Me and the Oresteia - we go way back. I remember seeing Peter Hall's masked production at the National way back in the early 80s. I remember an incredible score by Harrison Birtwistle and, I was so knocked out by Tony Harrison's incredible translation I bought my own copy of it. Not a year has gone past where I don't pick it up.
Delighted to have been asked into the Globe rehearsal room to shoot a new version of the play, by the young writer Rory Mullarkey. It's directed by one of the nicest directors I've ever worked for, Adele Thomas. Unfortunately I can't shoot the production on this one as I'm getting married on the same day as the dress. Good luck to them. Good luck to me. Good luck to us all.
A little while back I shot Thomas Tallis and Knight of the Burning Pestle for the lovely director Adele Thomas, at Shakespeare's Globe. She's mounting a new production of The Oresteia this month. Unfortunately I'm going to be off on my nuptials for the production shoot, but I've just been asked to take the rehearsal shots - which is nice. I'm having something of a Greek summer.
I remember seeing the play, all 7 hours of it, at the NT back in the early 80s. The cast were masked up and chanting their way through an incredible Tony Harrison adaptation. I'm really looking forward to hearing and seeing this new adaptation.
*** Incidentally, I have a rather secretive shoot taking place in a couple of days. It will truly count as one of the most surreal afternoons I've ever had with a camera. Can't wait to share the results.***
The Sam Wanamaker Playhouse has turned into the perfect venue for a chamber play with music. The space offers intimacy and great acoustics. A new play by Nick Drake charts the inception of Handel's Messiah - it features the wonderful David Horovitch as the composer. Sean Campion and Kelly price co-star. Jonathan Munby is the director.
First summer show at the Globe, despite there not being much sun or warmth to speak of. Anyway, a great production of Measure for Measure is about to open – and here is a small selection of the shots I took.
For those people who follow this blog, you'll know that I spend a fair amount of time at the Sam Wanamaker Playhouse at Shakespeare's Globe. Looks as though that won't change in the near future.
I am delighted that Shakespeare's Globe have booked me for four big Shakespearean shoots in the candlelit space. The outgoing artistic director, Dominic Dromgoole takes directing duties on The Tempest with personnel news to follow on the other three: Pericles, Cymbeline and The Winter's Tale.
Back to the Globe in July for a new production of Helen Edmundson's play The Heresy of Love. No cast announced yet.
Last week I travelled to Northampton to shoot a new production of Shakespeare's King John, directed by James Dacre. It's staged by Royal & Derngate in a co-production with Shakespeare's Globe and will open in the main house later this year. Before that it plays at a rather unique venue, and that's where I took the following production photos.
The production was staged at the Holy Sepulchre, a Norman church in the centre of Northampton. Once again, I found myself shooting by candlight, with only a couple birdies offering a little more ambient light. You'll also notice that the production has been staged on a traverse and so access to the action was a little limited. Still, I was pretty happy with the results.
The excellent Jo Stone-Fewings plays the King. And the more eagle-eyed among you will spot the lovely Joseph Marcell, who is perhaps best known for playing Geoffrey Butler in The Fresh Prince of Bel-Air.
Now it can be told...
Shakespeare's Globe have gone public with production shots from Caroline Steinbeis's production of The Broken Heart by John Ford. Here's a selection of what audiences have in store. Great costumes in this production: classical Greece by way of Alexander McQueen and John Galliano.*
* I have absolutely no idea what I'm talking about.
Here are some shots I took for the very enjoyable Farinelli and the King at the Globe. It's written by Claire Van Kampen and stars Mark Rylance. It was announced today that it will transfer to the Duke of York's later in the year. It deserves to.
As far as I'm concerned when the Globe announces its summer season, winter's done. Delighted that I've been pegged for Measure for Measure. Artistic director Dominic Dromgoole takes the reins for this one. No casting details yet. Always fun to see who gets to play Angelo.
Opera time. The Royal Opera House's director of productions Kasper Holten returns to Shakespeare's Globe to direct this chamber piece. I was there to shoot the company's first run through onstage.
The Sam Wanamaker at Shakespeare's Globe has become a second home over the past year. Always a challenge working in this murkiest of spaces, trying to capture some of the most atmospheric productions on the London stage. The Changeling is one of the best productions I've seen in this space. Claustrophobic, tense and rather terrifying. Main roles were taken by Hattie Morahan and Tristram Gravelle.
January has been way busier than anticipated and so the blog updates have been somewhat quiet of late. That's about to change. First up: I shot the revival of Knight at the Burning Pestle at Shakespeare's Globe. A total hoot of a production. It was great working with director Adele Turner again and, hopefully, it won't be the last time.
Delighted to have photographed two of my 'old favourites'; Pauline McLynn and the great Phil Daniels.
Back to the Globe for a new production of Thomas Middleton's The Changeling. It's good to be back in the theatrical swing of things after having wrapped on Genius a couple of weeks ago. More on that later.
I'm about to post up some shots from Knight of the Burning Pestle, which I took just before Christmas. Immense fun, that show.
Slapstick works well at Shakespeare's Globe. This new production of The Comedy of Errors, directed by Blanche McIntyre, is full of it - and the audience laps it up. It's one of those perfect Globe shows were there's a very special and direct connection between audience and performers. No other venue can create that interaction.
Sensibly, the Globe chose images that give very little away. It's a show that doesn't fight shy of giving comedy props their full due. If you want to see them, you'll have to make your way to Bankside. In the meantime, here's a selection of some of the 'quieter' moments in this bonkers and very fun production.
Further to last week's blog on the wonders of shooting in the Royal Victoria Patriotic Building - here's evidence that I was there. It's a new production of The Comedy of Errors, directed by Blanche McIntyre and the production shoot takes place in a couple of weeks. Choreographer Georgina Lamb put the company through their paces.
I've had a busy year at Shakespeare's Globe and that's just how I like it. My next shoot is The Comedy of Errors, directed by Blanche McIntyre. No candles this time, as it's in the main theatre. A good few familiar faces from the recent MGC season including Brodie Ross, Stefan Adegbola and James Laurenson.
As part of production photography duties at the Globe, you get the chance to shoot the show during an actual performance. I've done a few of these now and these shoots require real stealth, speed and the ability to be sensitive to the actors and the audience. I like to spend most of my time in among the groundlings - that's where this shot was taken. The play is Holy Warriors and it's by David Eldridge. James Dacre is the director. It's where the real action takes place and it also provides the best angles. One of the lesser known benefits of shooting at these events are that you get to wear a rather fetching gilet. No photograph exists of me wearing it - which is a good thing.
It's not often you get the chance to shoot in a space like no other. The Sam Wanamaker Theatre at Shakespeare's Globe is a Jacobean-style indoor, candlelit theatre and for the next few days only, it's the home of a new play called Thomas Tallis. I was thrilled to be asked to take the production shots for this show, as I've been wanting to crash this venue for a while now.
It boasts a rather fine acting company and the breathtaking talent of the early music ensemble The Sixteen. It's written by Jessica Swale and directed by Adele Thomas.
No two ways about it, when it comes to a technical challenge, Thomas Tallis pushed me about as far as I've ever been pushed. Most of the show is lit by the actors themselves with handheld candles. When I walked into the auditorium I got way too over-excited at the light thrown by the hanging candelabras (pictured top). Unfortunately those candles get snuffed out before the end of the first act - and it's chiaroscuro all the way after that. Adele mentioned to me that Caravaggio was a visual inspiration. She nailed it. It's quite stunning to look at.
I love the sort of job where something new is asked of you. This was one of those jobs.
You can check out more of the shots here.