As an NSTA representative, I had the distinct pleasure of attending the Matthew Arnold School production of Harry Potter and the Cursed Child on Wednesday 4th February 2026. Under the outstanding leadership of Director Mrs Wilkins, and the dedicated rehearsal team of Miss McNally and Miss Hindley, the cast and crew delivered a performance of exceptional polish and maturity in an extraordinarily short time-frame. What makes this achievement even more remarkable is that the entire production was rehearsed and staged within just one week. The creative and technical vision was further strengthened by Technical Manager and Lighting Designer Henry, Set Designer Chloe, Costume Designer Evie, and the imaginative Dementor puppetry work by Wild Boor Ideas.
Harry Potter and the Cursed Child revisits the wizarding world nineteen years after the events of the final book in J K Rowling’s series. The story follows an adult Harry Potter, now a Ministry of Magic employee, husband, and father, who struggles to reconcile the weight of his past with the demands of his present. At the heart of the play is his complicated relationship with his middle son, Albus. Burdened by the Potter name and desperate to forge his own identity, Albus forms an unlikely friendship with Scorpius Malfoy, the son of Draco. Together, the boys become entangled in a dangerous Time-Turner plot that threatens to alter history itself. What unfolds is a powerful exploration of legacy, friendship, forgiveness, and the courage it takes to confront both the past and oneself.
The scale of involvement was extraordinary. The lead cast alone consisted of twenty-five students, supported by six actors playing additional student roles. Seven pupils brought the enchanted books to life while another sixty-three made up the senior and junior ensembles. The Dementor puppets were controlled by pupils, adding both technical precision and dramatic impact. Behind the scenes, over seventy pupils worked in technical, props, costume and set creation teams. The sheer number of pupils involved highlights the ambition of the project and the inclusive spirit that defined it.
From the moment the audience entered the theatre, there was a palpable sense of anticipation. Chloe’s set design was inventive and adaptable, allowing seamless transitions between King’s Cross Station, Hogwarts, and the Ministry of Magic. Henry’s lighting established the mood with clarity, using cool tones to intensify time-travel sequences and warmer hues to underscore intimate family moments. The Dementor puppets were particularly striking, their fluid coordinated movement creating haunting stage images. Evie’s costume design added depth to characterisation, clearly distinguishing houses, generations, and alternate timelines.
The opening Platform 9 ¾ scene with its trunks and luggage immediately immersed the audience in the wizarding world. The large ensemble generated authentic energy, and the excitement of a new year at school was skillfully conveyed. Early tension between father and son was established with emotional clarity, beautifully delivered by Dexter and Barney.
Indeed, Barney delivered a compelling and emotionally honest performance as Albus Potter, capturing vulnerability and frustration. Dexter’s Harry Potter was layered and measured, convincingly portraying a father burdened by legacy and expectation. Their scenes together were particularly powerful, filled with believable tension and emotional depth.
The final scenes in Act Two were poignant, particularly the original death scenes from 1981, reminding the audience that the past cannot truly be changed. This moment was replayed with off-stage actors as voiceovers and unified grief, accentuated by Henry’s green lighting effects.
Elijah brought warmth and humour to Scorpius Malfoy, balancing comic timing with loyalty and bravery. The chemistry between Barney and Elijah anchored the story. Grace offered a calm and reassuring presence as Ginny Potter, while Rhiannon’s adult Hermione Granger and Owen’s Ron Weasley provided intelligence, authority, and well judged comic relief as the perfect complementary duo.
Zach’s Draco Malfoy blended pride with reflective vulnerability, particularly in scenes alongside Scorpius. Daniel’s Amos Diggory was deeply moving, capturing grief and desperation with sincerity. The profoundly blind actor was supported by the ensemble throughout and this reflected the spirit of inclusion and team work represented by the whole cast. Maxim’s Cedric Diggory was courageous and warm on stage. Delphi Diggory, performed by Isla, conveyed an excellent portrayal of a character gradually revealing her darker intensity and hidden depths. Mo delivered strong characterisation as the Sorting Hat, and Rachel’s Moaning Myrtle added perfect theatrical flair and hilarious comic relief.
The ensemble’s contribution cannot be overstated. Senior and junior ensembles worked with discipline and unity, particularly during Time-Turner sequences and school scenes where movement visually represented temporal shifts. The actors portraying enchanted books added a creative, dynamic layer to transitions, and their use to represent hedges in the maze was an ingenious touch.
This production was far more than a school performance; it was a celebration of collaboration, ambition, and creativity. Every pupil, whether on stage or behind the scenes, contributed meaningfully to its success. Given that this entire production – involving over 160 pupils across performance and production roles – was conceived, rehearsed, and staged in just one week, the achievement is all the more extraordinary. The co-ordination required between cast, technical crew, puppeteers, and design teams was immense, yet the performance ran smoothly, reflecting outstanding organisation, teamwork, and resilience. As the final scene ended on the ‘Beautiful Hill’ with father and son relationships restored, it was clear that something extraordinary had been accomplished. The performance transported its audience into a magical world and demonstrated the transformative power of drama in education. Achieving such scale, polish, and emotional depth in just one week speaks volumes about the dedication, unity, and talent of everyone involved. It was, quite simply, an unforgettable theatrical experience.