely new way - rather than simply in a book, magazine or newspaper - or even in broadcast, where our images are traditionally used.”

When the audience views these truly remarkable images on stage, which will be very much a key element of the over all theatrical experience, Exposure The Musical becomes a very powerful production indeed which will send out a clear message about the power of photography to educate, influence - as well as entertain. Exposure also provides a commentary on the evils of the world - warts and all – encapsulated in the unique Exposure storyline which, through the use of imagery, will undoubtedly connect with the viewer on an emotive level. As the saying goes, a picture is worth a thousand words and by incorporating imagery – together with music, song as well as narrative – Exposure will be a truly multimedia experience, in every sense of the word.

Butson states; “This is a unique endeavour and Exposure The Musical is an ideal vehicle to bring our world class imagery to a new audience. If the show is as successful as both Mike Dyer and Getty Images anticipate, we will have connected with theatregoers at a different level than arguably we do as a commercial business. The power of photography is ever present in our lives but used in such an innovative way as it will be in Exposure adds a new dimension to the medium of the still image”. As renowned economist and Harvard Business School professor, Theodore Levitt, once said – “Creativity is thinking up new things. Innovation is doing new things.” With Exposure The Musical you will see the best of both.

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CS5_Exposure_Prospectus_LO_11_3.inddCS5_Exposure_Prospectus_LO_11_3.indd 110-11 31/01/2013 16:32 WHO’S IN THE FRAME? CREATIVE AND PRODUCTION TEAM

MIKE DYER Successful productions have included the tenth Executive Producer / Concept / Book / Lyrics / Music anniversary cast of Fame, Finian’s Rainbow, Naked Boys Singing, Nunsense, F**cking Men, and Mike has extensive experience in the music industry his own musical Lost Boy in the West End, A Midsummer both as a performer and writer. He has toured the Nights Dream in Dubai, Once Upon a Time in Atlantic City world as a singer with his own bands and Rhode (U.S.) Blowing Whistles ( Island , performing with world class acts Thin Lizzy, and Sound Theatre, ) Billy Liar, Athol Iron Maiden, Bon Jovi, Red Hot Chilli Peppers and Black Fugard’s Master Harold... and the boys & his own musicals Sabbath. As a writer he has worked with star names Once Upon a Time at The Adelphi (Liverpool Playhouse) & including Diana Ross, Huey Lewis and . Around the World in Eighty Days (Liverpool Playhouse, UK After being invited by to play the tour and German tour) (Olympia, ) Narrator in the multi-award winning musical Blood ( Playhouse) and Kiss of the Brothers, he fell in love with musical theatre. Other leading Spider Woman ( Crucible) Cinderella (Brighton roles followed in shows such as Theatre Royal) Eripides’ Trojan War Trilogy, Wagner’s Ring (Pilate/Caiaphas) and Notre Dame de (Frollo/ Cycle librettos, Oedipus & Antigone, The Orestia Trilogy, Quasimodo). Mike also had a regular part in EastEnders Brecht’s The Mother, Don Juan in Love, Toad Hall, , as Casey Hogan. Exposure The Musical was inspired by a Jason and the Argonauts, Blood Wedding, The Caucasian near- death experience following a motorcycle accident. Chalk Circle, Cyclops!, Helen of Troy, Disney’s Jungle Book, Hearing the haunting phrase ‘you will never walk again’ Oedipus, Agamemnon, Androcles and the Lion, The London Mike determined that there was no such thing as can’t. Nativity, Treasure Island and Children of Hercules (the Scoop) and many other acclaimed London productions including, The American Clock, The Notebook of Trigorin, Country Magic, Crime and Punishment, The Lower Depths, F**cking Men, The Grapes of Wrath, Trelawney of the Wells and PHIL WILLMOTT Loyalties (The Finborough) , , Director & Dramaturgy , , Seven Brides for Seven Brothers and Uncle Ebenezer - a Christmas Carol, Titus Phil Willmott is a multi-award winning director, artistic Andronicus and the world premiere of Germaine Greer’s director, playwright, composer, librettist, teacher, Lysistrata (BAC) I Love You, Your Perfect, Now Change and dramaturg, arts journalist and occasional actor. He Liberace’s Suit () the UK premiere of Victor/ trained as an actor at Rose Bruford in the 1980s and was Victoria, Shakespeare’s Henry VIII, & Brecht’s Arturo Ui (the made a fellow of the college in 2012. Bridewell) Measure for Measure () The Winter’s Tale (The Courtyard) Ring Round The Moon (The He has worked in across the world on everything King’s Head) and Fings Aint Wot They Used To Be (The Kings from classical drama, musicals and family shows to Head & Union Theatre) Lear (with Lear as a woman) Play and cutting edge new writing, he is one of the of Thrones – The Shakespeare that inspired R.R. Martin) UK’s foremost directors of Greek Tragedy and one of the Brecht’s Fear and Misery of the Third Reich, The first UK country’s most commissioned musical theatre writers. production of Sondheim’s Road Show, Lional Bart’s Fings Aint Wot They Used to Be, The modern world premiere’s of He is Artistic Director of his own multi award winning disputed Shakespeare plays Double Falsehood and Fair Em theatre company The Steam Industry (incorporating and King John & Measure for Measure (The Union Theatre). The and the West End’s open-air “Scoop” amphitheatre on London’s ) He was As a writer many of his plays, musicals and adaptations co-director of the U.K’s leading degree course in Musical have been published and are regularly produced around Theatre at London’s Arts Educational School where he the world. was also Head of Acting. Phil Willmott’s most recent musical, Lost Boy, (a He is a recipient of a UK Theatre Award for outstanding collaboration as a composer with Mark Collins) transferred direction of a musical, a Peter Brook Award for his from the Finborough Theatre for an extended run at the out door classical productions and family shows, Theatre and imagined the characters whatsonstage award nominations for best regional and from as adults in the First World War. It will productions, a broadwayworld nomination be published by Samuel French in 2016 to coincide with for Best Musical in the UK, numerous Off-West End Award the anniversary of the Battle of the Somme. Following the nominations, a Brooks Atkinson/Royal Court award in success of Lost Boy, Mark and Phil have subsequently New York for Playwriting and four Spirit of Broadway completed commissions for Adam Kenwright and awards. Shakespeare’s Globe.

