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artxyra · 4 years ago

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The Secret Life of MDC | Part 6

Part 6: Just let them fall

Part 01 | 02 | 03 | 04 | 05

Note: If you had read the original version on my website, I totally did not rewrite this entire part just to avoid a fight scene.

The mission was simple: save the two idiot exchange students that don’t have any common sense. It was a frustrating task to even track them down. Base on the footage from security cameras and likely villains who are crazy enough to start drama, it is very likely that the dumb and dumber are safe but being hold over a pot of acid, fire, or water will killer animals. Who knows?

“You know, they just have given us an excuse to bring the Gotham miraculous crew back into action,” Andrena says as her bee-like wings flutter to life. Her eyes narrowly focus on anything strange.

To Gotham, Andrena is equivalent to Paris’ Melitta Bee (Chloe’s new alias once she was inducted back onto the team). Every member of Paris’ MT has a Gotham counterpart. For Ladybug it was Ladybird, for Chat Noir it was Lykoi. Then for the two missing members Viperion and Ryoku, there was Python and Naga. The only difference two their styles are more realistic and less magical.

“There is no time for play, Bee.” Ladybird walks out from the shadows, the current boy wonder walking behind her. She crosses her arms and lets out a heavy sigh. “As long as we are active in the fight any damage the two may endure could be undone. You know how I hate to bring out the team.” Everyone could see the tiredness behind the red and black mask that lies in her bluebell eyes.

“Tt. They deserve whatever comes their way.” Robin scoffs. From the corner of his eyes, he could see his siblings joining them on the roof. “What did you find?” This question wasn’t pointed to anyone directly, but they all knew there was one person with the answers.

“Red Robin—” Lykoi lowkey hums ‘Yum’ much to everyone dismay “—has appointed Oracle as our eyes, and together that have determined that the two missing students are located in one of five potential areas.��

“That does not help our case, Wing.” Nightwing would never admit it but a glaring Ladybird is a dangerous Ladybird.

Silence followed as everyone thinks of something.

“Do we have to save them? They just made this worse on everybody.” It was Lykoi’s voice that surprisingly states this. Everyone turns to the cat theme hero with wide eyes. “What?”

“Normally under typical Paris standards, I would say no, but do to the fact that we are in Gotham and my job is on the line, I am legally obligated to say yes.” Ladybird pulls out her communicator and turns it on. “Everyone’s logged on.” A series of nods, groans, and yeses. “Good RR, what’s the plan?”

“Yes, but you’re not going to like it,” Red Robin could hear the impending groaning coming his way and he is not wide awake enough for this.

Which lead the Miraculous Team and the Bats to be split across Gotham searching for the two exchange students.

Ladybird and Robin’s location was empty. Nothing unusual about the location it was just an unused warehouse.

“I hate them.”

“Them being everyone or the two the idiots.”

“What do you think?”

Robin shakes his head and lets out a hefty sigh.

Lykoi and Nightwing’s location proved to be difficult to find. At first, that thought this was the place, but both heroes vigilantes were proven wrong.

“We both agree not to tell Ladybird.”

“Agree, she would kill us.”

“I heard that.” It wasn’t Ladybird’s voice that came through the comms. It was Oracle’s. “Don’t worry I won’t tell Birdie.”

Lykoi and Nightwing share a glance. It was better to be blackmailed by Oracle than be grilled by Ladybird—well that what they think anyway.

For Andrena and Red Robin, it was more of a battle of wits and smarts between the two. Actually, more on Red Robin than with Andrena (she didn’t want to be a partner with Red Hood).

“You better hope that one of the others found this fucking warehouse or I will kill you myself. These boots were expensive.” Andrena shrieks pointing to the mud that now lays pack on her boots.

“Yeah, yeah, I’ll make it up to you.”

Andrena rolls her eyes and opens her communicator, Red Robin does the same. However, the outcome was different for the two. On Red Robin’s feed, it was static, he quickly goes into work to scramble the information given. Andrena sees a message from Red Hood. It reads, “Found it, suckers!”

“Hood found the warehouse.” Andrena places her communicator back on her person and looks to Red Robin. She could see the invisible sweat and sleep on his face through the cowl. “Let’s go.”

RR lets out a frustrating sigh, but as he types a last-minute code into his device the static slowly turns into quality footage. Not high quality but enough pinpoint what is happening. The room is dark but there is an ominous green glow at the lower half of the screen.

“Shit,” RR murmurs through it was loud enough to catch Andrena’s attention as an electric blue glow begins to grow behind her.

“What?” It was breathless yet concerning. Behind her, the portal fully develops causing her to let out a low growl and pushing RR in the direction of their “ride”. “Just explain it to the others.”

The portal closes and the first person they are meet by is a somewhat disappointing Ladybird.

“Hey Buggy,” Andrena sheepishly smiles, better throw RR under the bus, “RR found something interesting. Check it out.”

Ladybird makes her way over to the bee and the third Robin, she eyes RR practically asking him the question, “what he found”. Everyone waits with bated breaths as he shows her the footage. This time unlike the awkward murky background, it shows Lila and Alya tied together on a mini platform that is slowly lowering to the ominous glow below them.

“Is it sad that I want to see them fall.” The ladybug theme hero sighs into her glove-cover hands. “Alright, we need a game plan. Hood, what did you find?”

“There is a tunnel beneath the building. There’s no exterior access.”

“Oracle is sending us a blueprint.” Red Robin adds to which Nightwing nods and checks in his own portable monitor. Robin tsks and crouches down on the ground.

The planning process to a good minute to formulate.

“Is everyone in position?” The question ran through everyone’s coms as their trained bodies wait patiently for the cue. The Questioner (most likely Ladybird or Nightwing) took their silence as an answer. “Let’s go.”

The vigilantes are immediately greeted by darkness.

“Argh, my hair!” All movement ceased to exist. The Miraculous Team automatically knew that screech. It was Lila’s. “Please, I promise Bruce Wayne will make your life worthwhile. I’m very good friends with him.” Everyone, aside from Robin, felt a shiver go down their spines. Robin had gagged at the thought of Lila, his girlfriend’s tormentor, being friends with his father.

“Are you sure we can’t kill her?” Red Hood asks, well more like stated but everyone knows what he meant. He didn’t receive an answer.

“Better yet, who’s the person that decided to capture the two. There are only two heat signatures in the building.” Tim fiercely types against his device.

Nightwing kicks down the door. The large thud grabs the two teens' attention.

“We’re saved.” Lila cries out in delight. Her face literally brightens much to everyone (aside from Alya’s) dismay.

“Yes, I can finally get that interview just like you said, gurl.” Alya squeals her body wiggling on the platform.

Robin staggers in his footsteps. Interview? Like you said? Something isn’t adding up.

