As intimated in the “Old Friends” review, yesterday was a two-show day. We went from a show that celebrated a musical theatre fandom (Sondheim) to one of a more fantastical nature: Harry Potter: the first LA performance ofHarry Potter and the Cursed Child at the Hollywood Pantages (Broadway in Hollywood). Note: This is not a musical.
First, I must note that, although I enjoyed the Harry Potter franchise when it came out, I’m not at the level of fandom as other friends. I’ve read the books… once. I’ve seen the movies… once. I’m at a similar level with other fandoms: I’m not obsessive about Star Wars; I don’t obsess over the minutae of Star Trek. What this means with respect to this show is that much of the fan service and Easter Eggs that were embedded for fans of the franchise weren’t all that special to me. Furthermore,at this point I would rather not line JK Rowling’s pockets and I don’t want to give her cash to support her views; I saw this show because it was part of the season package. I’m not sure I would have made a special effort to see it. But lots of people did: the theatre was packed, and the line for merchandise was incredibly long. Cosplay was everywhere, including a lot of Voldemort-logo shirts. They must be happy now; he and his minions are in the White House.
So: The Harry Potter play, henceforth HPCC (Harry Potter and the Cursed Child). What’s the good, the bad, and the ugly? Warning: There will be some level of spoilers here, but the predictable key spoiler is the big one: Not one of the principles dies, and there is really no major change made to the canon of Harry Potter lore. I mention spoilers because the cast list felt it necessary to include the disclaimer: “If you do not wish to know all the characters featured in the play do not read until after the performance.” Sheesh.
The basic story of HPCC is an expansion of the last scene in the last book: Harry Potter is grown up and has married Ginny Weasley. The youngest child, Albus Severus Potter, is going off to Hogwarts, and like any teenager, hates his dad. Just as in the original story, he makes a new friend: Scorpius Malfoy; his other friend, Rose Granger-Weasley, does not approve of the friendship. The rest of the plot makes me think of an article I saw recently about Star Trek, and the mess created by time travel in the various series: The father of Cedric Diggory is upset at Harry for not using some time-traveling widget to save his son. Albus and Scorpius decide to steal the widget to go back to save Cedric, and all sorts of bad things happen to the timeline. Of course, this Star Trek Harry Potter, everything works out and there are no permanent changes to the timeline. Well, Albus learns to understand his dad.
Therein is the first and most major problem with this play: The story. This is a time-travel story, and as is the nature of these things: Something gets broken, something has to get fixed, hijinx ensure. That was the plot of the recentBack to the Future: The Musical; that was the plot of so manyStar Trekepisodes. It’s old hat; it is an unnecessary story. Further, what it does is allow far too much fan-service: mentioning of widgets, magic, and characters from all seven movies and books that will excite the fandom in the audience. Such things are also meaningless to the broader theatre public that might not be Harry Pottle rabidfans™. In short, the story is weak and serves primarily fans. Great theatre it is not. Entertaining: If you are familiar with Harry Potter, it likely is. If you are a musical theatre person not in the fandom, you’ll likely be totally confused.
The second problem with the play is that it is seemingly designed for short-attention span viewers. Scenes are seemingly rapid-fire and short. The notion of scenes where you get to know the characters and understand the story isn’t there. You are expected to come in knowing these characters and their broad types; to know the lore of Hogwarts, to know what things are and what widgets and spells do. You are expected to know the whole backstory of Harry Potter, “The Boy Who Lived”™, and the whole backstory of his birth and the wars to save the magical world. As I said: This serves fans.
This is not to say that the show is bad. This isn’t aGirl from the North Country (our new standard for bad theatre). This is entertaining. But it requires knowing the franchise.
What is good about the show? The special effects. This show is laden with them. There are more special effects than you can woosh a cloak at — and there is loads of cloak wooshing in this show (there are at least 3-4 in every scene change). There are folks flying (wires and magnets, we guess); there are folks appearing and disappearing and transforming; there is flash powder and fires; there is all sorts of stage magic. And it all works quite well, and is astonishing to watch. But as shows likeKing Kong andSpiderman: Turn Off The Dark learned: Special effects to not a Broadway success make. What makes this show successful is the franchise: Harry Potter.
Also strong is the choreography: At times, you might think you are watching a dance show with the synchronization of movement. Movement plays a key part in this show, and is used to good effect both for magic and time travel.
The special effects and choreography mean you’re not going to really be seeing this at the regional or school level. It’s just too complicated.
What about the performances, you ask? First, let’s address the elephant in the room. They cast Hermione Granger as black, and therefore her daughter as black. Get over it. This is fiction, and what you see in the movies isn’t the only way to interpret the words on the page. Suspend your disbelief and enjoy the show.
As for the cast: There are so many people in this show that it is hard to assess them. Folks seem to inhabit their roles well, and Emmet Smith and Aiden Close do reasonable jobs as Albus Potter and Scorpius Malfoy. But it hard to say that particular performers are standouts because everything is happening so fast. Again: No one is bad; but it all blends into an ensemble and no one stands out.
There is music in this show — at some points far too loud, and far too much bass. You get the feeling that some characters want to burst out in song. Perhaps it might be better to get rid of some of the fan service and just make this a musical?
So, should you go? I think it really depends on your level of investment in Harry Potter fandom. If you are a rabidfan™, then go. See it multiple times. This show is built for you. If you are a passing fan, it is likely worth seeing once, just to complete the oeuvre of Harry Potter. I wouldn’t worry about the enriching of JK Rowling’s pocketbook: I don’t think she makes all that much from the individual ticketgoer; she’s licensed the property and is likely done with it. If you’re not part of the Harry Potter fandom, or just hate JK Rowling, I’d skip this. Theatrically, I don’t think this is all that significant without the fan service.
