“Harry Potter and the Cursed Child” at the Hollywood Pantages Theatre was an entirely entertaining and diverting piece of theater. All of it well-thought out and realized, well cast and beautifully rendered. So many of the scenes looked like paintings of long-ago places where Myths were born. The production team got it right. For anyone who is a die-hard Harry Potter fan all the bells and whistles are evident. And for anyone new to the series, they have an encapsulated wonderful stand-alone story. It is not dependent on knowing the history of all the books and movies in order to appreciate this show. If you do, it is like seeing old friends again and one is whisked right back to the halls and corridors of Hogwarts where strange things go bump in the night. If you don’t, then you are introduced and enfolded into a fully realized alternate reality where magic is real and the witches and wizards are no less human because of it.
The original story by J.K. Rowling, Jack Thorne, and John Tiffany has similar themes to the books and movies preceding it. One theme is Good vs. Evil of course in the guise of Lord Voldemort (Evil) and Harry Potter (Good). These designations become cloudy when a once Evil wizard Lucius Malfoy has a grandson who is good, Scorpius Malfoy, wonderfully played by Aidan Close. Leading one to believe that there is redemption in the magical world of J.K. Rowling. Another theme is friends caring for friends and finding courage to help a friend in need. This was true between Harry, Ron and Hermione, also between Albus Dumbledore and Harry, and is true here between Albus Potter (also beautifully rendered by Emmet Smith) and Scorpius Malfoy.
“Harry Potter and the Cursed Child “North American Tour – Photo by Matthew Murphy.
The greatest theme apparent is that Love overpowers Hate and always will. This is shown in a myriad of ways throughout the play. It is the basis for the entire storyline when Harry’s Mother, Lily, protects him with an ancient spell based in Love which turns the aggressor’s spell back onto themselves. This is what happened to Voldemort when he first tried to kill Harry after killing Harry’s parents. We see Harry’s love for his son become muddled through his fear for his son’s safety. The love that Harry’s wife has for him and his son is quiet, palpable and formidable. We see Dumbledore’s love for Harry manifested through advice long after he is dead. We are witness to the growing care and love that Albus Potter and Scorpius Malfoy share as best friends on a perilous journey to right a wrong. It reminds me of a quote that always stuck with me: “Hate cannot drive out hate; only love can do that” (Martin Luther King, Jr.). A lesson for the ages apparently.
“Harry Potter and the Cursed Child” North American Tour – Photo by Matthew Murphy.
Director John Tiffany and Movement Director Steven Hoggett are united in their vision for the ensemble and the arc of the show. The unison movement stood out when needed and helped to forward the action and themes. The transitions were little choreographed vignettes that made the show flow imperceptibly. They were subtle and served as punctuation to the scenes. The Set Designer Christine Jones put together wonderful pieces that moved and made us believe we were at Hogwarts. The details on the banisters of the staircases were fantastic. The pillars which also stood in for the trees in a forest were gorgeously carved and realized. Bookcases and desks looked as if they had been in use for hundreds of years. I mentioned earlier that the scenes looked like paintings because of the richness of detail that made them up. The costumes by Katrina Lindsay went hand-in-hand with the scenery. The capes and cloaks with school uniforms all worked beautifully with the atmosphere of the school. Draco Malfoy’s costume was an essay in black austerity lending him an air of serious dark broodings. The use of the cloaks and capes made the whole production as they were flung and flipped and spun, hiding entrances and exits as well as producing objects out of thin air – well done! The lighting by Neil Austin was moody, obscure and mysterious, allowing the illusions and magic by Jamie Harrison to take place undetected. So much came out of nowhere and then disappeared that we were as children at a birthday party watching a rabbit come out of a hat. The characters in the main were well played and given three-dimensional reality by the capable actors portraying them. Harry Potter by John Skelley, Ginny Potter by Trish Lindstrom, Hermoine Granger by Ebony Blake, Ron Weasley by Matt Mueller, Albus Dumbledore by Larry Yando, Lord Voldemort by Nathan Hosner, and Delphi Diggory by Julia Nightingale were all excellent in their respective roles.
“Harry Potter and the Cursed Child” North American Tour Aidan Close as Scorpius Malfoy, Mackenzie Lesser-Roy as Moaning Myrtle, and Emmet Smith as Albus Potter – Photo by Matthew Murphy.
I believe there was even a nod to Kabuki in the Mawari-butai, or revolving stage as well as Chúnori, or riding in mid-air, in other words, flying. There was also evidence of Kuroko, stagehands dressed entirely in black and traditionally considered invisible. They can move props or people without actually being seen due to the specific lighting onstage. They were so good that I am not completely sure that they were present. This was an unexpected and fabulous aspect brought to the performance. To sit back in the seat and let these effects astound oneself was the gift of the evening. There was a singular effect that was amazing and never failed to elicit awe. Whenever anyone utilized the illegal Time-Turner, the entire stage warbled as if it was only a projection on a screen rather than a 3D set in physical space. After this disorientation all returned to normal with depth perception intact. The effect was a tad bit confusing as it reminded me of buildings moving in an earthquake. It was felt profoundly on the audience I was a part of.
This proved a very wholesome show with fantastic sets and costumes, a high caliber of acting and incredible magic with a lovely message for todays’ audiences young and old. We are aware of the threat against Harry and his family. We are aware that winning over Evil will not come cheaply or easily. We are aware that Evil has many faces, and it isn’t necessarily the ones that are the most obvious or easily identified. Evil is subtle. Evil is seductive. Evil has easy answers. This show tells us to be on our guard against hate, against the easy enemy, to think and not accept being told what is true. It raises our awareness to our issues today that the characters are dealing with in their imaginary world. And isn’t that what theater is supposed to do?
“Harry Potter and the Cursed Child” runs through February 28, 2025. For more information and to purchase tickets please visit the Hollywood Pantages Theatre website.
Written by Brian Fretté for LA Dance Chronicle.
Featured image: “Harry Potter and the Cursed Child” North American Tour Julia Nightingale as Delphi Diggory, Aidan Close as Scorpius Malfoy and Emmet Smith as Albus Potter – Photo by Matthew Murphy.
