Why Harry Potter Reimagined is better than the original

Melbourne’s own Harry Potter and the Cursed Child reopened as a shorter one-part play at the Princess Theatre on Thursday. See what the crowd and critics had to say.

Paula Arundell (Hermione), Michael Whalley (Ron), Gareth Reeves (Harry), Lucy Goleby (Ginny) and Lachlan Woods (Draco) in Harry Potter and the Cursed Child – Reimagined. Picture: Michelle Grace Hunder

Harry Potter and the Cursed Child — Reimagined promises more magic, illusions, stunts, and wow moments, and it certainly delivers.

The epic play, condensed into a leaner, sharper three-hour work, after being performed at the Princess Theatre as a two-part five-hour marathon since 2019, also brings emotion, heart and home truths.

The new version of Potter, which opened on Thursday night, focuses on the sorcery of relationships, particularly Harry Potter’s strained connection with son Albus, and Albus’s devoted friendship with Scorpius Malfoy.

Those stories, combined with the magic and illusions, had the opening night crowd cheering deliriously with every trick, twist and reveal. There were collective gasps, laughs, shocks and the occasional tear.

Scorpius (Nyx Calder) ambushed by Dementors in Harry Potter and the Cursed Child. Picture: Michelle Grace Hunder

Lachlan Woods (Draco) puts Gareth Reeves (Harry) in a spin. Picture: Michelle Grace Hunder

Everyone gets fired up in Harry Potter and the Cursed Child. Picture: Michelle Grace Hunder

Harry Potter and the Cursed Child — Reimagined is sleeker, smarter, and far superior to the original version.

The first half is masterfully edited, with some chapters told in snappy vignette form, to push the storylines along quickly and effectively.

Gareth Reeves is a wonderfully stoic Harry, a legend haunted by his past, and struggling with a resentful Albus (Ben Walter), lost in the shadow of pressure and expectations of having a famous father.

Nyx Calder is excellent as Scorpius, and especially potent when giving Albus a much-needed lesson on perspective, and, in a powerful scene about isolation performed, without spoken dialogue, on a set of moving staircases.

Special mention to David Ross Paterson (an extra dry Snape) and Hannah Fredericksen (a kooky, flirty Moaning Myrtle) who steal every scene during their brief time on stage.

Melbourne’s own Harry Potter and the Cursed Child — Reimagined deserved the opening night crowd’s joy and delirium. Long may it cast a spell at the Princess.

Hooray for Harry.