Harry Potter and the Cursed Child is at the Pantages for FIVE months, closing on June 22. Tickets are available through the Pantages website, although I’d expect more availability later in the run.
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Harry Potter and the Cursed Child. Based on an original new story byJ. K. Rowling, Jack Thorne, and John Tiffany. A new play byJack Thorne. Directed byJohn Tiffany.
Cast (edits indicated for our performance;* indicates actors who also play various other unnamed ensemble roles): Chadd Alexander*Sorting Hat; Julianna Austin* Polly Chapman; Ebony BlakeHermoine Granger; Aiden CloseScorpius Malfoy; David Fine*Yann Fredericks; Alexis Gordon*Madam Hooch; Caleb Hafen*Cedric Diggory, James Potter Jr., James Potter Sr.; Nathan Hosner*Voldemort; Chris JarmanVoice of Phone Box; Torsten Johnson*Professor Mazoni; Katherine Leask*Professor McGonagall, Professor Umbridge; Mackenzie Lesser-Roy*Moaning Myrtle, Lilly Potter Sr.; Trish LindstromGinny Potter; Naiya Vanessa McCalla*Rose Granger-Weasley, Young Hermoine; Matt Mueller Ron Weasley; Julia Nightingale*Delphi Diggory; Zach Norton*Karl Jenkins, Viktor Krum; Travis Patton*Teacher; Maren Searle*Trolly Witch; John SkelleyHarry Potter; Emmet SmithAlbus Potter; Timmy Thompson*Craig Bowker, Jr.; Paul ThornleyVoice of Ludo Bagman; René Thornton Jr.*Station Master; Benjamin ThysDraco Malfoy; Larry Yando*Albus Dumbledore, Amos Diggory, Severus Snape. Other ensemble members: Marcus Blair*, Casey Butler*, Erin Chupinsky*, Reese Sebastian Diaz*, Simon Gagnon*, Lauryn Hayes*, Markelle Leigh*, Evan Maltby*, Ayla Stackhouse*, Jennifer Thiessen*, Kristin Yancy*. Swings: David Abeles, Emily Schultheis. Current castboard at https://tour.harrypottertheplay.com/cast-board/ .
Creatives and Production: Steven Hoggett Movement Director; Christine Jones Set Designer; Katrina Lindsay Costume Designer; Imogen Heap Composer and Arranger; Neil Austin Lighting Designer; Gareth Fry Sound Designer; Jamie Harrison Illusions and Magic; Martin Lowe Music Supervisor & Arranger; Jim Carnahan CSA, Alexandre Bleu, CSA Casting Directors; Finn Ross Video Designer; Ash J. Woodward Video Designer; Carole Hancock Hair, Wigs, and Makeup; Des Kennedy International Assoc. Director; Colette Robert Assoc. Director; Nuno Silva International Assoc. Movement Director; Chelsey Arce Assoc. Movement Director; Brett J. Banakis International Scenic Supervision; Sabine Lemaître International Costume Design Associate; Nick Solyom International Assoc. Lighting Designer; Pete Malkin International Assoc. Sound Designer; Chris Fisher International Illusions & Magic Associate; Miriam Kelleher Assoc. Costume Designer; Will Pickens Assoc. Sound Designer; Skylar Fox Illusions & Magic Associate; Gary Beestone International Technical Director; Jennifer Thiessen Movement Captain; Simon GagnonAsst. Movement Captain; Alexis GordonVocal Captain; Juniper Street ProductionsProduction Management; Rolt SmithProduction Supervisor; Kate McDonielProduction Stage Manager; Brae SingletonStage Manager; Bari James BellardAsst. Stage Manager; Wendy Blackburn EastlandAsst Stage Manager; Lisa Ann ChernoffAsst. Stage Manager; Bespoke TheatricalsGeneral Manager; Lisa Anne PorterResident Voice & Dialect Coach.
Small Print: Harry Potter Publishing and Theatrical Rights © J. K. Rowling; Harry Potter characters, names, and related indica are trademarks of © Warner Bros. Enter. All Rights Reserved. J. K. Rowling’s Wizarding World is a trademark of J. K. Rowling and Warner Brothers Entertainment, Inc.
Favorite Minor Credit: U.K. Knitting by Jessye Boulton, Gina Pinnick, Heroic Knitters Ltd, Hilary Sleiman Knitting.
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Administrivia: I am not a professional critic. I’m a cybersecurity professional, a roadgeek who doesa highway siteanda podcastabout California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at:Center Theatre Group/Ahmanson Theatre;Broadway in Hollywood/Pantages Theatre;Pasadena Playhouse; and5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same sinceRep East died(it’s nowThe Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups;here’s my current approach.
Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ishDays (⊕ indicates ticketing is pending).
- February: ♦Desperate MeasuresatICT Long Beach
- March: ♦Top Dog/UnderdogatPasadena Playhouse;♣Nefesh MountainatMcCabes; ♦Fake It Until You Make ItatCTG/Taper;✡MRJ Man of the Year Dinner at Temple Beth Tikvah (Fullerton);✡MOTAS Poker Tournamentat TAS; ♦Natasha, Pierre, and the Great Comet of 1812at UCLA TFT; ♦44atCTG/Kirk Douglas; ♣Musique/Ray CharlesatCTG/Taper; ♦Cabaretat5-Star Theatricals;♦Drat the CatatGroup Rep;✡MoTAS/MoTBH Mens Sederat TAS
- April: ◊Ren Faire (Southern);✡First Night of Passover; ⌬California Science and Engineering Fair; ♦All The Devils Are Hereat the Broad;
- May: ♦Life of PiatCTG/Ahmanson; ⊕ ♦Spitfire Grillat Actors Co-Op.
