#tristam kenton

[glimeres]

Sidi Larbi Cherkaoui's stage adaptation of Naoki Urasawa's Pluto - a reimagining of Osamu Tezuka's Astro Boy and its most famous Manga Arc ("The Greatest Robot On Earth") / London, 2018 Photography by Tristam Kenton

[enchanted-keys]

Francesca Hayward and Marcelino Sambè in Different Drummer (Royal Ballet 2024)

- photo by Tristam Kenton

[tobys-walrus-crew]

Toby Stephens as Jerry in Harold Pinter’s Betrayal

@ Donmar Warehouse 2007.

📸 Tristam Kenton

[emcgoverns]

elizabeth mcgovern & colin firth as nan/lina & walker/ned for “three days of rain” at donmar warehouse (1999) | 📸: mark ellidge, tristam kenton, & donmar warehouse

[vadreams]

Some more pictures of the first cast of The Sleeping Beauty.

Marianela Núñez as Princess Aurora, Vadim Muntagirov as Prince Florimund, Fumi Kaneko as the Lilac Fairy, Kristen McNally as Carabosse.

📸: Tristam Kenton for The Stage

[mistress-of-gillikin]

Elphaba at Shiz University

(Elphaba Photos by Joan Marcus and Tristam Kenton)

[hadleyfraser101]

Young Frankenstein - Part 3: Show Clips and Photos

To check out the other entries for Mel Brooks' Young Frankenstein, click on below! Part 1: Rehearsals Part 2: Cast Photos and Show Promos Part 4: Curtain Call and After Party Part 5: Reviews, Olivier Awards and Original Cast Recording

Photo credits to Simon Turtle

Hadley plays Dr. Frederick Frankenstein, the grandson of the notorious mad doctor Victor Frankenstein. The role was originated by none other then Gene Wilder in the 1974 movie of the same title. The show premiered at Theatre Royal in Newcastle from August 26 to September 9, 2017. It eventually moved to the West End at the Garrick Theatre with previews starting in September 28, 2017 and opening on October 10 of the same year. It had an extended run that officially closed after 11 months in August 25, 2018.

Directed by Susan Strohman Music and Lyrics by Mel Brooks Book by Mel Brooks and Thomas Meehan

Show website: https://youngfrankenstein.co.uk/

CLIPS FROM THE SHOW

Roll in ze Hay

Video credits to the show's stage designer, Beowulf Borritt

Curtain call from the final show

SHOW PHOTOS

Photo credits to @youngfrankldn

Photo credits to Beowulf Borritt Design

Photo credits to Beowulf Borritt Design

Photo credits to Manuel Harlan

Embed from Getty Images

Photo credits to Alastair Muir for The Telegraph

Photo credits to Tristam Kenton for The Guardian

Photo credits to Manuel Harlan

Photo credits to Manuel Harlan

Photo credits to Beowulf Borritt Design

Photo credits to Tristam Kenton for The Guardian

Photo credits to Alastair Muir for The Telegraph

Embed from Getty Images

Photo credits to Beowulf Borritt Design

Photo credits to Beowulf Borritt Design

Photo credits to @youngfrankldn

Photo credits to Manuel Harlan

Photo credits to @youngfrankldn

Embed from Getty Images

Photo credits to Manuel Harlan

Photo credits to Beowulf Borritt Design

Photo credits to Manuel Harlan

Photo credits to Manuel Harlan

Photo credits to Manuel Harlan

Photo credits to Beowulf Borritt Design

Photo credits to Manuel Harlan

Photo credits to Manuel Harlan

[miss-mollys-ballet-blog]

Vadim Muntagirov in Swan Lake.

Photo by Tristam Kenton (I think).

[tradingconfessions]

[Image description: A picture of the Porgy and Bess cast, with text that reads, “I’m pretty sure have an NFT date on my list from 2017 that I’ve just been too lazy to remove...”]

Photograph by Tristam Kenton.

[globefan]

Photos from the rehearsals for Henry IV Part I, or Hotspur. photos by Tristam Kenton.

(sorry for the delay in posting these, been on hols)

[balletroyale]

Marianela Nunez and Vadim Muntagirov in Swan Lake (Royal Ballet)

Photo by Tristam Kenton

[emotionalrecall]

The Merchant of Venice, by William Shakespeare • Directed by Abigail Graham • 18 February - 9 April at The Globe Wanamaker in London •

Special mention to Adrian Schiller who plays a wonderful Shylock •

Pics by Tristam Kenton •

•••••••••••••••••••••••••••••••••••••••••

[lovelyballetandmore]

Francesca Hayward & Ivan Putrov. Photo by Tristam Kenton.

