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Lyric Theatre

  • Theater
  • Midtown West
  • price 4 of 4
Lyric Theatre
Photograph: Michael George

Time Out says

Broadway's biggest venue with approximately 1,938 seats, the Lyric was created in 1996-98 by combining the adjacent Apollo and Lyric Theatres (themselves built in 1903 and 1920, respectively). Originally named the Ford Center for the Performing Arts, the Lyric was previously known as Foxwoods Theatre and before that, the Hilton. Among its noteworthy resident shows have been Chitty Chitty Bang Bang, Young Frankenstein, On the Town and Spider-Man: Turn Off the Dark. Its spacious, winding, gilded lobby is one of the most beautiful on the Great White Way. The theater has two main entrance spaces; for its current production, Harry Potter and the Cursed Child, it is using the one on 43rd Street.


214 W 43rd St
New York
Cross street:
between Seventh and Eighth Aves
Subway: A, C, E to 42nd St–Port Authority; N, Q, R, 42nd St S, 1, 2, 3, 7 to 42nd St–Times Sq
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What’s on

Harry Potter and the Cursed Child

  • 5 out of 5 stars
  • Drama
  • Open run

Broadway review by Adam Feldman  Reducio! After 18 months, Harry Potter and the Cursed Child has returned to Broadway in a dramatically new form. As though it had cast a Shrinking Charm on itself, the formerly two-part epic is now a single show, albeit a long one: Almost three and a half hours of stage wizardry, set 20 years after the end of J.K. Rowling’s seven-part book series and tied to a complicated time-travel plot about the sons of Harry Potter and his childhood foe Draco Malfoy. (See below for a full review of the 2018 production.) Audiences who were put off by the previous version’s tricky schedule and double price should catch the magic now.  Despite its shrinking, Harry Potter and the Cursed Child has kept most of its charm. The spectacular set pieces of John Tiffany’s production remain—the staircase ballet, the underwater swimming scene, the gorgeous flying wraiths—but about a third of the former text has been excised. Some of the changes are surgical trims, and others are more substantial. The older characters take the brunt of the cuts (Harry’s flashback nightmares, for example, are completely gone); there is less texture to the conflicts between the fathers and sons, and the plotting sometimes feels more rushed than before. But the changes have the salutary effect of focusing the story on its most interesting new creations: the resentful Albus Potter (James Romney) and the unpopular Scorpius Malfoy (Brady Dalton Richards), whose bond has been reconceived in a s

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