Show colleague for worldwide illusion and magic tells how the hit show is becoming even more spectacular.
When Jamie Harrison and Chris Fisher, members of the illusion and magic team working on Harry Potter and the Cursed Child, first received the screenplay, it was jam-packed with the seemingly impossible. They are tasked with making the impossible happen.
Jack [Thorne] and Jo [Rowling], as well as John [Tiffany], had written a lot of lovely things, and Jamie came up with a lot of unique concepts and pulled them all off the page.” In my opinion, you write something down even if you don’t believe it can be accomplished in the real world, but you do it because that’s your vision. That’s why we’re here, and it’s our job to put those ideas into action, says Fisher.
“Take the invisibility cloak, for instance. It’s possible that you can move objects around the room and get the impression that someone is moving in the background. How else can a person appear to be moving across a room without computer graphics and other such aids?
There are numerous modern illusions in this presentation that draw on techniques that have been around for hundreds of years.
We try to use many techniques that date back to Victorian times or earlier for our illusions, which is something Fisher likes about the show’s approach. Some may consider ” basic stagecrafts, ” but they aren’t always so. But we’ve added a lot more to those fundamental stagecrafts. In a world where you can invent and build things that you couldn’t have done even 20 years ago, it’s a beautiful time to be alive.
Fisher explains that even the most spectacular illusions have to be carefully tuned to fit in with Harry Potter’s carefully constructed reality. “None of it should evoke a sense of progress or technological sophistication. “It everything feels like a part of the natural universe.”
Magic in Cursed Child must be authentic to the story and reality, both when the production was first intended as a one-act play and now that it has been pared down to one act. With almost no magic removed, this presentation version includes more illusions than its predecessor’s, which was shorter.
When it comes to illusions, “we didn’t lose any illusions, and we got to add a couple more in,” says Fisher. This new version has been given the tagline,’ more magic per minute.'” We didn’t lose any effects in cutting the showdown from five and a half hours to three and a half hours, so more magic is happening every minute. When Jamie and I sat down to see the one segment for the first time, we were like, ‘there’s an effect,’ literally. In addition, there is a secondary consequence. Is there a second impact? “Oh my god, that is so cool,” we exclaimed.
While the one-part play has debuted in New York and San Francisco, extra magic is added in Melbourne to make it flawless. They are constantly modifying and adding ‘wow’ moments even during previews in Melbourne.
To revisit and enhance moments and make them more prominent – that’s not a chance you have all the time. And also got to go back and work with the actors on current techniques and figure out how we could do this better? We needs to figure out a way to make this more sanitary. What can we do to enhance the audience’s experience? Because we debuted it in New York and San Francisco, and they came out of lockdown and hadn’t done the show in two years, the Australian cast ended the two-part on Sunday night, and we’re hitting the one part this morning – it has been incredible. It’s been incredibly thrilling.”
They’ve been remarkable in terms of parking the two-part and being so eager to adapt to all of these new techniques and approaches and new props. They’ve left a lot of muscle memory behind and gained recent muscle memory for what we’re asking them now. They’ve done an excellent job at it in every single move.”
After New York and San Francisco, Melbourne is the third city to get this one-part event, but it’s here where the last show is scheduled. The show has been tweaked somewhat during previews in Melbourne, with adjustments to illusions, sound, and lighting. To prepare for Toronto’s recent rehearsals, “we’ve been working on polishing and making small modifications here,” adds Fisher. “Then we’ll make those changes to New York and San Francisco, where we’re currently rehearsing.”
The final two-part version of the film was also forged in Melbourne.
“We made it in London and New York, then when we arrived in Melbourne, we made some adjustments. Our other shows were then influenced by the eventual two-part show that we created. “And we’re doing the same thing here.”
Those who have young children or whose parents balk at paying $300 per person for both portions could find the one-part version more convenient for their families. Due to the new show’s appeal to a younger demographic, Fisher has witnessed an increase in its viewership size. “It’s so sweet that you can still hear the children’s giggles even after the credits roll. No matter how long it took, they were there for every second.
In addition to being impressed by the story’s wit and poignancy, these younger audience members are also awed by its jaw-dropping enchantment. Their eyes explode out of their skulls as they see things that you believe can only happen on film and TV live on stage for the first time. That will be their first time going to the theatre. They’re used to watching movies and TV.
Adults, as well as children, enjoy the show’s magic. Fisher claims a new cast member had joined the Melbourne play and was sitting in the crowd witnessing a particular scene of Harry Potter and the Cursed Child. My favorite effect in Broom Class is when the brooms fly up into people’s hands. It is one of my favorite things about the class.” Because they’ve dealt with the impacts before, a particular corporation is quite complacent. As the drama progressed, a new cast member was in the audience. Brooms began to rise into the hands of everyone, and he looked about, wondering, “Can anyone see this?” No one noticed the brooms as they floated up into people’s hands.
The Princess Theatre’s production of Harry Potter and the Cursed Child is now in previews and will premiere on May 19.