Harry Potter and the Cursed Child- Part 1 and Part 2 ⭐️⭐️⭐️⭐️⭐️
This magical show opened in July 2016 and has had sold out notices
outside the Palace Theatre ever since and on 15
th October 2024
launched its eighth cast, with around half staying on from the Year 7 cast. It
remains one of the best productions in the West End at every level, the central
story arc is strong and emotionally engaging, the characterisations are superb
and honour the originals in the film franchise, the illusions that bring the
magic to the stage are sensational and the lighting and sound are brilliant in
creating the magical world.
The central themes of father and son relationships and student friendships
remains as strong as ever but what shines are the performances and acting which
bring an emotional heart to the show and make every parent tingle at the
thought of their own relationship with their children as they watch Albus,
Scorpius and Delphi seeking to understand and earn the trust of their fathers.
Are we all blinded by love?
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 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.
The story depends quite heavily on knowing the back stories
of the adults and having seen the 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 very
effectively staged.
The story picks up from the books and films 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 David Ricardo-Pearce) and his son Albus (a West End stage
debut in cast year 7 for Ellis Rae) and
between Draco Malfoy (a formidable Steve John Shepherd) and his son Scorpius (a
delightfully engaging West End stage debut from Harry Acklowe). 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 the female characters
too. Jade Ogugua continues as Hermione, Sophie Matthew joins the show as scene stealing Moaning Myrtle (if only we could see more of
her in the show). Catherine
Russell is the formidable Professor Umbridge and Australian, Debra
Lawrence makes an excellent Professor McGonagall. Another critical character
created for the stage show is Delphi, Amos Diggory’s niece, now played by Julia Kass with a devilish
charm and strong stage presence. Claire Lams brings a quiet authority to Ginny
Potter, providing the stability behind Harry.
What makes the show special is the extraordinary number of
special effects now under the supervision of John Bulleid which recreate the
magical world without the aid of cameras and CGI! The Polyjuice transformation
is truly astounding, Transfiguration happens before our eyes, papers tidy
themselves up, books talk, 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 Dementors 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. The Stage Management team do
a truly remarkable job every performance in making this complex staging work so
seamlessly and efficiently. Things must surely go wrong each performance
despite their efforts for perfection but we in the audience remain spellbound
by what they create.
This is over five hours of theatre that now must be watched
in two sittings on a Wednesday, Friday, Saturday, or Sunday that deserves the
multitude of awards it has earned. The International versions may have cut some
of the back story scenes so it can be seen in a single visit but as I watch the
Palace Theatre original in two parts I appreciate the time taken to tell the
story, the chance to reflect on the action between each part and ultimately
believe that the unique two-part version is fully justified. It is a wonderful
piece of Theatre, emotionally engaging, spectacular to watch and a joyous
celebration of JK Rowling’s franchise. It is set to run and run here in London
and I hope all round the world and on my fifth visit I can confirm that it stands
multiple viewings as there is always something new to spot in the glorious
show.
Nick Wayne
Five stars
Back to the Future (Third visit Feb 2024)⭐️⭐️⭐️⭐️
We
reviewed this wonderful musical version of the 1985 film Back to the Future in
October 2021 after it finally opened following a long Covid delay when its
premiere in Manchester was cut short in 2020 but a year on after a fairly extensive
cast change it was definitely time to revisit the show. IMDb ranked the film as
one of the top 50 movies of all time and its creators’ writers Bob Gale and Bob
Zemeckis decided after the second sequel in 1990 that the story was told, and
the Film Franchise was concluded. Its enduring popularity to new generations of
fans is testament to the quality of its writing and performances and therefore
it was somewhat bold to tinker with that legacy by turning the original film
into a stage musical. What’s more to do it with the original creative team
showed not just a loving care to protect the memory but also a risk to damage
it by getting it wrong in the transfer to stage. It may have been a long
development path from the original idea in 2005 but Back to the Future – The
Musical is now firmly established in the West End as a hit show.
I am
delighted to report that the show, like the films, has matured with age and Cory
English has brilliantly filled the shoes of the original Doc Brown (Roger
Bart). He seems to relish every moment he is on stage, milks the audiences’ reactions and delights
in the ludicrous Busby Berkeley style musical numbers that burst on stage for
no logical reason except to simple entertain us. Some of it is bizarre like the
opening to Act 2 with a fantasy sequence with the Doc belting out the song “21st
Century” together with a dancing chorus of lab coated assistants; it may not be
the “Time Warp”, but it seems to pay tribute to other Musical films and stage
shows as does “Future Boy”, with a chorus in top hats and tails. But as with so much of the this show it simply makes you
smile with pleasure at the exuberant fun .
