WARNING: this post contains the sort of mild, vague-detail spoilers that you can find in any of the newspaper reviews that came out this week. You may wish to be completely unspoiled till the script comes out on Sunday, and if so, you have my hearty permission to withdraw.
It’s been three weeks since we went to London and saw Harry Potter and the Cursed Child, and I still think about it once every other day, probably. Sat in the nosebleed seats at the crumbly-Victorian Palace Theatre, all gold leaf and red velvet, I listened to a group of students behind us having self-consciously arty conversation, and the couple in their mid-forties on our right talking about DIY, and thought how strange it was that Harry Potter had gathered us all here in one place. Had the lady next to me read Deathly Hallows on the Tube, in one of those subdued-cover adult editions so as to draw less attention? Had the kids in their early twenties followed Harry and Voldemort from the moment they were old enough to read? I wondered this because, as the lights went down and rose again on Platform 9 3/4, a great, collective gasp went up from the audience, whoever they were: a sort of yearning, joyful, bittersweet nostalgia. We were back, after years of being away.
It took only a few minutes for the old characters to reassert themselves. Jamie Parker was recognisably Harry, Harry with twenty years under his belt: still damaged, heroic, emotional, sometimes bullish to the point of being obnoxious. (There was a moment towards the end of Part One when he went Full Book Five Harry. And we all thought ‘Man. We don’t miss Book Five Harry’.) Noma Dumezweni made a calmly authoritative Hermione, clearly having spent a couple of decades Getting Stuff Done. Paul Thornley is a loose and hilarious Ron: still wise-cracking, still clumsily sincere. Ginny (Poppy Miller) and Draco (Alex Price) got a little less room to breathe, but still established their characters and gave a sense of growth and change.
The new characters had a tougher sell, having to create a personality in a few strokes without a wave of audience goodwill to ride on. They were wonderful: Rose Weasley (Cherrelle Skeete) fiery and stubborn; Albus Potter (Sam Clemmett) totally convincing as a prickly, whiny fifteen-year-old resenting his famous father’s legacy; Scorpius Malfoy (Anthony Boyle) a sweet, nerdy goofball who got huge laughs every time he opened his mouth.
The plot (without giving any important details away) takes the form of a complex, time-travelling quest full of alternative realities, prophecies, hauntings and the return of friends and foes. There were enough revelations to power a million new Tumblr posts, and we all gasped in unison and clutched each other’s hands. There were several moments where beloved, long-lost characters walked back on stage and the entire audience let out cries of welcome and sadness. Characters resolved old issues and laid lingering demons to rest. I’m making it sound like an emotional orgy. Imagine thousands of Potterheads together, reading a new, eighth book aloud: it sort of was.
What really made it, though, were the special effects. The movies let you see the magic, of course, but you’re always at a remove, on the other side of the screen. Watching magic in front of your eyes is something else. Actors changing instantly into wizard’s robes, taking Polyjuice potion, leaping up and down moving staircases, using the secret entrance to the Ministry of Magic, having a magic duel, complete with flying chairs, flashes and bangs: all so delightful that our mouths fell open. Other set pieces – a dreamy underwater scene, a fiery Patronus dancing in the dark, Dementors extending skeletal hands from fluttering cloaks – were so atmospherically beautiful we held our breaths until they were done.
It was the very thing. The real thing. It did what books and theatre do better than any other medium, I think: it brought Harry Potter back to life around us, letting us back into a world we’d left years ago, returning to find that everything was different, but still, essentially and marvellously, just the same.
250 000 more seats are being released on 4th August (for shows in 2017). GET SOME, even if you have to pay in blood.