“Are you girls okay?” Nightwing typically heroic voice shines through as Red Robin rushes to what he believes to be the controls for the platform.

“No! We’re tied together, slowly moving to our deaths.” Alya shouts, “Ladybug?”

“Uh... no, I’m Ladybird. Now hold still.” Balancing herself on the platform in front of the two, she pulls out a knife and quickly goes cuts to the first layers of rope. “We’re the villain?”

“He was getting something to surprise us.” Lila’s voice squeaks a little. Everyone pulls back to face Lila, not including Alya.

“What do you mean?” Robin fakes a cough and glares at the Italian girl.

“No, no,” Lila begins to sweat. Her mind running multiple scenarios to get out of this. “We have no idea where he went. It was pitch black for us.” Tears forms in her eyes. Alya tries to comfort her bestie but couldn’t due to their bindings.

“Red Hood, stay on high alert, Lykoi, Andrena, follow his lead.” Ladybird cuts through the final rope. Alya shuffles her feet to get away…

“Ah!” The reporter’s foot slips.

“Merde,” Ladybird deadpans and lets herself fall.

Her right arm wrap around Alya’s waist as her left grabs for the yo-yo. It was a split second; her feet did touch the unknown substance in the large pool. She was expecting a burning sensation, but nothing happens.

“What the hell, RR, get off the control and test out the substance.” Ladybird safely places Alya down on the concrete flooring. Nightwing and Robin run over to the two for different reasons. Robin pulls Ladybird into his arms and checks for any injury while Nightwing does the same for Alya. The ombre haired girl is visibly shaking.

Lila remains on the platform above the pool screeching her head off. Andrena could already sense a headache forming and flies up to the platform. “Venom!”

Lila freezes, her screaming ceases to exist.

Rather than pushing Lila off the platform (the temptation was very luring), Andrena wraps an arm around the liar and flies to the ground floor. Suppressing a shiver, she pushes the girl out of her arms and into Lykoi’s much to his dismay.

“Seriously?” Lykoi’s glare said it all.

“I have informed Oracle that we found the missing students. She informed me that the GPD eta is ten minutes.”

“Good, that will give us time to search the premises for anything odd.” Nightwing states.

“Way ahead of you,” Red Hood shouts from afar. Eyes rolls but they all shrug in the end.

“What do you mean there weren’t any prints or such leading to the student’s kidnapper?” Commissioner Gordon asks, well he yelled but his face isn’t red yet, as the faces the Bats (aside from the large bat himself) and the Miraculous Team.

“What he meant to say, was that nothing in this warehouse suggested that there was third person let alone a typical Gotham’s villain.”

“So, you're saying this was an act?”

“No, I don’t think all of it was an act?”

“Hmm… This isn’t going to go well with explaining this to GA’s headmistress.”

Ladybird might as well say goodbye to her life and curl next to Robin in her final moments. If this was just a fake, Lila and anyone who was involved with this plan of hers are in for a treat and she’ll have front row access to it.

“Just make sure that girls are returned to GA safely, Gordon,” Nightwing instructs, they knew what he was going for. It was to them out of her and on patrol—well some of them at the very least.

~*~

Marinette curls into Damian’s chest, looking at the screen in front of them. After a night like that she didn’t want to think about the consequences that the liar had unleashed.

“You okay?” Damian presses his lips against her forehead, their hands intertwine fighting for dominance.

Marinette doesn’t say anything. How could she? There was so much floating around her mind that she couldn’t place what she was feeling at the moment.

They stay in silence until a loud thud disrupts the environment.

“Bad news,” Dick and the rest of the family file in. “Rossi confessed to the kidnapping being a ploy.”

“Goddammit, there went my morning and quite possibly my entire week.” Marinette groans collapsing next to Damian and covering her face with her hand.

“Well it’s not liked your exchange program can get any worse. You have like three weeks left of it anyway.” Jason shrugs trying to make the mood lighter… it didn’t help.

“Not now, Jaybird,” Marinette growls, causing the hairs on the back of everyone’s neck to raise high. It was rare to see Marinette angry and Lila has done the impossible. Kwami may help in the morning, especially when Marinette doesn’t get her coffee.

~*~

Mari Needs Coffee @MarinetteMemes Is it too late to push someone off the roof of WE? 🤔 #shemesswiththewrongsgirl #ineedcoffee

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#maribat #daminette #ml x dc #mlb x dc #damimari #ml crossover #dc crossover #fic:The Secret Life of MDC

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ultrahpfan5blog · 4 years ago

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Watching Snyderverse Part 3 - Zack Snyder’s Justice League

After BvS, I was honestly not particularly looking forward to Justice League. For me, it was obvious that Snyder’s versions of these characters and his overall doom and gloom approach was not something I was particularly enjoying despite some promising elements in both MoS and BvS. Then we saw exactly how JL production went down. Despite the happy face they tried to paint, the fact that there was going to be a 2 hour mandate, the fact that Whedon basically reshot a bunch of Snyder’s film with the film being a mishmash of two directors who couldn’t be any more different in their sensibilities, and that that the actors, specifically Ben Affleck, looked like they couldn’t wait to be done with this movie and this role, made it obvious that the movie wasn’t going to turn out well. So my expectations were rock bottom for the theatrical cut. As it happens, that was a good thing. The theatrical cut of JL is a thoroughly unremarkable movie. I don’t abhor it but it is so obviously a patchwork job and a studio mandated film that there is no passion or vision in the movie at all. I mean, I didn’t like BvS much at all, but there was a vision there. Theatrical cut of JL seemed like a film that felt like WB just felt they had to put out there and then move on. And then years later, we get Zack Snyder’s full version of Justice League. I watched it in one sitting, which was maybe a mistake because it is heavy viewing for 4 hours. Without a doubt it is a better movie than the theatrical cut. Its a little tough to judge this film because this is no way a movie that would have been released theatrically. But its also impossible to judge on what it may have been if it was edited down to a 3 hour length. So best to just judge it on its own merits.