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Vice-President of Getty Images, Hultont and Ar pair it with arguably the most extensive photo When you take a pioneering theatricalesult, without scri p question,Exposure belongs in will lights. soon After open a atnumber a theatre of years near is archive in the world, the end r clusi vely feature imagery from theExposure hallowed of multiple revisions and ever-e ssential fundraising, t of the Hulton Archive,Phil Willmot’s s ays “ first musical was a finalist for the prestigious you and, unlike any production of its kind, it will ex oduction and, given Getty ImagesVivian renown Ellis for prize, innovation and his subsequent, internationally archives of Getty Images. Matt Butson, Vice Presidenas a project we did not hesitate to take part in.” Exposure w published and regularly revived musicals include Once Strategic Partner a ground-breaking and truly innovative pr and Matt Butson’s extensive knowledge of and and reinvention of the image industry,Exposure y for more thanUpon a quarter A Time of a century At The - Adelphi, commissioned by Liverpool With Mike Dyer’s creative vision for Playhouse (TMA award winner and WhatsOnStage A crucial aspect of the show will be its photographic or music and imagery to work. With a ccess to over 150 years passion for photography - having been in the industrtained within the archive,nominee they for were Best somewhat Musical Production in the UK) and its content. Getty Images, the world’s leading moving and the two put their mutual passion f U.S. version Once Upon A Time At The Atlantic City which still imagery company, has agreed to provide archive of imagery and more than 80 million images con premiered in Connecticut and won five Spirit of Broadway material exclusively for the UK, including West End spoiled for choice! er of imagery. “ThisAwards is whe reincluding Getty Images Best Score and Best Direction, Around production and national tours of Exposure The Musical. eged to be the soleThe provider World of In still Eighty image ryDays, written for BAC and revived at Getty Images serves business customers in more than The musical is a signi cant statement on the powf our company whoseLiverpool goal is Playhouse,to inspire for a UK tour, and a two-year German 100 countries and is the first place creative and media comes in,” s ays Butson. “We are extremely priviltion. It speaks to thetour, power theof the Dick still image Barton - Special Agent Trilogy originally professionals turn to discover, purchase and manage for this production and it is a role that is tting o tinues Butson. “Our imagecommissioned ry perfectly complements by Croydon the Warehouse and revived at images and other digital content. Its award winning communication through creativity and innova Oldham Coliseum, Nottingham Playhouse, The Queen’s photographers and imagery help customers to produce and the integrity thatw goesand iswith an idealit,” con marriage in thisther respect. than simply It givesTheatre in aus book, the inopportunity magazine , or to let Theatre by the Lake in Keswick, inspiring work which appears every day in the world’s narrative of the sho e our images a re traditionallyThe used.” Yvonne Arnaud Theatre in , most influential newspapers, magazines, advertising our images breathe in a completely new way - ra Theatre, and at Southwold Rep; campaigns, films, television programs, books and newspaper - or even in broadcast, wher e images on stage, which will be very much a becomesand adaptationsa very powerful of production Treasure Island and Jason And The websites. e, Exposure When the audience views these tru ly remarkabl Argonauts, all of which continue to be licensed regularly sage about the power of photography to educate, inuence key element of the overall theatrical experienc by Samuel French across the globe. also provides a commentary on the evils of the world - warts indeed which will send Exposureout a clear mes storyline which, through the use of imagery, will Exposure The adaptation of Lysistrata he wrote with Germaine Greer - as well as e ntertain. otive level. As the s aying goes, a picture is worth a was recently presented as part of the Almeida’s Greek STEPHEN LOWE and all – encapsulated in the unique y – together with music, song as well as nar rative – undoubtedly connect with the viewer on an eme, in every senseSeason of the word. starring Tamsien Grieg, and his adaptation of Book Co-writer thousand words and by incorporating imager Gorki’s The Lower Depths is published by Oberon Books. Exposure will be a tru ly multimedia experienc is an ideal vehicle to bring our world Stephen’s plays have been staged at the Royal Court our and Exposure w is as su ccessful Hisas b oth recent Mike Dyer plays and in Getty London Images include a dramatisation of (Touched, Body and Soul, Glasshouses, Tibetan Inroads) and Butson st ates; “This is a unique ende av tregoers at a differentWagner’s level than Ring arguably Cycle we whichdo as a played to 40,000 people by the Royal Shakespeare Company (Divine Gossip). His TV/ class imagery to a new audience. If the sh o aphy is ever presentat thein our Scoop,lives but used Captain in such Show-Offan adapted from the film work includes original films FleaBites starring Nigel anticipate, we will have connected with thea adds a new dimensionRoman to the mediumComedies of the of still Plautus, image”. and Euripides’ Trojan War Hawthorne, Ice Dance with Warren Clarke, the adaptation commercial business. The p owerExposure of photogr Exposure you will d Business School professor,Trilogy Theodore (also Levitt, at the once Scoop) said – Play Of Thrones, a popular of Scarlet and Black starring Ewan McGregor and Rachel innovative way as it will be in ation is doing newamalgamation things.” With of the Shakespeare that inspired R. R. Weisz, as well as numerous episodes of Coronation Street As renowned economist and Harvar Martin (Union Theatre) Encounter, a new gay love story (including the Christmas Day special). “Creativity is thinking up new things. Innov inspired by Brief Encounter () and see the best of both. his reworking of ’s Princess Ida which played for a sell out run at the Finborough Theatre in 2015.

He has recently developed shows for Shakespeare’s Globe, QUENTIN RUSSELL PhD Old Vic, Liverpool Playhouse, The New Wolsey Script Consultant

EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 ||||Theatre | || © Camera in Ipswich, Theatre aProductions UK national 2013 tour and EXPOSURE numerous \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2014 . His latest musical, Princess Caraboo, will Quentin is a writer, musician and producer who runs his premiere at the Finborough theatre in April 2016 and his own creative business, which received the Silver World Medal rock musical of Crime and Punishment with songs by for arts TV documentary in the New York Documentary Toyah Wilcox will premiere at the Scoop in August 2016. Festival. He has recently workshopped His Indian Boyfriend with songs by Robbie Kinsela and commisioned by Phizzical Theatre at Royal Stratford East.

He has written and broadcast on the arts for What’s On MUSIC CO-WRITERS Magazine, BBC London Radio and television, Resonance Charles Olins Fred Johanson 104.4FM, lastminute.com, Gay Times, Musical Stages Adrian Wyatt Clayton Moss Magazine, Attitude Magazine. He is a regular columnist Philip Cohen Sara Eker for The Stage and is currently the theatre critic for Vince Hudson Mark Street toplondontheatre.com and Londonboxoffice.com.

