Harry Potter and the Cursed Child, Rehearsal Script by Jack Thorne, Based on an original new story by J. K. Rowling, Jack Thorne, and John Tiffany

Review by Joel Gould
Genre: Other / Script

I believe that J.K. Rowling, like her character Hermione Granger, is indeed the brightest witch of her generation. If we measure the power of her spells by how deeply she plants the seeds of myth into the imaginations of children, her only possible equal is George Lucas, creator of Star Wars. Consider what she conjures in just one reader’s mind:

Last fall, my 3rd grader, Eleanor, finished The Deathly Hallows, concluding the book series. She was left with an empty space in her bookshelf, where the next chapter of Harry Potter’s story should lie. She had heard whispers about a theater production in the works, the title - Harry Potter and the Cursed Child - but little else.

So, how is a kid to fill this none-too-casual vacancy? Start writing her own stories, of course!

Over winter break, I came across the beginnings of handwritten manuscripts:



I was stunned by how the dialog felt so true to the characters. I could hear their voices distinctly. I was even more impressed by how Eleanor improvised new stories in the tone, sensibility, and logic of the Hogwarts universe. Her words did not imitate the superficial details, they captured the essence. Rowling has inspired millions of kids to read and almost as many to write their own way into her universe. Into this curious state - into blind love and jittery anticipation, the rehearsal script arrived for the theatrical production of Harry Potter and The Cursed Child.

Here is the plot:

The story picks up where The Deathly Hallows left off: The old gang are now in their late 30s and dropping their own children off at platform 9 3/4. Overworked Harry and his surly middle child, Albus Severus Potter, are not getting along. On the train, Albus befriends, Scorpius Malfoy - son of Harry’s perpetual thorn, Draco. The boys become fast friends and are both sorted into Slytherin house. Soon, for adventure and to gain the attention (or possibly affection) of their fathers the boys steal a Time Turner from the Ministry of Magic and endeavor to bring long-dead Cedric Diggory back to life. They return to the scene of the Tri-Wizard Tournament twenty years earlier. Each tampering with historical events brings unintended consequences with effects that ripple into the future, and rewrite history, creating bleak alternate realities. Soon, resurrecting Cedric becomes the least of their concerns. 

Looking at clouds from both sides, now:    

Hoping that unpacking this experience from multiple perspectives - youthful and (ahem) experienced - might spur insights hidden to either independently, Eleanor and I discussed the script, both freely and with prepared questions. We recorded these exchanges and edited together the most revealing moments for the video version of this review.

We both found Harry Potter and the Cursed Child to be a welcome extension of the Harry Potter oeuvre, but that the script—Jack Thorne’s translation of story to dialog and pithy stage directions—does not include the details, ambiance and Rowling's descriptive voice that make the book series so immersive. We acknowledged that the missing magic might well be in full force in the live experience of the theatrical production. Also, we agreed that after the introduction of the characters, the setting of the scene, the sowing of the seeds of conflict—once Albus and Scorpius start traveling through time—the plot catches fire, and our concerns about the authenticity of the translation vanished, and we yet again apparated, into the world of Hogwarts, with our hearts fully intact.

How did our perspectives differ? 

Surprisingly, Eleanor was much more critical of the awkwardness of the first act of the play, while I was just grateful that J.K. Rowling found an avenue to explore her continued interest in the lives of these characters.

Quietly, I had hoped that just as the novels had inspired a generation readers that perhaps possessing this script, a blueprint for an improvised production, would prompt young thespians to gather their friends around the script and stage productions in their bedrooms. Eleanor’s response? Well, maybe some kids would like to do that, but that’s not her style. When she reads a story she wants to get comfortable, in a cozy spot, and just sink into the story by - herself. “That’s just the kind of reader I am.” To hear more of our conversation, please see my book blog. Thank you, Eleanor, for giving me permission to include your writing in this review!