Firstly, the positives. This is definitely a more coherent and clear movie. The plot is not rushed and every sequence, be it a character moment or an action sequence, is fully realized without any weird edits. The film does have some more humor than the previous two Snyder films. Mainly courtesy of Ezra Miller and Jeremy Irons. And the humor is not awkward like in the theatrical cut. Ezra Miller in particular benefits from that because some of his cringey lines from the theatrical edition are cut. The special effects are largely impressive and definitely an improvement over the theatrical edition. On a character level, definitely Cyborg gets the most benefit out of all the characters. As we get a full and thorough backstory for him. We get insight into his relationship with both his parents. Steppenwolf also gets significantly more screen time and his motivations are definitely more clearly defined in the movie than in the theatrical. Miller and Momoa also get some more scenes to flesh out their individual characters. What does surprise me is that the film contains a lot of scenes which are essentially just alternate versions of scenes from the theatrical cut. The film isn’t radically different from the theatrical version, but the scenes included in this version feel a little more real. Like a scene with the entire League discussing Superman’s return in the theatrical cut made it obvious that the actors weren’t in the same room together, whereas the original scene in this movie has them clearly in the same physical space. The Superman scenes are also infinitely better without the CGI upper lip. Thankfully, Snyder doesn’t do what he did with the previous two movies and gives some breathing room between action sequences. Probably a bit too much time, but that’s better than no time at all. the tunnel action sequence and the climax set piece is definitely pretty cool. Flash actually having an active role in the climax was a big improvement. My favorite action sequence is still the Superman vs the League because it shows just how powerful Superman can be. Also, the color palette is a lot more consistent and better than the weird bright and red color palette that is used in the theatrical cut.

When it comes down to the performances from the cast, nobody really stands out. They are all fine, but unlike in BvS, where Affleck stood out. Everybody here is just motoring along. In the theatrical cut, Affleck looked completely checked out. I was hoping the original cut would beef up his performance. While it is slightly better, he’s still just a bit too restrained in the role and doesn’t leave the type of impression he left in BvS. Everyone is at their most dour self. Gal Gadot’s WW is more serious and therefore does not get to show her more radiant side in Patty Jenkins’ movies, Momoa is also similarly more dour and serious and not quite as fun as he was in Aquaman. Ray Fisher is decent but its a role that requires him to be very robotic for large chunks of the film. So its a little difficult to assess his performance. Cavill is in far too little of the movie to give much of a performance. He’s perfectly fine in the handful of scenes he has. Miller is probably the best of the lot, even though he’s still more Peter Parker than Barry Allen. Some of the supporting cast actually fare a little better. Irons is a delight whenever he’s on screen and Affleck is also at his best when they have scenes together. That dynamic works. Joe Morton is surprisingly affecting as Silas Stone, as is Billy Crudup in his brief scenes as Henry Allen. Its always nice to see more of Willem Dafoe, Diane Lane, Connie Nielsen, and JK Simmons. Simmons as Gordon was great casting and its a pity we won’t get to see more of him in that role. Amber Heard for some perplexing reason has a British accent in this film as Mera. Given Dafoe and Momoa both speak in their normal voices, that must have been a choice. It did feel a bit funny. Jared Leto and Jesse Eisenberg are back as Joker and Lex and neither of them particularly improve on their performances. I mean, they have a scene each so its no harm done, but the Joker scene particularly drags on for too long. Amy Adams has a small role and she does manage to make to get some emotion out of a handful of scenes.

The film has more than its fair share of issues. Firstly, it is just way, way too long. The pacing is glacially slow at times. And I mean that in the most literal manner. There is so much slow mo in this movie, its crazy. I swear, if you removed the slow motion, you might lose 20 minutes of the run time. Snyder is clearly in desperate need of an editor here. The film has the exact opposite problem of the theatrical cut. Whereas in the theatrical cut, it always felt that every scene was just edited a little too short, in this movie there are scenes that are going on for far too long. There are some very strange edits. Like an entire scene where women in the village are singing hyms when Arthur leaves and smelling his clothes. There is a meet cute between Iris and Barry which is completely unnecessary and is frankly slightly creepy where Barry is caressing her face while she is in the process of being thrown out of her car. Some music choices in these scenes are also a little bizarre. Everything involving the Martian Manhunter is not necessary. I mean, his involvement in a crucial Martha and Lois scene actually takes away from the emotion of that moment. And then he has a very tacked on final scene which is kind of awkward. The Knightmare scene also drags for a bit too long, especially given they are supposed to be in danger while being out in the open. We still have no more clarity as to why Bruce is having these visions. The slow pace does make things boring at times as well. While I am glad that Cyborg’s backstory gets beefed up, there is a bit too much of Cyborg being angry at his father. After a while, it gets monotonous. The film takes too long to get the team together and the first JL action sequence doesn’t happen until over 2 hours into the movie. The film should have spent a bit more time with the team interacting with one another. That’s what made the Avengers movies work and some of the best parts of this movie are also the team together. There are some Snyder tone deaf moments as per usual. While WW’s entry action sequence is very cool, I do find it funny that they have her comforting a girl and the girl wanting to be just like her after she basically obliterates the terrorist into dust. Given her abilities shown in that sequence, there is no reason she wouldn’t have been able to disable him. But instead she just obliterates him. Its all very Snyder. I do also have to wonder about that sequence. I still don’t get exactly how terrorists feel that blowing up a few city blocks will bring down the modern age. I thought this was a weird Whedon thing but it turns out to be a weird Snyder thing. Also, for all the hype about the black suit Superman, its really nothing more than an aesthetic choice for no rhyme or reason. I honestly prefer the Blue and Red if the black suit doesn’t have a point, like the restorative factor from the comics. Also, for all the blame people put on Whedon about the skimpy outfits on Amazons and the weird backside shots of WW, turns out they were all Snyder. There are a few select things that the Whedon cut did slightly better. For example, there is no real major debate or conflict within the team other than minor objections from Arthur over the implications of using the mother box to bring back Superman. Also, a sequence in the theatrical cut where Bruce admits that Clark was more human that he was, is a better version of a similar scene in this movie. Also, while not perfectly executed, the theatrical cut did acknowledge that Bruce was a human fighting amongst superpowered individuals. Also, most importantly, while Steppenwolf is an improvement over the theatrical cut, this is still a movie where the plot involves a villain trying to find three boxes. Steppenwolf is still pretty boring and the main story is not interesting at all. The Darkseid angle of this story is also overhyped since he’s barely in the film.

In the end, it feels that there is a pretty decent 3 hour movie hidden in an ok but dragged out 4 hour film. I’m glad the Snyder fans got to see it. I have had my issues with Snyder’s vision. While I feel he has grand ambitions and a sense of scale and scope, he hasn’t really got the sense of story and script to really make it work to a degree where the audience at large would appreciate it. I have seen his old storyboards and read his recent interviews about what he was going to do. It sounds very grand and very cool, but with a big potential of being a gigantic mess. Who knows what will happen in the future but at least it right now seems that they are moving on from Snyder’s vision. For this film, I am right now landing at about a 6/10, which is the highest mark out of all the Snyder DC movies. I’ve only watched it once and watching it again is a big endeavor so I won’t do it anytime soon, but maybe revisiting it will make me either like it more or less.

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moviemunchies · 4 years ago

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Lincoln is a darn good movie, so this review will probably be short because I barely have anything else to say.

