It’s time to believe in magic again. When Harry Potter’s head-strong son Albus befriends the son of his fiercest rival, Draco Malfoy, it sparks an unbelievable new journey for them all—with the power to change the past and future forever. Prepare for a mind-blowing race through time, spectacular spells, and an epic battle, all brought to life with the most astonishing theatrical magic ever seen on stage. “You’ll be wondering ‘how’d they do that?’ for days to come” (People Magazine).
This is a production built to move on tour, and that means some limitations of spectacle in a show originally conceived to be this huge; the Dementors, those nasties who chomp on human happiness, will not here pursue you all the way in the balcony. The show stays behind the proscenium and there are not as many secret traps to facilitate Jamie Harrison’s singular illusions, not that you will notice. And, in all honesty, I miss much of the text shorn from the original two-part version, as written by Jack Thorne, Rowling and Tiffany. That’s especially true at the beginning as Harry, Ginny, Hermione, Ron and Draco (Benjamin Thys) send their kids off to Hogwarts, a familiar bittersweet experience for those of us who’ve sent kids off to school or college. The even shorter tour version is a little frenetic in places but then again (as Tiffany has said), the tour makes the show more accessible to more people. Incontrovertibly true. Incontrovertibly a good thing.
It wouldn’t be a HARRY POTTER play without magic...and CURSED CHILD really delivers. The three hours fly by because the show is so packed with stage wonders. Notably, director Tiffany and illusions and magic designer Jamie Harrison have preserved the key magical moments from the original, two-part Broadway production. While the magic elements no longer encompass the entire theater — as they do on Broadway — the action within the proscenium remains plenty magnificent. Among other tricks, I was especially dazzled by the Polyjuice Potion transformations, transfiguration, and, of course, Harry’s iconic invisibility cloak. Harrison’s illusions work beautifully with Christine Jones’s sprawling, gothic set, Katrina Lindsay’s costumes, and Steven Hoggett’s movement patterns. Finn Ross and Ash J. Woodward’s video designs also play a pivotal role in the show’s depiction of the Time-Turner’s powers.
2018 | Australia |
Australian Production Australia |
2016 | West End |
West End |
2018 | Broadway |
Original Broadway Production Broadway |
2021 | West End |
World Premiere West End Production West End |
2024 | US Tour |
North American Tour US Tour |
2019 | San Francisco (Regional) |
San Francisco Production San Francisco (Regional) |
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