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Harry Potter and the Cursed Child at the Lyric Theater

Well, here we are, folks. The last review of the 2017-2018 season. And what a show to go out on.

Harry Potter and the Cursed Child is simply an event. The Lyric theater has been renovated for the show, the marquee is bigger than anything we've ever seen in New York (akin to the gorgeous facades we see in London), the merch is plentiful, you can order drinks at your seat through an app, people are walking around in wizard robes. These two plays are unlike anything we've ever seen on Broadway. And in a sense, it seems simply like a cash-grab. We've done the novels, the movies, the theme park, of course there should be a stage show. This is all a part of Harry Potter brand. Quite frankly, it seems very icky when you think about it. Is this what Broadway has come to?

And yes, the rumors are true: the script itself isn't the most perfect. It's not that it's not well-written, it just lacks any sense of nuisance that you'd find in strong dramatic writing. Yes, okay, it's fair to call it "fan fiction." It's proof that this just an excuse to get more mileage (and money) from beloved characters. But is it a good time at the theater? It sure is.

I am not the biggest Harry Potter fan but I really enjoy the franchise. I've read the books, seen the movies, visited the theme park. I think all of it is a lot of fun and wonderful but please don't ask me about Voldemort's family tree or who the minister of magic is or any sort of details. And I realized my reaction to the plays is the same as the novels: they all start off slow, full of exposition, but when they get to the meat of the conflict, they're so engrossing. You can't put them down. And in the theater, I couldn't help but get so into the second part. I was able to look past the weak script (it's not THAT bad) and enjoy myself. I let the magic and the beautiful effects envelop me and accepted the world of the play. That's all Cursed Child asks you to do.

One of my favorite things about the Harry Potter book series is that it successfully appeals to all ages. That is something to keep in mind when approaching Cursed Child. It has to appeal to all ages as well, and while it does border on children's theater, it is the rare play that is family-friendly.

As I mentioned, the effects are as fun and surprising as you'd think (although sometimes I wish they'd use words instead of effects!) and John Tiffany's direction is flawless. This has expert pacing, and moves like well-oiled machine. Stephen Hoggart's movement and Imogen Heap's score help to develop a great sense of tone. The lighting is beautiful, and sets and costumes are sufficiently elaborate; exactly what we'd expect from a show with a budget that big.

The cast of London imports and New York stage favorites is uniformly excellent, with the standout being Olivier-winner Anthony Boyle as Scorpious Malfoy. He has heavy-lifting to do because he's a character written specifically for the play and I think he is terrific at creating a three-dimensional person that is equal parts funny and heartbreaking. You completely feel for his plight, and he plays the outcast without any sense of cliche. It's a wonderful Broadway debut, and I can't wait to see what else this young actor has in store for him.

Is Harry Potter and the Cursed Child the best play you'll ever see? No. But accept it as the spectacle event that it is and you'll find it's enjoyable. It'll win Best Play the Tonys, and honestly, when you look at the competition, it truly deserves it.
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