Harry Potter and the Cursed Child - Live Play Review

How am I supposed to ever top this birthday surprise?

The question I’ve been sitting with since seeing Harry Potter and the Cursed Child live on Broadway is this: If I had a time turner, would I go back and convince Jack Thorne, John Tiffany, and JK Rowling that Delphi is a bad idea? Yes. There, I said it. The erumpent in the room can be released back to the wild.

Now, how about this question: would I ask them to make it shorter? No! You give me anything Wizarding World and I’ll buy it: tickets to two movies for one book, tickets to two theme parks for actually only one theme park, tickets to a play in “two parts” aka TWO PLAYS with a BROADWAY price?! Harry Potter is playing me – but I will not stop. It is always worth any dollar amount, just so I can return to Hogwarts.

Harry Potter and the Cursed Child was no exception. It was a delightful return to our beloved school of witchcraft and wizardry, and I’ve since told people that it was “an actual highlight of my life.” For the Harry Potter fans, even if you don’t like the idea of Delphi, seeing the play is worth every single knut. Reading the script is also worth it but seeing the play, living the experience, is a must. Jack Thorne, Cursed Child’s playwright, said in a tweet that “plays are like sheet music, meant to be sung.” Take his word – and take mine – you’ve just got to see this. It’s not to be missed.

I acknowledge it was a privilege to see it, not only at all, but with the original Tony- and Olivier-winning cast. I am so grateful for that experience.

So now! To the nuts and bolts of this review. The first section is what I wish to celebrate from this play, and it’s called, “What I never knew I needed.” The second section is what I wish to change, and it’s called, “Give me the time turner!” Without further ado…

What I never knew I needed.

The Music. Music is one of the highlight experiences of the play. Imogen Heap’s soundtrack is wholly different from John William’s iconic movie soundtrack – and it is welcome. Her light, undercurrent presence goes nearly missed as it lends easily to the magic. At only a few points was it obvious it was Heap’s electronic-ethereal echo or her hand at the instruments. Most notably for the music, was Heap’s use of metronomic ticking – providing the quick pace to get us where we need to go, quick. After all, we’re covering several years at Hogwarts in the space of just minutes. And of course…what’s a time turning story without a little ticking in the background?

Clocks, of course, are featured on the stage, but not too much. The effect is subtle – possibly, and ironically given the importance of the time turner, the small presence of clocks as set dressing was the only subtlety about the play.

The Lyric Theatre. The theatre itself was transformed for this play. Before you even walk under the awning at The Lyric, you know you’re about to be magically transported – from the signature Cursed Child nest to the augury lanterns outside. Inside, the carpets and wallpaper feature ornate “H’s”, the ceiling in the lobby has been painted to look exactly how you imagine Ravenclaw Tower’s common room, and the snack area even stocks pumpkin juice.

It was a feast. Not the pumpkin juice, though it was delightful, but the entire theatre. It is like a scavenger hunt – a Gringotts vault filled to the brim with riches. A personal favorite feature was the books stacked in House colors, but here’s the beautiful detail: the books were authors from the “real” world. Not a single book by Bathilda Bagshot or Gilderoy Lockhart. Along the spines were other familiar names: John Irving, Mark Twain, Ursula K Le Guin. Muggles seemed magical. Every book is a magical place all its own, after all.

Not to be left out: the staff at The Lyric also help bring the play to life. Make sure to catch their greetings at the end of Part One.

Choreography. Yes, that’s right, dancing. But again, it was one of the subtleties about the play that sneak up on you. There’s a lot of fancy robe twirling – akin to a magician’s cape flair – and dance numbers that at first you’re not sure you’d call “dancing.” There is clear planning to every step taken, but it looks so natural, it can only be called perfection in choreography. You’ll find yourself crying at the ballet of the moving staircases and smiling wide at the perfect timing of the stacking of suitcases. It’s innovative and marvelous – it’s what you want out of the word “spectacle.”

The Sorting Hat. Played by Brian Abraham, the Sorting Hat partially stole the show for me. The use of the Sorting Hat (and its very appearance!) was surprising and clever. From the very first moments of the play, I knew that magic would follow this wizard on stage – and I was happy to see his inclusion as more than “just a hat.”

Jamie Parker. Another actor who stood out for me was Jamie Parker – Harry himself. While I thoroughly enjoyed Anthony Boyle’s Scorpius (a new favorite character for me since reading the script), I was mesmerized by Jamie Parker. It seemed that Parker had studied Daniel Radcliffe as Harry in the movies and opted to take on some of his mannerisms. It works. It’s familiar and also not a copy. It seemed a simple nod to where Harry has been, a small tip of the hat to all the players who have taken on the title character of our beloved story. Parker also does a wonderful job taking Harry into his 30s and the trials of fatherhood. His performance of frustration and fear were balanced and true to who we might imagine Harry to be at this stage in his life.

The Effects. Finally, the magic on the stage is unrivaled. The inclusion of the entire theatre into the play was astounding. I don’t want to spoil anything, but I can confidently say I have no idea how most of the tricks were done. This is what we deserve when we ask for “real magic.”

Give me a time turner!

Where was Neville?! Our friend was mentioned three times in the script and not seen even once. What is this, “Waiting for Longbottom?” There was no reason to not have Neville included; in fact, given his mentions, it is not acceptable that he was absent. It was the Chekhov’s Gun of the entire play.

Delphi. There is no way the Dark Lord who never knew love, affection, and who certainly loathed humanity and human desire would willingly choose to father a child. He would not consider this “legacy,” but an admission of weakness. Bellatrix could never have seduced him…unless with a love potion…but that may be another story for another time.

Trolley Witch. Yeah, there’s just no need for this scene at all. It didn’t add anything and it just leaves a bad taste in the mouth…kind of like an exploding Pumpkin Pasty.

All in all, you know by now how I feel: fly to see this play – especially before the original cast leaves in spring of 2019. While Delphi is extremely problematic, and the plot relies on her existence, it is still worth it and you will not regret the money or time invested into seeing this show.