After originating the role of Ginny Potter in both the Canadian and North American touring productions of Harry Potter and the Cursed Child, Trish Lindstrom is currently making her Broadway debut in the same role at the Lyric Theatre.

It's a record-breaking time for the Tony-winning play, which has been breaking box-office records ever since the arrival of Tom Felton, who is making his own Broadway debut in the role of Draco Malfoy that he played in the Harry Potter films. The current New York company also features John Skelley as Harry Potter, Emmet Smith as Albus Potter, Aidan Close as Scorpius Malfoy, Rachel Christopher as Hermione Granger, Daniel Fredrick as Ron Weasley, Janae Hammond as Rose Granger-Weasley and Kristen Martin as Delphi Diggory.

Trish Lindstrom has also been seen in New York in Mother Night and If Sand Were Stone, while her additional theatrical credits include Girl in the Toronto production of Once, the Toronto staging of Life After, and the tour of Summer. She also spent six seasons at the Stratford Festival and Yve seasons at the Shaw Festival.

Playbill Online interviewed Lindstrom about the show:

Q: I know you've played Ginny previously in Canada and on tour. How did you originally get involved with the play?

A: I first met John Tiffany [director/co-creator of Cursed Child with Steven Hoggett and Jack Thorne] doing his production of Once in Toronto in 2016. In passing, he sparkled with delight about the new play he was workshopping, a story that would take place where the seventh book in the Harry Potter series left off. A few years later, I auditioned for the role of Delphi for Broadway year two. After a supremely mediocre audition—that and being "too old for Delphi, too young for Ginny"—I put the dream of working again with this extraordinary team on the shelf.... I eventually booked Ginny in the Toronto production, which began rehearsing spring 2022 [hired in 2019, Covid-postponed till 2022]. The tour started rehearsals a year after Toronto closed, bringing back the original creative team to cut the running time by 35 minutes and make major staging adjustments for the tour.

Q: What does it mean to you to be making your Broadway debut with this show?

A: In my career, I’ve had the chance to work with some of the world’s finest directors, actors, designers, stage managers, and crew. That’s what I’m most interested in. And if those people happen to be on Broadway, sign me up! It’s definitely a luxury to live and work in one of my all-time favorite cities and bring to life a project that I've held in my chest since 2019. I well up nearly every night during second bow, when the house lamps are raised to illuminate an audience we've only heard the whole night. It's also why I sign Playbills at stage door: connecting with people who have been on the journey with us is a keen reminder that we're part of a collective feeting experience that, like a cloud, is repeated but never duplicated.

Q: Excluding Harry Potter, do you have a favorite theatrical experience? What made that show/role so memorable for you?

A: In my final year of high school, I got to play Helen Keller in The Miracle Worker at The Stratford Festival [in Canada]. It was a life-changing experience for many reasons, but what I remember most was being convinced that director Jeannette Lambermont could read my mind. Like magic, she inadvertently taught me that acting wasn't about lying or fooling an audience into believing we were thinking the thoughts we were thinking, acting was about actually thinking those thoughts. I was never permitted to do a physical action without a true thought/intent to motivate it. An "intention boot camp" of sorts.

Q: What is your proudest achievement as an actor?

A: When I coach actors, I get a satisfaction that is beyond applause and offers a deep sense of purpose. I believe that knowledge and insight are meant to be shared.

By Andrew Gans

For the full interview, visit playbill.com.