Theatre pictures. All photographs © Al Macphee/MiraclePR
It’s panto season, so this week was all about covering Cinderella, a New Pantomime Productions show featuring:
- Jeremy Edwards (from Hollyoaks) as Dandini
- Carl Johns as Buttons
- Shakira Rattray as Cinderella
- Paula Tappenden as The Baroness
- Paul Lawrence-Thomas as Claudia (Ugly Sister)
- Nathan Kiley as Tess (Ugly Sister)
- Jordan Adams as Prince Charming
- Katie Lynch as Fairy Godmother
The Photo Call
The panto photo call involves all the principal cast in their costumes and in full make-up. It’s for taking typical local paper-type cheesy, panto, fun images. We haven’t got long to do it, because they’re on their lunch break. They’ve been rehearsing in the morning and are due to have a curtain call at 2.30pm for the technical dress rehearsal. This is a rehearsal with lighting and music, the full shebang. Some directors like to stop and interrupt and say, “No, you did that wrong. You’re in the wrong spot,” etc. Others will just sit there making notes and then have one big briefing on the stage afterwards. This director is one who likes to interrupt. I could have been there for a good five or six hours, so I decided to use my time to get away from the photo call, process the images and get them ready for approval by the company director.
It was a closed set, meaning I was the only photographer there. This was to keep people safe. Sometimes, the press are invited, but the theatre didn’t want a big crowd because of COVID. We do not want to risk Cinders, or anybody else, going down during the run with any germs. Even though we’re double or triple jabbed with COVID boosters and flu jabs, etc. we still wore masks and covered our backs. I stayed more than two metres away and I used a longer lens than usual, just to be on the safe side. We just don’t want anyone to go off ill, because it just causes problems with cast and crew. This is also why it’s so important for people coming to watch the panto to wear masks and follow the guidelines. Kids are looking forward to going to see the panto, so we don’t want it cancelled because Prince Charming’s got COVID.
The idea of the photo call is to create some fantastic, colourful and cheesy theatre pictures. Panto is the season for silly shots and lots of cheese. You’ll see that from the theatre pictures on this page. You’ve got Buttons doing the corny thumbs up pose and trying to wrestle Cinders’ broom away from her. You’ve got the Fairy Godmother waving her wand around, Prince Charming looking like a prince, all regal. You know, the stuff you would expect to see in the local press – or even the national press at some point. The cast are standing together of course, because they’re in a bubble and working together.
The idea of the photo call is to create some fantastic, colourful and cheesy theatre pictures. Panto is the season for silly shots and lots of cheese.
The shots are used to raise the profile of those guys. Get them in the press, on social media and all over the place. I don’t deal with the social media side of things; that’s the marketing department of the theatre. My job is to supply the theatre pictures to the local press. It works much better when the photographer has contacts in the press and supplies the pictures directly, rather than via a basic press release from the theatre.
On to the live shows
Sometimes, the live shots will come from the technical dress rehearsal, but because it was going to be a long-winded day, with breaks for corrections every five minutes, I decided to come away from that and file the images so I could get them sorted for the press next week.
I always prefer to shoot the live show anyway, if I can, because the cast will bounce off the audience, with the kids shouting back at them, etc.
I often decide to shoot a live pantomime more than once. You can see a panto ten times and still catch things you’ve missed, plus there will be ad libs and comedic mistakes. I was working on Cinderella once and when Buttons came out, the elastic on his quick change pants snapped as he was pulling them on. So, he’s there trying to hoik them up and, because you know it’s not supposed to happen, it was hilarious. In the same season, the ugly sisters were wearing these huge ball gowns, and the framework snapped and they got tangled up. You’ve got to keep an eye out for all these little things, because you get the best PR shots from that. The cast and audience are laughing their heads off and they get lost in the moment. It shows off the panto as a fun show to go to. So, even though you’ve got your list of letters with camera positions, you’ve got to react to the show.
Buttons came out…the elastic on his quick change pants snapped as he was pulling them on. So, he’s there trying to hoik them up and, because you know it’s not supposed to happen, it was hilarious.
Kids ‘n’ animals in theatre pictures
Look out for funny out-takes featuring animals and children. That might sound controversial to the parents, but they will have chaperones back stage and will have already signed confidentiality waivers for the press theatre pictures. You need to be trusted not to release any photographs to the press without the theatre’s permission.
