Harry potter and the cursed child book description
In the leg of his trousers is his wand pocket so that it is always close at hand. The teal trench cloak he wears is for when he is out and about on business, and is a combination of a cloak with elements of a trench coat.
On his feet, he wears combat-like boots, scuffed and showing that he is always ready to jump in the action when needed, and is slightly happier in that world than sitting behind a desk having to go through his Ministry papers. Although he looks like he is wearing a suit, his look is actually made up of separate trousers, waistcoat and jacket, so each item is one of a kind and he has put them together to form a suit. So the combination of Harry now having to look slightly "official" – suited – but not completely comfortable in a suit, came from that.
We meet Harry now as a busy, slightly hassled and frazzled Ministry Man with little time for much else in his life especially time to be present as a parent for his growing son Albus. How did you land on Harry's look? What was the inspiration for it? The jewel-like palette for these three was chosen with this in mind and so they had colours that could glow in the space without necessarily being bright. I wanted to know that within this fairly dark palette onstage, as the story unfolds swiftly before us, the main characters would be easily identifiable within the stage pictures created. Within the stage world of Harry Potter and the Cursed Child there is a lot of blackness created onstage by the cloaks and also, at times, the very specific lighting we need. You've used a very specific colour palette for Ron, Hermione and Harry – why did you choose those colours?
There is a very British, vintage aesthetic to things, palettes of colour and types of materials and headwear that help us identify it as the world we know as Harry Potter. I tried to imagine how the visual world may have evolved now that we are quite a few years on in the life of Harry, whilst still keeping it recognisable. I was very aware of trying to achieve a balance of living up to expectations of how these beloved characters and magical world should look, as well as making the world on stage uniquely of its own. Obviously the visual language of the Wizarding World was established strongly through the films – are there visual elements from the films that you've incorporated into the design? Overall I think there are over 500 costumes. Each of these areas are knitted together seamlessly. Throughout the piece, there are many moments where the questions of how we might achieve a certain magical effect, a sense of an otherworldly creature, or a truly "can't believe what you are seeing before your eyes" moment, are all realised by a complete collaboration and combination of costume, with illusion, lighting and choreography. Through the workshop process, we had found that using cloaks would be a really useful tool to us in magically appearing and disappearing objects and people, as we moved from scene to scene. The story unfolds very fluidly on stage, which means it is fast paced and very choreographed. How did you collaborate with other members of the creative team in creating these costumes? It was a mixture of going back to JK Rowling's books alongside being involved in a workshop process with the rest of the creative team in the year leading up to rehearsals, exploring the theatrical language of how we may represent aspects of the story and magical world of Harry Potter on stage. What was your starting point in creating costumes for Harry Potter and the Cursed Child ? Did you go back to JK Rowling's books? We asked her how she approached the Wizarding World and weaved her magic – and her carefully selected fabrics – over these beloved characters.
She won both the Olivier and Tony Awards for the original London and Broadway productions of the show, and now she's bringing them to Melbourne for the Australian premiere. That's the challenge that fell to Katrina Lindsay, the costume designer for Harry Potter and the Cursed Child.
#Harry potter and the cursed child book description series#
We all know what Harry, Ron and Hermione should look like, right? What about 19 years after the ending of JK Rowling's world-conquering series of books wrapped up? How would you imagine their futures, and how would you create those looks so that they could be seen, understood and enjoyed by everybody in a 1,500-seat theatre?