Part 4 of our series offers a behind-the-scenes glimpse into the intricate world of costume and prop design for "Cursed Child: The Journey." Renowned costume designer Katrina Lindsay approaches her work as a form of visual storytelling, crafting a cohesive color palette and sculptural silhouettes that bring the characters and setting to life on stage.

While sketching costumes in her home studio, Lindsay experienced a moment of concern. She worried about the monochromatic and uniform look of the costumes, especially the cloaks, which seemed to threaten visual diversity. Her challenge was to create varied and engaging costumes that still felt authentic to the magical universe of the play.

Lindsay’s impressive career includes prestigious awards such as the Outer Critics Circle, Drama Desk, and Tony Awards for her work on "Les Liaisons Dangereuses," along with an Olivier Award nod for "Bend It Like Beckham: The Musical." Her versatile portfolio spans theater, opera, ballet, and film, often combining set and costume design to craft immersive environments. For "Cursed Child," she collaborated closely with Carole Hancock, head of WAM (Wigs, Hair, and Makeup), ensuring every visual element complemented the storytelling and brought the magical world vividly to life.

Creating iconic looks for "Harry Potter and the Cursed Child" demanded both honoring the past and embracing evolution.

Designers Katrina Hancock and Lindsay faced a unique challenge: reimagining beloved characters decades later while ensuring instant recognition.

They dove deep into research, scouring portrait galleries, historical archives, and online resources for period hairstyles and fashions.

Inspiration boards overflowed with images of modern London students, Scottish schoolchildren, and established wizarding world figures.

Familiar faces like Dumbledore or Hagrid required thoughtful tweaks rather than complete reinvention.

Harry Potter’s essence—untamed hair, glasses, scar—remained vital, but his new roles as a Ministry employee and stressed father needed fresh expression.

Lindsay sought equilibrium between audience expectations and a magically matured universe.

She emphasized a distinct British vintage aesthetic, visible in earthy color palettes, textured materials, and distinctive headwear.

This world thrives on contrast: the mundane beautifully intertwined with the fantastical.

"Characters aren’t just one thing," Lindsay explained, highlighting the crucial blend of ordinary life and enchanting magic.

The costume journey began with sketches, refined through intense workshops with the creative team and actor rehearsals.

Lindsay prioritized the actors' physical language and interpretations, tailoring each look collaboratively.

Meanwhile, Hancock brought her department’s spirit to the forefront, moving beyond the "wig lady" label.

She championed the name WHAM, reflecting the team's broader, more dynamic scope established during her "Lion King" days.

Mary Halliday, originally from the United States, and Lisa Buckley, from the United Kingdom, serve as props supervisors for the production of Harry Potter and the Cursed Child. Their main responsibility involves sourcing essential items such as enchanted herbs, potion bottles, furniture, owls, and wands that bring the magical world to life on stage.

While some team members create props directly, Halliday clarifies that she and Buckley focus on identifying skilled artisans and suppliers rather than crafting items themselves. “We excel at locating the right people for each task,” Halliday explains. “Our job is to provide them with comprehensive references and resources, much like guiding a flock of young birds to the right nest.”

A key aspect of their work revolves around maintaining an extensive network of contacts. Buckley emphasizes, “Having a reliable address book and nurturing good relationships is crucial.” Their prior collaborations include several productions with Sonia Friedman and work alongside colleagues like Jones and Banakis, fostering a strong teamwork foundation. Interestingly, both admit their familiarity with the Harry Potter universe was initially limited; Halliday recalls asking Brett about the concept of a Muggle during a workshop, and she even googled "Moaning Myrtle" during tech rehearsals to understand her story better.

Much of their sourcing involved scavenging online, visiting vintage markets, and thrift stores. For example, the headmistress McGonagall’s desk was repurposed from a church, while Amos Diggory’s wheelchair was acquired via eBay. Custom props such as printed documents bearing the Hogwarts and Ministry of Magic emblems were also created to enhance authenticity. Buckley believes that a deep familiarity with the wizarding universe isn’t necessarily advantageous; instead, reacting instinctively during rehearsals and keeping an open mind allowed them to adapt more effectively. She feels that approaching the project without preconceived notions enabled a more genuine and creative response to the evolving production.

This insight into their process is part of the book Harry Potter and the Cursed Child: The Journey by Jody Revenson, released today in the UK and on November 5, 2019, in the US. To purchase in various regions, readers can follow the corresponding links for the UK, US, Australia, New Zealand, India, and South Africa.

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