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. With so many moments to capture, in 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 Manuel Harlan about why he loves creating production photography, his favorite memories behind his shots, and what he looks for in creating a great image.
"Without doubt, what I love most about being a theatre photographer is simply the unbeatable thrill of witnessing a story unfolding, live, right before my eyes. Strangely, having the added task of documenting that story photographically creates a level of involvement and immersion that I can’t match when I go back to see a show solely as an audience member. At the end of a shoot, people often ask me what I thought, adding, 'You must have been so busy taking photos you probably didn’t take in much of the play.' Actually, the opposite is true: I often find that my best photos come when I’m listening and concentrating so intensely that I’m barely aware I’m taking pictures. I find that imposing my own preconceived ideas or plans rarely works—I prefer to try to be open and present and allow the play to work its magic on me."
Check out Harlan’s favorite photos as he reflects on his experience creating them.
"This photo of Tina: The Tina Turner Musical was the first time I’d ever made the front page of a national newspaper. It’s not hard to see why: Adrienne Warren embodied Tina with unbelievable levels of energy, commitment, precision, and sheer technical ability that still allowed her own personality to radiate through, which I hope I managed to capture in this shot." Adrienne Warren in Tina: The Tina Turner Musical
"I often think theatre photography has much in common with sports photography. Within the confines of a limited space you need to use your experience and intuition to anticipate action and be ready for the moment when it reaches its absolute peak. Inevitably, I miss a few too, but the key is not to dwell; the moment’s gone, there’s nothing you can do about it, and the most important thing is to be ready for the next one." Cast of Singin' in the Rain
"If ever there was a show in which there is no let up for the production photographer, it is this one. This Harry Potter and the Cursed Child scene in Hermione’s Granger’s office was about 20 minutes into the show, and I already needed a fresh memory card. I love the way the scene is established with this lovely and deceptively simple moment between Hermione (played by the wonderful Noma Dumezweni) and an overly-inquisitive portrait." Noma Dumezweni and David St. Louis in Harry Potter and the Cursed Child
"This shot of The Harry Ape is not a view that the audience would ever see. In order to get this angle, I’ve briefly joined the cast on stage during the dress rehearsal. I don’t often dare to do this, although my all-time favorite theatre photographer, Ivan Kyncl, used to do it all the time. Perhaps it was because of my familiarity with the Old Vic and the fact that I already knew Bertie Carvel from his time as Miss Trunchbull in Matilda." Cast of The Hairy Ape
"In contrast to the last photo, this shot of Two Trains Running is a quiet moment but no less powerful for that. This photo doesn’t really ‘say’ very much, but the beautiful set by Frankie Bradshaw and lighting by Amy Mae, along with Anita-Joy Uwajeh’s expression give the shot an uneasy quality that hopefully makes the viewer wonder what’s going to happen." Anita-Joy Uwajeh in Two Trains Running
Manuel Harlan
"Frequently, the quality of all the individual elements (lighting, set design, costumes, puppetry, and acting) come together so perfectly that all I have to do is stand there and click the shutter. This shot of Pinocchio and the boys on Pleasure Island was just such a moment." Cast of Pinocchio
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"Virtually all my shots are taken, like this shot of Macbeth, during a dress rehearsal just before the first performance. It’s the first time the cast, creative team, and crew run the entire show without stopping, and the sense of adrenaline is powerful and infectious. Rarely, something may go amiss with the costume or lighting (or the blood!), and we will have to re-create the moment later, but I find the intensity of live performance very difficult to capture in a set-up shot." Patrick Stewart and Kate Fleetwood in Macbeth
"I usually set up a ladder at either corner of the stage so that I can climb on to the corner of the stage and shoot crossways into the wings. For this shot of The Master Builder, Sarah Snook was actually pretty much in profile to the audience. Using a ladder set at downstage corner of the stage allowed me to get a more flat-on portrait, while the additional height gave me a more flattering angle than looking up from below." Sarah Snook in The Master Builder
"I always like to find images with simple graphic shapes and clean uncluttered backgrounds. Marketing teams are often grateful for them as they can take text and potentially be used for advertising. I think this one may have been a bit too violent though." Greg Hicks in Coriolanus
"Sometimes I get asked to shoot a production from backstage. It’s a lovely challenge, and despite the often-cramped conditions, the backstage crew are always very accommodating and give me great tips for interesting shots. In this shot of Present Laughter, Andrew Scott is just getting the thumbs-up to return for a second bow from the company manager, Robbie Cullen." Andrew Scott in Present Laughter
"Matilda the Musical is particularly close to my heart. Not just because it’s an extraordinary piece of theatre, but because I’ve shot it around 60 times. Because of the number of young kids involved, there are always 3 full child casts on the go, and the company very rightly insists that all the casts have equal representation in the photos. The child casts change every six months so that’s six dress rehearsals per year for over 10 years. Although I know the show pretty much off-by-heart, it hasn’t lost its emotional punch, and it’s one the shows I’m most looking forward to shooting when theatre gets going again." Cast of Matilda the Musical
"One of the great things about theatre in the U.K. is a thriving repertory system (or it was before the pandemic), which means that pretty much every city in the country has a theatre producing high quality work for a savvy and demanding local audience. Our Ladies of Perpetual Succour began life in Glasgow, but it later transferred to the West End. Some regional theatres have already been forced to close as a result of COVID. I desperately hope that no more will join them." Frances Mayli McCann and cast of Our Ladies of Perpetual Succour
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"During intense theatrical moments like a Shakespearean soliloquy, I would wince every time I took a shot—thus destroying the moment with the mechanical clack of the shutter—so much so that I would take very few pictures. I have to pay tribute to the actor’s powers of concentration and tolerance for putting up with it. Nowadays I shoot in complete silence thanks to mirrorless camera technology, which has been a huge liberation." Alan Cumming in Macbeth
"This is the opening moment of Taken at Midnight. The gestapo guards and their prisoner are running on to stage at speed. Completely unprepared, all I got was one out-of-focus, under-exposed shot from the wrong angle. But then the director stopped the show and asked to start over because the chair wasn’t in quite the right place. I was very happy to get a second chance as I immediately realized it has a graphic quality that works well with the title of the play." Taken at Midnight
"By positioning myself carefully amongst the band and some scenery, I managed to get a shot of Wise Children that included the stage, the wings, and the packed auditorium. I was dressed in the standard stage management uniform of all black and kept the camera in front of my face, so am fairly confident that no one noticed me for the couple of seconds I was visible." Wise Children
"There was nothing original or difficult about achieving this shot of A Chorus Line, but nevertheless, it is one of my absolute favorites from possibly my favorite musical. There’s something about these faces I find so moving, just as I am constantly moved by the incredible talent and extraordinary generosity of the people I am lucky enough to photograph for a living." Cast of A Chorus Line
