February 2025 – John McRae Photography & Studio

February 24, 2025March 4, 2025

The Pirates of Penzance (Hayes Theatre Co)

In February 2025, I had the privilege of capturing two distinct photographic sessions for the Hayes Theatre Co’s production of “The Pirates of Penzance” (playing in Sydney through March 16). The first was a studio-based shoot designed to produce new promotional images for the marketing campaign for this reimagined classic. The second involved taking swash-buckling production shots during the dress rehearsal, providing a special glimpse into the performance’s dynamic energy.

Directed by Richard Carroll, this adaptation of Gilbert and Sullivan’s operetta offers a fresh and inventive take on the original work. This production includes a standout performance by Brittanie Shipway in the twin roles of maid Ruth and love interest Mabel. Critics have praised the show for its modern twist and engaging performances. According to Broadway World, the production is “an inventive escapist expression of Gilbert & Sullivan’s comic opera.”

The promotional images I created aim to capture the vibrant and contemporary essence of this adaptation, highlighting the performers’ madcap expressions and the show’s lively atmosphere. We follow the dreamy and not-particularly-bright young Frederic (played with amusing earnestness by Maxwell Simon), a piano-playing Major-General (Trevor Jones), a pirate/policeman/maiden who also plays the keys (Billie Palin) and a ukulele-playing, quick-changing Pirate King and Police Chief (Jay Laga’aia), who sometimes wears a ridiculous, over-scaled leather pirate’s hat. The heightened silliness, adventurousness and comic musical timing is aided by the onstage stage manager (Sheridan Simson) who rings the ship’s bell and keeps the action moving briskly. I think that my images help to convey this production’s modern sensibility.

During the dress rehearsal, I focused on capturing candid moments to showcase the performers’ interactions and the intricate staging, plus some of the hilarious costuming and prop gags. The intimate setting of the Hayes Theatre Co allowed for close-up shots to emphasize the comedic timing integral to the performances.

New adaption of the Guilbert & Sullivan classic, The Pirates of Penzance, at the Hayes Theatre, until March 16th

With witty lyrics and new jokes, this collaboration with the Hayes Theatre Co has been a rewarding experience, allowing me to be part of the visual storytelling of a production that reimagines a beloved classic for a new generation.

Recent Reviews of ‘The Pirates of Penzance’ at Hayes Theatre Co

The Pirates of Penzance; or The Slave of Duty is playing at Hayes Theatre Co, Potts Point, until March 16.
For information and to book tickets go to: The Hayes Theatre Co

February 6, 2025February 11, 2025

Shooting for So French So Chic at Sydney Harbour

What a day! Our team spent an unforgettable day on the stunning Sydney Harbour, working together to bring the latest fashion catalogue for So French So Chic to life. The weather couldn’t have been better, with the sun shining brightly and the harbour’s sparkling waters providing the perfect backdrop for a summer-themed shoot.

The atmosphere was buzzing with excitement and creativity as we began setting up for the shoot. David Cranson, our incredible make-up and hair artist, worked his magic to create the flawless looks for our models. From glamorous waves to sleek, sophisticated styles, David’s talent added that extra touch of elegance to each shot.

Louis, our hard-working assistant, was always at hand, keeping everything organized and ensuring that the photo-shoot ran smoothly. His attention to detail was invaluable, making sure the lighting, props and silhouettes looked good. And, of course, we couldn’t forget Valerie from So French So Chic, whose vision for the brand and her expert direction kept us all focused on creating the most beautiful shots possible. Her sharp eye for style and current trends was evident in every look we put together.

As the day went on, we transitioned between a variety of looks, from breezy summer dresses to more chic, polished ensembles. Each outfit perfectly captured the effortless elegance of the So French So Chic brand, and it was such a joy to collaborate with such a talented team to bring that vision to life.

By the end of the day, we had a collection of beautiful, sun-soaked images that were a true reflection of the brand’s signature style: fresh, timeless, and always effortlessly chic.

February 2, 2025February 3, 2025

Exhibition in Melbourne for the Lunar New Year

Yashian Schauble (Australia China Art Foundation, ACAF) and Christina Zhao (Melbourne Chinese Business Association, MCBA) have collaborated on staging a wonderful event in Melbourne that features several art exhibitions as part of the Chinese Lunar New Year Festival in Melbourne.

As stated on the press release:

This year, as we celebrate the Year of the Wood Snake, Melbourne Chinatown will come alive with the city’s premier cultural event. Highlights of the festival include the iconic Millennium Dragon Parade, spectacular lion and dragon dances, dazzling lantern displays, and a feast of live performances ranging from traditional music to contemporary art showcases.

Themed around wisdom, intuition, and transformation, A Round Square Banquet explores personal identity and cultural inclusion through a stunning collection of over 30 works by artists from around the globe.

I am happy to say that a number of my photographs are represented in the exhibition at the Chinese Museum in Melbourne (through February 9). Information about three of my works is listed below.

***Ali & Osso Buco,*** 2012
Pigment inkjet on cotton rag, 60 x 90cm
Edition 1 of 9, (3AP)

Ali sits at the dinner table, an embodiment of indulgence fused with a certain effortless refinement. A glass of red wine rests beside him, its rich colour, a perfect match for the Italian speciality of Osso Buco before him. His presence radiates a raw, unapologetic masculinity, sensuality, and sexuality, infusing the vast dining hall with an almost palpable energy that contrasts sharply with conventional notions of fine dining. A single yellow tulip, vibrant and unpretentious, symbolizes his joy—an outward expression of his unrestrained pleasure as he savours each bite, completely immersed in the moment.

Winner of the critics choice award at the 2013 “Shoot the Chef” competition held by the Sydney Morning Herald

***Portrait of Margaret Olley in her Paddington Studio***, 2011
Pigment inkjet on cotton rag, 66cm x 154cm
Edition of 6 (1AP) (Signed lower right)

In mid-2011, had the great pleasure of photographing renowned Australian artist Margaret Olley in her Paddington studio, a place well known for its colourful clutter and referred to by some friends as ʻThe Dolls Houseʼ. In my portrait, Margaret is seated in her painting chair, confronting the lens with her particular sense of candour and an uncommon frailty. As far as I know, this may well be the last photo taken of her before her death the following
month in July. Christine France – art critic, author of Margaret Olley (1990), commented, “It is a wonderful photo in that it captures both the vulnerability and sense of enquiry which entered her face in the last months of her life”.

The Portrait was a selected finalist in the 2012 National Photographic Portrait Prize, National Portrait Gallery, Canberra. It won the inaugural People Choice Award at the National Photographic Portrait Prize.

The Tweed River Art Gallery purchased the work as part of their permanent collection with the intention of displaying the portrait as part of the Margaret Olley Art Centre, Murwillumbah.

***Amirah I***, Sydney 2017
Pigment inkjet on cotton rag 92cm x 63cm
Edition of 9 (AP)
(from the series “Spot the Arab”)

This striking portrait of Amirah forms part of the “Spot the Arab” series of photographs. The project engages with portraiture as a vehicle for exploring complex themes of identity, including religion, race, gender, orientation, nationality, and freedom.

Presented initially in a game-like format, Spot the Arab invites viewers to question whether the subject of each image self-identifies as Arab, thus prompting reflection on assumptions and societal constructs.

For the series, the artist imposes a Middle Eastern costume on each subject, using it as a tool to both veil and reveal aspects of cultural identity. Each subject is then asked to articulate their own sense of identity, a process that challenges preconceptions, stigma, and prejudice.

At the time of this photograph, Amirah was a social worker in Sydney’s western suburbs and identified as an Egyptian Arab woman.