Fans may recall that there were two versions mentioned when the announcement of a Harry Potter and the Cursed Child script book was made. The special rehearsal edition was published to coincide with the play’s first public performances, with the promise of a definitive collector’s edition at a later stage (pun intended).
Harry Potter and the Cursed Child – Parts One and Two: The Official Script Book of the Original West End Production was released on July 25, 2017. Despite my feelings about the play, I was still curious as to what changes were made in the updated script almost a year after Cursed Child‘s official opening. So to commemorate “Nineteen Years Later,” it was only appropriate that I bring out the sticky notes and analyze the texts line by line.
My top-notch research methods
Extra Material
This revised paperback edition opens with a conversation piece between playwright Jack Thorne and director John Tiffany. In this section, the two creators share personal anecdotes as they reflect on the first play they ever read, their early ventures into theater, and the thought processes that went into creating Cursed Child‘s script for publication.
As we learned before, the last few pages consist of the Potter family tree and a timeline of the seven Harry Potter novels. While the family tree might be insightful for casual fans who haven’t watched J.K. Rowling’s 2007 documentary and don’t follow Pottermore, where this information is already revealed, I was a bit disappointed that it wasn’t more comprehensive.
Script Changes
Overall, subtle changes were made throughout the whole script to expand upon (and slightly alter, in some cases) the character development and to enhance the reading experience for those like me who are unable to watch the show. Below is a summary of the differences that I found between the two Little, Brown editions:
Several descriptions have been extended to help readers visualize the scene better.
Example 1
Rehearsal:
ALBUS walks quickly along the train.
---
Final:
ALBUS walks quickly along the busy train. He keeps his head down, trying to avoid attention.
Example 2
Rehearsal:
SCORPIUS/HARRY: Albus? Albus!!
But ALBUS/RON is gone.
---
Final:
SCORPIUS/HARRY: Albus? Albus!!
Before SCORPIUS/HARRY can reach him, ALBUS/RON is gone. He thinks a moment, full of doubt, and then realises this is his job to finish now.
Example 3
Rehearsal:
SCORPIUS enters the office of DOLORES UMBRIDGE. He is dressed in darker, blacker robes. He has a pensive look on his face. He remains coiled and alert.
DOLORES UMBRIDGE: Scorpius. Thank you so much for coming to see me.
---
Final:
And now we're firmly in a reworked world.
And it is a world of darkness.
There is a coating of ash over the Earth — which gives it a pallor of uncertainty and dread.
This is reflected in the staging — in the music — but above all else in the tone of the choices we make.
HARRY is dead. VOLDEMORT lives and rules. Nothing is as it should be.
SCORPIUS enters the office of DOLORES UMBRIDGE. He is dressed in darker, blacker robes. He has a pensive look on his face. He is aware of danger from all sides and remains coiled and alert throughout.
DOLORES UMBRIDGE: Scorpius. Thank you so much for coming to see me.
Stage movements were clarified at some points.
Example 1
Rehearsal:
And the stage contorts and trees rise as the dream twists into something else entirely.
Suddenly, ALBUS appears and stands looking at YOUNG HARRY.
And then right from the back of the room Parseltongue whispers around everyone.
---
Final:
And the stage contorts and trees rise as the dream twists into something else entirely.
Suddenly, from within the trees ALBUS appears and stands looking at YOUNG HARRY.
And then he's pulled hard away.
To be replaced by Parseltongue whispers reverberating around the theatre.
Example 2
Rehearsal:
RON is sitting on HERMIONE's desk, eating porridge.
---
Final:
RON is sitting on HERMIONE's desk as she studies some files.
In terms of major changes, there were instances where the dialogue and directions were rearranged, perhaps to improve the pacing or characterization.
Example 1
Rehearsal:
HERMIONE: You are. Let me into my room, Ron.
ALBUS/RON: Let's have another baby.
HERMIONE tries to dodge past him.
HERMIONE: What?
ALBUS/RON: Or if not another baby, a holiday. I want a baby or a holiday and I'm going to insist on it. Shall we talk about it later, honey?
She tries to get into the room one final time, he blocks her with a kiss. It develops into quite a struggle.
Maybe with a drink in the Leaky Cauldron? Love you.
HERMIONE: (relenting) If there's another stink pellet in there then Merlin won't help you. Fine. We're due to update the Muggles anyway.
---
Final:
HERMIONE: You are. Let me into my room, Ron.
HERMIONE tries to dodge past him.
ALBUS/RON: Let's have another baby.
HERMIONE: What?
ALBUS/RON: Or if not another baby, a holiday. I want a baby or a holiday and I'm going to insist on it. Shall we talk about it later, honey? Maybe with a drink in the Leaky Cauldron? Love you.
HERMIONE thinks, she stares at him suspiciously and then looks again at her door. She relents.
HERMIONE: If there's another stink pellet in there then Merlin won't help you. Fine. We're due to update the Muggles anyway.
Example 2
Rehearsal:
He opens up the blanket. He sees writing burnt through it. He's surprised.
What?
GINNY: Harry, it has — something — written —
On another part of the stage, ALBUS and SCORPIUS appear.
---
Final:
He throws down the blanket. GINNY picks it up, examining it.
GINNY: Harry . . .
HARRY: What?
GINNY: Harry, it has — something — written —
And without warning, ALBUS and SCORPIUS appear, sharing the stage with HARRY and GINNY even though they are separated by time.
Interestingly, Albus and Scorpius’s relationship has been slightly diminished in one scene, where Albus no longer calls Scorpius “the best person I know”…
Example
Rehearsal:
SCORPIUS: That's nice — that's a nice thing to say.
ALBUS: And it's something I should have said a long time ago. In fact, you're probably the best person I know. And you don't — you couldn't — hold me back — you make me stronger — and when Dad forced us apart — without you —
SCORPIUS: I didn't much like my life without you in it either.
---
Final:
SCORPIUS: That's nice — that's a nice thing to say.
ALBUS: And it's something I should have said a long time ago. And you don't — you couldn't — hold me back — you make me stronger — and when Dad forced us apart — without you —
SCORPIUS: I didn't much like my life without you in it either.
… while Ron and Hermione’s love for each other is reinforced.
Example 1
Rehearsal:
HERMIONE: Let's keep them here and give the boy the best chance we can.
RON looks at her and then nods sadly.
A daughter.
RON: And a son. I liked that idea too.
---
Final:
HERMIONE: Let's keep them here and give the boy the best chance we can.
RON looks at her and then nods sadly.
HERMIONE: A daughter and a son.
He smiles gently at her; their love is true and total.
RON: And a son. I liked that idea too.
Example 2
Rehearsal:
HERMIONE: (melting slightly) You want to marry me again?
RON: Well, we were only young when we did it the first time and I got very drunk and — well, to be honest, I can't remember much of it and . . . the truth is — I love you Hermione Granger — and whatever time says — I'd like the opportunity to say so in front of lots of other people. Again. Sober.
---
Final:
HERMIONE: (melting) You want to marry me again?
RON: Well, we were only young when we did it the first time and I got very drunk and — well, to be honest, I can't remember much of it and . . . the truth is — I bloody love you Hermione Granger — and whatever time says — I'd like the opportunity to say so in front of lots of other people. Again. Sober.
While a majority of the dialogue remained the same, I’d recommend those who haven’t watched or those wanting a copy of the Cursed Child story to purchase this revised version for the extra annotations. But as I’ve stated in my initial review of the script, unfortunately, no book will ever quite replace the full experience of watching the play being performed in theaters.
A copy of this book was provided by the publisher for review.
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