The production scripted by John Thorne under the watchful
eye of JK Rowling and directed by John Tiffany creates a fresh new theatrical style, a two-part play
(that must be seen together in sequence) that is a combination of spectacular
magical illusion show, cleverly choreographed dance sequences with luggage,
wands, and staircases and narrative description between characters, often in
quiet long wordy speeches but which are very engaging and interesting. There
are so many delightful details in the production that are joy to see from the
swift choreographed scene changes with a swoosh of a cape, the spectacular
flying sequences, and wonderful lighting design by Neil Austin which not only
brilliantly hides the means by which the illusions are delivered but creates
even small intimate spaces on a bare open stage.
films or read the books (although two pages in the programme seek to feel the gaps for newcomers!) but Potter super fans will not be disappointed seeing familiar scenes and characters live. The familiarity with stories means scenes can be created with a minimum of setting allowing the audience to fill in the missing details from their own memories. The Dursley’s cupboard under the stairs, the hut where Hagrid finds Potter, the girls toilet washing fountain, the Hogwarts headmasters’ study, the forbidden forest, the Triwizard tournament and Godric’s Hollow are all created with a minimum of props, but each atmospheric setting is created with a minimum of props and effort.
What makes the show special is the extraordinary number of
special effects which recreate the magical world in front of our eyes without
the aid of cameras and CGI! The Polyjuice transformation is truly magical, Transfiguration
happens before our eyes, the Floo Network delivers characters in a flash,
flying broomsticks rise off the stage, magic wands fire plumes of flames across
the stage, the Ministry of Magic phone box disappearance is extraordinary,
flying dementias descend on the stage and in auditorium and a Patronus illuminates
as it rises out of the stage. They live
long in the memory and set new standards for cast and crew in theatrical
staging.
Writer Jack Thorne and director John Tiffany weave all this together, takings JK Rowling’s original stories as a springboard background to tell a story about Father and Son relationships. The story picks up twenty-two years after the final battle and defeat of Voldemort with the characters grown up with their own families. We see the strained relationship between Harry Potter (a deeply troubled Jamie Ballard) and his son Albus (a nervously withdrawn Dominic Short) and between Draco Malfoy (a very serious James Howard) and his son Scorpius (a wonderfully funny Luke Sumner in his professional debut). Indeed, it is Scorpius who often dominates the scenes with the best written characterisation of the show obviously not relying on or fitting in with our prior knowledge of the characters. All are sharply contrasted with Thomas Aldridge’s Ron, more a buffoon than ever as he is always desperate to get in on the action that has left him behind.
There are strong performances from some of the female
characters too. Michaele Gayle returns as Hermione and acquits herself well
showing she is an accomplished actress. Lucy Mangan as Moaning Myrtle has a fun cameo role in
part one and Kathryn
Meisle is excellent as Professor Umbridge. Another critical character
created for the stage show is Delphi, Amos Diggory’s niece, played by Madeleine Walker with a
devilish appeal.
Nick Wayne
Five stars