style="font-size:15px;"> As you say, in prose you can express the truth of how someone feels through internal monologue and give visual detail through rich description, whereas we have our actors and creative collaborators who work with us to bring these elements to life on stage. Even then, we often rely on the audiences’ collective imagination to make a particular moment of storytelling come to full-blooded fruition. It’s one of the reasons that I am so passionate about theatre; film has computer-generated imagery but we have the imagination of the audience. Both are extremely powerful.
I think there’s something wonderful about the idea of readers acting out the script in their heads. Or with their mates in their bedrooms. Maybe there’s a connection between this and our live audiences’ imagination. We will work hard so that everyone who wants to see our production of Harry Potter and the Cursed Child is able to, whether at the Palace Theatre in London or in new productions elsewhere. In the meantime, I’m genuinely excited about the countless productions that are happening in our readers’ imaginations as they absorb your play.
PART ONE
ACT ONE
ACT ONE
SCENE ONE
A busy and crowded station, full of people trying to go somewhere. Amongst the hustle and bustle, two large cages rattle on top of two laden trolleys. They’re being pushed by two boys, JAMES POTTER and ALBUS POTTER. Their mother, GINNY, follows after. A thirty-seven-year-old man, HARRY, has his daughter LILY on his shoulders.
ALBUS
Dad. He keeps saying it.
HARRY
James, give it a rest.
JAMES
I only said he might be in Slytherin. And he might, so… (off his dad’s glare) fine.
ALBUS (looking up at his mum)
You’ll write to me, won’t you?
GINNY
Every day if you want us to.
ALBUS
No. Not every day. James says most people only get letters from home about once a month. I don’t want to…
HARRY
We wrote to your brother three times a week last year.
ALBUS
What? James!
ALBUS looks accusingly at JAMES, who grins back.
GINNY
Yes. You may not want to believe everything he tells you about Hogwarts. He likes a laugh, your brother.
JAMES
Can we go now please?
ALBUS looks at his dad, and then his mum.
GINNY
All you have to do is walk straight at the wall between platforms nine and ten.
LILY
I’m so excited.
HARRY
Don’t stop and don’t be scared you’ll crash into it, that’s very important. Best to do it at a run if you’re nervous.
ALBUS
I’m ready.
HARRY and LILY put their hands on ALBUS’s trolley — GINNY joins JAMES’s trolley – and together, the family run hard into the barrier.
ACT ONE
SCENE TWO
Which is covered in thick white steam pouring from the HOGWARTS EXPRESS.
And which is also busy – but instead of people in sharp suits going about their day, it’s now wizards and witches in robes mostly trying to work out how to say goodbye to their beloved progeny.
ALBUS
This is it.
LILY
Wow!
ALBUS
Platform nine and three-quarters.
LILY
Where are they? Are they here? Maybe they didn’t come?
HARRY points out RON, HERMIONE and their daughter ROSE. LILY runs hard up to them.
Uncle Ron. Uncle Ron!!!
RON turns towards them as LILY goes barrelling up to him. He picks her up into his arms.
RON
If it isn’t my favourite Potter.
LILY
Have you got my trick?
RON
Are you aware of the Weasleys’ Wizard Wheezes certified nose-stealing breath?
ROSE
Mum! Dad’s doing that lame thing again.
HERMIONE
You say lame, he says glorious, I say… somewhere in between.
RON
Hang on. Let me just munch this… air. And now it’s just a simple matter of… excuse me if I smell slightly of garlic…
He breathes on her face. LILY giggles.
LILY
You smell of porridge.
RON
Bing. Bang. Boing. Young lady,
