Review: ‘Harry Potter and the Cursed Child’ Enchants With Magical Effects & Heartfelt Storytelling

Harry Potter and the Cursed Child has cast a spell over the Pantages Theatre, captivating audiences during its long stop in Hollywood as part of its ongoing and highly anticipated North American tour — so anticipated, in fact, that local or visiting enthusiasts of the Wizarding World, or just well-crafted theatre in general, will have until the start of the summer (specifically June 22nd) to experience it.

With its magic, wonder, and heart, this condensed version of Harry Potter and the Cursed Child brings together Parts I and II (which have been separately presented) into a seamless single performance, meeting the heightened excitement head-on and exceeding expectations. Beyond being just being glorious to look at, this iteration of the Tony and Olivier Award-winning production offers a sensory splendidness and performances that sprinkle fresh innovations on top of a nostalgia that has enthralled the public for nearly three decades.

Written by Jack Thorne, with its story by Thorne, J.K. Rowling, and John Tiffany, the play picks up 22 years since Lord Voldemort was defeated. The next-generation narrative follows Harry’s teenage son, Albus Severus Potter, as he gets sorted into the “dark” house of Slytherin (unlike his father who was placed in the chivalrous house of Gryffindor) alongside Scorpius Malfoy, the son of erstwhile antagonist Draco Malfoy, who becomes his unlikely best friend. Albus feels the weight of living up to his own name and the legacy of his famous father, who is now the head of Magical Law Enforcement at the Ministry of Magic, and the lonely Scorpius must contend with rumors that he’s secretly the son of the supernaturally evil Voldemort.

When Amos Diggory, cared for by his niece Delphi Diggory, laments the loss of his son Cedric from decades prior, wishing he could be brought back, Albus and Scorpius join forces to boost a Time-Turner device from the Ministry, Mission Impossible style. The Time-Turner, however, only allows for five minutes at a time in the past; nevertheless, disastrously alternate realities are spawned, essential characters threaten to disappear forever, and jaw-dropping revelations come forth, especially one that connects the present to a wicked past that harbors Voldemort, going so far back as when Harry was merely a baby.

From the very beginning, the special effects and illusions astound with mind-boggling transfigurations, magical duels, and incredible stagecraft. Lit wands shoot fire as far as a flamethrower can, broomsticks and chairs levitate, Dementors expand and retract like flowing jellyfish, characters abruptly disappear and reappear from the stage, and time literally ripples for awed eyes to see. Certainly, the presentation, enhanced by the skills of set-designer Christine Jones (more on her later) and illusionist Jamie Harrison, is a visual feast, complemented by Imogen Heap’s atmospheric and stirring compositions that give the show its robe-wavering pulse in a world where light intrepidly subsists in the dark.

The power of love and hurt, in what is a coming-of-age story of friendship for two “lost” boys, and the complicated relationship between grownups and their children, mark the emotional highs and dramatic lows over a duration where the depth of the production’s characters becomes colored in. And, despite the three-hour runtime, the pacing feels intentional, never distracted, between transitions that are almost poetic.

A key part of the show’s success lies in the direction of John Tiffany. His ability to maintain the essence of the Harry Potter saga while adapting it for the stage is a remarkable achievement. Tiffany’s direction ensures that even amidst the grandeur of magical spectacle, the intimate moments of vulnerability and human connection never get lost. To a similar aim, the choreography by Steven Hoggett is also significant. Hoggett’s ability to use physical expression to both enhance the action and underscore emotional beats is evident with sped-up movement and slow-motioned tableaus.

Jones’s creative choices invite the observer into the many pages where Potter lore was born. The set’s minimalist approach serves as a perfect canvas for the preternatural transformations and time-travel sequences, creating an immersive, but not excessive, environment with rotating staircases, picture frames, clock faces, bookcases, and more. The scenery, moreover, is appropriately aligned with Neil Austin’s lighting design. With the proscenium dimly illuminated on purpose, with black backgrounds to better conceal the illusions, the audience is able to hone in on every little detail, none being more impressive than the use of light to denote the material manipulation of time and space.

Katrina Lindsay’s costume design, too, plays an integral role in visually distinguishing each character while enhancing their personalities. For instance, while Harry and Ginny Potter may be dressed in formfitting modern fashion, the identifiable robes remind of a universe cloaked in an unyielding mystery.

As for the performances, the cast brings a perfect blend of familiarity and novelty to their roles. Emmet Smith as Albus Potter offers a sensitive and nuanced portrayal of the heralded son, capturing Albus’s internal struggles pertaining to the acceptance of his peer group and especially father. John Skelley, playing Harry Potter, a “stone-cold ministry man,” carries the cachet of the hero’s past, evincing how even an accomplished wizard can have frailties wisely reminded of by wife Ginny (Weasley) Potter who is embodied by the accomplished Trish Lindstrom.

Aidan Close gives a layered performance as the spirited Scorpius, endearing himself not just to Harry but the audience. Benjamin Thys as Draco Malfoy rouses with his confidence, common sense, and wit, showing a softer side of the once-haughty Slytherin. Ebony Blake fills Hermione Granger with strength, grace, and a sense of courage, while David Abeles, her onstage husband, brings much-needed humor and warmth to the part of Ron Weasley (this role is usually depicted by Matt Mueller). Naiya Vanessa McCalla presents Rose Granger-Weasley, the daughter of Hermione and Ron, with a curious optimism.

Julia Nightingale is at times charming and yet mostly inscrutable as Delphi Diggory whose motivations with regard to Cedric are soon divulged. The versatile Larry Yando is Delphi’s distraught uncle Amos, the calm and venerable Albus Dumbledore, and the formidable but likeable Professor Severus Snape. Katherine Leask deserves praise for balancing the universally loved Professor McGonagall (realized by the late-great Maggie Smith in the films) and the sinister Professor Umbridge. Last, but not least, are Mackenzie Lesser-Roy who dazzles with her quirky ebullience as Moaning Myrtle and Nathan Hosner who leaves a starkly different impression as the fear-feeding and nightmarish Voldemort.

While it may have seemed like a daunting task to adapt and pack all these goings-on into three hours, the production is a resounding success. The thrilling journey of Albus and Scorpius, the emotional stakes, and the lasting themes of friendship, legacy, and the past’s impact on the present resonate powerfully in this format.

Overall, the North American tour of Harry Potter and the Cursed Child makes for a delightful and suspenseful sojourn, full of extraordinary happenings that is sure to leave audiences bewitched. The talented company and particularly the outstanding effects elevate a story that is indisputably human at its core — limitations and all — which can’t be undone by even the most advanced magic. And that’s entirely okay, so long as the omnipotence of love and acceptance is harnessed and celebrated.

Cover image caption: Standing left to right are Julia Nightingale, Aidan Close, and Emmet Smith in the North American tour of Harry Potter and the Cursed Child. Photo by Matthew Murphy

Harry Potter and the Cursed Child runs through Sunday, June 22nd at the Hollywood Pantages Theatre. For more information and to purchase tickets, visit broadwayinhollywood.com.