Tom Holland was swarmed by fans as he left the theatre after a performance of Romeo & Juliet in London on Saturday night.
The Spider-Man: No Way Home star, 28, is currently starring as Romeo Montague in a new production of the Shakespeare tragedy at the Duke of York Theatre in the West End.
He seemed in good spirits as he smiled and waved to the crowds who had waited for him at the stage door.
The Hollywood star 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.
Tom Holland was swarmed by fans as he left the theatre after a performance of Romeo and Juliet in London on Saturday night
The Hollywood star did not to stop any of his fans personally, and simple climbed into his luxury vehicle as he headed home
He cut a casual figure in a plain white T-Shirt and green cardigan and opted for basic blue jeans and white plimsolls.
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, who is in a relationship with 27-year-old Zendaya, 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.
In February more than 60,000 frenzied fans, including TC, scrambled to buy tickets for Holland’s West End run. 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.
Tickets for Romeo and Juliet are now on resale for around £300 each.
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
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.
The play stars Francesca Amewudah-Rivers as Juliet and Tom as Romeo
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
Many didn’t even have tickets for his opening night performance in Romeo and Juliet, which has had mixed reviews from critics in recent days, but rather were just waiting patiently for a five-second look at the Spider-Man star.
Among those gathered were Marie, 18, and her friend Lila, 19, who took a nine-hour coach from Paris earlier this week.
Marie told : ‘Yesterday we saw him, just his back but we came to see him again today.’
‘When we see him I don’t think we’ll be able to talk to him cause he’s too far away and he runs into the theatre but as long as we get to see him we are happy.