“Harry Potter and the Cursed Child:” A play I hate to love

**This article contains spoilers for “Harry Potter and the Cursed Child” and “Harry Potter and the Goblet of Fire.”

A thick beam of white light streams through the circular window at the back of the train station, illuminating the suitcases scattered across the stage. A faint hum of a somehow familiar tune fills the space, then a man in a beige bowler hat walks on stage. One by one, the ensemble members enter and grab their bags before continuing on their way. Then he enters, the boy who lived, and you realize you’ve been swept into the wizarding world of Harry Potter.

I’ve seen “Harry Potter and the Cursed Child” three times now because, simply put, it’s a joy to watch—from the practical effects to the characterization of Albus and Scorpius, the show felt like magic.

And yet, it’s hard for me to express my love of this show without adding caveats. As someone who read the play when it came out, I was one of the many people who disliked it due to its deviance from the original series.

“The Cursed Child” follows Albus, the middle child of Harry and Ginny Potter, who struggles to find his place as he juggles his father’s reputation and being placed into Slytherin. He forms a bond with Scorpius, the son of Draco Malfoy. United by their love of sweets and being othered all their lives, they decide to right one of Harry Potter’s greatest wrongs—the death of Cedric Diggory—by traveling back in time.

Reading “The Cursed Child,” much of the plot felt like poorly written fanfiction. Many of the classic characters fail to behave like themselves and several of the plot devices are lazy and cliche. For instance, the plot twist that Delphi is Voldemort’s child is unoriginal and comes out of complete left field because a child’s existence was never hinted at in the books.

The most egregious issue, however, is the play’s handling of time travel. In the Harry Potter book series, time travel operates with a fixed timeline, meaning that the present cannot be changed. Anything the time traveler does is already part of history. In “The Cursed Child,” however, time travel is dynamic, meaning the past can be changed to alter the present (like in “Back to the Future”).

By failing to follow the original rules of the world, the show’s use of time travel feels like a cheap plot device, which is extremely problematic considering it is a major part of the plot.

But watching “The Cursed Child” onstage was a different experience entirely. Somehow I could forget about all its issues and be transported back to 4th grade, curled up in my fluffy purple pot-a-dotted chair reading “Harry Potter and the Sorcerer’s Stone” experiencing the wizarding world for the very first time.

Throughout the show, several choreographed movement pieces take place, some to demonstrate the passage of time, others to denote significant events or shifts in the story.

My favorite piece takes place immediately after Harry forbids Albus from hanging out with Scorpius anymore. The two climb separate rolling staircases as they attempt to avoid each other. The stairs, pushed by members of the ensemble, weave around the stage, repeatedly bringing the two back together. It’s a heartwarming scene that helps establish how much they care for each other and rely on the other’s support.

Also, on my first viewing, one of the things that stood out to me the most was how the scenic transitions added to the storytelling. When moving set pieces, ensemble members would mark the start or completion of the movement with flourishes of their capes, which made the pieces feel like they had apperated.

This show is filled to the brim with practical effects. From the steam that shoots out of Scorpius’ ears after he eats a treat from Weasley’s Wizard Wheezes, to the spells cast during Harry and Draco’s duel. These effects turn the otherwise ordinary actors into the witches and wizards we love.

The dementors in particular were chilling. Although the dementors do not fly over the audience in the Chicago production, their hoarse breath, ragged black cloaks, and calculated movements had me tensing up in my seat.

In using practical effects instead of virtual effects, everything feels so much more authentic because as a viewer, you can’t help but wonder how fire shoots out of Albus’s wand or how the Trolly Witch’s fingers grow a whole foot in mere seconds.

What stuck with me the most after seeing the show, however, was how much I loved Albus and Scorpius. Both of them feel exceptionally real—something far too rare for teenage characters in the media. They make mistakes, get in fights, and do the dumbest things imaginable, but they always fall back on each other.

Albus’ stubbornness paired with Scorpius’ optimism and unending cursorily creates a dynamic that carries the show. Even when the plot takes strange and unenjoyable turns, their energy and bond keep you on the edge of your seat.

So taking it all together, would I still recommend the show to a fellow fantasy-lover? Always.

The giddy joy with which this show fills me is unlike anything I’ve felt from watching other theatrical productions. ”Harry Potter and the Cursed Child” doesn’t just play on nostalgia, it brings back childhood wonder and reminds me that this world still holds magic.

Want to see the show for yourself? “Harry Potter and the Cursed Child” is playing at the James M. Nederlander Theater through February 1st.

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