I don’t think it would be much of a stretch to rename the Millennial generation the Harry Potter generation. The series is one of the most unifying features of my generation. I was first introduced to the magical world at the at the age of nine, a year after the first book was released in the states. I attended at least three midnight release parties for the books and at least as many, if not more, midnight releases of the movies. I watched the students at my alma mater play college-level Quidditch and I have a wonderful friend who hosts a whole Harry Potter weekend every January. She also got to see the Cursed Child play in London and joined in our great delight when the bookstore that I work at decided to revive the midnight release party for Harry Potter and the Cursed Child.
It was always difficult being Harry Potter and it isn’t much easier now that he is an overworked employee of the Ministry of Magic, a husband and father of three school-age children. While Harry grapples with a past that refuses to stay where it belongs, his youngest son Albus must struggle with the weight of a family legacy he never wanted. As past and present fuse ominously, both father and son learn the uncomfortable truth: sometimes darkness comes from unexpected places.
I no longer own a copy of Harry Potter and the Cursed Child. I returned it. I couldn’t stand to see it sitting on my bookshelf with the other seven books. Last week the paperback edition was released and it may have rectified some of the issues that I will bring up in my review below. This review was originally written in August 2016.
When it comes to stage plays, I have a very distinct bias. I’ve studied them, written them, and had my own works performed on stage. Also, working in a bookstore, I’m aware of the publication history of the physical book copy of Cursed Child and, in short, it was a rush job. While the dust jacket of the hardcover edition makes it very clear that the edition released to the public on July 31st 2016 was a Special Rehearsal Edition, it really never should have seen the light of day. It is missing many of the key elements a stage play – stage directions (admittedly pointless for the vast majority of the intended audience) are noticeably absent, but more importantly, there is no description of action that happens without dialogue. If something is only an on stage visual, there is no record of it in the script. I hold out hope that the paperback edition will correct a lot of these problems.
Now that I’ve griped about the format, let us discuss plot. What a trainwreck. It comes across as bad fan-fiction. And yes, those who disagree with me, including many of my friends, are quick to remind me that it is meant to be seen on stage and experienced, but the magic of production can only do so much to ease the pain of a barely mediocre plot. One of my biggest gripes with the Harry Potter series as a whole is the lack of consistency and plethora of plot holes. While I don’t believe the intention with Cursed Child was to fix any problems in the original seven books, it certainly didn’t help matters as it just introduced a whole lot more, particularly regarding Bellatrix and Voldemort. As I’d like to keep this spoiler free, I won’t say why, suffice to say that revisionist history is rarely a good or effective idea.
What’s worst about this whole thing is that the negative reaction to Cursed Child means that the script for the movie of Fantastic Beasts and Where to Find Them will most likely under perform. And while Cursed Child was clearly a rush job in publication, Fantastic Beasts will be a completed piece – the production has had years to polish it and make sure that it is pristine. So I hold out hope that it will be better than Cursed Child, but I don’t think the rest of Rowling’s disgruntled readers will be ask optimistic.
Rating: 3 out of 10 stars
Edition: Paperback • $12.99 • 9781338216660 • 336 pages • originally published July 2016, this edition published July 2017 by Arthur A. Levine Books • average Goodreads rating 3.76 out of 5 • read in July 2016