Tom Holland keeps it stylish in a grey sweater vest as he waves to fans while leaving the theatre with a mug of tea
Tom Holland cut a stylish figure as he left the the Duke of York Theatre in the West End after his performance of Romeo and Juliet on Wednesday night.
The Spider-Man star, 28, is currently starring as Romeo Montague in a new production of the Shakespeare tragedy.
The actor showed off his muscular arms as he opted for a grey sweater vest over a simple white T-shirt.
Staying true to his British roots, Tom appeared to leave the theatre carrying a mug of tea as he waved to the crowd of fans.
He completed his look with some pale blue denim jeans and white trainers before climbing into his car to head home.
Tom Holland kept it stylish in a grey sweater vest as he waved to fans while leaving the Duke of York Theatre with a mug of tea after his performance of Romeo and Juliet on Wednesday night
The actor showed off his muscular arms as he opted for a grey sweater vest over a simple white T-shirt
It comes after Tom was reportedly being told he must leave the theatre swiftly after finishing his performances.
The famous actor, who is dating Zendaya, has had so many fans clamouring to catch a glimpse of him when he leaves the stage door after the show, officials have had to step in.
According to The Sun, the Hollywood star has been more than co-operative when it comes to the new rules of making a swift exit.
A source said: 'Tom is a pro and was more than happy to oblige.'
Officials have put the new rules in solely in the interest of 'public safety' and reassured theatregoers that they are always there to provide 'additional support' should it be needed.
A Westminster Council spokesman said: 'We welcome visitors to the West End and it is fantastic to see how popular theatres are.
'However, maintaining pavements and public spaces is important to ensuring public safety.
'Managing crowds and access is the responsibility of each theatre. Where there are issues, we can work with venues and the police to provide additional support.'
It comes after Tom was reportedly being told he must leave the theatre swiftly after finishing his performances due to the large volume of fans
The play stars Francesca Amewudah-Rivers as Juliet and Tom as Romeo
Tom is playing Romeo (pictured) in Shakespeare's famous romance
Earlier this week, Tom seemed in good spirits as he smiled and waved to the crowds who had waited for him at the stage door.
He did not to stop any of his fans personally, and simply climbed into his luxury vehicle as he headed home.
It is understood that Tom won't be stopping to chat and sign autographs, as is typical in theatre land, but he will happily pose for snaps while on his way out.
Since appearing in the show, the actor has swapped tailoring for T-shirts and trainers - and he has even debuted a new hairstyle to boot.
Tom started his career in the West End in Billy Elliot the Musical but has not been on stage since completing his time as the titular dancer in May 2010.
Last month, 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.
DAILY MAIL'S PATRICK MARMION REVIEWS ROMEO AND JULIET
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
Pictured: Tom Holland as Romeo
Freema Agyeman (pictured) stars as nurse
