"[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)
"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)
"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)
"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)
"[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)
"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)
"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 Sheet
"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)
"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)
"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 Waitress
Jeremy Daniel
"[Photographing Bandstand] was a gorgeous experience, start-to-finish. Whenever possible, especially with a new musical, I like to sneak in to watch as much of the tech week as I can, before shooting the final dress. Many people find tech week to be slow and tedious. To me, it’s maybe my favorite part of working on Broadway. Watching all the elements of a show slowly come together onstage in the safety of “10 out of 12’s” is a fascinating process. As a photographer, tech week gives me a chance to observe the creative team’s approach, which greatly informs my approach as the photographer. With Bandstand, the producers and creative team were exceptionally generous. Not only did they welcome me into tech week without any limits, but they asked if I’d document the tech process as it happened. That was the best!" (Corey Cott, Laura Osnes, and cast of Bandstand)
"Long before I moved to NYC to start working in the theatre, I always thought, 'When I’m working for Lincoln Center Theater or the Kennedy Center, then I’ll know I’ve made it.' (Thank you, PBS!) This shot is from last season’s Lincoln Center Theater production of Chris Urch’s The Rolling Stone, directed by Saheem Ali. I love the intimacy of shooting at Lincoln Center. Hard to explain, but it’s one of the places I feel most connected to the company, and the process. It’s also one of the places where I love shooting alongside Sara Krulwich from The New York Times. Her expertise and craft are extraordinary. It’s always a joy to share the room with her." (Adenike Thomas and Ato Blankson-Wood in The Rolling Stone)
"Please refer to the previous caption [about making it]! Each season, The Kennedy Center presents an eclectic batch of three musical revivals as staged concert productions, billed as the Broadway Center Stage series. If you grew up with theatre the way I did, chances are decent you grew up with The Music Man. I’m a total sucker for an old-fashioned, classic technicolor musical from the Golden Age of Broadway. Under Marc Bruni’s flawless direction, this production was everything I wanted it to be and more with a dream cast led by Norm Lewis, Jessie Mueller, Rosie O’Donnell, and John Cariani." (Norm Lewis and cast of The Music Man)
"One of the biggest considerations in production photography (or any photography) is light. When shooting a show, I’m always thinking about it. My gut instinct is to find the light and avoid the darkness. Crop it away, if nothing else. But for The Sound Inside, I had to do a complete 180. I had to consciously pay attention to the darkness. I needed to allow space for it, because the darkness has a story to tell. It was a brilliant lesson. Never stop learning." (Mary-Louise Parker and Will Hochman in The Sound Inside)
"Another shot from Lincoln Center Theater. The final dress rehearsal for The Babylon Line was on Wednesday, November 9, 2016. When I arrived at the theatre that evening, everyone was in a state of quiet disbelief, stunned and shocked by [presidential election from] just a few hours earlier. The mood was unsettling. But then the final dress began… and Julie Halston. Julie Halston made us laugh. It was just the right thing, at just the right time. That night was a glorious lesson in how incredibly healing and uplifting theater can be. For that reason, whenever I see this photo, I’ll always smile." (Randi Graff, Julie Halston, Maddie Corman in The Babylon Line)
"As people furiously scramble to stock their bathroom closets with toilet paper these days, I can’t help but remember how much of it we used to get this one perfect shot [for The Lightning Thief!] Totally worth it. Thank goodness for that lucky, brief moment where Kristin Stokes, Chris McCarrell, and Jorrel Javier were all visible through the wildly flying streams of Charmin Ultra. (And thank goodness the TP was recycled.)" (Kristin Stokes, Chris McCarrell, and Jorrel Javier in The Lightning Thief: The Percy Jackson Musical)
"Like I said, I’m a total sucker for an old-fashioned musical. And Randy Skinner’s national tour of Irving Berlin's White Christmas does it for me every year. Ken Billington’s breathtaking lighting design combined with the bold, rich colors of Kenneth Foy’s set and Carrie Robbins’ costumes? Sheer joy. And that’s my goal, pure and simple: capture the joy (and the snow)! [And it's also timely] right now: “If you’re worried and you can’t sleep, just count your blessings instead of sheep. And you’ll fall asleep counting your blessings.” Thank you, Mr. Berlin." (Cast of Irving Berlin's White Christmas 2019 National Tour)
