Elevator Thoughts (aka Tweet): Harry Potter and the Cursed Child national touring play from Seattle Theatre Group & Broadway Across America at the Paramount Theatre takes “stage magic” to a whole new dimension. If anything, go solely for the visual effects and illusions. đȘâĄïžDavid Fine and Adam Grant Morrison anchor the technical marvel with a “forbidden bromance” dynamic that bordered on comedy.
See it if you’re familiar with the Harry Potter series.
Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? No, but it was good.
Mainstream Appeal: Medium
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes
My Synopsis (No Spoilers): Set years after the original saga, the next generation steps into Hogwarts, struggling to forge their own identities under the heavy shadow of their parents’ legendary legacies.
Synopsis from the Licensor or Theatre Company: Broadwayâs spellbinding spectacular Harry Potter and the Cursed Child is coming to Seattle. Join the next adventure and experience the wizarding world like never before at this record-breaking hit and winner of six Tony Awards including Best Play. âItâs one of the most defining pop culture events of the decadeâ (Forbes). When Harry Potterâs head-strong son Albus befriends the son of his fiercest rival, Draco Malfoy, it sparks an unbelievable new journey for them allâwith the power to change the past and future forever. Prepare for a mind-blowing race through time, spectacular spells, and an epic battle, all brought to life with the most astonishing theatrical magic ever seen on stage. Itâs a âmarvel of imaginationâ (The New York Times) that will âleave you wondering âhowâd they do that?â for days to comeâ (People Magazine).
Type: Play
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) or Dynamic Set: Dynamic
Prior Exposure/Knowledge Required: You should be familiar with the original Harry Potter series. Because of my conservative Christian upbringing, I was not familiar and a ton of references went over my head. Thankfully, American Dad indoctrinated me with the basics.
Defined Plot/Storyline: Yes
Union Actor(s): All
Total Actor(s): Too many to count
Perceived Pace of the Show: Slow to medium speed
Was there an intermission? Yes
Length (Including Any Intermission): A whopping 3 hours! But that’s nothing considering that the original West End play was two performances with a total of 4 acts. So, you had to go to the theatre twice the same day or different days! Fortunately, they started promptly on time. But I can’t help but wonder what I missed from the original.
Other Rave(s)
- Magic and Visual Effects: Jamie Harrisonâs illusions and stage magic was the undisputed highlight of the show. Naturally, for a story built on wizardry, this production was brimming with visual effects. It delivered trickery at a rapid-fire pace reminiscent of the joke density in Shucked. Blink for a second, and you missed a reveal. The illusions ranged from subtle sleight of hand, such as conjuring a note out of thin air, to full-fledged, Matrix-style wand fire duels. At every turn, I found myself dissecting the mechanics like wondering how actors levitated without a single visible cable from the ceiling. A recurring trick of the trade was the clever manipulation of shadow and pitch-black backgrounds to hide the secret mechanisms. This masterclass in atmospheric control was undoubtedly aided by lighting designer Neil Austin. Standout moments included seamless, on-stage character transformations (were there body doubles?) that made my companion jump out of their seat alongside impeccably timed appearance/disappearance acts.
- Time Travel: The production took a risky gamble by making time travel a central plot theme. Luckily, this staging depicted every time jump crystal clear. It was unlike stage adaptations such as The Notebook, which often execute temporal jumps confusingly leaving the audience guessing whether a scene takes place in the past, present, or future. To mark each shift, a floating orb vibrated with tangible visual/auditory reverb felt throughout the theatre, accompanied by stage-framing clocks that spun wildly backward/forward.
- Costume Design: Sweeping, cape-like robes dominated the stage. They injected a constant element of mystical flair into the production. Costume designer Katrina Lindsay delivered her crown jewel with the Dementors. These characters were eerily floating figures that glided effortlessly as they harvested the souls/bodies of their victims through the air.
- Choreography and Movement: Steven Hoggett designed several memorable movement sequences between scenes. Highlights included an ensemble piece showcasing the fluid motion of the billowing robes, a dynamic routine utilizing moving staircases that glided across the stage while actors navigated them, and a stylized wand dance. The latter perfectly evoked Steve Smith’s iconic line from American Dad, “I can’t tell if I’m leading it, or it’s leading me.”
Rant(s)
- Video Projections: The use of video projection during the lake scene felt like a disappointing cop-out. Whenever live theatre relies on pre-recorded video to drive key plot points, it cheapens the stage medium. Audiences attend live theatre specifically to see real action unfold off-screen, not on-screen.
Other Musing(s) and Observation(s)
- Bromantic Chemistry: While the overarching plot could use more narrative tension, the production overflowed with romantic tension between the two young male leads. These weird star-crossed, bromantic undertones bordered on the unintentionally comical, especially during the dramatic staircase dance. I found myself inwardly shouting, “Kiss, kiss, kiss!” Reframing their connection into an explicit forbidden gay romance would have raised the emotional stakes or at least made the bromance less comical. Take it a step further and make one of the main character trans … thatâll teach J.K. Rowling a lesson!
- Age Appropriateness and Target Audience: The show was surprisingly not very kid-friendly. While teenagers might appreciate the spectacle, younger children would likely struggle with the three-hour runtime, the visually dark motif, and the British subtlety. Ultimately, the production felt less like a family-friendly play and more like a calculated cash grab targeted at aging millennials tapping into childhood nostalgia.
Theatre Company: National Tour from Broadway Across America and Seattle Theatre Group
Venue: Paramount Theatre
Venue Physical Address: 911 Pine St, Seattle, WA 98101
Price Range: 61-176 USD plus the hefty Ticketmaster fees if you don’t buy at the box office.
Ticket Affordability Options: Seattle Theatre Group might partner with an organization youâre affiliated with for discount tickets. For example, I believe UW employees/students are still eligible for an organization discount.
