If anything, Part Two is even better as the dramatic stakes in the time-shifting story become ever more intense. Part One ends on a shocking cliff-hanger with some astonishing stagecraft and the words “To be continued….” flashed onto the curtain. From transformation, to flying, to wand duels, to smoke shooting out of a pair of ears, to arriving by Floo, the effects are stunning some which can’t be named are mind-blowing. You sort of know how a lot of it must be done, but still shake your head at the dexterity and artful precision with which it’s achieved. The lovely thing about the magic is that it uses good old-fashioned theatrical tricks. The staging is a breath-taking fusion of wonderful, human story-telling combined with jaw-dropping magical effects. The play also explores time-honoured themes such as history repeating itself, friendship, trust, loyalty and power. Draco is also struggling to connect with a son he doesn’t understand. Harry who never had a father of his own, and a complicated relationship with Professor Dumbledore, is lost when trying to deal with the unhappy Albus, and his attempts at father-son conversation only seem to make things worse. Photo © Matt MurphyĪt the heart of the story are relationships between parents and children. Sean Rees-Wemyss and William McKenna in Harry Potter and the Cursed Child. Ignoring Rose, he decides to stay in the carriage with Scorpius, and an unlikely friendship is born.
None of the students, Rose in particular, want anything to do with Scorpius, but Albus immediately warms to his goofy, awkward sense of humour, not to mention the lure of his sweets. Boarding the train, they discover Scorpius Malfoy, son of Harry’s nemesis, the Death-Eater, Draco Malfoy.
Hermione Granger and Ron Weasley, who are also married, are there with their daughter Rose Granger-Weasley – who clearly takes after her super-smart mother and is also joining the first year Hogwarts’ students. Uptight and anxious about being the son of The Boy Who Lived, Albus is scared that he won’t live up to his father’s reputation. But Albus is a very different kettle of fish to the confident, relaxed James. Their second son Albus Severus (named after Albus Dumbledore and Severus Snape) is joining his brother James at Hogwarts School of Witchcraft and Wizardry. We meet them on platform 9 and 3/4 as they await the Hogwarts Express. Ginny edits the sports pages of the Daily Prophet. Harry, who is now 37 and married to Ginny Weasley, is Head of Magical Law Enforcement, working for Hermione Granger, who is the Minister of Magic. It begins 19 years after the end of Harry Potter and the Deathly Hallows. Gyton Grantley, Paula Arundell, Gareth Reeves and Lucy Goleby in Harry Potter and the Cursed Child. With producers asking patrons to #KeepTheSecrets, reviewers can only hint at what audiences must discover for themselves. The story is complex, intricately plotted and incredibly clever in that it takes us into new territory and yet incorporates some of the beloved characters and key plot points from the novels. The Melbourne production (with Michael Cassel as the Executive Producer for Australia) is only the third in the world and looks set to run for years at the specially refurbished Princess Theatre where there are new seats, a new carpet with an ‘H’ monogram, and new dark-themed decor, some of which is integrated into the production. In 2018, it opened on Broadway where it took home six Tony Awards. Then Sonia Friedman Productions, Colin Callender and Harry Potter Theatrical Productions presented the world premiere in London’s West End in 2016 where the show won a record-breaking nine Olivier Awards. Written by Jack Thorne, based on an original tale by Rowling herself, Thorne and John Tiffany, who directs, it was first published as a play script. Instead, in manna from heaven for Potter fans, Harry Potter and the Cursed Child tells a brand new story. The Australian company of Harry Potter and the Cursed Child.
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Rowling’s phenomenally successful wizarding world on the boards? A series of book by book stage adaptations to follow in the wake of the films? A musical (which some people at last night’s Melbourne opening had been expecting)? Both ideas, among umpteen others, were suggested to Rowling but none got the tick of approval. I admit to being a Harry Potter fan, but as the final curtain approached I simply didn’t want it to end. There are very few shows that generate such high levels of anticipation as Harry Potter and the Cursed Child, but this epic piece of theatre not only meets expectations, it exceeds them, weaving a magical spell that keeps you transfixed for every second of the five-and-a-half hour, two-part play.
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