The second he heard that there was going to be a book about Lincoln and politics, Steven Spielberg wanted the film rights. The movie sat in Development Hell for quite some time, with more than one rewrite, bunches of research, and originally was going to star Liam Neeson in the title role; he dropped out during development (different sources cite different reasons). Daniel Day-Lewis came on board, given the condition that he have one year to prepare for the role.

There was talk of a while of having the movie cover all of Abraham Lincoln’s life. This was deemed a bit too broad for a movie, so instead Tony Kushner composed the script to focus on a few months of his life--and even that was cut back a bit to give it more focus.

And so we get Lincoln, a movie about the passing of the Thirteenth Amendment and Abraham Lincoln’s role in it. I was very much surprised that I liked this film as much as I did; I was afraid that I’d sit in the theater being bored to tears watching two and half hours of people talking politics. Politics is not a subject I tend to find that interesting, and I’ll admit I tend to lean towards action movies rather than character studies, biopics, or political dramas.

But I did not find myself bored. Lincoln is a film that is, at once intensely moving, captivatingly clever, and surprisingly amusing. History comes to life in a drama that grabs you and invests you in the unfolding story on screen. You know what happens in the end, I imagine--I should hope, or else have a very long talk with your elementary school officials--but the movie is still suspenseful. You still care almost as much as the figures on screen about passing this bill.

[Standard spiel here about how the movie isn’t perfectly historically accurate, and someone hates the movie for that and that person can go suck a brick.]

The movie has a message, and that is: sometimes you have to compromise in order to do the right thing. The right thing in this case being ending slavery in the United States, and many of the political players have to do or say something they don’t like or goes against what they feel is right in order to achieve that one goal. And it’s a very good goal! But in order to make that palatable to a group of powerful white politicians that are, let’s face it, very racist, even if they do want to end slavery, sometimes the people pushing for that goal are going to make comments or deals that aren’t so savory. No, Lincoln doesn’t ever go into something insanely immoral, but a large subplot involves trying to buy votes off representatives by offering them new jobs. That wasn’t illegal at the time, but by today’s standards it seems very sketch. And that’s hardly the only morally ambiguous action Lincoln sanctions to do what must be done.

In reviewing this film, I cannot talk about every cast member. I cannot even talk about every outstanding cast member. This film has such a huge and talented cast that to give all of them their due, we’d be here for quite a while and I’m sorry, I have a day job. Instead, I’m just going to hit the highlights and hope that’s enough.

Daniel Day-Lewis’s Lincoln is both larger than life and intensely human; a man captivating to watch as an audience member, inspiring to the common man. But he’s also the kind of man that’s intensely frustrating to work with, especially in politics. When one of this staff members hears him about to start a story and rushes out of the room, declaring that he can’t take another one of his stories--yeah, I get it. I don’t identify because I like hearing Lincoln’s stories, but I understand that someone who has to work with him every day might be tired of it. And he only barely agrees to compromise, and even when that happens it throws everyone else off so much that they hate that too.

But he is, at his core, a man trying to do the right thing: for his family, for his country, and for his people. And sometimes that hurts him. And it’s a testament to Daniel Day-Lewis’s performance that we feel it too.

Also bringing her A-game is Sally Field as Mary Todd Lincoln. Mary Lincoln is sometimes written off as being crazy, and let’s be clear, her mental health isn’t the most stable during the events of this film. Being the wife of not just the President of the United States, but _this_ President of the United States, cannot be easy, especially during one of the most stress parts of their lives. She worries about her husband, she worries about her sons (one of whom has already died, another of which wants to go to war), and about a country that seems determined to not get their shiz together.

Mrs. Lincoln can be difficult sometimes, but you know exactly why and you can’t blame her for it.

And also as a notable Lincoln is Joseph Gordon-Levitt as Robert Lincoln, Abraham and Mary’s oldest son. There is a simplicity and innocence to him that most of the other characters have, given that he really wants to join the war effort to be able to say he did _something_ concrete in the conflict. Out of the characters I mention here, his arc is maybe the most shallow/predictable, but that’s because everyone else is so outstanding. Gordon-Levitt’s performance is very good, though I do not think there is much to surprise audience members in it.

One of the biggest joys of this movie is watching Tommy Lee Jones as Thaddeus Stevens. He’s clearly having a ball--an elderly, curmudgeonly Representative who takes no crap from no one in the cause he’s taken up.

I like David Strathairn, so I was happy to see him in this film as William H. Seward, Lincoln’s Secretary of State. He’s depicted as Lincoln’s right-hand man--a role that I don’t know matched up to his historical personality and job (after all, I don’t think that helping pass a Constitutional Amendment was ever within the jurisdiction of the State Department). He is the one trying to be as practical as possible, despite Lincoln’s attempts to keep this business as honest as possible. He suggests at the beginning even holding off on passing the Amendment until after the war is over, but falls in line when Lincoln explains why he wants it done. His performance as a frustrated but very politically-savvy (if rather cynical) player is a perfect contrast to Lincoln.

I don’t know if I can recommend this movie enough--it’s a spectacular effort to tell the story of man in a crucial moment of both his life and the nation’s history. This very easily could have been a half-hearted attempt at drama that tried to get by on the name recognition of its subject matter and cast alone, and yet it’s one of the greatest historical dramas I’ve had the pleasure of seeing. It’s one of the greatest of Spielberg’s films, and a worthy addition to any film collection.

#Lincoln #Movie Munchies #Steven Spielberg #Daniel Day Lewis #Abraham Lincoln

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torestoreamends · 5 years ago

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Harry Potter and the Cursed Child Recap: Cast Four – 22/23 & 26 May (Part One)

On Wednesday and Thursday I saw Cast Four for the first time. I came out of those performances unsure how I felt about the cast and the changes to the show. There was a lot that I didn’t like, and I didn’t feel excited about the year ahead at all. Looking back now, I was exhausted when I was watching those shows. I didn’t take much in, and when I was trying to write my recap I knew I was missing a lot. I felt neither passionate about nor proud of what I was writing.

So on Sunday I got another ticket and tried again. I ended up sitting further back than I have in a year and a half, but also in the second most central seat I’ve had in a year. And it helped.

I’ve always found that sitting close to the stage you focus on the action close to the front a lot more. It’s difficult to get the depth of what’s going on. When you sit slightly further back it’s far easier to take in the choreography, and what I was unhappy with on Wednesday and Thursday was largely the choreographic changes.

My Sunday seat gave me a view like I was looking at a model box of the show — it was the sort of view the show was designed to be seen from. All the shapes came out, the lighting, the details of the movement, plus it was an absolute gift of a show. I fell in love with portrayals and changes I hadn’t been certain of, and fell even more deeply in love with the things I’d already enjoyed.

So, without further ado, here are some thoughts about the new portrayals we’ve got (including our first cover of the year — the wonderful Gordon Millar as Karl etc.), followed by a recap of Sunday’s show, combined with thoughts from Wednesday and Thursday.