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CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 JULIAN STONEMAN ASSOCIATES TIMOTHY BIRD General manager Production Designer & Visual Realisation

Award-winning theatre producers and general managers, Timothy Bird specialises in the weaving of video into JSA lead and manage the creative development and traditional theatrical story telling. He escaped from a first commercial presentation of live entertainment in the UK career television (with the BBC and other usual suspects) and internationally. into the world of live shows of all shapes and sizes. For over 10 years he was Executive Creative Director of Knifedge – West End: Pig Farm (St. James) starring Stephen a ground-breaking agency dedicated to combining art and Tompkinson & Eric Odom; McQueen starring Stephen technology. Wight & Dianna Agron (St. James / ); In Concert starring Christine Baranski, Set and Video design credits include: A Christmas Carol Betty Buckley, Ruthie Henshal & Russell Watson (Royal (Rose Theatre, Kingston); The Honey Man (Birmingham Albert Hall); (Apollo / St. James), The REP); Love, Loss and Chianti (Chichester Festival Theatre); White Rabbit starring James Dreyfus & Moon Tiger (Theatre Royal Bath); Hidden in the Sand (Birmingham / Tour / Theatre Royal Haymarket); (Trafalgar Studios); (); (Garrick / Tour / Savoy / Prince of Wales); Tell Me On A Josh Groban’s Arena Tour (with David Farely); Scrooge No Sunday (Duchess); (Garrick / Shaftesbury); More and Monster (Busch Gardens Williamsburg, (Prince Edward); Great Expectations Globe Theater); Video/projection design credits include: (Vaudeville); Driving Miss Daisy (Wyndhams) with Vanessa Pure Imagination: The Songs of Leslie Bricusse (St James Redgrave & ; Cat On A Hot Tin Roof with Theatre); McQueen (St James Theatre/West End); The Adrian Lester & James Earl Jones; ; Kristina Hudsucker Proxy (Nuffield, Southampton/Liverpool (RAH); A Christmas Carol with Sir ; Aspects Everyman & Playhouse - winner ‘Best Design’ UK Theatre Of Love (Original Production); Breath Of Life with Dame Award); London Rocks (Busch Gardens Williamsburg, Judi Dench & Dame ; Cabaret; Globe Theater); Neige (La Grand Théatre de Ville, with & Rupert Graves; City Of Angels Luxembourg); Praxis Makes Perfect (Neon Neon/National (Original Production); ; (London & Original Theatre of Wales co-production); Manchester Sound: Tour); Lady In The Van with Dame Maggie Smith; Les The Massacre (Library Theatre); (Chichester Liaisons Dangereuses starring Adam Cooper; ; Festival Theatre); Backbeat (Citizen’s Theatre Glasgow/ Saturday Night Fever; ; and Three Tall Women. Duke of York’s Theatre//Los Angeles) and Sunday From 1999, Julian was the General Manager of Mamma in the Park with George (Menier Chocolate Factory/ Mia! in London, and the International Associate Producer Wyndham’s Theatre/The Roundabout Theatre Company’s on all foreign language productions until 2009. Studio 54/ NYC/5th Avenue Theatre, Seattle).

Off West End/ Workshop: (World Premiere); White Timothy (projection design) collaborated with David Christmas; and Finding Neverland The Musical for Harvey Farley (set and costume) on Sunday in the Park with George Weinstein (World Premiere). and received the Critics’ Circle Design Award, Evening Standard Theatre Design Award, Olivier Award for Best In Pre-production: Murder At The Gates for James Bourne Design, and in New York, the Outer Critics’ Circle Design (Busted) & Steven Slater (Spring Awakening) (World Award, the Drama Desk Award and the Tony Nomination Premiere); Exposure The Musical (World Premiere); for Best Design of a Musical. NOTMOSES – Funnier Than The Bible (World Premiere); and RENT The Musical (UK Tour / St. James).

Julian is on the Campaign Board for Historic Royal Palaces. JSA are also proud to have Co-Produced for the past 6 years the Awards.

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CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 Musical Director - TBA BEN CRACKNELL Lighting Designer

Ben is an award winning Lighting Designer. He trained at Rose Bruford College of Speech and Drama in London and has worked extensively in both theatre and television worldwide. Choreographer - TBA Theatre includes: Dracula (Siam Pic–Ganesha Theatre, Bangkok); Kiss Me Kate (Opera North); The Merchant of Vembley (Cockpit Theatre); Xanadu ( Playhouse); (UK Tour); (UK Tour); 1984 (Altes Schauspielhaus, Stuttgart); Saturday Night Fever (Theatre Royal, Bath & Tour); Much Ado About Nothing, As You Like It (Stafford & Ludlow Shakespeare Festival); I Dreamed a Dream, , & Co. & The Rise and Fall of Little Voice (Tours for Michael Harrison); The Memory of Water (New Vic, Stoke); (New Wolsey Theatre, Ipswich & Tour); (The Victoria Warehouse, Manchester); Sherlock Holmes – The Best Kept Secret, Angus Thongs and Even more Snogging (West Yorkshire Playhouse); Shout!, Dancing in the Streets, All the Fun of the Fair, Defending the Caveman, Visiting Mr. Green (West End, London); The Mummy, The Prodigals, 20th Century Boy (The Belgrade Theatre, Coventry); Flash Mob (Saddlers Wells); The Life, Strangers On A Train, Saturday Night Fever, , Sweet Charity & ’s Tommy (The English Speaking Theatre, Frankfurt); Merrily We Roll Along (Theatr Clwyd); 20th Century Boy (Tour); African Snow (York Theatre Royal & West End, London); Antigone (); Once Upon a Time at the Adelphi (Liverpool Playhouse); Rhinestone Mondays (The Mercury Theatre, Colchester); Hamlet The Musical (Royal Theatre, ).

Television includes: Quadrophenia (The Royal Albert Hall, London); Lenny Henry sings the Blues; The 2012 & 2013 Classic Brit Awards (The Royal Albert Hall, London); The 2011 – 2015 Olivier Awards ( for ITV & BBC) (Knight of Illumination Award for Best Lighting Design); The 2006 – 2013 Brits Launch, Who Wants to be a Millionaire?, The 2015 BRITs Afterparty (ITV); The Kinshasa Symphony Orchestra at The Royal Festival Hall, The 2010 Papal visit and Mass, Fresh from the Fringe, Rufus Wainwright (BBC); Il Divo (The ); The Kaiser Chiefs, Goldfrapp ( Academy for DVD).

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CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 LEE BATTY Production manager Casting Director

West End Credits as Production Manager include My Pippa has cast over 85 productions for the West End, UK Trip Down the Pink Carpet (), 2011 Laurence National tours, New York, Australia, Dublin, Germany, Olivier Awards (Theatre Royal ), Driving Miss Denmark, Sweden, Japan, Houston Grand Opera, Paris, Daisy (Wyndhams Theatre), Tailor Made Man ( Chichester Festival Theatre, Ludlow Festival, Crucible London), West End Men (), Tell Me On Theatre Sheffield, Stratford East and London Fringe, a Sunday (), Urinetown (Apollo Theatre), three seasons of 15 European classics for Harvey (Haymarket Theatre), McQueen (Haymarket at between 1987 and 1991 where she also Theatre), Not Moses (Arts Theatre). held the position of Resident Associate Director. West End productions include: , Billy Elliot, We Will Rock You, Touring and Provincial credits as Production Manager , Six Dance Lessons in Six Weeks, The Drowsy include Shout The Musical, The Play What I Wrote, Kes, Boogie Chaperone, Tonight’s the Night, The Opera, Nights 2, Stones in his Pockets, Paul Zerdin - Spongefest, Beauty and the Beast, Simply Heavenly, Annie Get Your Gun, Paul Zerdin - , Hormonal Housewives, Doctor In The Blues Brothers, Acorn Antiques. the House, The Rise and Fall of Little Voice, Driving Miss Daisy (both in the UK and Australia), Finding Neverland (Curve Leicester). Miracle on 34th Street UK Tour, (Lubljanja festival), Siddartha The Musical ( Festival and World tour) Invincible (St James Theatre) Saturday Night DEWYNTERS Fever UK Tour, Harvey Birmingham Rep and UK Tour, History Theatre Marketing & Advertising Agency Boys UK Tour. McQueen (St James Theatre), Pig Farm (St James Theatre). Dewynters is a leading UK arts and entertainment agency with considerable expertise in theatre, visual Lee is Associate Producer and Head of Production on the arts, exhibitions, museums, opera, dance and music. In Olivier Awards held annually at House August 2008, Dewynters formed an international alliance and The UK Theatre Awards held annually with Spot Co, the premier theatrical agency in New York. at the Guildhall London. Dewynters’ clients include: Les Miserables, The Sound Of Music, Wicked, , , Mamma Mia and many Live events include Spanking New Music tours and live more. stages at The Great Escape and OxYgen festivals for MTV. Paolo Nutini live for VH1 and Global Gathering, Leeds Carnival and Leeds festival for BBC 1Xtra.

