BroadwayRadio In Review: ‘Harry Potter and the Cursed Child’ National Tour at the Dr. Phillips Center in Orlando

Episode Date: January 30, 2026
Host: Matt Taminini

Episode Overview

This episode is a critical review of the national tour of Harry Potter and the Cursed Child at Orlando’s Dr. Phillips Center. Host Matt Taminini examines not only the theatrical merits of the production but also confronts the ethical complications of supporting J.K. Rowling’s work in the wake of her public anti-trans statements. The review navigates both the dazzling stagecraft and the broader philosophical [and financial] implications of engaging with the Harry Potter franchise today.

1. The Political Context of Art (00:10–02:30)

• Art Is Always Political:
  • Matt opens with the assertion that “all art is inherently political” and that even escapist fantasy like Harry Potter can serve as a vehicle for progressive or subversive ideas.
  • Describes how Cursed Child becomes more complicated because of author J.K. Rowling’s politics:

    "The specter of Rowling and her bigoted attacks on the trans community are impossible to avoid when consuming any pieces of Harry Potter media, but especially with Cursed Child, as this play explicitly delves into the impacts of bullying, public smear campaigns, and even, dare I say, queer awakening." (02:15)

• J.K. Rowling’s Role and Its Impact:
  • Although Rowling contributed to the story, the actual script is the work of playwright Jack Thorne, renowned for his ability to portray adolescent anxiety and universal truths.
  • Matt details Rowling’s association with TERF ideology and explains the real-world harm of financially supporting her works:

    “…it is incredibly difficult to enjoy anything about Cursed Child for what it is without being weighed down by the knowledge that the financial support of any Rowling property directly and unambiguously goes to harming trans people around the world.” (03:00)

2. The Drawbacks and Merits of the Current Production (03:30–07:00)

• Artistry Behind the Play:
  • Praises Jack Thorne’s character work and John Tiffany’s “expert Tony winning direction.”
  • Highlights the contributions of:
    • Jamie Harrison (stage magic)
    • Stephen Hoggett (movement/choreography)
    • Imogen Heap (music)
    • Neil Austin (lighting design)
  • Points out that this shortened production “crosses the line into fan service.”
• Version Confusion:
  • The show has evolved:
    • Originally a two-part event (4:15 runtime)
    • Reduced to 3:40 post-pandemic
    • Current tour: 2:55 runtime to avoid union overtime (07:00)
  • The result:

    “…the show now feels less like a continuation of the beloved characters' stories and more like a highlight package of the best bits of installments gone by.” (07:30)

  • Exposition-heavy dialogue makes the play feel at times like a soap opera trying to remind viewers of everything that’s happened.

3. Story and Character Analysis (07:45–12:30)

• Plot Overview:
  • Albus Severus Potter, son of Harry and Ginny, begins Hogwarts, is sorted into Slytherin, and befriends Scorpius Malfoy (son of Draco and Astoria).
  • Albus, feeling overshadowed by his father's legacy, devises a convoluted plan to change the past, dragging Scorpius into “a complicated, semi nonsensical plan to make up for certain mistakes of the past.”
  • The show centers on familial drama, coming-of-age, and unintended magical consequences with both new and returning characters.
  • Notable moment: Audience “giggle and gasp when a familiar character appears or a canonically important name is mentioned.” (10:00)
• Character Performances:
  • Adam Grant Morrison as Albus:

    “Even though he often sounds like Ethan Slater's Spongebob Squarepants came down with a case of the Keala Settles, he is a grounded central character with muggle world problems living amidst the craziness of the wizarding world.” (10:40)

  • David Fine as Scorpius Malfoy:

    “Provides a more hysterical, Muppet-esque performance that balances out the drama of this central pairing.” (11:00)

• Lost Nuance:
  • Due to streamlining, depth and character nuance largely vanish.
  • Notable Emotional Moments:
    • Draco (Ryan Halahan) gives Harry (Nick Dillonburg) hard-learned advice about parenting—one of the play’s rare, resonant scenes.
    • Scorpius tells Albus:

      “Some people have actual problems that are far worse than simply being the son of the famous Harry Potter.” (12:20)

  • These Malfoy-related scenes stand out amid the show’s “shock and awe.”

4. The Show’s Real Magic—Stagecraft (13:00–14:30)

• Stage Illusions:
  • Jamie Harrison’s illusions are the true highlight:

    “Employing tactics as simple as misdirection and as complicated as projection mapping, Cursed Child will at times leave you amusingly bewildered and at others completely dumbfounded.” (13:30)

  • Seamless blend of “centuries old stage effects alongside cutting edge technology” and Tony-nominated choreography.
  • Touring staging differs slightly from Broadway but “the majority of the magic is maintained.”

5. Final Reflections: Nostalgia, Ethics, and Audience (15:00–End)

• Nostalgia vs. Artistry:
  • Cursed Child is “an expertly crafted piece of nostalgia bait that mostly delivers on what it promises to provide a nearly non stop succession of dopamine blasts from the past.”
  • Downsizing for tour has made emotional moments “toothless…little more than speed bumps on a journey through well worn events.”
• On Financial Support and Ethics:
  • Matt candidly discourages financially supporting Rowling-adjacent entities (including the show, new audiobooks, TV adaptations, and theme parks).

    “…I do hope that you will think about the impact of paying to see it… and how it will unequivocally contribute to the ongoing persecution of a group of people who are being attacked simply for wanting to live their lives the best ways they know how.” (16:30)

  • Suggests that enjoying existing physical books or DVDs is the only way to “separate the art from the artist” without supporting Rowling’s current activism.
• Concluding Thoughts:
  • While the spectacle and nostalgia will satisfy many, the ethical concerns weigh heavily.
  • Tickets and a discount code are available in show notes, “if you feel you must go.”

Notable Quotes

• On the politics of art:

  “The simple act of creation flies in the face of those who would prefer that those who see the world for what it could be remained silent.” (00:15)

• On Rowling’s influence:

  “No matter the sentimentality that comes with this show, I do hope that you will think about the impact of paying to see it...and how it will unequivocally contribute to the ongoing persecution of a group of people who are being attacked simply for wanting to live their lives the best ways they know how.” (16:30)

• On the spectacle:

  “In a show that is far more about shock and awe, these are the most emotionally powerful parts of the play.” (12:40)

• On the production’s appeal:

  “It is an expertly crafted piece of nostalgia bait that mostly delivers on what it promises to provide a nearly non stop succession of dopamine blasts from the past.” (15:10)

Timestamps for Key Segments

• 00:10 – Art as inherently political, Rowling’s controversy
• 02:30 – Jack Thorne’s writing and creative team
• 03:00 – Financial ethics of supporting Rowling
• 07:00 – Show’s shortening over time, loss of nuance
• 10:00 – Plot overview and audience reactions
• 11:00 – Performances of Albus and Scorpius
• 12:20 – Key Malfoy moments
• 13:30 – Jamie Harrison’s stage magic
• 15:00 – Nostalgia as the main draw, emotional critique
• 16:30 – Ethical call and reflection

Tone

Matt Taminini’s review is thoughtful, critical, and nuanced, blending clear-eyed assessment of the show’s dazzling theatrical achievements with a strong ethical stance against J.K. Rowling’s public activism and its consequences. The tone is earnest, wry, and occasionally biting, particularly when discussing the franchise’s flaws and ongoing evolution.

This summary captures the main themes, ethical discussions, key moments, and artistry that Matt explores in his review, offering both an introduction to the touring production and a critical reflection on whether—or how—to support it.