Because this got exceptionally long (my second longest recap ever), I’ve split it in half. Part One is below, and Part Two can be found here.

David Mara — Station Master

If I had to pick anyone to step into Martin’s shoes, it would have been David. He was great in every role I saw him cover last year, and he was great in this role too. I like the strange whistle he does at the start of the scene — it reminds me of someone else who used to do proper signalling style whistles — and it’s fun to watch him looking with confusion at the boys as they chat in their corner (although I am concerned by how much he must overhear). I can’t wait to see this scene develop over the year.

Lucy Mangan — Myrtle

I think Lucy’s going to be a really excellent Myrtle (and I can’t wait to see her cover Delphi too). There were some great over the top little touches to her portrayal. When she did ‘the weeping after he was taken’, she cried once then stopped, cried again then stopped, then one of the boys started trying to talk so she held a hand up to stop him while she cried a third time. It’s ridiculous little details like that, which make me most excited to see her again.

Blythe Duff — Professor McGonagall

They honestly couldn’t have found a better person to take over from Sandy. Blythe is the first McGonagall not to have the Maggie Smith look, but that actually made me love her more. It was her warmth and charm and sparkle that made her feel like McGonagall, and I would probably fight to the death for her already.

Her Trolley Witch was also gorgeous. I’ve seen many Trolley Witch debuts over the years, and even ones I ultimately come to love have felt disappointing first time round, but not this one. She captured the right feeling of ancient, authoritative power so perfectly. I cannot wait to see her again.

Gordon Millar as Karl

Our first cover of the year, and what a good one. On Wednesday and Thursday he went straight onto my ‘must watch’ list, so a big part of me deciding to go for a ticket on Sunday was the desire to see him.

His Karl is actually quite sweet (which I think stems from Gordon being a lovely, funny human being), but in the St Oswald’s scene Gordon’s character is an absolute — to put it bluntly — dick. He’s a bully, a nasty piece of work, and it really helps the scene (more on that later). I also loved Gordon’s Krum a lot. This one has great movement (like seemingly everyone in the cast), and I cannot wait to see more of him.

Luke Sumner and Emma-May Uden as Yann and Polly

I feel bad lumping these two together but in the show they really did come as a pair. They were perfect fake, popular, nasty individuals. I’ve never hated Yann and Polly more, and I mean that in the best possible way. They were just the sort of people who would bully Albus and Scorpius, and I loved it.

Ronnie Lee as Craig

My heart belongs to Ronnie. There was just something so likeable about him. Sometimes Craig feels like a little ray of sunshine, and that’s just how it should be. Also, I appreciate the boldness of someone who’ll full on lie on the death table, with both feet in the air, so it looks like they’ve been blasted off their feet and are falling to the ground in slow motion. That was an excellent death.

Another thing I noticed about Ronnie was his dance talent. There was a Mackley-esque fierceness to his Death Eater dance, and he was just generally brilliant at the movement. This whole cast is so noticeably strong on the movement — possibly the strongest so far.

Also, while I’m talking about Ronnie I have to mention the other two members of the most adorable trio of Slytherin boys ever — there’s Gordon, as mentioned above, and Duncan Shelton. They had some chants going on in the first task, some excitable stampy feet, and just lots of general sweetness. I can’t wait to get to know these three better. They’re going to be brilliant.

Kathryn Meisle as Umbridge

One of our very first Hogwarts foreign exchange students. I thought she did a really good job, and I particularly thought her Petunia was good. Also, she did a little skip when she was going off after telling Scorpius he was ruining Voldemort, which was just the perfect touch of sweet, girlish, disgusting Umbridge.

Madeleine Walker as Delphi

I had two first impressions of Madeleine as Delphi. First, I don’t know how many of you have seen Puffs, but in terms of attitude and eyeliner she looked just like Megan — like she’s trying to be edgy but is actually just a nerd. My other first impression, related to that, was that Delphi was exactly the sort of person that Albus and Scorpius would want to be friends with.

She’s awkward and nerdy and has the same vibe as they do. It’s easy to see how well she’s playing them, especially in Part One. But at the same time, once she’s revealed her true self she doesn’t change much, and there’s something very creepy about that. This person who seems so harmless and nice has all this evil lurking literally right under the surface, and she holds very little of herself back.

It should also be said that at some point this year, Madeleine is going to deliver the wildest Torture Scene we’ve ever had. Even on Sunday she absolutely blew me away, and it’s only going to get better. I’m so excited.

Michelle Gayle as Hermione

I liked Michelle‘s Hermione. She had a bit of the know-it-all vibe, and her Hermione felt quite young. There was this obvious relation to book Hermione that worked well. I particularly liked her scene in Harry’s office right at the start of the play. She felt like Harry’s friend from the books. I also think that she’s got a lot of great thoughts about the character, and I can’t wait to see her engage with them throughout her performance and develop them over the year.

She made a great attempt to play Delphi Polyjuiced, which I really appreciated. That was a big highlight from her. It’s surprising how rare it is to see the adults actually try to replicate what the kids are doing (aside from Jamie B, who’s a master of the art).

Rayxia Ojo as Rose

Rayxia’s back, and it’s wonderful. Her Rose has always seemed so grown up and mature, and next to Dominic’s Albus she feels particularly so, just because she looks so tall beside him. It’s weird because in all the ensemble scenes she’s one of the shortest people around. Anyway, it’s great to have her back in the show, she works wonderfully with Michelle (there’s a similarity of character there that’s really nice), and I can’t wait to see more from her.

Ryan Mackay as James

I’ve seen Ryan as James a few times before, and always enjoyed him, but he seems to have come into his own with this cast. He particularly owned the Lily and James death scene, and it was uncanny how much he and Dom looked like brothers when they were standing near each in the opening scene. I also adored his Cedric, particularly on Sunday, and he has a very fine background moment in St Oswald’s that I truly think helps make the scene palatable. I’m so pleased he gets an expanded role with this cast and seems to be flourishing with it.

Dominic Short as Albus

Sometimes when I watch someone play a character in this show for the first time I feel an instant comfort in their portrayal, and that was how I felt with Dom. It was a mixed blessing because I felt so comfortable and confident in him that I didn’t pay him as much attention as I should have done (there was lot to take in), but I really loved him. Thankfully, on Sunday I get to pay a lot closer attention to him, and he absolutely blew me away. Even from near the back of the stalls his expressiveness drew me in.

His Albus has a certain happiness to him. He’s less broken than the last couple have been. There’s genuine jubilation in his portrayal at certain moments, like when he casts some of the spells successfully and when they figure out how to get a message to Harry.