In Dec 2013 Lee was approached by an events company BORKOWSKI based in the middle east to project manage the bridal Public Relations celebrations for the Princess of the ruling family in Dubai. Since then Lee has worked on similar events for Royalty Mark Borkowski is a renowned PR consultant and in Abu Dhabi, Al Ain and Riyadh. publicist with 30 years experience, including over 20 years as head of his eponymous, multi-award winning agency. Lee’s Producer credits include: “The English Mystery Mark featured in PR Week’s list of the 25 most influential Plays” starring Sir Patrick Stewart “Snow White and figures in the PR industry alongside Alastair Campbell the Seven Dwarfs” Starring Claire King and Kathryn and Tim Bell. Kelly “Jack and the Beanstalk” starring Paul Shane and Lucy Evans. Economy of thought By Patrick McFadden. Clients in the art/ entertainment world have included The Immersive Theatre show “Heart Break Hotel” By Zoe Royal Albert Hall, The Bolshoi Ballet, The Kirov Ballet, Wellman. ’s The Dragon’s Trilogy - Lepage’s debut London production, The Three Tenors, Damien Hirst, Led Zeppelin, Michael Nyman, , Brian Eno and Laurie Anderson.

FRED JOHANSON Mark developed a global profile and launch strategy for Album Producer Michael Flatley, and created global launch strategies and platforms for three companies who subsequently became From Benny Andersson to and household names: Stomp, Delaguarda and Cirque du Soleil from musical theatre, song writing and film to domestic and international television, this multitalented ‘voice of Sweden’ is globally recognised through his work at Disney and from numerous advertising assignments.

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CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 15 15

Advisory Team

HARRIS & TROTTER LLP Accountants Chartered Accountants with specific expertise in the music and media industry. Established in 1940, the firm has grown to be experts in the field of media accounting, dealing with the intricate services of touring, royalty reporting and accounting, and corporate and personal taxation. Based in the , they have many years of experience with theatre productions.

JAMES WARE SCHOENFELD STEPHENSON LLP Lawyers Since the late 1970s, James Ware has been extensively involved in the music industry and with the protection and exploitation of intellectual property rights and ideas and related commerce. He has been a director of Virgin Records and was a Vice President of CBS Inc with responsibility for its European music publishing operations. Following a lengthy period as a partner at Davenport Lyons, he established his own boutique firm in Gray’s Inn in 2005, subsequently joining forces with Baxter Mackay Schoenfeld LLP to form his current firm. At the core of the firm is its expertise in copyright and the music and media industries, including extensive experience in musical theatre.

EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2013 EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2013

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CS5_Exposure_Prospectus_LO_11_3.indd 114-15 31/01/2013 16:32 31/01/2013 16:32 CS5_Exposure_Prospectus_LO_11_3.indd 14-15 31/01/2013 16:32 15 WORKSHOPS THE DEVELOPMENT STORY SO FAR

Already a substantial investment of blood, and tears, not to mention money, has gone into pre-production, to ensure the viable fulfilment of the dream. A series of successful workshops at 3 Mills Studios has led to a substantial following on social media with a strong celebrity fan base. It has been a challenging journey taking exposure from a concept to a revolutionary musical that will fuse state-of-the-art theatre technology with the raw power of a stadium rock concert.

Exposure The Musical is an Everyman’s/Everywoman’s (!) tale of love, loss, redemption and hope. Its music will make your soul dance. Its story will bring a sobering tear.

SHERIDAN SMITH Actress

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CS5_Exposure_Prospectus_LO_11_3.indd 14-15 31/01/2013 16:32 DEVELOPMENT WORKSHOPS

A series of workshops Camera Theatre Productions Ltd Producer has been held to refine David Newman Director the script and story. This included a workshop Belli & Belli Set Design presentation at the 3 Mills Lucie Pankhurst Choreography Studios, London, where it Lighting Design was presented to selected Tim Maple Musical Director guests, including theatre, Charles Olins Musical Supervisor music and media keyplayers. Britannia Row Live Sound Crosbie Marlow Associates Production Management The response was very exciting, prompting keen Cast interest in the show’s Sharon future due to its unique Jessie Wallace Patsy universal appeal and Kevin Wathen Jimmy freshness. This work in Charlie George Jimmy Jnr. progress has enabled us Joseph Alessi Miles Mason to obtain vital feedback Cornell John Editor from the audience. Ian Pirie Lecturer/tramp/demon Paul Baker Boogie We were fortunate to have Samuel Gough Matthew been able to present the Cameron Jack Hock workshop to such great Shiv Grewal Mr. K acclaim by featuring Harry Hepple Peter award-winning West End Sandra Marvin Di cast members and top Roger Dunklee Bob session-musicians. Jamie Lee Wilson Office Tart Sienna Gale Sharon Jnr. Throughout this Rohan Reckord Guboo: aboriginal development period, spirit guide - projection and through social media, Dancers Exposure has gained a Ben Dixon, Craig James, Caroline Jones, Seeta Patel, strong celebrity following. Joanna Rennie, Julia Siaz-Garcia

Live Band Simon Pearson Drums Malcolm Moore Bass Toby Cruise Keys Dave Holmes Guitars

Backing Vocals Claudia Kennaugh and Rita Campbell

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CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 THE MARKET IN FOCUS

Theatre in the West End is thriving, with the industry achieving unprecedented growth year on year. Part of this success is due to a surge of new musicals which have proved popular with a new younger, wider audience. One in every two of this new generation of first-time theatregoers was hungry for more and said they would come again. We feel that the time is right to give these audiences something relevant and exciting and to make Exposure The Musical the complete theatre experience that they will !