[gorbigorbi]

Marianela Nuñez in "Giselle" (The Royal Ballet) Photo © Tristam Kenton

[dreamdancer840]

World Ballet Day from United Kingdom 🇬🇧 Leticia Stock and Nehemiah Kish Photo © Tristam Kenton 🌍🍃🌍🍃🌍🍃🌍🍃🌍🍃🌍 @letistock @nehemiah_kish @royaloperahouse 🌍🍃🌍🍃🌍🍃🌍🍃🌍🍃🌍 #worldballetday #dreamdancer840 #regrann #tagforfeature #ballerinasofig #dancersofinstagram #balletworld #balletdancers #lifeofadancer #loveofballet #worldwideballet #worldwidedance #worldballetproject

[bunnyreading]

Top Five Favourite Contemporary Plays

My love for theatre runs deep. In terms of plays, I love reading them as well as watching them. I think it’s especially interesting to watch things and then read those words exactly how the writer intended them to be read. To me, at least. Maybe not for other people, lmao. Whenever I see a play that particularly enthrals me, I like to read the corresponding script. I have a big collection of scripts that I’ve picked up over the years and I’ve decided to do a top five of the ones that I love the most. I’ve included links to trailers and amazon pages for all of these books, so feel free to look them up!

Number 5: Every Brilliant Thing by Duncan Macmillan with Jonny Donahoe

Photo by Sara Krulwich

Every Brilliant Thing is a new type of play with one performer who slips in and out of all of the characters. The performance uses a lot of audience participation, which means that the play is different every single time it’s done. Every member of the audience gets a completely unique experience to their time watching. The play itself is about coping and managing depression through your life, but its put in a light-hearted and comedic tone. It would have been easy for the writers to take a topic like that and make it heart-breaking and tragic, but it was upbeat, and optimistic, with very tender moments interspersed. I first came across the play when it was recommended to me by my teacher in my A-Level Theatre Studies class, and I loved it so much I did it for my extract two performance for that class. It was a wonderful piece and I loved doing it. The writing is so simple, but it also has such meaning underneath all of it.

Number 4: Things I Know To Be True by Andrew Bovell

Photo from Frantic Assembly’s Website

This is a play that I went to go see at the Chichester Theatre Festival with my school. It had movement worked on by Frantic Assembly. I didn’t know what to expect when I first went to go see it – I had heard from a few other people that it was really good and also a tear-jerker, but I didn’t think I would find it personally emotional. To describe Things I Know To Be True, I would say it’s a family-based tragedy, discussing all of the problems in families that nobody likes to discuss. The production I went to go see was beautiful, and one of the best performances I’d in 2016. Without giving away spoilers, the end of act one was so beautiful and made me really emotional – I and a bunch of other people on the school trip stood outside the theatre crying during the interval – and then, amazingly, by speaking to one of the members of staff we got to meet one of the cast members – Matthew Barker – and we got to speak with him. That was an incredible moment to end an incredible trip out. If the show is ever touring – I highly recommend going to see it.

Number 3: Another Country by Julian Mitchell

Picture by Johan Persson This is a slightly older play, and it was recommended to me through the film (starring Rupert Everett) first, but when I saw that it originated from a play, I had to get that. I love this play – I love the feeling of the 1930s school. I’ve always loved stories set in boarding schools for the sense of unease and separation from the rest of reality that it gives. Another Country is based loosely on the life of the spy Guy Burgess, and the play follows the story of the members of Gascoigne House after one of the students killed himself after it was discovered that he was gay. It shows the quick cover-up work they do in order to try to avoid scandal, but particularly centres around Bennett – the only openly gay member of the House. The relationships between all of the boys, and the feeling of jeopardy that goes through the whole play is thrilling. The film is a very faithful adaption to the play, and Rupert Everett’s performance as Bennett is so good! 

Number 2: Rosencrantz and Guildenstern Are Dead by Tom Stoppard

Photo by Tristam Kenton

I came across this just earlier this year – every theatre season my mum and I go through the logs of all of the performances going on and book in to see things. My mum went to see Rosencrantz and Guildenstern when she was studying Hamlet, and since we went to see Hamlet last year we thought it would be a good thing to go and see this year. I loved this play way more than I liked Hamlet, although that isn’t difficult because I barely managed to sit through that one. This absurdist play is horrendously funny, and I love how it pokes fun at all of the craziness that is the world of Hamlet. There are also very sweet moments in there, but mostly it’s the quick witty wordplay that makes it most amusing. The idea of taking two minor characters of a classic and writing an entire show just about them is inspired, and I absolutely loved every minute of it.

Number 1: 4.48 Psychosis by Sarah Kane

Photo by Tristam Kenton of Sarah Kane’s play Cleansed, performed by the National Theatre

I came across Sarah Kane’s work by chance. I was going through the National Theatre YouTube channel when I came across Katie Mitchell’s newest production of her play Cleansed. I saw the trailer for that, and quickly ordered the script. I was intrigued by its oddness and by its graphic detail, and I began looking in to other parts of her work. Sarah Kane was a writer of tremendous talent, however she also suffered from severe mental illness, and she took her own life in 1999, and her last play, 4.48 Psychosis, was produced posthumously in 2000. Her work has mostly been forgotten, except for A-Level performance work, and it’s rarely produced professionally anymore. But Kane’s work is so influential and I deeply identify with it. Having experienced severe mental illness myself, everything in 4.48 makes complete sense to me, and although it may seem like morbid rambling to some people, I identify so strongly with the ideas of the play. Some people refer to 4.48 as Kane’s suicide note, but I think that simplifies it a little bit. To me, when you’re in the depths of depression, it becomes impossible to verbalise what you feel to other people, and yet she’s managed to do that perfectly with this piece of work. I’m sorry that she died – Sarah Kane could have produced so many other pieces of truly original and inspired work.