There are many moments when he reminded me vividly of Sam’s Albus (which will never be a problem), and I loved the flashes of anger and emotion. On first viewing I felt that he was quite a young Albus, especially after Joe whose Albus was quite mature and surprisingly thoughtful. However, on second viewing he felt a lot more self-aware, and there was some real tenderness there. Some absolutely beautiful moments.

One of my favourite things about him was that in Part One he feels wrapped up in his own problems, and you can clearly see the spiral from an enthusiastic boy looking forward to going to Hogwarts to an angry, miserable, withdrawn young man by fourth year. The transition scene was perfectly played in that regard.

I really was very impressed by him. I think he’s the Albus they’ve been trying to cast since the show opened. He has Sam’s fierce anger and prickliness, with Theo’s emotion, Joe’s humour, and an ability to adapt and change to what’s going on around him. We’re only at the start and already he’s sparking my imagination and making me desperate to see more. This is going to be the most excellent year.

So, with those first impressions out of the way, let’s get into some changes and great character moments.

Opening and transition scene (Act One, Scenes One to Four)

The weird thing about a first show, especially one in which the person playing the Sorting Hat is staying the same, is that for the first few seconds nothing feels different. It could be any other show. But then the first member of the ensemble walks out and you realise that everything has changed.

There’s a new bit of choreography in the first scene that I was pre-warned of but of course completely forgot about until it happened, so it took me by surprise. The Sorting Hat (who now wears glasses as part of his costume – fun facts) stands in the middle of the stage and manipulates the people around him. There’s a whole group that he diverts with a flash of light, a man he turns round with a gesture, and he makes the woman at the front of the stage walk round her suitcase.

As someone who loves the Sorting Hat, his role in the play, and what it means, the whole interaction felt a bit random. It’s obviously a flashy opening to the show, with a bit of magic, but I’ve never seen the Sorting Hat as a manipulator. I’ve realised recently that he’s a protector and guardian of the boys (particularly of Scorpius) in the same way that Hagrid is a protector of Harry, and he’s also the bringer of magic to the show, but this doesn’t seem to add anything to that. If anything, there needed to be more of the manipulation – there were only three interactions, so it didn’t actually make that much of an impact on someone seeing it of the first time. To me it ought to be go big or go home.

On the second viewing I realised that technically bringing Harry onto Platform 9 3/4 could count as one of the manipulations (it’s got the same sound effect associated with it), and I also realised that he never seems to touch a group that has Delphi in. So maybe there is some meaning in there if you dig a bit.

The first big line change is Lily’s line in the opening scene, which is no longer ‘Are they here? Maybe they didn’t come’. It’s not her wondering whether the Granger-Weasleys are late, and lamenting that they’re always late. Thankfully this isn’t a line from the epilogue, so the change doesn’t really have that much impact. It’s another of the random changes that we now see throughout the show – ones that don’t really make much of a difference, and it’s unclear why they were made.

In this opening scene, seeing Dom and Ryan side by side showed how perfect their casting as brothers is. They look so similar, particularly in face shape.

Watching this cast for a second time from a distance let me appreciate a really cool James moment properly for the first time. When Albus is being sorted, James and Scorpius are on complete opposite sides of the stage, perfectly symmetrical, and they’re the only two people in the crowd picked out by a spotlight, which illuminates both their faces. It’s like Albus’s Sorting is visibly tearing him between his family and his new best friend, and it lets you see both their reactions perfectly — James’s bewilderment and Scorpius’s disbelieving excitement.

Going back to the opening scene, we got to see the first glimpse of Dom’s Albus before anything happens to him. There’s a youthful joy there. He laughs at Ron’s jokes and seems to be relaxed around his family. He’s genuinely excited to be going to Hogwarts. Until he gets there…

There are directions throughout the transition scene that with each passing year, Albus gets more withdrawn and miserable, and that’s just how Dom played it. You could see the process of Albus becoming increasingly demoralised with life at Hogwarts, and it was wonderful. Right from the start, Dom had such ownership over Albus, putting his stamp on the role, and even just the first scene made me excited to see him in Part Two – it was an excellent start.

In the first show everything was technically perfect, but in the show on Sunday, the fire didn’t work on the Incendio trick. However, Dom’s cover for it was perfect, and added something to the character. He just sighed very heavily and sort of threw his hands in the hair as he said he didn’t expect it to work anyway. I never realised before how that line is so open to all possibilities.

The next few obvious changes came in the transition scene: Scorpius now offers Rose a rose in London (is it a trick rose? It looked like it had a collapsible stem to me), also, when the boys’ potion explodes, the kids around Albus and Scorpius flop forwards instead of bending backwards. And then, of course, you get the wand dance.

Dominic was so bold in the wand dance, which I really enjoyed. Nothing was held back and everything was extended and gone for. There was actually lots I loved about the new choreography in this scene too (I think it was one of the biggest successes of all the changed elements). There are lots of circles and lines, and my favourite moment was when all the other kids circled round Albus, leaning in and looming over him. I also liked that he got a moment to fit in and help the others – just a brief flash of success, that must be all the more painful for being so fleeting.

The new wand dance begins with a big flashy trick – the current shot of fire now connects up to a sort of flaming rope on the ceiling, so that brief spark flies all the way from the bottom to the top of the stage. It ends with the usual red smoke, and one of the other kids taunting Albus: “Even his wand wants to be in Gryffindor”.

To briefly backtrack, I need to give a quick shoutout to Dom’s “I stayed for your sweets” from Sunday. He did a little dad dance as he said it, and I can only describe it as like he was milking a cow. A little up and down motion with his hands, fists clenched. I know it sounds weird (this show has made me write some very bizarre descriptive phrases) but he made it work, even if he did look like a ridiculous nerd doing it.

Blanket Scene (Act One, Scenes Six and Seven)

I really liked the introduction to Delphi in the scene before the Blanket Scene. Her conversation with Albus is really sweet, and she curtised to him before she went off to talk to Amos (the first of two curtsies in the show — the second was to Scorpius when he called her The Augurey).

One of her finest moments was when she shook hands with Harry and looked at the scars on his hand. You could feel her reading ‘I must not tell lies’ and mentally calling him out for lying right in front of her. After all, he does know about the Time-Turner, she knows he does, and she also knows that he’s lying to Amos. It was such a powerful, silent moment of judgement. A gorgeous little detail.

In the Blanket Scene itself, I adored how Dom’s Albus interacted with his siblings. Because I was so far away for the Sunday show I couldn’t actually see or hear Albus laughing at James’s antics, but I could see his shoulders bouncing from the laughter. And then when Lily comes in looking for her Potions book, Albus holds his hands up to say it’s not his fault. It’s only when Harry comes into the room that he finally sits down, perched on the edge of the bed, and from that moment he never really relaxed or seemed comfortable. His space had been invaded, and he tensed up almost immediately.

