“I wanted to make sure all the juicy bits were in there.” With the album’s release today, Heap helped us understand how a few of those most striking cues came into being.Synopsis, Cast and Creative Team SynopsisĪs the eighth story in the series and the first to be presented on stage, Harry Potter and the Cursed Child picks up 19 years after book seven's epilogue and not only reveals what's become of the golden trio (aka Harry, Ron and Hermione), but also follows the next generation of faces as they attempt to live up to their parents' legacies. “For the die-hard play fans, they want to really go, ‘Oh, what was that thing when he did that?’ and they can read the script and it can really take you back,” Heap said. Heap engineered the album so that the music would stand on its own, but a listener could also follow along with the drama. On Friday, Heap released The Music of Harry Potter and the Cursed Child in Four Contemporary Suites, a version of the play’s soundtrack that she further tinkered with and boiled down into a 79-minute album, with each suite matching one act of the two-part play. “Essentially we had to make two and a half hours of music in about three months,” Heap recalled, and though it’s built off of work you might recognize, “every single sound you hear has been worked on, sometimes beyond recognition.” After Hoggett reached out to her, Heap took his selections, revised her own music, and contributed new work to fit the mood of the play. There’s a “Wand Dance” as the Hogwarts students master some spells, and a “Staircase Ballet” with stairways that move across the stage as the characters come to feel alienated from one another. They’re “movements” that approach a kind of choreography.
Working with his longtime collaborator director John Tiffany, Hoggett also inserted moments that aren’t quite dances into the show. Though Cursed Child isn’t a musical, Heap’s tracks underscore the majority of the two-part play and act as a crucial part of the storytelling. “So he knew I was going to say yes to that.” “I went home and checked online if I could look up Steven Hoggett and Harry Potter and there it was!” Heap said. He couldn’t tell her about what the project was, but said it was about a boy with a scar. She got a call from Hoggett who said he was working on a project for which they had been temping her music in workshops he wanted to know if he could keep using it. “The first I heard about it was pushing my baby at the time in a very muddy field with a pram,” Heap recalled. In early rehearsals for the play, the show’s movement director Steven Hoggett had selected a few tracks from Heap’s back catalogue to accompany a few scenes. At first, Imogen Heap wasn’t even aware that her music was being used for Harry Potter and the Cursed Child.
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