With this in mind have assembled a great creative and management team, combining established know-how with fresh talent to realise the dream of Exposure The Musical. Considerable investment and effort have already been put into pre-production to ensure that a well-honed, tried and tested product is ready for the market.

Today, everyone has a phone and everyone is a photographer. This is the perfect moment to present a show about the power of imagery.

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CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 London theatres break box office records with 14.6m golden tickets London’s major commercial and subsidised theatres have reported their 10th consecutive year of record box office takings, with more people visiting theatre in the capital in 2013 than ever before. Figures published by the Society of London Theatre – whose membership includes the 52 principal commercial and not-for- profit theatres in – revealed that:

Gross box office returns rose to more than £585 million, up 11% on 2012 Attendances also increased, by 4%, up to 14.6 million. The Government has now published the This means London box office receipts have more than doubled since the draft legislation for the new theatre tax turn of the century. In 2000, total box office across SOLT members was £286.6 million. relief together with the summary of responses to HM Treasury’s earlier According to SOLT, the results were down to the popularity of the shows on offer, with theatres reporting an improved percentage of tickets sold across consultation. The relief is largely as the year. Average theatre capacity achieved was 72.7% in 2013, up from previously announced and as of 69.21%. 1 September 2014 theatre producers are While the last few years of box office increases have been largely driven by able to access a payable tax credit of the performance of plays, 2013 proved a good year across the board, with musical and play attendances both up by 3%. Meanwhile, attendances at 20 – 25% of a production’s qualifying other entertainment events (covering opera, dance and other forms of core expenditure. performance) was up 12%. Big openings during the year that helped drive the record results included The Book of Mormon at the and Charlie and the Chocolate Factory at the Theatre Royal Drury Lane, which this week announced it had broken the record for the highest reported weekly gross sales, taking £1,080,260 in the week commencing December 30, 2013. Other highly successful runs included the Company at the Noel Coward, as the Queen in The Audience at the Gielgud and another strong year from the National Theatre. The average price paid for a ticket increased sharply from £37.86 in 2012 to £40.14 in 2013. This followed a dip in the average price paid in 2012. Notably, though, the difference between the price asked for a ticket and the price paid for a ticket has gone down – the average price asked was £47.66 in 2013 and £47.37 in 2012. This means that the margin (between price asked and price paid) reduced from 20% in 2012 to 15.5% in 2013. According to SOLT, this would suggest increased demand and a reduction in discounting across the industry in 2013. Broken down by genre, the average price paid for a play was £32.95 and the average price paid for a musical ticket in 2013 was £43.34. Other entertainment was £42.10. ALISTAIR SMITH, THE STAGE, 02.07.2014 EXPOSUREEXPOSURE \\\ \\\ TOXIC TOXIC FAME FAME ||| ||| f1.8 f1.8 f2.8 f2.8 f4 f4 f5.6 f5.6 f8 f8 f11 f11 f16 f16 f22 f22 |||| |||| | ||| || © ©Camera Camera Theatre Theatre Productions Productions 2016 2014 EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2013 19

CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 22 23

DESIGNDESIGN CONCEPTSCONCEPTS A NEW THEATRICAL LANGUAGE

OurThe designKnifedge team design is constantly team is constantly developing developing new methods new formethods visual for visual In partnership with the Getty Images team, Knifedge is developing a unique series of storytelling. Exposure is set to use a giddy combination of traditional theatrical techniques including ‘performative photography’ and ‘real-time app synchronisation’ techniques blended with state of the art technology, for a truly memorable which are set to make Exposure even more extraordinary. audience experience.

EXPOSUREEXPOSURE \\\\\\ TOXICTOXIC FAMEFAME |||||| f1.8f1.8 f2.8f2.8 f4f4 f5.6f5.6 f8f8 f11f11 f16f16 f22f22 |||||||| || |||| ©© CameraCamera TheatreTheatre ProductionsProductions 20162014 EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2014 20

CS5_Exposure_Prospectus_LO_11_3.indd 122-23 31/01/2013 16:32 31/01/2013 16:32 22 23

DESIGN CONCEPTS A NEW THEATRICAL LANGUAGE

The Knifedge design team is constantly developing new methods for visual In partnership with the Getty Images team, Knifedge is developing a unique series of storytelling. Exposure is set to use a giddy combination of traditional theatrical techniques including ‘performative photography’ and ‘real-time app synchronisation’ techniques blended with state of the art technology, for a truly memorable which are set to make Exposure even more extraordinary. audience experience.

© knifedge Thursday, 6 December 12

Thursday, 6 December 12

TOXIC FAME

© knifedge Thursday, 6 December 12 EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2014 EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2014 20 00

CS5_Exposure_Prospectus_LO_11_3.indd 22-23 31/01/2013 16:32

© knifedge Thursday, 6 December 12 EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2012

© knifedge Thursday, 6 December 12

© knifedge Thursday, 6 December 12 22 23

DESIGN CONCEPTS AA NEWNEW THEATRICAL THEATRICAL LANGUAGELANGUAGE

The Knifedge design team is constantly developing new methods for visual InIn partnership partnership with with the the Getty Getty Images Images team, team, our Knifedge designers is dev areeloping developing a unique series of storytelling. Exposure is set to use a giddy combination of traditional theatrical atechniques unique series including of techniques ‘performative including photography’ ‘performative and photography’‘real-time app and synchronisation’ techniques blended with state of the art technology, for a truly memorable ‘real-timewhich are appset tosynchronisation’ make Exposure which even aremore set extraordinary. to make Exposure the Musical audience experience. even more extraordinary.

EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2014 EXPOSUREEXPOSURE \\\ \\\ TOXIC TOXIC FAME FAME ||| ||| f1.8 f1.8 f2.8 f2.8 f4 f4 f5.6 f5.6 f8 f8 f11 f11 f16 f16 f22 f22 |||| |||| | ||| || © ©Camera Camera Theatre Theatre Productions Productions 2016 2014 23

CS5_Exposure_Prospectus_LO_11_3.indd 22-23 CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 24

Notice

The content of this promotion has not been approved by an authorised person within the meaning of the Financial Services and Markets Act 2000 (FSMA 2000) . Reliance on this promotion for the purpose of engaging in any investment activity may expose an individual to a significant risk of losing all of the assets invested.

IF YOU ARE IN ANY DOUBT ABOUT THE ACTION YOU SHOULD TAKE OR THE CONTENTS OF THIS DOCUMENT YOU SHOULD YOUR STOCKBROKER, SOLICITOR, ACCOUNTANT, BANK MANAGER OR OTHER PROFESSIONAL ADVISOR AUTHORISED UNDER THE FSMA 2000 WHO SPECIALISES IN ADVISING ON INVESTMENTS OF THE KIND TO WHICH THIS DOCUMENT RELATES.

This investment opportunity does not fall under the definition of a Collective Investment Scheme as defined in the FSMA 2000.

