From Waitress to The Music Man, Daniel gives Playbill an inside look at some of his favorite shots.
Charity Angél Dawson, Sara Bareilles, and Caitlin Houlahan in WaitressJeremy Daniel
By nature, theatre is ephemeral. But with production photography, a show can last long after it has closed and reach audiences far beyond the auditorium. Especially with so many moments to capture, in a just a few images, theatre photography not only immortalizes the artistry behind a show, it helps to solidify the identity of an entire production for years to come. Playbill caught up with Broadway photographer Jeremy Daniel about why he loves creating production photography, his favorite memories behind his shots, and what he looks for in creating a great image.
"I started out on Broadway as a publicist. 'Started out' may be a little inaccurate, because I actually did it for more than 15 years. But in those years, one of my most favorite experiences on each new show was pouring through the production photos. Getting a fresh batch of 35mm slides or CD-ROMs (this was the early 2000s!) via bike messenger from Joan Marcus or Carol Rosegg was glorious! I couldn’t wait to see what they captured, and to get a first-hand, unfiltered look at their incredible work. That taught me so much. And it was such a great time, working with the team to choose the collection of photos that perfectly captured the essence of the show—the photos what would ultimately define the show in the public eye. That’s something I carry with me today."
"My approach as a production photographer is two-fold. Not only do I want to capture images that will compel ticket buyers and exhibit the incredible artistry of our community, but I also want images that will resonate with audience members, long after they’ve left the theatre."
Check out Daniel’s favorite photos as he reflects on his experience creating them!
Broadway Photographer Jeremy Daniel’s 17 Favorite Production Photos
Broadway Photographer Jeremy Daniel’s 17 Favorite Production Photos
17 PHOTOS
"[Chicago is] the first Broadway show I ever shot. It’s the show that launched my career as a production photographer. I’ve shot Chicago at least 200 times in the past decade (no joke)! One night a few years ago, I thought it might be worthwhile to abandon the traditional front-of-house photography and shoot from the wings instead. Halfway through “All That Jazz,” there’s a brief transition between verses, where Velma Kelly begins the “Fosse walk” and separates herself from the rest of the ensemble. It was then that Amra-Faye Wright suddenly pivoted and locked eyes with the camera, just for a split second. A little moment of unplanned magic, and now one of my all-time favorite shots. And if you look carefully, on the far-left side of the image, blurry in the foreground, you can see a piece of Roxie Hart’s “Funny Honey” ladder, tucked away behind the proscenium." (Amra-Faye Wright in Chicago)
Jeremy Daniel
"Million Dollar Quartet was the first Broadway national tour to hire me as the production photographer. It holds such a special place in my heart. It taught me a lot in those early years. More than anything, it taught me versatility. Thanks to Million Dollar Quartet, I learned how to walk into any theatre, in any city across the U.S., and quickly figure out how to photograph in it. It was a series of fabulous lessons—the kind you only learn by doing." (Cast of Million Dollar Quartet national tour)
Jeremy Daniel
"Alan Cumming’s one-man Macbeth was a piece of unforgettable theatrical brilliance, directed by the genius John Tiffany. Many of my friends find this particular shot super-creepy [with the] sinister lighting design by Natasha Chivers. I absolutely love it. Fun fact: This particular photo was only used once, as an exclusive in a Wall Street Journal feature story. Other than that, it’s never been seen. 'Til now!" (Alan Cumming in Macbeth)
Jeremy Daniel
"This national tour of Peter Pan was a first for me. It was staged in a massive purpose-built tent, sort of Cirque du Soleil style, with incredible 360-degree projections that blew my mind. It was performed in the round, so the projections completely encircled the onstage cast and the audience. It was thrilling." (Cast of Peter Pan 360)
Jeremy Daniel
"[The Play That Goes Wrong was] hands down, one of the most joyous experiences I’ll ever have as a production photographer. The show is unapologetically bonkers, and even after countless photo shoots over the past four years—Broadway, Off-Broadway and two national tours—it’s still an absolutely blissful gig. The folks at Mischief Theatre are brilliantly mad (that’s the British “mad,” not the American mad), and I’m such a fan of their comedic style. In fact, since we’ve been stuck at home during COVID-19, my husband and I have diligently scoured the Internet to find more of their onstage insanity. In times like these, it’s well worth the effort." (Nancy Zamit and Jonathan Sayer in The Play That Goes Wrong)
Jeremy Daniel
"Williamstown Theatre Festival is such a unique experience. Their season is a fast-paced, timed-to-the-minute operation. With seven full productions performed on just two stages in a span of less than two months, everyone has to operate at the top of their game. This shot from last summer’s production of A Raisin in the Sun, directed by Robert O’Hara, is one of my favorites. S. Epatha Merkson’s breathtaking interpretation of Lena Younger is truly unforgettable." (S. Epatha Merkerson and Francois Battiste in A Raisin in the Sun)
Jeremy Daniel
"I can’t say enough about Ensemble Studio Theatre. While maybe unassuming on the surface, they’re a spectacular theatrical powerhouse in the Off-Broadway landscape. To me, this shot from their 2019 production of Charly Evon Simpson’s Behind the Sheet exhibits EST’s truly brilliant artistry. Stunning lighting design by Adam Honoré. Colette Robert directed this deeply haunting production. Folks: Keep an eye on her. Seriously." (Naomi Lorrain and cast ofBehind the SheetJeremy Daniel
"American Pyscho was an exhilarating show to capture—a flood of rich colors and glorious projections, all constantly changing. And particularly remarkable, since it was an all-white set design. But so sleek, sharp, and sophisticated. I recall there were quite a debate on how much blood and gore to include in the photo selects. I’m thrilled we landed on this one. I love a photo that elicits questions." (Benjamin Walker in American Psycho)
Jeremy Daniel
"Too Heavy For Your Pocket was a stunning production, directed by Margo Bordelon, that made such brilliant use of Roundabout’s underground black box theater. It was hard to choose just one photo from this show. I landed on this one because, as audience members, when we watch live theatre our focus can shift anywhere on the stage however we need it. In a still photo, the viewer isn’t always afforded that luxury. Sometimes, the photographer need to guide the viewer’s eye. Focusing on the background instead of the foreground gives this viewer a completely different experience." (Brandon Gill and Eboni Flowers in Too Heavy For Your Pocket)
Jeremy Daniel
"I mean, c’mon… I got to shoot Sara Bareilles’ Broadway acting debut, starring in the musical that she wrote? COME ON" (Charity Angél Dawson, Sara Bareilles, and Caitlin Houlahan in WaitressJeremy Daniel
