The play picks up where the books left off, and Harry Potter has now sent his son, Albus, to Hogwarts. On the way, Draco Malfoy’s son, Scorpius, is also on the train, and the two become not just schoolmates en route to the school of wizardry, but become tight friends. Benjamin Papac is an energetically gifted Albus, exuding the wonder and passion for doing the right thing while dealing with teenage angst, much like his father Harry did in the book series. Jon Steiger is a phenomenal Scorpius, balancing the humor with the physical demands and friendship arc he shares with Albus nicely. John Skelley’s marathon performance as Harry Potter is an exhausting watch but oh-so-satisfying to see throughout the two part engagement. The vocal, physical, and magical demands on this role supersede expectation, and Mr. Skelley delivers all the mystical goods with aplomb.

Lucas Hall is a standout as Draco, developing the oft-interpreted villain from the books as a father who simply wants the best for his son, and wants the best for the wizardry world. Mr. Hall shares a sublime moment opposite Mr. Skelley when discussing the drearies of being a Malfoy, and it is an acting moment of brilliant vulnerability and pace. Lauren Zarkin does well as the final piece of the young trio, Polly, having some dominating moments as the female figure of Albus and Scorpius’ mission while delivering some classical interpretations of the modern character.

Featured performers Brittany Zeinstra, Andrew Long, and Charles Janasz (all of whom will not be named by character as to avoid plot spoilers) take on some of the books’ most beloved and most memorable characters, and their delivery, choices, and vocal cadences match what audiences expect, as they are exceptional in the scenes they get to shine in.

John Tiffany’s direction is purely perfect for the amount of illusions and magic Jamie Harrison has designed for the play. Mr. Tiffany’s knack for knowing how to draw focus, how to slow down the action, and when to let the laugh play allows the audience to dread each act’s curtain, for they don’t want it to end. Mr. Thorne’s script is a legit theatrical script, possessing engaging dialogue and an enthralling plot, allowing Imogen Heap’s music composition and arrangements to take hold of the mood in each scene and transition. Steven Hoggett’s movement direction of transitions and the non-speaking time jump turns are simple, delicate, and beautiful while never letting the story waver.