Furthermore, this document is exempt from the general restriction contained in section 21 of the FSMA 2000 relating to the communication of invitations or inducements to engage in investment activity. In issuing this document, the Producer is relying on articles 48, 49, 50A and 51 of the FSMA 2000 (Financial Promotion) Order 2005 (“the Financial Promotion Order”). Details of these exemptions are set out in the section of this document entitled “Financial Promotion Order” on page 33. Applications from persons not falling within such exemptions will not be accepted by the Producer and the offer contained in this document is not capable of acceptance by any such person.

This document is private and confidential and is for private circulation only to the named recipient. If you are not that person, please return it to the address set out below. Document issued by: Camera Theatre Productions Ltd 64 New Cavendish Street London W1G 8TB

The following summaries of estimated production costs, running costs, potential income and possible recoupment and profit schedules are for illustration purposes only and are not to be considered as a forecast. They are given in the best knowledge available to the Producer at the time of writing and are subject to contract.

CS5_Exposure_Prospectus_LO_11_3.indd 24-25 24

FINANCIAL ARRANGEMENTS

The Production requires a capitalisation of £3,022,855* of which £330,440 will be paid in returnable bonds, deposits and advances and £726,500 will be allocated to advertising and marketing. £275,000 will be held as a reserve to support the production in its infancy. The recoupable capitalisation is £1,670,920, excluding the reserve. * Under the current budget and scale – this may be reducible as outlined in the next paragraph

The investment agreements for the Production will be based on a mini/ max arrangement requiring a minimum capitalization of £2,567,528 (in the event that the capital costs can be reduced or the Producers feel confident in reducing the reserve) and a maximum amount of £3,022,855.

Financial projections are based on a scenario where following a successful launch at the St. James Theatre, London the Producers secure, for example, the (one of the West End houses being investigated by the Producers) as the theatre for Exposure The Musical, and on the assumption that the Production will open in the 2018 season.

In the event that the first public performance of Exposure The Musical in the West End of London has not taken place by 1st January 2019, the Producers will repay to investors the remaining balance (if any) of their investment, after allowing for expenditure incurred up to that point.

The costs of the St. James production will fall within the total capitalisation.

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CS5_Exposure_Prospectus_LO_11_3.indd 24-25 CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 SUMMARY OF COSTS PRODUCTION COSTS ST. JAMES WEST END Investment Investment Physical Production £184,000 £151,000 Top Line Creative Fees £33,500 £31,000 Sub Creative Fees £10,600 £3,800 Production Fees £33,000 £62,000 Advertising and Publicity £64,000 £662,000 Cast Salaries £29,546 £32,239 Orchestra Salaries £11,000 £5,500 Staff £22,450 £26,800 Travel, Accommodation & Subsistence £0 £0 Casting & Auditions £5,500 £0 Rehearsal & Pre-Production Expenses £17,536 £9,000 Theatre Expenses £0 £104,000 General & Administrative £35,700 £88,750 Reserves & Contingencies £0 £0

Total Production Costs £446,832 £1,174,489 £1,621,321

Upfront Payments - 8 weeks £21,600 £195,000 Reserves & Contingencies £87,580 £296,777 SOLT Bonds £28,000 £106,000 Theatre Deposit £26,000 £250,000

VAT Cashflow @ 20% £83,287 £333,290 £416,577

CAPITALISATION Ex VAT £584,012 £2,022,266 £2,606,278

TOTAL CAPITALISATION £667,299 £2,355,556 £3,022,855

RUNNING COSTS ST. JAMES THEATRE Physical Production £4,100 £17,000 Top Line Creative Fees £0 - Sub Creative Fees £600 £1,600 Production Fees £300 £300 Advertising and Publicity £4,300 £26,117 Cast Salaries £8,221 £20,973 Orchestra Salaries £4,900 £5,850 Staff £6,950 £10,700 Travel, Accommodation & Subsistence £0 - Casting & Auditions £0 - Rehearsal & Pre-Production Expenses £0 - Theatre Expenses £16,000 £52,000 General & Administrative £3,700 £5,750 Amortisation - £25,000 TOTAL WEEKLY RUNNING COSTS £49,071.80 £165,290

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CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 Royalty Pool Arrangement West End Figures

Royalties will be operated in a pool arrangement to protect Exposure The Musical when playing close to, or below, the weekly break-even point and also to help the Production recoup its costs sooner. The pool participants will share in 25% of the weekly operating profits prior to 100% recoupment of the capitalisation and 30% of the weekly operating profits thereafter. The following is a royalty pool example, which is for illustration purposes only and is subject to change:

Weekly Royalties: Points % Pool Music, Lyrics and Book 6.00 30.00 Creative Team 10.00 50.00 General Manager 1.00 5.00 Camera Theatre Productions Ltd 3.00 15.00 TOTAL 20.00 100.00%

To hasten recoupment of the capitalisation, a sum not exceeding £25,000 will be amortised weekly and will be included in the fixed weekly costs for the purposes of the calculation of royalties over the initial booking period, until 100% of the capitalisation has been recovered.

Camera Theatre Productions ltd. will receive a 3.00 point royalty in the royalty pool, a contribution of up to £200,000 towards the substantial development expenses incurred thus far in producing the show and an office charge of £28,000 prior to opening and £1,000 per week from the first full week of public performances. Weeks of less than eight performances will be paid pro-rata.

Up to the point of recoupment all profit, net of royalties, will be returned pro-rata to investors. Thereafter, investors will be entitled to their pro-rata share of 60% of the adjusted net profits of the Production’s box office takings.

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CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 THE BIGGER PICTURE WEST END POST-RECOUPMENT WEEKLY POTENTIAL

Best Case These figures are based on: Most Likely • Post-recoupment scenario • An average weekly capacity of 10,784 • A £69.50 top ticket price • Fixed weekly rent and contra of £49,500 • Pre-recoupment fixed weekly expenses of £140,290 (exc. Amortisation) • Post-recoupment fixed weekly expenses of £150,290 • A 30% royalty pool (25% prior to recoupment)

Net Box Office Royalties (30%) Profit 100% £457,487 £92,159 £215,038 90% £457,487 £78,434 £183,014 75% £343,115 £57,848 £134,978

Following recoupment of the capitalisation, investors will be entitled to a pro-rata share of 60% of the Producers net profit of the Production’s box office takings

Guide weekly investor split.

Occupancy On the basis of a 100% £129,022.80 60% share, as above 90% £109,808.40 75% £80,986.80

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CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 Post Recoupment West End Investor Return Potential

The table below indicates the Investment return following recoupment of an investment of £100k, which equates to 3.308% of the capitalisation of £3,022,855.20

100K 4 WEEKS 12 WEEKS 52 WEEKS 100 WEEKS 3.308% £10,716.16 £32,148.48 £139,310.08 £278,620.16

These Net Profit figures are based upon a 75% audience capacity and assume a traditional 60/40 split of the profits between Investors and Producers, post recoupment.

