Harry Potter and the Cursed Child, the stage play sequel to the beloved book and film series, continues to enchant audiences worldwide, selling a record-breaking 544,257 tickets in London alone during its most recent financial year. This remarkable feat brings the total London ticket sales to over 3 million since the play’s debut in June 2016, solidifying its position as a theatrical phenomenon. Unlike the less successful “Fantastic Beasts” spin-off films, the Cursed Child has resonated deeply with fans by continuing the narrative directly from the events of the original series. Picking up 19 years after the Battle of Hogwarts, the play reunites the iconic trio of Harry, Ron, and Hermione, now adults navigating the complexities of parenthood and their enduring roles in the wizarding world, alongside a new generation of witches and wizards at Hogwarts. The play’s London home is the historic Palace Theatre, conveniently located near Leicester Square, the very spot where the Harry Potter films premiered, further cementing the connection between the two mediums. Mirroring the two-part structure of the “Deathly Hallows” films, the Cursed Child is presented in two parts, designed to be experienced in a single day, allowing for a deeper immersion into the story’s intricate plot and magical world.
The play’s narrative foundation lies in an original script co-authored by J.K. Rowling herself, alongside playwright Jack Thorne and theatre director John Tiffany. This collaborative effort ensures that the theatrical production maintains the spirit and integrity of Rowling’s wizarding world. The production is overseen by HP West End, a UK-based company ultimately owned by Rowling’s HPTP Holdings, in partnership with renowned theatre production company Sonia Friedman Productions and Playground Entertainment, led by the multi-award-winning producer Sir Colin Callender. This powerful combination of creative forces has been instrumental in the play’s continued success. The Cursed Child has garnered significant acclaim not only for its compelling storyline but also for its spectacular stagecraft, featuring breathtaking illusions that have captivated audiences. The illusion of flight without visible harnesses and the seemingly instantaneous appearance of cloaks are just two examples of the magical effects that contribute to the play’s immersive and enchanting atmosphere.
The demand for Cursed Child tickets has been consistently high since they first went on sale in October 2015. During the initial pre-sale period, a staggering 780,000 people attempted to purchase tickets, far exceeding the available inventory, leading to immediate sell-outs. In 2017, the show’s first full year, 460,000 tickets were sold for performances extending into 2019. Since then, annual ticket sales have continued to climb, demonstrating the enduring popularity of the production. The latest financial statements from HP West End reveal an 18.3% increase in annual ticket sales for the year ending March 31, 2024, highlighting the ongoing demand and the play’s ability to attract new audiences. The long booking window, with tickets currently available for performances up until April 2025, contributes to the high number of tickets sold, although the actual attendance figures are necessarily lower, as some tickets are purchased well in advance.
While the London production continues its reign, the magic of the Cursed Child has extended its reach internationally, gracing stages in Hamburg, Tokyo, and New York City’s Lyric Theatre. Performances in Melbourne and Toronto, while now concluded, demonstrated the play’s global appeal, with the Melbourne production recouping its investment after a successful five-year run, and the Toronto production selling an impressive 574,548 tickets during its shorter tenure. The North American tour, launched in Chicago in September 2024, with planned stops in Los Angeles and Washington D.C., signifies the continued commitment to bringing the Cursed Child experience to wider audiences. Furthermore, the production company is actively exploring licensing opportunities in new territories, aiming to expand the play’s global footprint, along with developing a special adaptation for schools, further solidifying the Cursed Child’s legacy within the world of theatre and education.
The financial success and logistical complexity of maintaining such a large-scale production are substantial. A significant portion of HP West End’s expenditure is dedicated to salaries for the extensive cast and crew. Over the past eight years, the London production alone has involved 256 cast members and 215 backstage personnel at the Palace Theatre. This demonstrates the significant human capital required to bring the magical world to life on stage. Despite achieving record ticket sales, the London production experienced a 7.4% decline in revenue to $29.6 million (£23.5 million) for the year ending March 31, 2024. This decrease is attributed to a broader trend of declining earnings within London’s West End theatre district following an exceptionally strong 2022, driven by pent-up post-pandemic demand. The impact of the COVID-19 pandemic, with its enforced closures and lockdowns, significantly affected businesses in the UK, including the Cursed Child, which was forced to suspend performances between March 2020 and October 2021.
Despite the challenges posed by the pandemic and the subsequent market fluctuations, the London production of Harry Potter and the Cursed Child remains profitable and continues to generate revenue. Similarly, the New York City production, which holds the distinction of being the fifth longest-running play in Broadway history, remains a strong performer. Both the London and Broadway productions are committed to open-ended runs, a testament to their enduring popularity and the seemingly insatiable appetite for experiencing the magic of Harry Potter on stage. The continued success of both productions suggests a bright future for the Cursed Child, with the potential for further expansion and adaptations ensuring that the magic of Harry Potter will continue to captivate audiences for years to come.
