Thorne’s Harry Potter, all grown up, features prominently in the play, and the tension between him and his son is one of the most frustrating plot points, born out of dramatic necessity and riddled with cliché and angsty platitudes. It would be impossible to come up with a villain as cruel, malevolent, and outright fascinating as Lord Voldemort for the Cursed Child heroes to battle, so it’s almost poetic that Albus’s biggest enemy instead is his father. His one friend is Scorpius, a disarmingly sweet boy (in his first greeting with Albus, he literally sings about candy) who’s also an outcast because of outlandish rumors that he’s actually the son of … well, you know who. The fourth scene of the first act, set in “a never-world of time change,” reveals glimpses of Albus’s increasing unhappiness after he arrives at Hogwarts, shows a disappointing lack of magical fluency, and is shut out by his fellow students. The awkward hero of the first half is Albus Severus, Harry’s middle child, dwarfed by both his cocky, popular older brother, James, and his father’s impossible fame as The Boy Who Lived. One that sits low, twists a bit, and has damage within it.”) (Here’s one after a Hogwarts student is drafted by the Sorting Hat: “ There’s a silence. The stage directions are sometimes sparse, sometimes remarkably descriptive. At its best, it’s as gripping as many of Rowling’s books were, with suspenseful plotting and twists that are just predictable enough to be gratifying. Reading the next Harry Potter story in script form rather than in Rowling’s fluid, vivid prose was always going to be challenging for readers, so what’s most remarkable about Thorne’s work is how smoothly it flows. As Albus and Scorpius struggle with living under the shadows cast by their fathers, Cursed Child too seems to wrestle with its legacy, borrowing heavily from older stories while simultaneously challenging the confines of their world. While almost all the major characters from the series return in some form or another, they’re less compelling than the two young heroes of the play, Albus Severus Potter and Scorpius Malfoy, the sons of Harry and his former rival Draco. Although Rowling was involved in writing the story, the script is written by Jack Thorne, and the plot hinges on time travel in a way that prompts the question of how much Harry’s creator was involved, with wizards seeking to undo problems in a way that inevitably backfires. Harry Potter and the Cursed Child, the script of a two-part play that recently opened in London’s West End, is a faithful continuation of Rowling’s series that simultaneously breaks many of her rules. It seemed as definitive an ending as any, but it’s at that exact moment that the newest installment of Harry’s story picks up. Rowling concluded the Harry Potter series with a natural leap forward, showing Harry and his wife, Ginny, saying goodbye to their second child, Albus Severus, on the platform at King’s Cross as they sent him off to his first term at Hogwarts. Hermione returned hers to Professor McGonagall, and all remaining instruments were apparently destroyed in a climactic battle in the Department of Mysteries in the fifth book, Harry Potter and the Order of the Phoenix, ruling out any more time travel. The 50 Best Podcasts of 2021 Laura Jane Standley and Eric McQuadeĪfter Azkaban, Time-Turners were eradicated from Rowling’s magical universe.
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