I had the chance to see Harry Potter and the Cursed Child at the Pantages Theatre on March 1, 2025.
In recent years, I’ve been increasingly let down by the wave of film-to-stage adaptations that seem more like corporate cash grabs than genuine works of theater. Shows like Mrs. Doubtfire and Back to the Future had every opportunity to bring something new to the stage, yet they felt hollow—more like extended theme park attractions than true Broadway spectacles. And the music? Completely forgettable. There wasn’t a single tune that stuck in my head afterward, no song that left me humming days later. It felt as if the music was written on autopilot, checking the box for a “musical” rather than creating something that could stand the test of time.
Unlike many recent productions, Harry Potter and the Cursed Child isn’t just a retelling of an existing movie or book—it’s a completely new story, expanding on the wizarding world rather than rehashing what fans have already seen. This gives the production the freedom to explore fresh ideas while still capturing the magic of the original series. And rather than relying on traditional musical numbers, it integrates a powerful, cinematic score that enhances the experience without ever overshadowing the narrative. The music ebbs and flows with the action, adding depth to the storytelling without forcing the kind of show-stopping moments that often break the momentum in traditional musicals.
Seamless Choreography and Impeccable Sound Design
The choreography and sound design are particularly striking in The Cursed Child. Every movement on stage feels intentional, almost like an extension of the magic itself. Whether it’s wand duels, fast-paced scene transitions, or the way characters interact with the ever-shifting set, the physicality of the actors makes the wizarding world feel alive.
The sound design adds another layer to this immersion. The subtle details—the crackling of spells, the whooshing of robes, the echoing whispers in darker moments—are executed flawlessly, making every spell cast and every transition feel weighty and real. Unlike many productions where sound can feel like an afterthought, here it plays a crucial role in making the magic feel tangible.
A Masterclass in Stagecraft and Illusion
Where The Cursed Child truly sets itself apart is in its breathtaking stagecraft. The way magic is portrayed is nothing short of astonishing. Characters vanish in an instant, get sucked into bookcases, and transform in front of the audience’s eyes, creating a level of spectacle that feels impossible to achieve live. The Dementors, in particular, are a highlight—floating ominously over the audience in a way that is both mesmerizing and genuinely eerie.
This is what makes the show stand apart from other modern productions. It embraces what theater does best: creating something live and tangible. While many recent musicals feel like they’re trying to replicate movies on stage, The Cursed Child leans into the magic of theater itself, using practical effects and cleverly designed transitions to bring the wizarding world to life in ways that simply wouldn’t work in another medium.
Final Thoughts
Harry Potter and the Cursed Child is a testament to what modern theater can achieve when it prioritizes creativity over commercial appeal. It doesn’t rely on flashy, forgettable songs or nostalgia-driven gimmicks. Instead, it offers a deeply immersive experience that takes full advantage of the stage, blending movement, music, and magic into something that feels truly unique. At a time when many productions are struggling to stand out, this one reminds us why live theater is still one of the most powerful forms of storytelling.