This means that for every £100,000 invested, the potential return to the investor, based upon the assumptions above, will be circa 139% per annum, but the original investment will have been returned, in full, to the investor, within 8 to 12 weeks of the Opening Night, depending upon actual audience capacity

The suggested Minimum investment is £25,000.00 Investments will be taken in multiples of £25,000.00 Our accountants will prepare four weekly accounts for distribution to Investors. The Production can run on a weekly basis at 40% on NET Capacity based upon the Shaftesbury Theatre

*These figures are subject to size of theatre and ticket prices.

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CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 FINANCIAL PROMOTION ORDER

This document is exempt from the general restriction on the communication of invitations or inducements to engage in investment activity in Section 21 of the Financial Services and Markets Act 2000 (FSMA 2000) on the grounds that it is only made to or directed at persons of the kind described below and the investment or investment activity to which the document relates is available only to and will be engaged in only with such persons:

(A) Those described in Article 48 of the FSMA 2000 (Financial Promotion) Order 2005 (as amended) (“the Order”), being Certified High Net Worth Individuals where at least one of the following applies:

(i) They have had, during the immediately preceding financial year, an annual income to the value of £100,000 or more; or

(ii) They have held, throughout the immediately preceding financial year, net assets to the value of £250,000 or more. Net assets for these purposes do not include:

(a) The property that is their primary residence or any loan secured on that residence;

(b) Any rights under a qualifying contract of insurance with the meaning of the FSMA 2000 (Regulated Activities) Order 2001; or

(c) Any benefits (in the form of pensions or otherwise) which are payable on termination of service or on death or retirement and to which they are (or their dependents are) or may be, entitled;

(B) Those described in Article 49 of the Order, being High Net Worth Companies and Unincorporated Associations and High Value Trusts;

(C) Those described in Article 50A of the Order, being Self-Certified Sophisticated Investors where at least one of the following applies:

(i) They are a member of a network or syndicate of business angels and have been so for at least the previous six months; or

(ii) They have made more than one investment in an unlisted company in the previous two years; or

(iii) They are working, or have worked in the previous two years, in a professional capacity in the private equity sector, or in the provision of finance for small and medium enterprises or

(iv) They are currently or have been in the previous two years, a director of a company with an annual turnover of at least £1 million; or

(D) Those described in Article 51 of the Order, being associations of High Net Worth or Sophisticated Investors.

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CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 IMPORTANT NOTICE

Neither the Producers nor indication of one possible Production is indefinitely its affiliates, subsidiaries, outcome if all the postponed, the Producers will officers, employees, agents, assumptions are attained. only return to investors a pro advisers or representatives, No warranty, representation rata amount of unspent funds. nor any person named or or inference as to the future referred to herein (together success or performance 3. Income from an investment called the “Affiliates”), make of the matters described in the Production may any representation or give in this document is made fluctuate in money terms any warranty or indemnity by the Producers or any of depending on the degree of or undertaking, express or its affiliates nor should be box office success. There is no implied, with respect to the inferred from the illustrative recognised market for such truthfulness, accuracy or financial forecasts or investments and they are not completeness of the contents any other section of this transferable. of this document or any document. other documents or written 4. Investors will not have or oral information supplied The following risk factors any rights against any of the at any time to any recipient are drawn to the attention of Producer’s assets other than nor does any such person prospective investors in the of or from the Production. accept any responsibility of Production: Investments in the Production whatsoever nature for the will not be covered by any information, statements and 1. Theatre production is an compensation scheme. opinions made or expressed inherently risky business. in this document or for any Investment in a theatre No offer of investment set out omissions therefrom nor production involves a higher in this document is calculated shall they be liable for any level of risk than most other to result, directly or indirectly, loss or damage of whatsoever financial transactions and in such investment becoming nature relating in any way to there is no probability, available for subscription or or arising from this document but only a possibility, that purchase by persons other or to any such information, investors will get back the than the person to whom this statements, opinions or amount they invest. Investors document has been given. omissions or in consequence should not invest more than of any reliance placed on this they are prepared or can document. afford to lose.

In particular, none of the 2. If for any reason the information in this document Production does not recover or its attachments, including any of its production costs any illustrative financial the whole investment will projections (together be lost. If only a proportion called the “Projections”), of the production costs are constitutes a profit forecast recovered, only an equivalent or a prediction. Such proportion of the investment information is included for will be repayable. If for any illustrative purposes only. Any reason, the Production does projections seek to give an not open, including if the

EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 30 31

CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 PROCEDURE FOR INVESTMENT

Applicants for investment (“Applicants”) are encouraged to submit their applications early in order to be confident that their applications will be successful. Applications must be made on the form on page 37 (‘The Application Form’). Photocopies of the Application Form are not acceptable.

By completing and delivering an Application Form each Applicant:

1. Pledges to invest a specified amount in Exposure West End Limited for the forthcoming production of EXPOSURE - THE MUSICAL (with a minimum investment of £25,000).

2. Acknowledges that the Production may be oversubscribed and in, that instance will be offered any investment level that may be available which the Applicant may choose to take up (but with no obligation to do so).

3. Confirms that in making the application to invest he/she is not relying on any information or representation in relation to the Producer or the Production other than the information contained herein.

4. Agrees that having had the opportunity to read this document, he/she shall be deemed to have had notice of all information and representations concerning the Producer and the Production contained therein;

5. Warrants that he/she is 18 years of age or older.

6. Warrants that he/she is a person to whom any of regulations 48, 49, 50A and 51 of the Financial Promotion Order applies;

The Producer will confirm details of an Applicant’s investment in writing as soon as possible following receipt and acceptance of the Application Form. If the investment opportunity is oversubscribed, the Producer will provide details of any refund of all or any part of the Applicant’s desired investment

Money Laundering Regulations

It is a condition of the offer to invest contained in this document that to ensure compliance with the Money Laundering Regulations 2007 as amended, updated, replaced or superseded from time to time, the Producer may in its absolute discretion require verification of identity from any Applicant and, without prejudice to the generality of the foregoing, in particular any person who tenders payment by way of cheque or bankers’ draft drawn on an account in the name of a person or persons other than the Applicant.

Where possible, Applicants should make payment by their own cheque. If a third party cheque or bankers’ draft is used, the Applicant should:

(a) write his/her name and address on the back of the draft or cheque and in the case of an individual, record his/her date of birth against his/her name; and

(b) ask the bank to endorse on the reverse of the draft or cheque the full name and account of the person whose account is being debited and stamp such endorsement.

EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 32

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INSTRUCTIONS FOR COMPLETION OF THE APPLICATION FORM

The following instructions should be read in conjunction with the Application Form:

1. Please complete the Application Form with your name, address and date of birth in block capitals.

2. Please include the amount of your desired investment in indicated.

3. Please sign the form in the presence of a witness. Both you and the witness should date the form where indicated.

4. Please sign and date either the Statement for execution by Certified High Net Worth Individuals (page 38 of this document or the Statement for Execution by Self-Certified Sophisticated Investors (page 39 of this document) as applicable and return this, together with the completed and signed Application Form and a cheque or bankers’ draft made payable to Exposure West End Limited for the amount of your desired investment to the address shown on the Application Form.

