LightSoundJournal.com: When show producers welcome throngs of enthusiastic Harry Potter fans to the live stage production of Harry Potter and The Cursed Child, they want to immerse the audience in a show experience like no other. Based on an original story by J.K. Rowling, Jack Thorne, and John Tiffany, Harry Potter and the Cursed Child is the eighth story in the Harry Potter series and the first official Harry Potter story to be presented on stage.
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Reading the title of the article, I thought that it meant that there was some sort of speaker or driver placed at every seat in the house and was shocked at what the scope of that would be. Nonetheless, it was still interesting to learn about the production process for the sound design of Harry Potter and the Cursed Child. I think it’s interesting that John Tiffany, the director, is so demanding that the quality of every production be as good or even better than the original London production. There are so many variables to take into account beyond just the speakers and drivers used to make the sound. This includes, at the very least, the size of the space, the seating layout, the acoustics of the space, and so many other things. It is helpful that these days we have so many technological tools to help us make this process much easier to accomplish, but Tiffany’s expectations are still very high when there are so many tiny details, both major factors and the smallest of variables, to keep in considerations when working in a new space.
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