New Potter book stirs up its own magic
Cursed Child wasn’t written by series creator J.K. Rowling, but it does an admirable job
The first thing to remember before reading Harry Potter and the Cursed Child Parts One and Two is that J.K. Rowling didn’t write it. The second? It isn’t a novel — it’s the “special rehearsal edition script” of a new play by Jack Thorne based on an original new story by J.K. Rowling, John Tiffany and Jack Thorne.
These facts will help manage your expectations. In the same way the films can’t contain all the magic of the books, this eighth “story” can’t represent everything the previous seven mean to their legions of fans.
What Harry Potter and the Cursed Child does do, however, is stir up its own magic by resurrecting wellloved characters and lore and mixing them with some fine new ingredi- ents. It’s a smart move, and we’d expect nothing less from Rowling, whose loyalty to the story has seen her surround herself with teams of impressive talent since the making of the first film.
The play picks up where Harry Potter and the Deathly Hallows left off — at Platform 93⁄ in King’s Cross Sta
4 tion where Harry and Ginny Weasley, now adults and married, are seeing their sons off to Hogwarts. Focus quickly shifts to middle child Albus Severus as we’re fast-forwarded through his first three years at the school.
Turns out, Albus isn’t the dazzler his dad was. For starters, he’s in Slytherin, his best friend is Draco Malfoy’s son Scorpius, and he begrudges his father’s fame. By his fourth year, he and Scorpius solemnly swear to be up to no good. The fact their mischief is much bigger than they can manage is the plot the play revolves around.
Without giving anything away, what follows is their magical mystery tour through some of series’ greatest hits as the boys try to make their own mark on history. Like his father, Albus encounters challenges and de- ceptions until all is sorted — via a few plot twists right up there with J.K.’s best offerings — and balance returns to the wizarding world.
Thorne does an admirable job of crawling into the headspace of Rowling’s characters while giving their progeny their own bravado and humour. Where Rowling delighted readers with her deft descriptions, Thorne provides sparse stage directions. This convention, the most obvious change in the storytelling, doesn’t immediately reveal its effectiveness, but as the story progresses, its impact is impressive. The stage direction describing a cool breeze filling the theatre indicating Death Eaters are on their way? Magic.
Harry Potter and the Cursed Child is a shout out to aficionados that welcomes newcomers into its universe. Part Doctor Who, part holiday classic It’s a Wonderful Life, but mostly Harry Potter, the play champions friendship — like a Patronus charm, it’s a gift of light that protects you.