5. If you wish to pay by bank transfer, please indicate this on the Application Form and use the Production bank details provided.

EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 32 33

CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 STANDARD INVESTMENT FORM Please print out and fill in the relevant sections and return your cheque* made payable to Exposure West End Ltd to c/o Neville Newman, Harris & Trotter LLP, 64 New Cavendish Street, London, W1G 8TB.

Please accept this as my pledge to invest in Exposure West End Ltd for the forthcoming production of EXPOSURE THE MUSICAL – (With a guidance minimum investment of £25,000.

I understand that the production may be oversubscribed, and, in that instance, I will be offered any investment level that may be available which I may choose to take up, but am under no obligation to do so.

Confirmation of my actual investment will be detailed to me in writing as soon as possible, and/or details of any refund of all or part of my desired investment herein if the opportunity is oversubscribed. I understand that the enclosed cheque* may be cashed immediately after receipt to the benefit of Exposure West End Ltd. If my investment committed verbally does not arrive in the Exposure West End Ltd. bank account within 7 days of request from the Producers, I will have forfeited my chance to invest. I can, however, reapply.

• If you wish to make a direct bank transfer please use the following details. Please note: this form will still need to be held on record, so please fill in and send to the given address.

Account Name: Exposure West End Ltd Account Number: 04316789 Sort Code: 18-00-02 SWIFT: coutgb22 IBAN: gb91cout18000204316789 Reference: Your initial and surname

Signed ...... Print name ......

Date ...... Date of Birth ......

Your full name ......

Your address ......

City ………………………………………... County ………………..…………………… Postcode ......

Tel no ...... Email ......

In the presence of

Signed ...... Print name ......

Date ......

Please ensure that you have completed all the sections above. If investing under a group, please list both your name and the group name.

Accountants: Harris & Trotter LLP, 64 New Cavendish Street, London, W1G 8TB

Your bank account details for fund transfer – please note, these will be held by the accountants.

Your full name ...... Your bank ......

Bank Address ......

Your Account No …………………………Sort Code ...... IBAN (if appropriate) ……………………....……

Signed for and on behalf of Exposure West End Ltd

The Executive producer Mike Dyer, would like to extend his personal thanks for you support and investment in Exposure The Musical.

EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 34

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STATEMENT FOR CERTIFIED HIGH NET WORTH INDIVIDUAL Notes: Before signing the certificate below it is vital that you have read this document in full and in particular the section of this document entitled Financial Promotion Order on page 33.

Provided that you meet the criteria set out in the statement below, please sign and date the statement and return it with your Application form and remittance in accordance with procedure for investment set out in this document.

I declare that I am a certified high net worth individual for the purposes of the Financial Services and Markets Act 2000 (Financial Promotion) Order 2005.

I understand that this means:

1.1.1 I can receive financial promotions that may not have been approved by a person authorised by the Financial Conduct Authority;

1.1.2 the content of such financial promotions may not conform to rules issued by the Financial Conduct Authority;

1.1.3 by signing this statement I may lose significant rights;

1.1.4 I may have no right to complain to either of the following:

1.1.4.1 the Financial Conduct Authority; or

1.1.4.2 the Financial Ombudsman Scheme;

1.1.5 I may have no right to seek compensation from the Financial Services Compensation Scheme.

I am a certified high net worth individual because at least one of the following applies:

1.1.6 I had, during the financial year immediately preceding the date below, an annual income to the value of £100,000 or more;

1.1.7 I held, throughout the financial year immediately preceding the date below, net assets to the value of £250,000 or more. Net assets for these purposes do not include:

1.1.7.1 the property which is my primary residence or any loan secured on that residence;

1.1.7.2 any rights of mine under a qualifying contract of insurance within the meaning of the Financial Services and Markets Act 2000 (Regulated Activities) Order 2001; or

1.1.7.3 any benefits (in the form of pensions or otherwise) which are payable on the termination of my service or on my death or retirement and to which I am (or my dependants are), or may be, entitled.

I accept that I can lose my property and other assets from making investment decisions based on financial promotions.

I am aware that it is open to me to seek advice from someone who specialises in advising on investments.

The Executive producer Mike Dyer, would like to extend his personal thanks for you support and investment in Exposure The Musical. Signature Date

EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2016 34 35

CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 CS5_Exposure_Prospectus_LO_11_3.indd 1 31/01/2013 16:32 STATEMENT FOR EXECUTION BY SELF-CERTIFIED SOPHISTICATED INVESTORS Notes: Before signing the certificate below it is vital that you have read this document in full and in particular the section of this document entitled Financial Promotion Order on page 33.

Provided that you meet the criteria set out in the statement below, please sign and date the statement and return it with your Application form and remittance in accordance with the procedure for investment set out in this document.

I declare that I am a Self-Certified Sophisticated Investor for the purposes of the Financial Services and Markets Act (Financial Promotion) Order 2005.

I understand that this means:

(a) I can receive financial promotions that may not have been approved by a person authorised by the Financial Conduct Authority;

(b) the content of such financial promotions may not conform to rules issued by the Financial Conduct Authority;

(c) by signing this statement I may lose significant rights;

(d) I may have no right to complain to either of the following:

(i) the Financial Conduct Authority; or

(ii) the Financial Ombudsman Scheme;

(e) I may have no right to seek compensation from the Financial Services Compensation Scheme.

I am a Self-Certified Sophisticated Investor because at least one of the following applies:

(i) I am a member of a network or syndicate of business angels and have been so for at least the last six months prior to the date below;

(ii) I have made more than one investment in an unlisted company in the two years prior to the date below;

(ii) I am working, or have worked in the two years prior to the date below, in a professional capacity in the private equity sector, or in the provision of finance for small and medium Enterprises;

(iii) I am currently, or have been in the two years prior to the date below, a director of a company with an annual turnover of at least £1 million.

I accept that I can lose my property and other assets from making investment decisions based on financial promotions.

I am aware that it is open to me to see advice from someone who specialises in advising on investments.

Signature Date

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THE LONG SHOT FUTURE PRODUCTIONS

Camera Theatre Productions Ltd. intends to mount further productions of Exposure The Musical on Broadway and beyond. Investors in the ‘flagship’ West End version will be given exclusive, first refusal in any such future capitalisations, to at least the same percentage as their original contribution.

Investments or contributions received from investors will be treated on a first come, first served basis, at the discretion of the Producer and any contributions received after Exposure The Musical is capitalised in full will be returned.

I hate musicals but this one is very, very interesting.

JOHN HURT Actor

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EXPOSURE \\\ TOXIC FAME ||| f1.8 f2.8 f4 f5.6 f8 f11 f16 f22 |||| | || © Camera Theatre Productions 2013

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