Zendaya and Tom Holland look worlds away from their typical red carpet glamour as the make-up free star and her boyfriend step out for a dog walk in Richmond amid his West End role in Romeo & Juliet
Zendaya and Tom Holland were spotted on a dog walk around London’s leafy Richmond as he enjoyed some downtime in between Romeo & Juliet performances.
The couple looked worlds away from their typical red carpet style, as they dressed down in casual outfits while walking their beloved black miniature Schnauzer, Noon.
Actress Zendaya, 27, looked fresh faced for their outing as she went make-up free and wore her highlighted blonde hair tied back into a bun.
The Euphoria star was wearing a cream crew neck jumper with a pair of ripped jeans with white trainers and a black shoulder bag.
Tom, also 27, who is currently playing Romeo in the play at the Duke Of York Theatre, also opted for a low-key look in a white T-shirt with black trousers and trainers.
Zendaya and Tom Holland were spotted on a dog walk around London’s leafy Richmond as he enjoyed some downtime in between Romeo & Juliet performancesThe couple looked worlds away from their typical red carpet style, as they dressed down in casual attire while walking their beloved black miniature Schnauzer, NoonActress Zendaya, 27, looked fresh faced for their outing as she went make-up free and wore her highlighted blonde hair swept back into a bun
Tom wore a bag slung across his body and tucked a denim jacket over the top.
Since the new play began in London’s theatreland, Tom has been debuting a new cropped haircut after years of sporting longer tousled locks.
Hundreds have gathered outside the stagedoor each night to catch a glimpse of the Hollywood hunk as he heads home following the performance.
The production has also attracted a star-studded audience as Anya Taylor-Joy and Lewis Hamilton were seen departing the theatre on Wednesday evening.
The same night, the Spider-Man actor emerged with his arms up in the air as he waved to crowds while clutching a cup of tea in hand.
Tom stars alongside Francesca Amewudah-Rivers’ Juliet in Jamie Lloyd’s modern day vision of Shakespeare’s immortal tale.
Earlier this week, crowds were told there would be ‘no autographs or selfies’ with the film star as he made his way through the venue’s stage door.
But each night Tom has been standing and wave to his fans so they could get the all important pictures and footage for social media.
The Euphoria star was wearing a cream crew neck jumper with a pair of ripped jeans with white trainers and a black shoulder bagTom, also 27, who is currently playing Romeo in the play at the Duke Of York Theatre, also opted for a low-key look in a white T-shirt with black trousers and trainersTom wore a bag slung across his body and tucked a denim jacket over the topSince the new play began in London’s theatreland, Tom has been debuting a new cropped haircut after years of sporting longer tousled locks
In February more than 60,000 frenzied fans scrambled to buy tickets for Tom’s West End run and tickets sold out in two hours.
Some compared the stress of trying to get their hands on tickets as on par with Taylor Swift ‘s Eras tour, which has brought in $1.04billion with 4.35m tickets sold across 60 tour dates. Resale tickets are available for around £300.
Zendaya joined Tom at the press night performance as showed her support for her leading man when they left the venue hand-in-hand.
The actress appears to be staying in the capital with Tom during his West End stint after the couple bought a west London pad several years ago.
Tom previously revealed the reason he keeps his relationship with girlfriend Zendaya so private is because their bond is the ‘thing he keeps most sacred’.
Tom and Zendaya have kept their romance low-key since they were first linked in 2017 after starring opposite one another in the Spider-Man franchise.
Last year, he said on Jay Shetty’s podcast: ‘My relationship is the thing I keep most sacred. I don’t talk about it. I try my best to keep it as private as possible.’
‘We both feel like that is the healthiest way for us to move on as a couple, so I do try to keep as removed from Hollywood as possible.’