Once they got into the scene itself, we found an angry Albus, who wasn’t afraid to raise his voice and fight back. At no point did he seem even close to accepting the blanket, and there was an expression on his face that said that he hated his dad’s reasoning for giving it to him. He knew the gift was all about Harry, and he detested it right from the word go.

One of the things I noticed about Dom’s Albus was how he always shrank back, never holding his ground. He ended up occupying parts of the stage that people don’t normally go to – only by a few centimetres sometimes, but it was still noticeable. In this scene he was pushed well back beyond the bed, and again in the final scene he hid among the graves, keeping a physical distance from Harry. In this particular scene it worked really well, the shrinking away, closing himself off, as Harry got more heated. I also loved that he said the final line of the scene the original way round: ‘No luck or love for me then’.

Dom’s is one of the angriest Blanket Scenes we’ve had for a while. He really explodes, and it’s wonderful. He fully unfolds the blanket when he describes it as mouldy, and gives it a look of disgust that Harry is so upset by.

St Oswald’s (Act One, Scene Thirteen)

I have now seen the new St Oswald’s three times (once on Broadway, twice in London), and I still can’t say that I’m convinced by it.

At first I hated it. With a passion. It starts off alright, with a biscuit palace appearing onstage, then quickly descends into something quite distasteful. The stage direction in the script for this scene is about magic being done for fun. It’s supposed to be joyful, people who can do magic because they love it rather than having to do it for work or study. It should be colourful and vibrant, as well as chaotic.

What we get is certainly chaotic, but as the employees of St Oswald’s play various tricks on the residents, there’s an uncomfortable feeling to the scene. There’s not a nice spirit there. Previously the scene has been hilarious and delightful. Now it’s just mean, and borders on elder abuse, which just isn’t necessary. The scene could have been remade without going anywhere near that territory, and I do think it’s a serious misstep. Not to mention the fact that some of the tricks are so juvenile and fake (one lady gets stuck inside a sofa, with a pair of legs that are so clearly not her own sticking up in the air).

On Sunday, my third viewing of it, however, I did start to see sort of what they were going for, and there were a couple of redeeming features. When you sit close to the front it’s difficult to see the choreography going on towards the back of the stage, so sitting further back allowed me to see Ryan’s role in the scene, and I loved what he brought to it.

His staff member has a very brief role in proceedings, but I think it’s essential. While Gordon was bullying the residents (which he did with incredible viciousness), Ryan was looking utterly horrified. There was an expression on his face that just said ‘this is so far from okay, I’m not doing this’, and that was the point when he exited the scene.

It was really good to see someone in character acknowledging how bad what was going on was, and showed a self-awareness that I hadn’t realised was there before. There was also the fact that at the end of the scene, when the nasty staff member gets his comeuppance (he ends up holding a teacup that’s spilling over with fire), the residents of St Oswald’s all started dancing and enjoying themselves. Those two things combined really helped me with it, and I think with further viewings I might come around to accepting it.

It is still frustrating to have to work so hard on it though. I’ve always loved this show for its artistry and joyful magic, and this scene feels like an unnecessary step away from that. What was wrong with the original, very funny, perfectly good spirited version of the scene?

Around the map (Act One, Scene Seventeen)

The scene where the adults talk around the map, trying to work out where Albus and Scorpius might be, is always a bit of a dark horse of a scene. It doesn’t feel that important, but there’s always so much fascinating character work going on there. And so it was in this show.

I caught Harry and Ginny having a silent conversation, in which Harry told Ginny not to mention what he said to Albus. I’m pretty sure that was because he didn’t want Draco to know, and if he had to tell Hermione he’d rather tell her in person. And yet of course Ginny brings up an opportunity for him to tell everyone. It made it feel almost as if she was betraying him, which did actually work.

There’s a lot of conflict during the show between Harry and Ginny. It’s hidden because their relationship is so strong and they do spend so much time interacting. They obviously love one another. But Ginny does find Harry’s actions difficult to swallow sometimes. She calls him out on them. And that tiny interaction in this scene really laid the groundwork for that.

Ginny’s priority throughout the play is Albus. Harry is a grown man who can look after himself, and while she loves him, she knows that Albus is by far the more vulnerable party here, and she’s going to fight every step of the way to find him and help him. In this scene, getting Harry to admit what he’s done is the best way of achieving that, so she makes it happen. She doesn’t actively tell everyone what Harry’s role in Albus’s disappearance was, but she puts him in a position that enables him to tell the truth.

To know that that came from a silent conversation between the two of them was so fascinating, and it added an extra dimension to the journey they take through the rest of the show. We could not be more lucky. Jamie and Susie are such fantastic actors, and the thought they bring to their characters is game changing.

Opening of Act Two (Act Two, Scene One)

Here were a couple of changes that I loved straight away. Before in the dream sequence, young Harry has been haunted by a single, ghostly hand, and that’s still the case. Except in the new version, by the end there are three hands reaching for him.

This might be a bit random, but I really liked the fact that there were three hands, not four. The odd number threw things off and added to the creepiness of it. There was something even more unnatural about the dream. And actually what I noticed throughout the show is that in the moments that are meant to be unnatural and wrong, tiny bits of choreography have been tweaked to make that vibe feel so tangible.

The other great thing about this new version of the dream is that Harry finally does look like he’s wet himself. It’s a detail that should have been added years ago, but I’m glad it’s here now. Also, Harry’s clothes are now genuinely too big for him. They look like adult’s clothes, just the way they should. Those little things make all the difference.

The adults visit McGonagall’s Office (Act Two, Scene Three)

There were so many reasons to love Blythe as McGonagall, but one of my favourites came in this scene. As they were leaving the office to go and find the boys, she saw Ron with the napkin tucked into his top, and reached across to take it off him with a tut. It was so brusque and no nonsense, plus it hinted at her familiarity with him and the others. Although she holds power over them (even Hermione) by virtue of being one of the most wise and respected figures in the Wizarding World, this group are also colleagues in a sense — fellow soldiers who have fought through a war together — and the respect goes both ways. Respect and fondness. Almost a familial bond. It was such a sweet little touch.

Expelliarmus Scene (Act Two, Scene Four)

This is one of the big trick scenes that can go wrong, but I’m pleased to report that it didn’t in either show. There was an air of confidence from both Madeleine and Dom, and the trick worked really smoothly. Being able to pull that one off with such panache must take guts, especially first time out, and they did a great job. In fact they were both very good with the magic throughout.

Another excellent Delphi moment came at the end of this scene (only in the first show — sadly it wasn’t repeated on Sunday). After she kissed Albus on the cheek, Scorpius did his normal flailing routine in front of her, and she was having none of it. She rolled her eyes and, from several metres away, did a fake little ‘mwah mwah’ in the air, roughly directed to either side of his face. It was sarcastic, impatient, and designed to let him know that he needed to get out of her way fast, which he did. It was a great way of handling his ridiculousness.

