From the March 1st article "Invisibility cloaks, cardboard rockets, and flying orbs of light: Here’s how Canadian theatre uses the art of magic" by Michael Kras at Intermission Magazine:
Cursed Child is hardly an isolated case for this hefty use of theatre magic. Plenty of prominent productions utilize magic design in considerable ways, including the current West End hit Stranger Things: The First Shadow (also featuring illusion design by Cursed Child’s Jamie Harrison and Chris Fisher), which is already planning to hit more stages internationally, with little doubt that Canada will eventually be in the mix. Hit musical adaptations from the West End and Broadway like Back to the Future (illusions by Chris Fisher) and Beetlejuice (illusions by Michael Weber) are both slated for the forthcoming Mirvish subscription season.
Of course, a common thread here is that these are all imported, big-budget commercial properties. But the beautiful thing about magic is that a relentless spirit of ingenuity and creative problem-solving is far more important than a price tag. The entire job description is about making the impossible possible onstage, and the greatest magic is achieved by earthy, organic means rather than high-tech gadgets.
One such homegrown example is Young People’s Theatre’s Dora-winning The Darkest Dark, adapted by Jim Millan and Ian MacIntyre from Chris Hadfield and Kate Fillion’s book of the same name. Canadian conjuror David Ben – who also staged the effects in the Stratford Festival’s Grand Magic last season — was tasked with crafting magic that had a childlike spirit of play and imagination, with sophisticated, memorable illusions built from humble cardboard boxes. On a smaller-scale indie level, Eric Woolfe’s Eldritch Theatre is also known to regularly feature sleight of hand in their spooky seasons of plays.