Hundreds have gathered outside the stagedoor each night to catch a glimpse of Tom as he heads home following the performanceTom is playing Romeo Montague (pictured) in Shakespeare’s famous romanceThe play stars Francesca Amewudah-Rivers as Juliet and Tom as Romeo
DAILY MAIL’S PATRICK MARMION REVIEWS ROMEO AND JULIET
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Spider-Man Tom Holland was never going to have much difficulty scaling the walls of the Capulets’ villa in Verona to reach Juliet’s balcony in Shakespeare’s love story.
But in the event, Jamie Lloyd’s daringly dirgeful production, which opened in the West End last night, only requires him to reach the giddy heights of a microphone stand.
Yes, this new production of Romeo & Juliet is a typical example of Lloyd celebrity minimalism, following in the footsteps of James McAvoy in Cyrano and Nicole Scherzinger in Sunset Boulevard.
As usual, that means a run on mics in the capital for a production that is whispered – and sometimes merely breathed – into the amplification system.
As usual, that means a run on mics in the capital for a production that is whispered ¿ and sometimes merely breathed ¿ into the amplification system
Gone is the sunshine of fair Verona, where Shakespeare lays his scene.
Instead, we get the Stygian darkness of Soutra Gilmour’s stage design – empty but for lighting rigs and a giant cinematic billboard relaying close-ups of the action as cameramen track actors on stage, and around the building itself (Romeo’s banishment to Mantua takes him up on to the roof).
The play is famously preoccupied with death and Lloyd makes the most of that, with a cast dressed in black jeans, T-shirts and hoodies. It’s monotone, monochrome and mannered. If you took the production’s pulse, you might be tempted to call a priest.
Sometimes, it even feels as if Lloyd is deliberately trying to throttle the life out of the febrile passion that normally drives this headlong love story. And yet, cometh the hour, cometh the (Spider) man… all 5ft 8ins of him.
Damn, he’s a buff and good-looking bloke. His commanding cheekbones and curving jaw suck the breath from the audience and keep us wrapped in his dreamy gaze.
Instead, we get the Stygian darkness of Soutra Gilmour¿s stage design ¿ empty but for lighting rigs and a giant cinematic billboard relaying close-ups of the action as cameramen track actors on stage, and around the building itself (Romeo¿s banishment to Mantua takes him up on to the roof)
It¿s monotone, monochrome and mannered. If you took the production¿s pulse, you might be tempted to call a priest
Sometimes, it even feels as if Lloyd is deliberately trying to throttle the life out of the febrile passion that normally drives this headlong love story. Pictured: Daniel Quinn-Toye stars as Paris
Nima Taleghani (pictured) stars as Benvolio
I missed the colour of the masked ball where Romeo and Juliet meet, and the drama of the sword fight when Romeo calamitously kills Juliet’s cousin Tybalt
After meeting Juliet he does a jig like a footballer celebrating a goal, but otherwise moves with the precision of a cat. And although it’s stillness he does best, the shy smiles he scatters on his beloved are – in Hollywood terms – worth a million dollars. In the circumstances, Francesca Amewudah-Rivers holds up well as Juliet.
Lloyd discourages her from showing too much personality or independent spirit (as he does everyone), yet she has a quiet maturity that sits easily with the poetry.
Likewise, Michael Balogun as Friar Lawrence imposes gravitas and good sense on the not so rash young lovers. The one surprise is Freema Agyeman as Juliet’s youthful Nurse.
Normally ample, ageing and garrulous, Nurse is here a 30-something party girl with attitude. Much of her wittering in the Bard’s original is cut, and instead she gets lines from Juliet’s mother, who is controversially ditched altogether.
I missed the colour of the masked ball where Romeo and Juliet meet, and the drama of the sword fight when Romeo calamitously kills Juliet’s cousin Tybalt.
But we may not get a chance to see Holland live on stage again if Hollywood has its way – so happy are they who have a ticket already for this curious but nearly sold-out requiem. And even happier they who can afford £275 a pop.
James Parker is a UK-based entertainment aficionado who delves into the glitz and glamour of the entertainment industry. From Hollywood to the West End, he offers readers an insider’s perspective on the world of movies, music, and pop culture.
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