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| The cast of Harry Potter and the Cursed Child. |
There is genuine magic occurring onstage at the Lyric Theatre, the freshly remodeled home to Broadway's latest box office juggernaut Harry Potter and the Cursed Child. And no, I'm not just referring to the play's myriad special effects, though rest assured the two part epic includes some of the most dazzlingly inventive magic tricks to ever grace the Great White Way. By using the time honored building blocks of plot, character, and interpersonal relationship, this continuation of the beloved book series conjures the kind of magic only possible through a shared experience, resulting in a mesmerizing production presented in a scale rarely if ever attempted in the theatre.
Before the show even begins, the sense of being transported to another place is palpable. The Lyric Theatre has undergone a multi-million dollar renovation in anticipation of its new tenant, a revitalization which elevates the space to a level of elegance and luxury unrivaled by any performance hall in town. There are lovingly crafted nods to author JK Rowling's fantasy world everywhere, from the Hogwarts insignia on the plush carpet to the phoenix-shaped wall sconces to the glorious library/study motif used at the bars and merchandise stands. Yes, the space's transformation is so complete that you actually feel privileged go hand over more of your hard earned cash for a souvenir (wands are predictably popular, though I opted for a snazzy magnet and beautiful souvenir program). By the time you take your seat in an auditorium that is much more intimate than its 1,622 person capacity would imply, you truly feel like you're in King's Cross Station waiting to board the Hogwarts Express, thanks in no small part to the subtle visual cues provided by the theatre's ornate ceiling and walls.
The story begins 19 years after Harry Potter and the Deathly Hallows, and is the officially sanctioned 8th installment of the Harry Potter saga (Rowling shares a "Story By" credit with director John Tiffany and the script's writer, Jack Thorne). Harry's youngest son, Albus Potter, is leaving for his first year at Hogwarts School of Witchcraft and Wizardy, and on the train ride there befriends Scorpius Malfoy, the son of Harry's old school rival Draco. Beyond that basic setup, you will get no plot hints from me; the cast and creatives have made it very clear they'd like audiences to #KeepTheSecrets, and going in unspoiled is truly the best way to experience the story's many twists and turns. That said, prior knowledge of Harry's world and the series' main plot points is certainly helpful, as Cursed Child is very much a sequel that builds upon seven novels' worth of Rowling's richly detailed setting and characters.
What can be said without giving too much away is that Thorne's script is excellent, both as a continuation of Rowling's narrative and as a piece of character driven drama. All the returning players feel at once familiar and different, believable aged two decades while retaining their core personality traits. The new characters seamlessly integrate into the Wizarding World, brimming with interesting and well defined complexities and quirks. Just as Rowling's novels ground their fantastical adventures with exploration of real world issues like grief and loss, Cursed Child also has plenty to teach us Muggles about how we navigate the real world. A central issue of the story is Harry and Albus' strained relationship, neither quite sure how to interact with the other as the former struggles with the great unknown of parenting while the later deals with the emotional minefield of adolescence. Albus and Scorpius share a deep bond and friendship, but like so many young men they are often uncomfortable and unsure of how to best express it. That Thorne can provide these kinds of smartly observed relationships amidst an expertly plotted and paced mystery yarn is a testament to his skill as a writer, and cuts to the core of why this series has remained so enduringly popular over the last 20 years.
The cast is uniformly excellent, although Cursed Child presents the unusual problem (for a play, at any rate) where revealing who some of the actors play could be considered a spoiler. But the appearance of Harry Potter is a given, and he is embodied by an exceptional Jamie Parker. In a pitch perfect performance that accomplishes the seemingly impossible, Parker is instantly recognizable as Harry, in manner as much as appearance (you won't make out the famed lightning scar from the back of the house). He not only imbues his world famous character with a fully realized depth and honesty, but does much of the drama's emotional heavy lifting in a way that will touch your heart whether you're new to the whole Potter phenomenon or have loved this character since you were a child.
