Well. Harry Potter and the Cursed Child is not going to be the easiest thing to review. Not only was the play itself a complete sensory overload, its plot was so intricate that I almost feel like I can’t reveal anything without giving the die hard fans a clue as to what happens. Suffice to say The Cursed Child is a theatre experience like no other that everyone should see if and when it comes to Australia.
The Cursed Child is the brainchild of the author of the original Harry Potter series, although the play itself was written by Jack Thorne based on Rowling’s story. This turned out to be a good partnership, as the playwright Thorne anchors the story to techniques and conventions of theatre, while Rowling’s trademark humour and passion shine through the characterisation and dialogue.
While I don’t want to give away any potential spoilers (#keepthesecrets), what I can say is The Cursed Child picks up exactly where the original series left off – in fact, the first scene of the play is basically ripped from the final chapter of The Deathly Hallows. We have Albus Severus Potter, 11 years old, standing at platform 9 3/4, preparing for his first year at Hogwarts School of Witchcraft and Wizardry. From there, we have a complicated story that pays massive dividends for the fans – I’ve read all the books three times and I still had no idea what was happening at times. In fact, my only criticism really is that the plot was quite dense. It all fits together nicely and without trampling on the original books/films we love, but it is a bit bewildering at times.
My other major complaint was that the music was not at all suitable. The person I saw it with said she didn’t even notice there was music, so perhaps you won’t notice it if you get engrossed in the story, but personally the electronic (almost techno) soundscape was a bit jarring, especially since I was expecting lilting violins.
The themes of Cursed Child include the old tropes of the Potter franchise – the meaning of bravery, the sacrifices one needs to make to make change, the struggles of adolescence. But Cursed Child moves the franchise ahead by using the father/son element to explore issues of parenthood, and particularly fatherhood. What would it really be like to be the son of Harry Potter or Draco Malfoy? How would Draco and Harry cope as parents? The play has realistic and touching answers to these questions. Although I must say that a trip to the psychologist could have solved a lot of the problems our heroes face, Cursed Child furthers the JK Rowling tradition of mixing classic storytelling with complex motifs and themes. The HP series has always been way more rich and emotionally gripping than most mainstream art, and The Cursed Child is no different.
The acting throughout is inspired – Noma Dumezweni is the standout as Hermione, embodying a perfect mix of intelligence, bravery and sarcasm. As for the next generation of characters, Anthony Boyle is brilliant as Scorpius Malfoy – his squeaky voice and juddering movements convey a character struggling to grow up under the dark shadow of his father.
The most magical element of the whole experience is, sadly for the huge majority who won’t see the play in London, the staging. Director John Tiffany has made excellent use of the particular advantages of theatre. The magic itself is wonderful, as are the artful and economical stage changes between scenes. I don’t want to make you all jealous, but I’m afraid the script will stay on the page – just reading it won’t give you the full sensory experience. Also, as with all plays, the actors give the lines much more resonance than they would have if you just read in your head. Also the atmosphere of the theatre itself, and the incredibly enthusiastic crowd, was an integral part of the experience. The audience was so much more diverse than for traditional theatre, where the audience is usually white people over 50.
All in all, readers of the Cursed Child will be treated with an engrossing (if confusing) plot that stays true to the characters we know and love, while introducing new blood into the series. What they unfortunately won’t get is the complete visual and audio feast that the lucky few who see it live will experience.
For more details about the show, which is currently enjoying performances at the Palace Theatre in London, head to their official website. The written version of the play is in stores now.
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