SALT LAKE CITY — Growing up with Harry Potter, the Wizarding World is more than a collection of books to me. I grew up with the series and recall the memorable midnight book releases. For a generation of readers who now share it with our own children, the Harry Potter universe is something of a shared cultural experience that has grown with us.
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This rich history gives Harry Potter and the Cursed Child, now playing at the Eccles Theater, an interesting challenge. This new story by J.K. Rowling, Jack Thorne, and John Tiffany begins 19 years after the original books. The adult Harry now works as Head of the Department of Magical Law Enforcement and sends his own children off to Hogwarts. Harry’s youngest son, Albus struggles under the weight of his father’s legacy and forms an unlikely friendship with Scorpius Malfoy, the son of Harry’s former school rival Draco. The boys attempt to change the past and discover that history is considerably more complicated than they expected.
Under the direction of John Tiffany, this production shows the audience actors, scenery, costumes, lighting, sound, movement and illusion combined in real time to create something that feels just like magic. The opening transition from the Muggle world at King’s Cross into the Wizarding World is seamlessly executed when the students’ robes appear in the blink of an eye. The Sorting Hat, embodied by Jamyl Dobson, orchestrates the magical movements as wizards transform the location. From that point forward, the production steadily chugs forward with a steady power and rhythm.
The Performances
Albus, played by Adam Grant Morrison, is shockingly sorted into Slytherin house. Morrison plays Albus as awkward and uncertain, always out of step from his classmates. Morrison makes Albus immediately likable despite his uncertainty in figuring out who he is under his famous father’s long shadow. Harry is played by Nick Dillenburg, who carries an enormous amount of history into his performance as a grown-up Boy Who Lived. Dillenburg’s portrayal is rich and complex, showcasing the burden of carrying the Wizarding World and the struggle of figuring out how to be a parent, especially when Harry had no role model of his own.
David Fine’s performance as Scorpius balances what is initially a broad, eccentric, comedic characterization with a tender side revealed during a sad and angry monologue giving Albus some perspective on life. Fine also demonstrated some crazy physicality when performing curses with seemingly impossible contortions, making the magical attacks feel dangerous. Scorpius’ father, Draco Malfoy, is played by Ryan Hallahan. His version of Draco has a maturity gained through hard knocks, without losing the character’s familiar arrogance. Hallahan and Dillenburg share a great chemistry; their magical duel is full of tension and annoyance, but little malice, as they seem mature enough to know they don’t actually want to hurt one another. Draco calling Harry “old man,” only to be reminded they are the same age, prompts the response—”I wear it better”—perfectly capturing their relationship. Hallahan also delivers one of the production’s funniest moments, offering a performative hug to Scorpius when the Potters reunite.
Rachel Leslie’s Hermione has the power and bravery expected from the cleverest witch of her year. She shares a warm dynamic with Dillenburg, which worked very well when taking time out of her job as Minister of Magic to support Harry. Leslie’s relationship with Matt Harrington as Ron could use a little more chemistry. They lacked a spark between them which is related to how the narrative influences their relationship together. Harrington brings the expected comic energy to Ron. One of the funniest sequences is during a Polyjuice Potion transformation, when Harrington plays Albus playing Ron. Albus, disguised as Ron, kisses Hermione to stall for time, and Harrington’s shivers of disgust are hilarious. Abbi Hawk’s performance as Ginny is strong and solid, serving as the rock Harry can rely on, embodying a loving relationship. Hawk also shows a terrifying command when yelling at Draco.
Katherine Leask’s transformation between Professor McGonagall and Dolores Umbridge is striking. Her Umbridge embodies a mundane form of evil, arriving in nauseating pink attire. Larry Yando is remarkable in portraying Albus Dumbledore, Amos Diggory and Severus Snape. His Snape captures the slow cadence and haughty mannerisms associated with Alan Rickman while remaining a distinct performance.
The ensemble fills out the Wizarding World as the plot barrels towards a technically stunning final confrontation with the Dark Lord, played by Nathan Hosner. However, the production’s emotional climax belongs to Dillenburg’s Harry in the following scene. After the epic battle ends, Harry is forced to watch his own history play out painfully before him. The pacing slows, giving full reverence to the moment as Dillenburg collapses and lets out a raw sob.
The Technical Magic
The show is chock-full of charming moments by the Illusion & Magic designer Jamie Harrison and Magic Supervisor/Arranger Martin Lowe, who designed stage magic that will amaze. A desk organizes itself with a wave of Harry’s wand. Harry walks into a telephone booth and disapperates. A seemingly ordinary bed is wheeled onstage, only for a shake of the top sheet to reveal Harry and Ginny. Even “simple magic” like carrying something impossibly heavy with one finger, makes the magical world feel real as the ensemble sells each trick. Jamie Harrison’s illusions and magic repeatedly create moments of genuine astonishment, including pyrotechnics during an enormous magical battle and the transformation into Voldemort so convincing it feels real.
The Dementors are another extraordinary example of technical magic as they embody feelings of despair and fear. The wirework allows them to move with an eerie weightlessness, while their costumes seem to float around them in an ethereal way. Katrina Lindsay’s costumes, Neil Austin’s lighting, Carole Hancock’s hair, wigs and makeup create a recognizable Wizarding World recognizable without simply reproducing the films. The production’s technical coordination peaks during the time-turner sequence. Video design by Finn Ross and Ash J. Woodward combined with Gareth Fry’s sound design to create a deep bass rumble, giving the sensation the entire theatre is rippling through time.
The scenic design by Christine Jones is gorgeous with lots of Gothic arches and staircases that float around the stage during the staircase ballet. Soft keyboard notes and violins harmonize with breathy vocals to create an aching musical atmosphere of longing as Scorpius and Albus move up and down the stairs.
Ultimately this production is successful because all the technical wizardry serves a story about something much less magical: growing up. I encountered Harry Potter as a young teenager, and last night I attended with my own teenager, making the story of Harry trying to understand his child feel surprisingly personal. The production succeeds because it understands that the most important magic isn’t the wand work, the illusions or the pyrotechnics, even though those were all mind-blowing. The real magic happens when father and son really see each other. The father who accepts his son and the son seeing the weight a father carries as he tries, imperfectly, to do the best he can. The production is heartily recommended to those who wished for a letter to Hogwarts, along with any Muggles willing to suspend disbelief long enough to fall under the spell.
MORE INFO: HARRY POTTER AND THE CURSED CHILD is currently playing at the George S. and Dolores Doré Eccles Theater (131 Main Street, Salt Lake City, UT 84111) through October 11, 2026 at 7:00PM with 1:00PM matinees on Saturdays and Sundays. Tickets are approximately $65–$235.82, depending on seating and performance and not including . For the most up-to-date schedule, performance details, and official ticketing, visit Broadway at the Eccles: www.saltlakecity.broadway.com.
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