Harry Potter: A Yule Ball Celebration
Creative Event Production
Immersive Theatre Experience.
VR & AR Integration.
10 Week Show Run (20k Tickets Sold).
Creative Project Management.
Working with Fever Up & Alive Agency in partnership with Warner Bros, I led this project as the creative producer for Alive Agency.
The Yule Ball is an immersive theatre experience, based on the Harry Potter film franchise. The event transports the audience into the Wizarding World, where they can watch a show, eat and drink themed food and purchase exclusive merchandise to expand their experience at the ball.
The show has been produced in various countries and cities including Montreal, Houston, Milan and now Sydney. In each city, the local team are given a structured brief to assimilate into a show suitable for the city.
The Yule Ball is an immersive theatre experience, based on the Harry Potter film franchise. The event transports the audience into the Wizarding World, where they can watch a show, eat and drink themed food and purchase exclusive merchandise to expand their experience at the ball.
The show has been produced in various countries and cities including Montreal, Houston, Milan and now Sydney. In each city, the local team are given a structured brief to assimilate into a show suitable for the city.
Phase 1: Planning & Casting
My role on this project was predominantly as the creative producer. Working with the global team of script creators, art director, and choreographer of the show, to structure the production for an Australian audience.
Whilst also supporting the team with logistics, budgeting, and project management.
In the first phase, we focused on building a strong crew, casting, and preparing for the build stage. We had less than three months to get this project on its feet. So we need to act strategically.
I led the charge specifically in:
Alongside the creative requirements I also needed to assist with venue sourcing, food & beverage service, and ticketing.
Whilst also supporting the team with logistics, budgeting, and project management.
In the first phase, we focused on building a strong crew, casting, and preparing for the build stage. We had less than three months to get this project on its feet. So we need to act strategically.
I led the charge specifically in:
- Selecting our crew of directors, dance leads, costume designers, LX, SX and FOH.
- Holding and leading our casting process to select a rotating cast.
- Review the set catalogue coming from Milan, to fit our space and then adding to this to ensure we have a cohesive set.
- Sketch, plan and style costuming with our designers.
Alongside the creative requirements I also needed to assist with venue sourcing, food & beverage service, and ticketing.
Phase 2: Build & Staging
In the second stage, we began to build the show and stage the venue.
Working with each specific team, I oscillated between ensuring the cast and crew were ready to open the show, the build & set team had transformed the space and the costuming & props were set with the right look and feel.
This included:
It was an 'all hands on deck' vibe with everyone pitching in across the board to bring the project to life. Which often included late nights on set making icy wreaths, creating props in my home workshop to assist cast & crew during the show and running lines with the cast swingers for schedule character support.
Working with each specific team, I oscillated between ensuring the cast and crew were ready to open the show, the build & set team had transformed the space and the costuming & props were set with the right look and feel.
This included:
- Styling and planning the sets across the stage, F&B, venue entrance, bar and lounge, gift shop, as well as various photo-ops for patrons to interact with during the show.
- Assistant directing and working with the cast on characterisation.
- Building the lighting design, setting stage & sound cues and blocking the show with the dance leads.
- Rehearsals and crew briefings to make sure we are ready for opening night.
- Programming the shows 10-week run.
- Initiating protocols and processes for the show run to prepare for any issues during the run.
It was an 'all hands on deck' vibe with everyone pitching in across the board to bring the project to life. Which often included late nights on set making icy wreaths, creating props in my home workshop to assist cast & crew during the show and running lines with the cast swingers for schedule character support.
Phase 3: Openning Night & 10 Week Show Run
The third and final stage of this project was, of course, opening the show and sustaining a smooth run of three shows per day across five days.
My role transformed into show manager for the full run as the global team and wider support were reduced onsite.
This required me to:
Additionally, I created a short video reel of the end-to-end experience. I encourage you to watch this to graps the scope in which we build this project.
My role transformed into show manager for the full run as the global team and wider support were reduced onsite.
This required me to:
- Leading the show on behalf of Fever, Alive and WB.
- Managing any maintenance, troubleshooting issues and stock levels.
- Overseeing the FOH teams; ticketing, F&B, Merch, Cleaners, and Temp Staff.
- Leading cast programming changes and crew staffing changes.
- Executing press and influencer deals throughout. Including producing the show for TV's Sunrise on Channel 7.
Additionally, I created a short video reel of the end-to-end experience. I encourage you to watch this to graps the scope in which we build this project.
