Persson reflects on some of his favorite theatre photos including Follies, Macbeth, and more.
Peter Rykov and Anna Vardevanian in Measure for MeasureJohan Persson
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 Johan Persson about why he loves creating production photography, his favorite memories behind his shots, and what he looks for in creating a great image.
"Having grown up in theatres and the performing arts, it’s here I feel most at home. I began training to be a ballet dancer from the age of five, and by 10 years old, I was performing in ballets and musicals at Malmö Stadsteater in Sweden. My eventual ballet career took me all over the world and ended in London, where I was a principal dancer with The Royal Ballet. Since discovering photography in my teenage years, it has been a great passion alongside dance, and so a career as a production photographer seemed destined.
"My favorite images start in the same place as my best experiences do in watching theatre. In this artificial environment of a stage and auditorium, we can reach to the depths of human emotion and experience, and if I manage capture that in my images I am very happy."
Check out Persson’s favorite photos as he reflects on his experience creating them.
Check Out London-Based Theatre Photographer Johan Persson's 16 Favorite Production Shots
Check Out London-Based Theatre Photographer Johan Persson's 16 Favorite Production Shots
16 PHOTOS
"The Wild Duck was my first straight theatre production back in 2005. I had met the lighting designer Neil Austin on a show we were both working on at The Royal Opera House. Up until then, I had mainly been shooting ballet and opera productions for The Royal Opera House. Neil introduced me to Michael Grandage who was artistic director of the Donmar, and I have been photographing his productions ever since. This production was incredibly beautiful and moving, and I was so fortunate to have it as a first theatre production." Ben Daniels, Sean Jackson, Paul Hilton, Michelle Fairley, and Sinead Mathews in The Wild DuckJohan Persson
"I photographed many productions at The Donmar Warehouse over the next ten years, and some of my favorite production images are from there. This is Alfred Molina as Mark Rothko in Red. I wanted to portray him almost being absorbed into the painting, and to capture the pulsating aliveness of Rothko’s work. This production quite rightly went on to win multiple awards in London and New York." Alfred Molina in RedJohan Persson
"Often great shots happen in transitional scenes like this image from Chimerica, Lucy Kirkwood’s amazing play about the search for the identity of the man who stood up to the tanks in Tiananmen Square. Directed by Lyndsey Turner it had a rotating set by Es Devlin which was used to transition from one scene to the next." Benedict Wong in ChimericaJohan Persson
"Another important relationship for me is with the National Theatre where I photograph frequently. The first director I worked for there was Nicholas Hytner, and I spent many hours in his rehearsal rooms in the years to come. This is one of the privileges of being a production photographer—we are brought in during the rehearsals as well to photograph the process. Seeing how different directors work and create is always fascinating and One Man, Two Guvnors was a case in point. Although so funny in performance I could barely keep the camera still, the rehearsals were very serious making sure the comedy was crafted and honed." James Corden in One Man, Two GuvnorsJohan Persson
"I have worked with the company Cheek by Jowl for many years now, and artistic director Declan Donnellan often directs plays in different languages. For this production of Measure by Measure, he used a company of Russian actors, and his productions remind me of how much is communicated through the physicality of the actors. Without understanding much of the language, these are still some of the most powerful plays I have ever seen." Peter Rykov and Anna Vardevanian in Measure for MeasureJohan Persson
"Jude Law’s command of his physicality is something that, as a dancer, I really admire. In this production of Anna Christie, he transformed his body and posture to play Mat Burke, a ship stoker. The production, which played at the Donmar in 2011, was directed by Rob Ashford. It had an incredible set by Paul Wills that raised the whole back of the stage, allowing for an epic entrance by Jude Law in the midst of a storm." Jude Law and Ruth Wilson in Anna Christie Johan Persson
"As part of the Manchester International Festival in 2013, I photographed Macbeth starring Kenneth Branagh. This production, directed by Branagh and Rob Ashford, felt more like being on a film set than a play on stage. It took place in a church with rain machines, pyrotechnics, and mud everywhere which ended up covering my kit. The battle scene felt real, and I feared for my life as I was on set taking pictures. An experience without compare and the images that are so exciting." Kenneth Branagh in MacbethJohan Persson
"I also started working with Dominic Cooke early on when he was artistic director of The Royal Court Theatre, and have photographed many of his productions since. Follies at The National Theatre was the last one and the biggest. With a massive cast on the Oliver stage and a beautiful combination of set, costumes, and lighting, it was a dream to photograph and so moving to watch. This image is from its revival in 2019, and I’m sure it won’t be the last time we see this production." Vanessa Fisher in FolliesJohan Persson
"Denise Gough gave a tour de force performance playing an actor struggling with addiction in People, Places & Things. Directed by Jeremy Herrin for the National Theatre, this production transferred to the West End and New York. By combining movement within a still image, I wanted to capture the inner turmoil and a life spiraling out of control." Denise Gough in People, Places & ThingsJohan Persson
"It was a whole new experience stepping into the rehearsal room for The Crucible, directed by Yael Faber at The Old Vic theatre. The actors were almost in a trance-like state and circling around the room from where scenes would seem to spontaneously erupt. I felt as if I was immediately pulled in to this force field myself, and the shoot was utterly exhilarating." Samantha Colley and Richard Armitage in The CrucibleJohan Persson
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