Brenner reflects on some of his favorite theatre photos including Caroline, or Change;Doctor Faustus with Kit Harrington; and more.
Sharon D.Clarke in Caroline, or ChangeMarc Brenner
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, but also helps to solidify the identity for an entire production for years to come. Playbill caught up with London-based theatre photographer Marc Brenner about why he loves creating production photography, his favorite memories behind his shots, and what he looks for in creating a great image.
“Despite the variety of productions I’ve covered, it’s the same challenge on every shoot. Create a set of images that capture the mood and tempo of the work—and, yes, images that makes an audience want to go and see it. As a production photographer, you’re trying to fulfill three roles—artist, documentarian, and marketeer—you want the shot to be creative, truthful to the spirit of the piece, and ultimately tantalizing. When you nail all three in one shot, there’s no better feeling.
"For me, at this time, looking through old production images is a bittersweet experience. Images that are supposed to celebrate what we had have only become reminders of what we’ve lost. The color. The energy. The life. It’s a poorer world without this creative expression. Here’s to when we can meet again in the rehearsal room and auditorium. Here’s to new work. New images.”
Check out Brenner’s favorite photos as he reflects on his experience creating them.
Check Out London-Based Theatre Photographer Marc Brenner's 21 Favorite Production Shots
Check Out London-Based Theatre Photographer Marc Brenner's 21 Favorite Production Shots
21 PHOTOS
"I’ve worked with Jamie [Lloyd] perhaps more than any other director. He’s incapable of putting a mundane image on stage. Keeping up with the sheer volume of stage pictures in this reinvention of Evita was the challenge. Being a sucker for an action shot, I was quietly satisfied with this one. All credit to the paint for arranging itself so pleasingly." Samantha Pauly and Trent Saunders in Evita at Regent’s Park Open Air Theatre
Marc Brenner
"I’ve included this one for personal reasons. First, to be asked to shoot the new Tom Stoppard play figured pretty high on my list of dream gigs. Second, the subject matter of this play echoed so strongly with my own family history. I’ve never shot a show where I have been so emotionally involved with the story. I was in tears at the end. And I wasn’t alone." Cast of Leopoldstadt at Wyndham’s Theatre
Marc Brenner
"Michael [Longhurst] is a director who brings an incredible visual flair to his work. The highlight of this shoot was having the privilege (no other word for it) of standing directly in front of the magnificent Sharon D.Clarke as she absolutely belted out 'Lot’s Wife.' I cannot describe the power of that moment. When this show eventually opens in New York, Broadway is not going to know what’s hit it." Sharon D.Clarke in Caroline, or Change at the Chichester Festival Theatre
Marc Brenner
"Such a special show for me, as it was the first time I shot on Broadway. Michael Grandage gave me my first ever professional break, and then years later he served up this treat for me. Don’t ask me what happened on this shoot as the whole three-day experience passed in what I can only describe as an elated blur. Seeing my shots on the outside of the Booth Theatre—what a moment." Frank Wood and Forest Whitaker in Hughie at Broadway's Booth Theatre
Marc Brenner
"This shoot was extraordinary. A group of actors wandered around Westminster Abbey delivering scenes and speeches from Shakespeare to audience members, who walked alongside them. Sometimes one actor would take an audience member aside and deliver a speech just for them. Theatre at its most intimate. I caught this moment of the wonderful Mark Rylance just before the audience was admitted." Mark Rylance inShakespeare at the Abbey at Westminster Abbey
Marc Brenner
"When you’re in a rehearsal room, it’s sometimes difficult to tell whether a show will ‘work’. Not so with this one. I remember watching Rebecca Frecknall stage a couple of scenes, and I’ve never been more certain that something very, very special was afoot. She served up a raft of moving and poetic images that were a joy to shoot." Matthew Needham and Patsy Ferran in Summer and Smoke at the Almeida Theatre
Marc Brenner
"When I was told that [] ran for some six-and-a-half hours, I must admit to feeling as though I may need to get ‘in shape’ and dose up on caffeine tablets. Couldn’t have been more wrong. It was a totally gripping show that, in a brilliantly simple staging, served up some beautiful stage pictures. This image may not be that representative of the play—but I like it—and it worked well for publicity." Samuel H. Levine in The Inheritance at the Noel Coward Theatre
Marc Brenner
"It’s always a thrill to shoot a show that attempts a visual and physical reexamination of a classic play. Joe [Hill-Gibbins]’s production of Richard II was bracing and pacy—It had all the texture of a thriller. I shot this show twice, at the first shoot it was felt that there wasn’t the right mix of blood on stage. Back I came to capture the right dosage of gore." Cast of Richard II at Almeida Theatre
Marc Brenner
"I have been lucky enough to shoot most of Sam [Yates]’s shows and films. He’s a master of detail and emotion. I’ve included this shot for two reasons. I’m rarely starstruck but getting to snap Matthew Broderick was a career highlight. Second, I was really happy with the composition on this shot. I framed it in a way that slightly underplayed Broderick’s emotionally stunted teacher and boosted the visual weight of his complex academic subject." Matthew Broderick in The Starry Messenger at Wyndham's Theatre
Marc Brenner
"This was an immense challenge to shoot for many reasons. Chiefly, the show was predominantly illuminated by ultra-violet light, a very difficult light to shoot under and reproduce faithfully. That said, this was an extremely bold, physical and, at times, shocking production. Loved every minute of it. Oh, the shots that I’ll never be able to release from this show!" Cast of A Clockwork Orange at the Liverpool Playhouse
Marc Brenner
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