HARRY POTTER AND THE CURSED CHILD Previews — Page 4

Capeguy said: "Haven't not read any of the books and only seen the first film -- will this be an issue?"

In my opinion, yes. Now that I've just seen the first Part (went into it blind and I'm super glad I did) I would tell anyone who hasn't at least seen all the movies that they wouldn't enjoy it, or at least they wouldn't understand a whole boatload of the plot. You really need to have at least a basic understanding of the Harry Potter universe and plots. You might like the theater and the props and the magic, but the plot is just going to be confusing.

As an FYI, they are back to using Showbill at the Lyric-I know they had a some point in the past, I believe. Toward the front of the Showbill is a four page overview of the Harry Potter Universe, with a year by year synopsis of Harry's time at Hogwarts, and a glossary of terms from the series that are important to understanding the play. Might be worth reading if you arrive at the theater knowing nothing about Harry Potter.

And someone asked about Title Page billing at some point-Full company is in alphabetical order below the title, soothed will need to petition up anyone they want in Leading performance categories for the Tonys.

TheQuibbler said: "Was there a curtain call after Part 1? I saw it I London on double day and after the cliff hanger, the show ended and the house lights came up. I was wondering if on a single show day if they do a curtain call. "

No curtain call. Just a long standing ovation to an empty stage. Same as they did in London.

pdjennings said: "I’m curious as to what everyone means by the writing not being good. I haven’t seen it yet, but I’ve read the printed play several times over the last couple years and I love it. Is it just the storyline you don’t like?"

Having read the play, there’s no great exploration of ideas or themes. It’s certainly not Arthur Miller or Tennessee Williams, but it likely serves the production well.

Updated On: 3/17/18 at 10:53 AM

Is there some trick to finding tickets? I've looked at least three times a week since they went on sale and regardless of the price point, my search comes up with no avaliability. One day I even sat there and searched every single showing from May to October with a green or yellow bar and nothing.

This is honestly more frustrating than trying to get tickets for Hamilton.

msgirlinnyc said: "Is there some trick to finding tickets? I've looked at least three times a week since they went on sale and regardless of the price point, my search comes up with no avaliability. One day I even sat there and searched every single showing from May to October with a green or yellow bar and nothing.

This is honestly more frustrating than trying to get tickets for Hamilton."

3 times a week? Not enough. Try 3 times an hour, or, at the very least, 3 times a day. In the past week, I've found multiple tickets at all price points, starting at $20, from now through September. It just takes time and commitment, although, now that the show has actually started performances, I'm assuming it will be even harder to find seats.

Updated On: 3/17/18 at 11:48 AM

I think it will win for direction.

lightguy06222 said: "I think it will win for direction."

Agreed. Marianne Elliot has done extraordinary work with AIA, but the world and stagecraft Tiffany creates is simply once in a lifetime type of theatre. Unless Tony voters decide HP is overrated, I feel he deserves the award the most.

Updated On: 3/17/18 at 01:58 PM

DonnyJacksonLD said: "Are they doing any in-person rush or standing room? The lottery didn’t help me and I’m only seeing $200 tickets for my visit next week"

There's no room for standing room and it's only cancellation line.

I'm with you, I love the script on its own. I think the writing is very strong. I've seen the play a number of times in London and am going to see the Broadway version next week. It's not a play with complex dialogue, but it carries on the themes from the books beautifully and develops them further.

I disagree vehemently that it doesn't explore any themes or ideas. It's about legacy, the cycle of abuse, guilt and recovery. It's about coming to terms with the past, creeping from beneath its shadow, and learning how to live with guilt and regret. I've found enormous amounts to explore in the script, and the visual symbolism of the production echoes and elaborates on it.

Jack Thorne clearly understands the characters very well and he does what he always does in his scripts. He lets the characters' be human and flawed, which I very much appreciate. The script on its own won an Olivier in London, with good reason.