Dates: Aug 22 – Sep 12, 2026
Seating: Assigned Seats
Parking: Paid street parking and paid garage parking. The best parking garage is under the convention center w/ the entrance on Pike around the Pike and Terry intersection. Last I checked, this is one of the cheapest, least busy, and closest garages. Alternatively, you can probably find street parking as you move closer to the West Precinct (810 Virginia St, Seattle, WA 98101). Do NOT park where the Paramount subscribers park. Last I checked, they usually park in the garage attached to the former Cheesecake Factory. Itâll take you at least 30 minutes to exit that garage after the show.
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Buy a Ticket or Learn More:
- https://tour.harrypottertheplay.com/
- https://seattle.broadway.com/shows/harry-potter-and-the-cursed-child/
- https://www.stgpresents.org/events/harry-potter-and-the-cursed-child/
- Program
Photos: See production photos below by Matthew Murphy and Evan Zimmerman.
Cast and Production Team: See after photos below.
August 22 â September 12, 2026
Sonia Friedman, Colin Callender, Harry Potter Theatrical Productions present
Harry Potter and the Cursed Child
Based on an original new story by J.K. Rowling, Jack Thorne & John Tiffany
A new play by Jack Thorne
Cast & Characters
| Actor | Character / Role(s) |
|---|---|
| Jamyl Dobson | Sorting Hat |
| Josh Bates | Cedric Diggory, James Potter Jr., James Potter Sr. |
| Danny BĂł | Yann Fredericks |
| Nadia Brown | Rose Granger-Weasley, Young Hermione |
| Ashley Bufkin | Madam Hooch |
| Treâ Booker | Teacher |
| Reese Sebastian Diaz | Karl Jenkins, Viktor Krum |
| Nick Dillenburg | Harry Potter |
| David Fine | Scorpius Malfoy |
| Ryan Hallahan | Draco Malfoy |
| Matt Harrington | Ron Weasley |
| Abbi Hawk | Ginny Potter |
| Lauryn Hayes | Polly Chapman |
| Nathan Hosner | Voldemort |
| Chris Jarman | Voice of Phone Box |
| Torsten Johnson | Professor Mazoni |
| Katherine Leask | Professor McGonagall, Professor Umbridge |
| Rachel Leslie | Hermione Granger |
| Mackenzie Lesser-Roy | Moaning Myrtle, Lily Potter Sr. |
| Adam Grant Morrison | Albus Potter |
| Emily Schultheis | Delphi Diggory |
| Timmy Thompson | Craig Bowker, Jr. |
| Paul Thornley | Voice of Ludo Bagman |
| René Thornton Jr. | Station Master |
| Larry Yando | Albus Dumbledore, Amos Diggory, Severus Snape |
| Lauren Zakrin | Trolley Witch |
Other Roles Played By (Ensemble)
Josh Bates, Markcus Blair, Danny BĂł, Riley Bocchicchio, Treâ Booker, Nadia Brown, Ashley Bufkin, Casey Butler, Erin Chupinsky, Reese Sebastian Diaz, Jamyl Dobson, Simon Gagnon, Lauryn Hayes, Nathan Hosner, Danielle Lee James, Torsten Johnson, Katherine Leask, Mackenzie Lesser-Roy, Evan Maltby, ChantĂ© Odom, Elise Southwick, Ayla Stackhouse, Jennifer Thiessen, Timmy Thompson, RenĂ© Thornton Jr., Larry Yando, Lauren Zakrin.
- Movement Captain: Jennifer Thiessen
- Assistant Movement Captain: Simon Gagnon
Creative & Production Team
- Director: John Tiffany
- Movement Director: Steven Hoggett
- Set Designer: Christine Jones
- Costume Designer: Katrina Lindsay
- Composer & Arranger: Imogen Heap
- Lighting Designer: Neil Austin
- Sound Designer: Gareth Fry
- Illusions & Magic: Jamie Harrison
- Music Supervisor & Arranger: Martin Lowe
- Casting: Jim Carnahan CSA & Alexandre Bleau CSA
- Video Designers: Finn Ross & Ash J. Woodward
- Hair, Wig & Make-up: Carole Hancock
Direction & Movement Associates
- International Associate Director: Des Kennedy
- Associate Director: Colette Robert
- International Associate Movement Director: Nuno Silva
- Associate Movement Director: Chelsey Arce
Design & Technical Associates
- International Scenic Supervisor: Brett J. Banakis
- International Costume Design Associate: Sabine LemaĂźtre
- International Associate Lighting Designer: Nick Solyom
- International Associate Sound Designer: Pete Malkin
- International Illusions & Magic Associate: Chris Fisher
- Associate Costume Designer: Miriam Kelleher
- Associate Lighting Designer: Bailey Costa
- Associate Sound Designer: Will Pickens
- Illusions & Magic Associate: Skylar Fox
- Hair & Wig Associate: Carrie Rohm
- Make-up Associate: Sarah Jordan
Management & Executive Team
- International Technical Director: Gary Beestone
- Production Management: Juniper Street Productions
- Production Supervisor: Rolt Smith
- Production Stage Manager: Kate McDoniel
- Company Manager: Susan Brumley
- General Manager: Bespoke Theatricals
- Executive Consultant: Diane Benjamin
- Executive Producers: Maximilian Bittleston, Thomas Swayne, Daniel Unitas
Marketing, Press, Ticketing & Booking
- Global Marketing & Sales: Shannon Kingett, Madison Lymer
- Tour Marketing & Press: Laura Matalon, John Gilmour, Gabriella GodĂnez
- Ticketing: Insight Tix
- Social Media & Content: Industria Studios
- Tour Booking Agency: The Booking Group (Meredith Blair, Kara Gebhart)