Bane and the search for the boys (Act Two, Scene Five)

One of the little details I noticed during the opening of this scene, when everyone was searching the forest, was that Harry wasn’t quite alone when he started calling for Albus and Scorpius. On Wednesday I assumed this was just because the ensemble were a little bit slow getting off the stage, but it was the same on Sunday too, and I was really pleased. I liked it as a sign of Harry’s desperation. Even amongst all these other people helping him, he starts shouting for his son. No waiting for a private moment. No embarrassment. Just his guilt and his need to get his son back safely.

First Task (Act Two, Scene Seven)

If anyone was afraid that the First Task might be a little quiet without the Mackley, Josh, and James Phoon show, you needn’t be. There was plenty of chaos going on, enough to make it difficult to watch the main action.

This was the scene that made me fall in love with the trio of Slytherin boys – Ronnie, Gordon, and Duncan. They were simply wonderful, and absolutely adorable. They had a little chant that I couldn’t quite catch (I think it might have been Cedric related), and then there was some excitable chanting of Krum’s name when he was announced. Also, Ronnie kept stamping his feet to emphasise his applause, and it looked like the three of them were having a whale of a time.

On Sunday, when Gordon was in Hufflepuff, Ronnie went on a Josh-style excursion to visit him, which was very sweet. When he got back to Slytherin there was a lot of hat stealing and Krum chanting and just general chaos.

Hospital Wing (Act Two, Scenes Eight and Nine)

Albus had a little nightmare while Harry was talking to Dumbledore. He didn’t thrash around as much as Theo used to, it was quite contained, but he was definitely bothered by something going on in his head. There’s something nice about an Albus waking up with a shout of his dad’s name. Even after everything, he still subconsciously loves and needs his dad.

Another little detail from this scene was that this Albus actually ate some of the chocolate. It’s always fun to note who does and doesn’t (Joe very much did not).

One of my favourite Dominic moments came in the scene after this one, when Albus tells Scorpius that he can’t speak to him anymore. He was sharp with Scorpius, but it seemed to be driven by his desire to at least try and do what was necessary to make peace with his dad. However, he was certainly not happy about it. After he’d told Scorpius they’d be better off without each other, he turned to his dad to say ‘okay?’ It was spiteful, spat out, as if saying ‘are you happy now?’ As much as he wants his dad’s affection, he hates the things he has to do to try and get it.

Staircase Ballet (Act Two, Scene Twelve)

This was the first scene where I really noticed the difference in height between Jonathan and Dominic. I obviously knew that Jonathan is the tallest Scorpius we’ve ever had and Dominic the shortest Albus, but there’s something about seeing it in person that makes it all so much more real.

The two boys came together at the top of the stairs (the point when they’re standing side by side, and Albus is trying to avoid Scorpius’s eyes) and there they were. Tall and tiny.

The other thing I really loved about this staircase ballet came from something I’ve noticed before. While Scorpius moves through Hogwarts with ease, from staircase to staircase without a thought, Albus hits dead ends and has to wind his way through the school. It’s like the school accepts Scorpius, but is rejecting Albus. And in both these shows, when Albus walked out from the wings to climb the staircase and meet Scorpius in the middle, he was faced with the wrong end of the staircase. Instead of having steps leading up, there was an unattainable ledge high above him. It was just another sign of the school shutting him out. Another barrier. Sometimes he must feel that he can’t possibly get anywhere – even the building is against him, let alone the classes, his magic, and his fellow students.

Library Scene (Act Two, Scene Sixteen)

I don’t remember much from this scene on Wednesday, but Sunday was vivid, so let’s talk about that. In fact, let’s just talk about Dominic.

In every scene, but in this one particularly, his body language alone carried right to the back of the theatre. While Scorpius was yelling at Albus, most of the time he was on the verge of stepping forward. He wanted to interrupt, to defend himself, to just say something, maybe even apologise. He was constantly on tiptoes, half stepping forward, half rooted to the spot, shoulders hunched, Time-Turner cradled in his hand.

Then Scorpius started talking about his mum, and that was when Albus finally stopped trying to interject. He stepped back, bowing his head. He seemed to shrink, and all the fight went out of him until there was just despair.

When I first saw Dom’s Albus I thought he might be selfish, but on Sunday I realised just how self-aware he is. Especially in the library scene he was so conscious of everything he’d done and said, and what Scorpius was directing at him. It was heartbreaking to see him crumble like that. And when he got onto his apology there was such softness to it, but also power, this drive to let Scorpius know the truth. It was such a beautiful apology, and I’m so pleased that by Sunday Dom had already found Albus’s softer side, because (probably down to nerves) that was the one thing I was lacking on Wednesday and Thursday.

The other big thing to talk about in this scene has to be the hug. I don’t even know if it can be described as a hug, because there wasn’t much of the boys holding onto each other. While Dom did attempt to do some hugging, Jonathan just draped himself over Dom’s shoulders. He was hanging off him, arms dangling down his back. Only very briefly did Scorpius actually pat Albus’s back, before they parted. It was one of the most awkward disasters of a hug I’ve ever seen. I loved it.

Act Two ending

A couple of little things to finish off Part One:

McGonagall absolutely embraced ‘I solemnly swear that I am up to no good’. She did the most epic wand swish, and was really going for it. Rebellious McGonagall might be my absolute favourite thing to come from the show.

When the boys are under the lake, they now have wild static hair. I noticed it first because I spotted how wild Dom’s hair was. Then I noticed that Scorpius’s wig was sticking up. It took me a second to twig that it was because they were meant to be underwater. At first I thought it was a nice touch, but then I realised that, because the hair doesn’t move like they’re underwater, it kind of just looks like they’ve been attacked with balloons backstage. Also, I feel really sorry for Dom who has to brush that mess out before he can go and have lunch. A little puff of wind or something to make the hair move might make the whole thing more effective. It’s difficult to tell. But for now I guess I’ll just be entertained by how wild they look.

Umbridge did a very creepy skip as she went off after telling Scorpius about Voldemort Day. It was chillingly perfect; just the right amount of gross girlishness.

The Dementor on stage left is wild. Both on Wednesday and Sunday it kept pogoing up and down like mad. I kind of love it. It’s very excitable.

So that’s Part One. Click here for Part Two and a little bit of summing up >

#Harry Potter and the Cursed Child #Cursed Child #hpplayldn #Cast Four #Dominic Short #Jonathan Case #Jamie Ballard #Susie Trayling #Madeleine Walker #My writing #Notes from the show #Keep The Secrets #I really love this cast #they're great #also sorry this took so long #in my defence it's my second longest recap ever...

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