Interludes

THE HANGOVER REPORT – The relentlessly paced one-part edition of HARRY POTTER AND THE CURSED CHILD retains the magic of version 1.0

• By drediman
• January 25, 2022
• No Comments

I recently had the opportunity to revisit Harry Potter and the Cursed Child at the Lyric Theatre. When the production first opened on Broadway in 2018, it was in an expansive two play affair (penned thoughtfully and efficiently by Jack Thorne) that demanded considerable time and monetary resources from audiences. During the pandemic, the producers of the show decided to streamline the two parts into a single evening, likely to maximize the production’s profitability in these more uncertain times (note that the original two-part version remains in place in London’s West End). Running a show on Broadway is, after all, a commercial, for-profit endeavor, for better or for worse. The important question, however, is whether this newly revised iteration retains the magic that made the show a critical darling and Tony-winning hit in the first place. The short answer is yes.

In terms of length, about one-third of the production’s running time has been trimmed off, which is a significant accomplishment given how much of the original material – thanks to some cleverly concealed nips and tucks to Mr. Thorne’s script – remains in the show. Yet somehow, the central relationship between Albus Potter (Harry’s son) and Scorpius Malfoy (Draco’s son) has only gotten deeper in version 2.0, particularly with respect to its gay overtones, which are now more blatantly spelled out. Additionally, the pacing seems snappier, and is especially fast and furious in the more expository first act. Happily, the play’s major set pieces have remained intact, and the stage illusions sprinkled throughout are still as dazzling as I remember. Despite the undeniable spectacle of it all, the genius of John Tiffany’s staging – as aided by Imogen Heap and Steven Hoggett’s integral music and choreography, respectively – lies first and foremost in its underlying belief in the magic of theater itself (e.g., much of the play actually takes place on a bare stage). This remains the case in the one-part edition, even if some of the show’s more emotionally affecting moments now seem a tad rushed.

With the production’s extra-long running time and its relentless pacing, the cast of Harry Potter and the Cursed Child must surely be among the hardest working on Broadway. The current company is excellent, as led by Brady Dalton Richards as Scorpius and James Romney as Albus. Both portrayals are in the same compelling mold as the performances of Anthony Boyle and Sam Clemmett (who originated the roles in both the West End and on Broadway), which is just fine by me. At the performance I attended, Steve Haggard – replacing James Snyder, whose dismissal from the show recently made theater news headlines – sturdily played the title role. All in all, the show remains a uniquely immersive experience and has retained the air of a true event amongst mere plays.

HIGHLY RECOMMENDED

HARRY POTTER AND THE CURSED CHILD
Broadway, Play
Lyric Theatre
3 hours, 30 minutes (with one intermission)
Open run