This season’s panto will feature three teams of kids. I sometimes find it easier, if I really have to, to put the kids’ theatre pictures on a password protected gallery for parents to download. But since there will be three teams, and I might only shoot one or two shows, it will be best to leave it to the company to look after the kids. They will usually give them all signed pictures and T-shirts etc. In this day and age, the chaperones will usually take some backstage photographs too, so don’t worry too much about taking pictures of every child.
This can make things awkward. We had to field comments a couple of years ago. Some parents were saying things like, “Oh, no pictures of the red team then?” If they’re lucky enough to be in the set of kids that are dancing when the photographer is shooting, that’s fine, but remember you’re being paid by the company, so you have to take your best theatre pictures with them in mind. They won’t be paying you a second shoot fee if you have to return to shoot something important you missed because you were distracted trying to please a parent.
So, if a parent nudges you and asks, “Can you get some pictures of my child?” just be nice and say, “I’ll try.” My thoughts in that situation would be, ‘If they happen to be in my shot, then I’ll do it.’ Obviously, if they’re playing the seven dwarfs and they’re all marching across the stage, singing, “Hi Ho!” then you can just go rattle, rattle, rattle, take shots of each child and keep everyone happy. But if that child’s dressed up as one of the mice around Cinderella’s carriage, you’re going to take the best shot you possibly can of that carriage. If he’s sat four feet behind the carriage and everyone else is in front of it, then sorry. So, never promise the parents anything. The more promises you make, the more people you’re going to upset if you don’t end up keeping them.
This panto will also feature a real pony, so I will naturally be looking out for it to drop its load! I was working on a navity once when somebody shouted, “The donkey’s not very well.” Somebody had thought it looked hungry and fed it some chocolate. Cue messy stage.
You might also miss something because of the audience. In the old days, people wouldn’t think of disturbing anybody by getting up during a show and walking down the aisle, but these days people do. I’ve lost track of the number of times I have been stood in my spot, and then a member of the audience decides, as if they’re on cue, to stand up, walk up the aisle and block my view. You’ve only got maybe two seconds to capture a ballet jump or that finale shot, where they’re all singing with their arms out. That’s a classic time when somebody will decide to stand up and get the car out, because they want to get out sharpish. Or dad’s tired so he wants to get out early. So I often need to go back.
You’ve only got maybe two seconds to capture a ballet jump or that finale shot, where they’re all singing with their arms out.
Taking notes
My plan, ahead of this year’s live shoot, was to watch the matinee on the Saturday afternoon and take a few notes. These are not too comprehensive, because you’re going to have to read them in the dark and remember where you are in the performance. Even listing sets by number is too complicated because you’ve then got to count the sets in your head and remember where you are.
My system is to take in a clipboard or a notebook of some kind and write down three letters in a list: L, R and C for stage left, stage right and stage centre. I can then quickly see my sequence of camera positions and know where I’ve got to be for any particular scene. For example, if I’ve got L, then C on one scene, I know I’ve got to move from stage left to stage centre. If I’ve got a row of Cs, I know I can stay in the centre for that scene.
I use letters rather than written instructions, because if you’re looking down at your clipboard, writing, ‘Go to stage left to shoot…,’ that’s too long-winded and you’ll miss something. It’s a panto. Anything could happen. If you look down for ten seconds, you could have Buttons walking across the back with Cinders’ broom, sweeping the floor. He does a lot of ad libbing, so he might just do that once. You will have missed it.
I try and commit my list to memory, because you can’t be looking down at your list every two seconds during the show, asking yourself, ‘Where have I got to be next?’ You have to react to the show.
You also need to know the key moments that you don’t want to miss. For example, when Cinderella starts singing a particular song, you need to know that those dancers will come out for their dance scene, so you need to move quickly to get to your position for the dance jumps.
You can’t be looking down at your list every two seconds during the show, asking, “Where have I got to be next?” You have to react to the show.
After the matinee, I will use my list to analyse the show. I might decide that I can do most of the show from stage centre. In that case, I might reserve myself a couple of seats in the centre, so that I’m not disturbing anybody.
Then, on Saturday evening, I will be shooting the live show again. It’s best to shoot more than one show, because shooting blind is never ideal. Watching a video isn’t really a suitable alternative, because that doesn’t show you the layout of the theatre, and every theatre has a different layout. For example, the Palace Theatre in Paignton has got seats in the middle and the aisles are down the side. The Princess Theatre in Torquay has got a central aisle and a back row. The Palace Theatre has a back row – or a back landing – but there are people sat behind you. It’s also a steeper theatre.
