Harry Potter and the Cursed Child to Broadway 2017? — Page 6

THANK YOU SO MUCH

I spent a full day monitoring the queue last week when the latest block of tickets went on sale. No luck on that day but on Tuesday I was able to pick up single seats for both parts for Aug 2017. One seat is Stalls 3rd row and the other is in the Dress Circle. We'll share the seats so will each have the third row Stall seat for one of the parts. So excited - now we have to plan the rest of our trip around the show. And just my opinion - these were harder to get than Hamilton!!

It appears that these are returned tickets. Since most seem to be restricted view seats, I'm guessing people managed to get better seats and are now returning their original seats. Even with no availability it looks like they are keeping the booking tab open, so I agree that people should keep checking. This morning (U.S. time) there seemed to be quite some choices for tickets, so that might be the best time to check.


On that last note, even though the ATG site showed availability, every time I tried to book the tickets (just to see the location) I received the sold-out message, so I'm not sure why it shows availability. I found the Nimax site to be more accurate. Also, be aware that you don't get to see the seat location/final price until you put the tickets in your cart,

It's just a shame that there's no buzz for this little play (according to another poster in this thread, anyway). Otherwise the play would be doing better.



http://comicbook.com/2016/08/20/harry-potter-and-the-cursed-child-sold-out-faster-than-hamilton/



http://www.bustle.com/articles/179613-cursed-child-tickets-are-more-expensive-than-hamilton-ones-but-the-prices-dont-tell-the-full

aaaaaa15 said: "I guess we'll see. Although it has sold an incredible amount of tickets in the UK, I don't feel like there's comparatively much buzz about it here in either the theatre community or in our popular culture. The only thing I've really seen people talking about is the casting of Hermione. Maybe that will change when the script is out and people aren't encouraged to 'keep the secrets' anymore."



It's funny how you keep denying what can be proven. You must be a republican.

aaaaaa15 is right.

Just because a show is selling out doesnt mean there is 'buzz'. The lion king has sold out for years.

There have been some articles on the play here but there is no way the kind of buzz hamilton or mormon for example generated. Its just the latest harry potter thing to come along, its just an extension of interest in harry potter. In fact id say the play script release got more attention than the play itself. This may possibly be due to the fact that the public dont have access to it as its sold out and people are encouraged to not talk about it so its not deemed as news worthy

Given the fact that the script sold 2 million copies in 2 days, I would call that significant buzz on its own. At any rate, I saw both parts last Saturday and here are my thoughts (without spoilers)...

This really doesn't have the feel of a "play" in the conventional academic/critical sense. If only viewed from that perspective, the script is definitely weak. Much weaker than the books and films that precede it. But what is clearly evident, is that the text was constructed as a love-letter to Harry Potter fans. To me, it was obvious Rowling came up with a very basic framework for the plot and characters while Thorne was tasked with referencing all 7 books within the plot, linking them all together, providing closure for beloved characters, and shoehorning every memorable magical device as possible in order to provide fans with a live Harry Potter experience that feels old and new and complete and fulfilling in order to achieve the impossible...to please everyone. And it mostly succeeds.

It really doesn't take long to figure out the path on which the plot is laid and if you're even a little bit familiar with the stories, 90% of the script is quite predictable. A couple of the new characters are actually very strong and memorable, given the attention and care we expect from the novels, while others feel like afterthoughts or "devices" that seem either out of place within the established world (either in text or in visual design) or underused and erroneous. One in particular (and this is no spoiler) appears repeatedly to represent the passage of time or something and it's never really clear what or who he is.

That being said, nothing can change the fact that viewing the entire play is genuinely thrilling and immensely entertaining. The pointed references to familiar spells, characters and scenes plays on the nostalgia of fans and while they could have come off as intrusive pandering, they are so cleverly staged, each is delivered like a beautifully wrapped gift to the audience. And from the very first instance, the audience enthusiastically shows its gratitude. By the end of both parts, I have truly never heard a West End audience respond as enthusiastically to a show, play or musical (or rarely a Broadway audience, for that matter). There are a couple of slow and static spots, but those could be easily remedied in staging and direction alone. Everything else moves at a brisk pace with scene changes choreographed suspiciously similar to Curious Incident. The cast is mostly perfect with only a couple of people not quite hitting the heights of the rest. The actors playing the might trio (Harry, Ron, Hermione) and the two boys (Scorpius and Albus) rise to the top and I would expect some nominations for at least two of them. Oh, and I actually hope they release a CD of the music, composed by Imogene Heap.

The visual effects, whether they involve the cast or not, are at turns breathtaking, clever, funny and truly wondrous. In many ways, this show plays as an "experience" much like Lord of the Rings (which, to my own surprise, I loved) did in the West End almost 10 years ago, rather than fit comfortably in any play/musical category. Though clearly, Harry Potter is already far more successful.

Personally, for Harry Potter fans, you definitely get your money's worth and more. For those unfamiliar with Harry Potter, you'll be confused, but still entertained. And if you are an addict to the point that you need a roomful of entirely new Harry Potter merchandise, you won't be disappointed by the merchandise. Just note that the souvenir brochure is ONLY sold after the end of Part 2, so be prepared to wait in a long queue if you want one.

I'm not familiar enough with the physical production to say for sure which theater would be best. But as far as which ones would be best for audiences, it needs to be a big house, and the largest theaters should have adequate stage space. My best guess is the Imperial Theatre, but if I had my way Phantom would close and it would go to the Majestic.

Sant said: ""which Bway theatre would be best suited for replicating the set? I understand that there are flying stunts/ sequences which would benefit from a high proscenium?"



Doesn't really matter, the fixed set is not that space-demanding. Most of the movable set pieces are like two staircases, chairs, walls etc. But the set does need some space behind the back wall for exits and entrances. There was a turntable on stage and in use, but that can be built for the production, I suppose. As for the flying, there is one flying stunt in the auditorium but it can be done in most of the Broadway houses.



I saw the show twice in one week in London, queued for returns. First time I got there about 10:10 am and there was some 20+ people in front of me and we all (plus some 10 people behind me) got tickets. I got stalls/orchestra 6th row centre aisle (house seats). Second time I got in the queue about 9:30am and was 8th in line and again got an excellent seats (stalls/orchestra row G, again house seats). They sell the house seats to the queueing people if there's no need for the production team for the house seats.



"

I arrived at 7 both times and had to pass 10 tickets or more before they offered me the house seats.

I had emailed them and they said this

I somehow doubt their ticketing agents/Digital Media Marketing Manger are first in line to know about a Broadway transfer...

I know.

The Hirschfeld would be a great fit!

I'm really not a huge fan of this new trend of shows announcing their move into a home of a currently running show with no scheduled end. "Rialto Chatter" or not, it just doesn't seem right.