Parker also shares an easygoing familiarity with Paul Thornley and Noma Dumezweni as Harry's best friends Ron and Hermione, a chemistry no doubt helped by their years' long journey with Cursed Child (the three actors all originated their roles in the West End premiere, to deserved acclaim). Thornley and Dumezweni are equally adept at walking the line between honoring their literary inspirations and making the roles their own, especially the commanding yet playful Dumezweni. The pair communicate volumes even when not speaking, and the only conceivable complaint about either performance is that you wish there was even more of it.
Others reprising their performances from the London mounting include Sam Clemmett and Anthony Boyle as Albus and Scorpius respectively. Their friendship is as central to the plot as Harry and Albus' father/son dynamic, and the young actors are expertly attuned to one another. Clemmett has the more demanding but less showy role as the somewhat sullen Albus, struggling to emerge from his famous father's shadow and establish his own identity. The play's true protagonist, Clemmett makes Albus easy to root for even when he's making the kind of questionable decisions all teen boys make. Boyle is delightfully idiosyncratic as Scorpius, a reliable source of comedic relief in a play which doesn't shy away from the darker implications of its narrative. Yet he is also capable of great pathos when necessary, and is the perfect compliment to Clemmett. Rounding out the group of transatlantic transfers are Poppy Miller and Alex Price as Ginny Potter and Draco Malfoy, both fantastic and in full command of their characters' respective arcs. They are joined by over 30 American actors in roles of all sizes, and while revealing who plays what will definitely spoil the fun suffice it to say they are all wonderful.
I have purposely held off on discussing the technical aspects of the production to emphasize that Harry Potter and the Cursed Child is great, satisfying theatre and not just empty spectacle. That said, the spectacle on display is several orders beyond anything else currently on Broadway. There are multiple jaw-dropping, awe-inspiring how'd-they-do-that moments that will take your breath away and fill you with childlike glee. The squeals of delight you hear from the audience are as likely to emanate from a gobsmacked adult as an enthralled child, for even if you figure out how an effect is achieved you still can't help but marvel at how seamless and artistic it looks. Jamie Harrison and Jeremy Chernick are credited with designing the illusions and special effects, and they have gifted us with feats unlike any Broadway has ever seen. The endlessly surprising sets (Christine Jones), beautifully detailed costumes (Katrina Lindsay), absolutely outstanding lights (Neil Austin), and immersive sound (Gareth Fry) all aid immeasurably in selling these many magical moments.
Playwright Thorne and director John Tiffany have wisely scattered these elements throughout the production. They save the biggest moments for the act breaks, which end on feats so ambitious and impressive that you will likely be too stunned to move when the house lights come up. (While tickets are rightfully scarce, if you can finagle a spot in the front mezzanine you are in for a truly mind-blowing sight at the end of Part 1.) As director and ringmaster, Tiffany deserves an extraordinary amount of credit for his ability to effectively corral the many moving parts into a beautifully paced evening that finds equal awe in the huge spectacle and more introspective moments. In the hands of Tiffany and his designers, the small effects are just as entrancing as the stage-filling showstoppers. By the time you add Imogen Heap's expansive underscoring, Cursed Child easily rivals the feeling of scale in the biggest Hollywood blockbuster.
Simply put, there is nothing on Broadway like Harry Potter and the Cursed Child; one could argue that there has *never* been anything like it. It is something that must be seen to be believed, a theatrical masterwork whose narrative combines both new and existing characters in a myriad of interesting, surprising ways. The cast is uniformly excellent, the technical elements the best in the business, and the direction and writing are just top notch. It is no mere play, but an experience that you will treasure long after it ends, something that works on multiple levels and can be equally enjoyed by young and old alike. Utterly deserving of every award and accolade it has received, Harry Potter and the Cursed Child is a once in a lifetime event that is the definition of must see theatre.