On the Saturday evening, I will be noting any pyros and dance jumps I need to know about and doing as much homework as I can. Also, if something doesn’t go right, because it’s early days, or I’ve missed anything, I can pick it up on the second show.
Being unobtrusive
You’ve got to be unobtrusive, so wear soft black shoes and sneak around. Wear a black polo shirt (short-sleeved, so you don’t get too hot). My shirt has ‘Crew’ on the back, because the last thing you want is for someone in the audience to get their camera out, thinking they can take pictures too. Wear cargo shorts or trousers, because the pockets really come in handy.
No way do you wear a head torch! Use a little pen light if you really need to, but shield the beam with your hand. The last thing you want, as an audience member, is for some idiot to come down the central aisle with a head torch on and turn around and blast you in the eyes with 200 LEDs. Somebody’s then got to bribe that audience member to keep quiet.
Use a camera shoulder harness. It weighs you down a bit more but it’s worth it. I’ve got a camera with a longer lens on one side and one with a short lens, for the wide angle shots and finale shots, etc. on the other. I then just swing from one side to the other. You don’t want to be faffing around with changing lenses half way through because you might miss something
Carry spare batteries and memory cards. You won’t need to bring a flash gun, because you’ll be working with available light. A flash gun will distract the cast and audience. The last thing you want to do is get a reputation as that photographer who gets in everybody’s way.
You shouldn’t need to bring extra lenses, because you’ve done your homework, and you know what focal length you will be working at and the shots you’re going to be taking, etc. But if you really do want to bring extra equipment, wear a belt around your waist. Don’t carry a bag.
If you’ve got a low stage and you’re at the front between Row A and the stage, because you’re doing something arty, you will need to crawl around. If you stand up and walk across everyone, not only are you going to spoil the audience’s view, but the cast members are going to look at you and think, ‘Who the heck’s that?’ You may even get in the lighting person’s way. If they’re using a follow spot, they’re going to light you instead of the stage.
So, you need to make every effort possible to be unobtrusive, crawling around on the floor or kneeling. The audience have each paid twenty-odd quid a ticket or more. They don’t want to be wasting their money looking at you.
At the same time, kneeling on a solid floor can be pretty hard going, and sitting on the floor is usually too low. I know it’s extra equipment, but if you know you’re going to be in the same spot for an hour or longer, consider bringing your step stool (this should be part of your standard kit). They’re also handy because you’re comfortable, and the photographer’s got to be comfortable, otherwise they’re not going to do a good job.
A stool can get in the way though, because you’ve got to carry it with you. If you leave it where it is while you change position, I’ll lay odds someone will fall over it. So, if you’re fit enough, make do without it.
Don’t rush around. Be cool, calm and collected. Be courteous to the public. Even if they are getting in your way, they’ve paid for their ticket. By the time I shoot live for the second time, I will have seen the show three times. Then I’ve got to take the grandkids, so I’m going to have seen that show four times by then – I’ll be falling asleep. The point is, as a photographer, you’re not there to enjoy the show.
Always remember, the word professional means more than being paid for doing a job. It means having a professional attitude, a professional reputation and providing professional quality theatre pictures.
Professional means more than being paid for doing a job. It means having a professional attitude, a professional reputation and providing professional quality theatre pictures.
Processing your theatre pictures
Then obviously, you’ve got to process the theatre pictures. The theatre need photographs as soon as possible. Ideally, the marketing department will have a set ready for the press night on Tuesday. Then, if anybody I’ve not already supplied ( e.g. John Smith’s blog or What’s On Carol and Mark on Facebook), turns around and asks, “Can we have something for our website?” the marketing department will have something on their phone they can quickly send.
My deadline, therefore, has to be Tuesday lunch time. So, I’ll be doing my run through and taking notes during the Saturday matinee and I’m shooting Saturday evening. If all goes well, I will have a really nice set of jump dance shots, pyros and all sorts. I don’t know if there’s a Sunday matinee or not, but at least I’ve got Sunday evening to re-shoot anything.
Then, Monday is processing day, a cool, calm and collected day with no other distractions. Set yourself up for that and work it into your diary so that you have plenty of time, in case anything goes wrong. Plan on getting your processing done as soon as possible. Don’t leave it until close to the deadline, because anything could happen. You could get up on Tuesday morning and find there’s no internet.
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