Harry potter and the cursed child book not play script
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Stage directions written with room for interpretation can create various different opportunities for actors. What the actors bring to a performance is certainly a huge part of what makes a play what it is.
Whatever happens after is fine, because we’ve accepted that this isn’t beyond our realm of comprehension.” “We need to see some reflection of ourselves onstage, and it needs to be real, and then we need to feel something about what we’re seeing,” Dallas-based theatre critic Katy Lemieux told Inverse, “, the human element is introduced right off. Time Travel! To quote from Brad Neely’s infamous Potter-spoof Wizard People: “Magical deeds are afoot, dear readers, magical darkness, a must!” But if we were to overlook the magic, does Harry Potter and the Cursed Child have the rich qualities theatre-lovers look for in a good play?
Characters are flying and walking through walls. And it should be action packed.”Ĭursed Child is certainly action packed. A good play script is, in some ways, like a good screenplay – it should be visual. “There are incredible plays that I will never get to see staged in my own life - so reading them from that point of view actually becomes second nature. Lopercio holds an MFA in Theatre from the New School in New York City, and teaches theatre at Estrella Mountain Community College in Arizona. “For those of us who do read play scripts recreationally, this is an issue we confront on a regular basis,” George Lopercio told Inverse. Still, with certainly more people reading the script than seeing a production of the script, has the Cursed Child effectively become a retroactive closet drama? Of course, unlike Goethe, playwright Jack Thorne wrote Cursed Child with the intention that it be staged. When a play is meant to be read rather than actually performed, it’s known as a “closet drama.” Goethe’s Faust Part 1 and Faust Part 2 then could be the 1808 version of Cursed Child for the twin reasons that the story was divided into two parts, and it was read far more than it was initially performed. But that’s not entirely true, because with the release of the book version of the playscript, the nature of the way people are interacting with the text has already been altered.
#Harry potter and the cursed child book not play script series#
Playwriting is a different beast than straight prose and the movement of Potter from the novel page to the script page raises an interesting question: how does Harry Potter and the Cursed Child stack up as a written play?įans of the series might just say that Harry Potter and the Cursed Child is just the next story of Harry Potter, and that the format doesn’t matter. But what if you’re a playwright? Or a theatre critic? This years bestselling book is in a reading type that the vast majority of the world’s readership doesn’t usually interact with. If you’re a Harry Potter fan, there’s a lot to talk about.
#Harry potter and the cursed child book not play script full#
Just before Harry Potter and the Cursed Child opened in the West End of London, the play’s producer Sonia Friedman summed up the unique movement between mediums neatly: “Imagine Star Wars was opening in one cinema in one city and that was the only place you could see it.” But now, like the novels that preceded it, the full text of the play is in the hands of the entire world. How could the scope of Potter suit the constraints of theatre? After seven record-breaking novels and eight blockbuster film adaptations, continuing the story of the wizarding world of Potter on the stage seems strange, like trying to move a woolly mammoth into a fishbowl. The multimedia Harry Potter universe has now added a new medium to its ever-expanding portfolio of magical franchising: a play.