By
the end of two hour forty show we were celebrating the fact that the creators
have pulled off a magical trick of honouring the original in style and content
but giving it a fresh new life that matches the movie’s cult status. Indeed,
the tongue in cheek comedy acknowledges the transition to stage, celebrates the
iconic movie moments with neat twists and sets out to create a new cult stage musical
to rival the longevity of the Rocky Horror Show. It won’t be long before
audiences are shouting out the responses and lines and dressing up to be Marty
or Doc Brown to watch!
The
staging by Tim Hatley is wonderful with a revolve, automation, graphical
effects and the magical DeLorean car brilliantly integrated to create the
iconic scenes such as Doc Brown’s garage laboratory, the tree outside
Lorraine’s house, the Hill Valley High School Enchantment under the sea ball
and of course the square outside the clock tower. Critical details like the
picture of Marty’s family are cleverly projected to explain where we are on the
space time continuum. Of course, the star of the show is the DeLorean car
(magnificently recreated by Twins FX, the world leaders in stage flying
effects) which feels like it is traveling at 88 mph across the stage before
finally taking off as at the end of the first film to go back to the future
with a stunning twist.
Alongside the magical Cory English as Doc Brown is Ben Joyce
as Marty McFly. Their energetic
performances acknowledge the original stars but add a delightful knowing charm
to the stage. They have the same quirky chemistry between them, bouncing off
each other and letting us know that this is a stage musical of a cult movie at
every opportunity.
The
music and lyrics by Alan Silvestri and Glan Ballard are not instantly hummable
or memorable but will grow on us with repeated listening. “For the Dreamers” is
the strongest new song, a Doc Brown ballad to the inventors who have gone
before. The new songs are outshone by the classics from the Movie” Back in
time”, “Earth Angel”, “The Power of Love” and “Johnny B Goode” in the climatic
sequence around the High School Ball although it is rather too obvious that
Marty is not playing the guitar!
The
supporting cast is excellent, recreating the look of the original stars but
also directed by John Rando to bring the comedy to the forestage. Oliver
Nicholas continues as George McFly and is gloriously over the top as he
practices his challenge to Lorraine’s abuser, “Hey you get your hands off her”!
Sarah Coggins pulls of the challenge of Lorraine as the 1985 motherly self and as
the 1955 young girl well and we can feel her confusion as she lovingly seduces
her own son! Jay Perry has great fun in the elevated role of Goldie Wilson and
the guitarist Marvin Berry adding a nice modern uplift to the show. Sophie
Naglik is charming as Marty’s 1985 girlfriend Jennifer and Jordan Pearson gets
the unenviable role of recreating the bully Biff. Lee Ormsby recreates the
teacher Strickland.
This
is a show enjoyed equally on a third visit with so many little details to look
out for like the Tardis spinning across the back cloth or references to the
celebrated features of 1955 such as fossil fuel, cigarettes, asbestos, and spam
(what a difference the passage of time makes!). The original creative team have
pulled off a marvellous trick, honouring their great film franchise, but
reinventing it as a stage show to delight 21st century audiences. It
is a perfect feelgood show for the post pandemic time that puts a smile on you
face and a spring in your step as you are thoroughly entertained by a fine cast
and wonderful staging and are taken “back in time” and shown “the power of love”.
Nick
Wayne
Four
stars
Review of 2021
We
will all remember 2021 for the uncertainties and disruption to theatre
productions and the challenges for those performers and creatives who make a living
from the sector but also for the creative response from them that still
produced some amazing shows to entertain those willing to go back and join a
live audience. The large-scale West End venues could not open until mid-July
and shows were steadily remounted until October only for Covid to hit cast and
crews and gradually shut over twenty by December. Let’s hope for a more certain
world in 2022.
“The
show must go on”
led the way with its merchandise to raise funds for those affected and then a
wonderful show at the Palace theatre featuring music from all those shows with
the irrepressible Bonnie Langford and the wonderful Trevor Dion Nicholas as
compères in June.
