This page is our review of Harry Potter and the Cursed Child Part Two, continuing from Part One. If you have not read the Part One review yet, please start there before diving in here. Also, a friendly heads-up: this article includes mild, positive-spirited spoilers!
Starting with the 2021 season, the Broadway production of “Harry Potter and the Cursed Child” switched to a one-part format. This review covers the earlier two-part version.
Table of Contents
About Harry Potter and the Cursed Child on stage
This play is positioned as a sequel to the 2011 film “Harry Potter and the Deathly Hallows.”
When people hear “Harry Potter on Broadway,” they may assume it is a musical, but this is a play, not a musical. It premiered in the UK in June 2016 and began performances on Broadway in 2018.
A six-time winner at the 2018 Tony Awards
Already decorated in the UK with major honors including the Laurence Olivier Awards, the Broadway production went on to receive 10 nominations at the 72nd Tony Awards in 2018 and won six awards including Best Play.
It is rare for a play (rather than a musical) to dominate the Tonys to this extent. For a while it sold out continuously, and premium tickets climbed above $1,000.
If you are even considering seeing “Harry Potter and the Cursed Child,” check the details page for the plot, characters, and highlights.
Comparing seats at the Lyric Theatre
Yesterday, when we came for Part One, we explored the house quite a bit. This time we photographed each level to show the atmosphere and sightlines from various sections.In short, for this show the front to third row of the Dress Circle (second level) may be the easiest on the eyes overall.
Seat characteristics at the Lyric Theatre
The orchestra (first floor) has a very gentle rake, so tall audience members in front can block your view.
The Dress Circle (second level) and Balcony (third level) have steep rakes, so sightlines are clear. However, the second level already feels quite high, so you will sense more distance from the stage. That said, there is a moment in Part Two with effects you simply cannot appreciate from the orchestra, so the second or third level can be a smart choice!
*Click images to enlarge
Sightlines from each level
Compared to other theaters, the Lyric’s orchestra does not feel especially “off to the side” even near the walls, which is a plus. But if a tall person sits ahead of you, your view can be blocked. The house is also known for its very high ceiling, and from the third-level Balcony you are definitely looking down at a steep angle.
*Click images to enlarge
Order snacks and drinks from your seat
At the Lyric, you can order refreshments right from your seat, almost like VIP service at a ballpark!
Note that there are no cup holders at the seats, so you will need to hold your drink in your hand during the show.
When we asked for a recommendation, they mentioned a theater-exclusive “Lyric Combo” (a sandwich with water); a very on-brand, all-American option.
We had the same seats for Part Two as for Part One
Through At Broadway, tickets to “Harry Potter and the Cursed Child” are sold as a set for Part One and Part Two. When you purchase both parts together, you will generally be seated in the same seats for each.
How to read “ORCHL R 9”
Row R (the 16th row from the front), seat 9 (fifth from the aisle)
The Cursed Child cast were wonderfully kind at the stage door
As we noted in our Part One write-up, there was no stage-door interaction after Part One. However, after Part Two there was! We slipped out during the curtain call and hurried to the barricades just to the left after exiting on 43rd Street.
After only about 15 minutes, the principal cast began to arrive. How surprising and exciting! At many shows the ensemble emerges first, but this night we first saw Patrick Du Laney, who plays the adult Ron.
The cast’s kindness stood out
This cast offered the most considerate stage-door experience we have seen on Broadway.
Above all, they gave each person real time, asking “Where are you visiting from?”, “Which scene stayed with you?”, “Who is your favorite character? Want me to call them over?”and none of it felt perfunctory.
Jonno Roberts, who plays the adult Draco Malfoy, joked with fans like a seasoned comedian and posed for photos with a big smile (all while pulling a funny face). James Snyder, who plays Harry Potter, wore a wig onstage, so seeing his natural blond hair at the door was a surprise. He looked every bit the leading man. Onstage I loved his deep, resonant voice; hearing that same voice up close was a thrill.
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They were happy to take photos
Stage-door policies vary widely, but here every cast member was incredibly kind.
They signed, greeted, chatted, and posed for photos. Because photos can slow things down, some actors decline, but not this night.
Next to me stood an aspiring actor asking for audition tips, and each performer offered sincere advice. The common thread: “Do not give up. Keep auditioning until something clicks.” We see Broadway is a very high bar.
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Our takeaways from Cursed Child
British accents amplify the Harry Potter feeling
Even on Broadway, the cast perform in British English which heightens the world of Harry Potter.
You sometimes see film actors switch to a Queen’s English accent for British roles, which is impressive in itself. Here, Nicholas Podany (as Albus Potter) sounded pitch-perfectly British onstage.
I assumed he was from the UK, but his bio lists him as American. We asked him afterward: “How is your British accent so natural? Did you train specifically in Queen’s English?”
He also shared that he fell in love with the films at age six and that they inspired him to pursue acting. Landing the role of Harry’s son was the best day of his life.
$68 million to bring the story to Broadway? Well spent!
We later learned just how much money it took to realize “Harry Potter and the Cursed Child” on Broadway: $35 million for theater renovations and $33 million in production costs.
From the exterior facade and sculptures to staff uniforms and the merchandise area, everything immerses you in the wizarding world with a distinctly British elegance that you sense even from the plaza. Without spoiling too much: set pieces rise from where you least expect, and astonishing effects happen right before your eyes.
Watching Parts One and Two back to back
As the only two-part Broadway play of its time, I was hesitant before seeing it because I only half-remembered the story. I even said I might skip Part Two if Part One disappointed me. Instead, after Part One I could not wait for the next day.
By the end I felt convinced: a single part could not have delivered such layered storytelling. I am genuinely glad they did not compress it into one installment.
Part One and Part Two differ not just in pacing but in the feelings they leave you with.
Part One bombards you with jaw-dropping stagecraft: flames, flying spells, Death Eaters sweeping through the aisles, actors transforming before your eyes. By Part Two, your eyes adjust to the spectacle and you can focus more calmly on the heart of the story. (Apologies for the light spoilers.)
From fierce arguments between Harry and Albus to the anguish of loss, the performances were so intense we wondered how they sustain them nightly. Late in Part Two, when Harry is forced to confront a dark memory, I unexpectedly teared up. You have to, after witnessing such a moment right in front of you in a silent house.
A fully spoken play can be tough if English is not your strong suit
After the show, we grabbed a drink a block south of the Lyric on 42nd Street, at Applebee’s Bar and Grill. Beer after a great production always hits the spot.
The script uses wizarding terminology that may be puzzling even with subtitles, like references to the Ministry (the governing body of the wizarding world) or magical reagents that reveal hidden writing. The bar is high.
And yet we want everyone to see it
If English is challenging, you may feel drowsy before the first interval. We even saw a few groups leave at intermission on our first day, which is a shame, but understandable.
Talking it over, we realized the best solution is to preview key plot points, even if that risks light spoilers.
That is because the story accelerates in the second half of Part One and becomes truly gripping. If you go in with the essentials, you can relax and enjoy without getting lost. We walked down 42nd Street hashing out exactly which points to share.
Even with decent English, I found myself lost in a couple of spots. If you miss a turn in the plot you might think, “Wait, what just happened? Why did the audience just gasp?”
Read this before seeing Cursed Child on Broadway
So we put together a primer, with light spoilers, to help you enjoy the play even if you miss some dialogue. We recommend it to longtime fans and first-timers alike.
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