This magical show opened in July 2016 and has had sold-out notices outside the Palace Theatre ever since and on 13th October 2022 launched its sixth cast. While some principals have stayed on it is perhaps the biggest cast renewal they have undergone, and I am delighted to report that none of the magic has been lost. Indeed, the show has continued to evolve and improve and is now the only venue in the world where you can see the two-part version, and this is likely to remain the case. As the one Part version was launched worldwide, many of the adjustments have fed back into the London version and the result is a tighter narrative and slicker show which still engages you fully throughout the two parts.
The central theme of father and son relationships remains as strong as ever but there are new developments for Albus and Scorpius which freshen up the narrative. As expected, the magic and illusions remain outstanding and, we love the references to the story and characters films and books in this stage version but what now shines are the performances and acting which bring an emotional heart to the show and make every parent tingle at the thought of a relationship with their children as they watch Albus, Scorpius and Delphi seeking to understand and have a relationship with their fathers. Are we all blinded by love?
The production scripted by John Thorne 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 a 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 a joy to see from the swift choreographed scene changes with a swoosh of a cape, the spectacular flying sequences, and the 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 girl's 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 from Jamie Harrison which recreate the magical world in front of our eyes 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 the 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 with each performance despite their efforts for perfection but we in the audience remain spellbound by what they create.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 Sam Crane) and his son Albus (a West End stage debut for Thomas Grant) and between Draco Malfoy (James Howard continuing in the role) and his son Scorpius (a brilliantly engaging West End stage debut from Adam Wadsworth). 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. David Annen is impressive, especially as (spoiler alert) Severus Snape.
There are strong performances from the female characters too. Michaele Gayle continues as Hermione and her experience and presence shines through. April Hughes returns to the show as a fantastic Moaning Myrtle (if only we could see more of her in the show!) and Kathryn Meisle remains as the formidable Professor Umbridge. Another critical character created for the stage show is Delphi, Amos Diggory’s niece, now played by Niamh Perry with a devilish charm and strong stage presence. Francis Grey brings a quiet authority to Ginny Potter, providing the stability behind Harry.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, at times like a Theme park stunt show merged with a therapy counselling session and is set to run and run here in London and I hope all round the world.
Review by Nick Wayne
Rating: ★★★★★
Price of Ticket: Stalls, Row Q | Price of Ticket: £160