REVIEW:
The Show Must Go On at the Palace Theatre | Pocket Size Theatre
Trafalgar
Entertainment also used the time well with a beautiful refurbishment of the
Trafalgar Theatre back to its 1920’s glory with a reopening of the ever
entertaining “Jersey Boys” in July.Across the city at the Barbican,
they produced a huge box office and critical success with “Anything Goes”
from August to October, starring the amazing Sutton Foster opposite Robert
Lindsay
in what must be one of the best musical revivals of the last decade ran
from and then went on to capture it for the Cinema and BBC 2 on Boxing Day.
REVIEW:
Anything Goes at the Barbican Centre | Pocket Size Theatre
To
serve the regional audiences they rolled out the ever green “Rocky Horror
Show” for a tour with a tour de force performance from Philip Franks as the
narrator .
“Back
the Future”
finally made it to the West End stage in August having had the Manchester
opening cut short by the pandemic outbreak and offered the upbeat fun show that
audiences craved with a fresh take based on the classic film with a brilliant
Roger Bart as Doc.
For those seeking a more immersive experience the
“Dr Who
Time Fracture” production opened and then closed due to floods in the
basement before reopening stronger and tighter in its narrative and offering an
astonishing experience travelling in time to save the World while meeting so
many of the classic Dr Who enemies along the way. Both will surely remain
fixture in London for many years.
REVIEW:
Doctor Who: Time Fracture at UNIT HQ | Pocket Size Theatre
Another
opening delayed by Covid was the transfer of the “Shark is broken” from
2019 Edinburgh Fringe with Ian Shaw doing a very good impression of his own
father during the filming of another classic movie Jaws offering a fascinating
insight into those actors between takes.
REVIEW:
The Shark is Broken at the Ambassadors Theatre | Pocket Size Theatre
While
the “Circus 1903” provided an astonishing spectacle returning to the
Southbank Theatre that is full of the most daring and exciting acts from around
the World. If you seek real magical staging, then “Harry Potter and the
Cursed Child” reopened in October and is sure to entertain full houses for
many years ahead. See below review
“A
Splinter of Ice”
made it’s a debut streamed before transferring to the Jermyn Street Theatre
with a fascinating play about the life of Kim Philby after defecting to
Russia.
REVIEW:
A Splinter of Ice by Original Theatre at the Cheltenham Everyman Theatre
(Online) | Pocket Size Theatre
In
the regions
the “Beauty Queen of Leanne” and “
South Pacific”
maintained Chichester Festival Theatre for quality productions and revivals but
even they were out shone by the amazing Mill at Sonning with another brilliant
Christmas Musical revival of
“Top Hat”.
REVIEW:
Top Hat at the Mill at Sonning | Pocket Size Theatre
For
those not able to go back to a Theatre the producers who innovated in streamed
content deserve our applause . Original theatre’s excellent capture of “Being
Mr Wickham”, the Barn Cirencester’s wonderful updating of “Picture
of Dorian Grey”, Huddersfield Lawrence Batley Theatre streamed film “Going
Distance”, and “Touching the Void” from Bristol Old Vic demonstrated
how filmed productions can be more engaging than the live show with the additional
camera angles .
REVIEW:
Being Mr Wickham at the Regency Theatre Royal Bury St Edmunds, by Original
Theatre Online | Pocket Size Theatre
REVIEW:
The Picture of Dorian Gray (Online) | Pocket Size Theatre
Of
course, as the year closes the uncertainties continue with Pantomimes in
Scotland and Wales being prematurely closed by Devolved Government's
politically intent on trying to pre-empt or act differently from Westminster.
But in England Pantomimes in Manchester Opera House , “Aladdin”,
Birmingham Hippodrome “Goldilocks and the three bears”, Bristol
Hippodrome “Snow White and seven Dwarfs” and Mayflower Southampton “Cinderella”
offer top quality family entertainment.
And
as we look forward to 2022 there is a growing list of shows still to see in
London like “Frozen”, “Cabaret”, “Moulin Rouge”, “Life of Pi”, “Prime Facie”
with Jodie Cromer from April, “My
Fair Lady” at the Coliseum from May, and “Jerusalem” with Mark
Rylance from June .
It
may have been a disrupted year and a difficult time for everyone involved in
the productions, but their creativity and innovation surely has not been
dampened and with the support of their financial backers and enthusiastic
audiences it must be hoped that the industry will bounce back stronger than
ever in 2022 and beyond .
Nick
Wayne
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