Photo Credit: Matthew Murphy
‘Harry Potter and the Cursed Child.’ Based on an original new story by J.K. Rowling, Jack Thorne, and John Tiffany. A new play by Jack Thorne. Directed by John Tiffany. Presented by Emerson Colonial Theatre at 106 Boylston St., Boston through Dec. 20.
By Shelley A. Sackett
Harry Potter and the Cursed Child is handicapped before the curtain even rises. It is based on the Harry Potter series, a seven-book global phenomenon created by J.K. Rowling. The novels chronicle the lives of a young wizard, Harry Potter, and his friends, Ron Weasley and Hermione Granger, all of whom are students at Hogwarts School of Witchcraft and Wizardry. The main story arc concerns Harry’s conflict with a dark wizard (Lord Voldemort) who intends to become immortal, overthrow the wizard governing body, and subjugate all wizards and Muggles (non-magical people).
The books were responsible for getting millions of children to start reading chapter books and were engaging and cheeky enough to lure their parents to join them. The eight movies the books spawned were even more popular and brought the world of Harry Potter to life on the big screen.
Alas, those same characters appear in Harry Potter and the Cursed Child, but they have not aged well in the 19 years since the last Harry Potter book. Neither has the plot, which, aside from one major twist, is muddled and tedious. At three hours, this ship might have sunk in harbor were it not for one gigantic rabbit it (thankfully) pulls out of its oversized sorting hat — STAGECRAFT MAGIC!!!!
With a stunning set by Christine Jones, illusions and magic by Jamie Harrison, and movement direction by Steven Hoggert, it was easier to ignore the baffling script, uneven accents and uneven miking. Lighting (Neil Austin), sound (Gareth Fry) and costume (Katrina Lindsay) designs enhanced the special effects. This was one production where a seat with good sight lines mattered.
Right out of the gate, the showmanship elicited oohs and ahhs of wonder and amazement, as characters change costumes mid-sentence, chairs fly, capes whirl and suitcases have minds of their own. Characters slump in their oversize capes and within seconds transform into each other as if by, well, magic.
Later, when the evil dementors descend from the sky, with their unraveling mummy-like bandages and menacing flailing, it is a moment of staging perfection, a trifecta of spot-on music, lights, and sound effects.
It’s all jolly good fun and a lot of visual stimulation. Not since a recent Cirque-de-Soleil have I heard an audience murmur in unison, “How did they do that?”
Which brings us to the story line.
Harry Potter (Nick Dillenburg), the headstrong, brave Boy Who Lived, is now a middle-aged administrator in the Ministry of Magic, a job that bores and depresses him. He married Ginny Weasley (Erica Sweany) and they have two boys, James and Albus Severus (Adam Grant Morrison), and a daughter, Lily.
Following in Harry’s footsteps, Albus is off to Hogwarts, where Harry is mythic. Albus is also an unruly and insubordinate teenager who, like Harry, struggles with the burden of his father’s legacy. “I didn’t ask to be his son,” he retorts when people marvel that Harry Potter’s son is in their midst.
He befriends Scorpius Malfoy (a fine David Fine), son of his father’s nemesis, Draco Malfoy (Ryan Hallahan). The two team up to prove they are more than their fathers’ sons by saving the life of a Hogwarts student who died 20 years ago. There are colorful characters they meet along the way (Mackenzie Lesser-Roy is a scene stealer as quirky, spirited Moaning Myrtle), including their fathers’ teachers (Katherine Leask is a delight, channeling the Maggie Smith and Imelda Staunton characters, Professors McGonagall and Umbridge, and Larry Yando is equally splendid as Albus Dumbledore, Severus Snape and Amos Diggory). There is even a “Time Turner” machine. There is not, however, a life line to save the audience from drowning in a sea of untethered and disconnected actions that make little sense.
While the staging gimmickry, swirling capes, strobes and undulating time travel effects are cool the first, second and maybe even third times, by the umpteenth time (and as the clock marches towards the end of the third hour), they are as tired as some of the audience.
Nonetheless, judging by the raucous standing ovation of the majority of theatergoers, the yawners in the crowd were clearly in the minority.
For more information, visit: https://www.emersoncolonialtheatre.com/
