Excitement surged among fans when it was announced that the beloved Harry Potter saga would be expanding with a new chapter, this time through a stage play in London’s West End, accompanied by a script book titled Harry Potter and the Cursed Child. The franchise, known for its deep-rooted fan base and cultural impact, was back in the spotlight. However, the latest installment is not solely penned by the original author, J.K. Rowling, but is a collaborative effort led by British playwright Jack Thorne, who developed the story in conjunction with Rowling and director John Tiffany.
Positioned as the eighth story in the Harry Potter series, the Cursed Child takes place nineteen years after the conclusion of the seventh book. The narrative picks up where Deathly Hallows left off, exploring the complexities of Harry’s life as a middle-aged father sending his children off to Hogwarts. However, tensions arise between Harry and his son Albus, contrasting with Rowling’s previous assertions about their relationship years prior.
Note: This article contains spoilers for Harry Potter and the Cursed Child.
The transition into parenthood proves challenging for Harry, now the Head of Magical Law Enforcement. The play quickly progresses through the first three years of Albus’s time at Hogwarts, illustrating his struggle for acceptance within his family, particularly as he is sorted into Slytherin. This unique choice places him in stark contrast to the rest of the Potter family.
Jamie Parker as Harry, Sam Clemmett as Albus, and Poppy Miller as Ginny in Cursed Child. Image: Pottermore
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As the story unfolds, Albus forges a friendship with Scorpius Malfoy, Draco Malfoy’s son, who navigates his own familial challenges. The plot truly accelerates in their fourth year at Hogwarts, incorporating a time travel element that echoes themes from the earlier books, particularly from Goblet of Fire and Prisoner of Azkaban. This creative weaving of nostalgia mirrors techniques employed in recent reboots like Star Wars: The Force Awakens.
Thorne adeptly introduces Albus and Scorpius, the play’s new protagonists, whose chemistry provides a compelling dynamic. Their playful exploits across time offer a refreshing perspective on the well-established Harry Potter universe, evoking genuine delight as they navigate the magical world.
Anthony Boyle portrays Scorpius Malfoy in Cursed Child. Image: Pottermore
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The play successfully evokes a sense of nostalgia, incorporating familiar elements such as Polyjuice Potion and iconic locations, while featuring beloved characters like Dumbledore, McGonagall, and Snape. Thorne’s writing taps into the sentiments of long-time fans, bridging the gap between the previous generation and the new one, akin to how Star Wars seamlessly introduced new characters alongside established favorites.
However, the script’s limitations become apparent as it reads like a screenplay rather than a traditional narrative. The immersive world-building that characterized Rowling’s earlier novels is largely absent, replaced by stage directions that may not resonate well with readers. The dialogue at times feels overly explicit, stripping away the underlying subtleties that made the original books so enchanting.
John Tiffany, J.K. Rowling, and Jack Thorne during rehearsals for Cursed Child. Image: Pottermore
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At times, the writing directly states emotions and intentions, such as when Scorpius candidly mentions his family struggles. This straightforwardness detracts from the narrative’s depth and maturity, creating a disparity between the tone of Cursed Child and the earlier Harry Potter books. Consequently, the play’s script fails to capture the intricate storytelling that fans fell in love with over the years.
On stage, Harry Potter and the Cursed Child has garnered significant acclaim, but many fans are unable to experience it in its theatrical form. The essence of the franchise’s initial magic lies in its literary roots, and this latest offering does not fully capture that enchantment.
