Review: Harry Potter and the Cursed Child an epic of stage sorcery, even for non-Potterheads

The Melbourne premiere of the epic two-part Harry Potter play, with its new generation of world-saving wizards and witches, is like nothing on Earth. And it’s a must-see for us non-Potterhead Muggles.

The Melbourne premiere of the epic two-part Harry Potter play, with its new generation of world-saving wizards and witches, is like nothing on Earth.

The stage sorcery is astonishing and the show has an atmosphere of dark glamour that makes even the most lavish musical look a bit plain.

CURSED CHILD OPENING DRAWS GLITZ, GLAM TO RED CARPET

THE SECRET POTTER PLAY ASKS AUDIENCES TO KEEP

There are miraculous disappearances, witty transformations and many startling reveals. There are pyrotechnic wand duels and hair-raising surprises so startling it would be a crime even to hint at them.

Yes, The Cursed Child is a triumph of illusionism that will thrill both franchise fanatics and those who wouldn’t know a horcrux from a hatpin.

But it does require some stamina because this complicated fantasy about famous fathers and unhappy sons runs for more than five hours and has more than few slow stretches, particularly toward the end.

The Cursed Child is a triumph of illusionism that will thrill both franchise fanatics and those who wouldn’t know a horcrux from a hatpin. Picture: Matt Murphy

Lucy Goleby as Ginny Potter and Gareth Reeves as Harry Potter Picture: Matt Murphy

Gareth Reeves as Harry Potter and Debra Lawrance as Professor McGonagall. Picture: Matt Murphy

The story, written by Jack Thorne with input from JK Rowling and director John Tiffany, kicks off 19 years after the events of the final Harry Potter book.

Albus, the troubled second child of Harry and Ginny, is struggling to live up to his father’s glittering reputation.

To prove himself, and maybe to embarrass his dad, he hatches a plan to travel back in time and save the life of Cedric Diggory, the young wizard killed by Voldemort.

It all goes pear-shaped, and Albus and his best friend Scorpius — the son of none other than Draco Malfoy — end up bouncing between alternate timelines trying to fix what they broke.

Meanwhile, Harry Potter, now head of the Department of Magical Law Enforcement, is having bad dreams again. Could the vanquished Dark Lord be on the verge of a return?

This Australian production is the first outside Broadway and the West End and there’s plenty to celebrate.

Tom Wren as Draco Malfoy. Picture: Matt Murphy

Sean Rees-Wemyss as Albus Potter and William McKenna as Scorpius Malfoy. Picture: Matt Murphy

Paula Arundell as Hermione Granger and Gyton Grantley as Ron Weasley. Picture: Matt Murphy

The stage sorcery is astonishing. Picture: Matt Murphy

The choreography is sharp, the stagecraft is all but flawless and the large cast is uniformly superb.

William McKenna is particularly endearing as the socially awkward Scorpius. Paula Arundell is excellent as Hermione, now a very grand and grave Minister for Magic.

And Gareth Reeves is a fairly dashing middle-aged Harry Potter juggling wizard work and fatherhood.

Albus is tricky because at first he’s so sullen and resentful and hard to like.

Perhaps Sean Rees-Wemyss is a too much of a caricatured misery guts in this role, but his scenes with Scorpius in part two are genuinely affecting.

Of course, The Cursed Child is not just a special effects bonanza. It also has an attractive sort of old-fashioned theatricality, as if the whole play were an intricate ceremony or spell.

King’s Cross Station is represented by a pile of suitcases. Add a mobile stairway and we’re at the Potter residence.

William McKenna as Scorpius Malfoy, Tom Wren as Draco Malfoy, Lucy Goleby as Ginny Potter, Gareth Reeves as Harry Potter, Sean Rees-Wemyss as Albus Potter, Gyton Grantley as Ron Weasley and Paula Arundell as Hermione Granger. Picture: Matt Murphy

William McKenna as Scorpius Malfoy and Sean Rees-Wemyss as Albus Potter. Picture: Matt Murphy

A whirl of black capes as the ensemble marches across the stage and we’re back at Hogwarts.

Those who know their way around the Potterverse will enjoy revisiting scenes from the books as Albus and Scorpius travel to events like the Triwizard Tournament, and then further back.

And it’s fun watching the new generation follow in the footsteps of their parents, as when Albus burgles the Ministry of Magic just like Harry did in his day.

But it’s also worth remembering that the Harry Potter books are not all house-elves and sorting hats. Death is one of JK Rowling’s great preoccupations and there’s plenty of it in The Cursed Child.

It’s no more violent than the books or movies, but live performance has a special kind of intensity and younger fans may find it a bit harrowing, or at least nightmare inducing.

And then there’s problem of length.

Gareth Reeves as Harry Potter. Picture: Matt Murphy

HARRY POTTER CASTS A SPELL ON ECONOMY

THOUSANDS SWOOP ON HARRY POTTER PLAY TICKETS

Does this colossal melodrama with its sometimes rather heavy sermonising have to be quite so drawn out?

Deep in the second act of the second part, when Harry launches into yet another argument about what makes a good parent, this time with an enchanted portrait of Dumbledore, you do begin to wonder.

But Potterheads have never accepted that less might be more and diehard fans, whether they’re 13 or 83, will savour every minute of this extravagant epilogue to the great Hogwarts saga.

For the rest of us mere muggles this is still a must-see show, but you may want to spread the experience over a weekend days rather than attempt both parts in a single day.

Rating: Four stars (out of five)

— Tickets available from HarryPotterthePlay.com

Originally published as Review: Harry Potter and the Cursed Child an epic of stage sorcery, even for non-Potterheads