Production shots; a genre guide


A bit of theatre related fun as fundraising displacement activity…


The drinking tea top turn two shot


Modelled here by Dames Dench and Smith and Sirs McKellen and Stewart only ever to be attempted by the ennobled theatrical. Note the casual mugs in the first photograph and the formal teacups in the second, contemporary and classic drama encapsulated in pot and bone china, different centuries but both classy, civilised and mid afternoon in Surrey.


The star actors transformed two shot


Played two ways here: Peter Bowles and Penelope Keith gently disguise themselves in restoration costume whilst re-assuringly playing the characters we know and love from the tele. Michael Ball and Imelda Staunton show they are very much not themselves but in character with the aid of non radio 2 eyebrow make up, braces, ringlets and a dowdy dress.


The thousand yard stare


Tanya Moodie gives joy towards the sky, Glenda Jackson a despairingly quizzical glance in the same direction, David Tennant appeals to a passing giant while Joe Sproulle has seen and been amazed by it, whatever it might be, at the back of the dress circle.


The actor grab


Nothing indicates drama better in a photograph than grabbing a fellow actor, especially by the head, or the ears if possible, that’s even stronger.  Body grabbing a colleague is beautifully demonstrated here on Denise Gough, Tamsin Outhwaite goes for the highly accomplished triple; an ear head and body grab and Headlongs‘ 1984 is a masterclass in bonce grabbing.


Pointing and kissing

Keeping the imagery active and sexy with Sir Lenny Henry and Kathryn Hunter.


The dramatic lean


Beautiful movement here from Kevin Spacey followed by an example of the eponymous ‘lean threatening to smother’ from Frantic Assembly


The all pile on


The Ramps On the Moons‘ Government Inspector cast with a large scale rendition of  ‘We’re all in it, there’s bloody loads of us and we are magnificent.’  


Going Grrh and Aaargh


Dame Glenda again, Dame Harriet Walter and Maxine Peake. Silently noisy. Dynamic.


The ‘this is where it all started’ rehearsal room shot


Good for programme padding and front of house when the production shots didn’t come out very well.  Tamsin Greig chuckles while clutching a scenes’ worth of A4, Harriet Walter gives intense textual scrutiny and we have a double whammy at the National theatre with some world class script in hand pointing.



The ‘You don’t get more dramatic than this’


The beautifully positioned


And finally, the ‘look at the set like this because the moment an actor sets foot on it the floor is filthy’
















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