THEATRERESOURCE PACK

BROUGHT TO YOU BY

EXCLUSIVE TO MELBOURNENOW PLAYING PRINCESS THEATRE

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Professors,

This Theatre Resource Pack has been designed to accompany Harry Potter and the Cursed Child. Parts One and Two.

Activities allow students to explore, create and imagine theatre through the lens of Harry Potter and the Cursed Child

Professors, look out for the following symbols which suggest different types of activities you may wish to try:

this symbol indicates an opportunity for students to complete a written task.

this symbol indicates an extension task requiring higher level skills or additional effort.

this symbol indicates an opportunity for a practical drama exercise or task.

this symbol indicates notes or examples that are provided as a starting point for the teachers use in activities and to aid lesson preparation.

CONTENTS

Introduction ........................................................................................... 4

School implementation guide .............................................................. 4

About the writer................................................................................... 5

Who’s Who in Harry Potter and the Cursed Child ........................6

Pre-show Activities ............................................................................... 8

Post-show Activities ........................................................................... 10

Appendix .............................................................................................. 33

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INTRODUCTION

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SCHOOL IMPLEMENTATION GUIDE1. Download the Theatre Resource Pack at:

HarryPotterThePlay.com/au/education

2. Read through activities and align to existing units of work. NB: This Theatre Resource Pack maps to the Australian Curriculum.

3. Book tickets to Harry Potter and the Cursed Child.

School Groups of 10 or more are now available to book via Ticketmaster Group Bookings by emailing groups@ticketmaster.com.au or calling on 1300 889 278.

From February 2020 every Wednesday Part One and Part Two will have dedicated allocations available for school groups, starting in our General Reserve price range of $65 per part. In addition to this a ticket for a teacher will be included for every 10 students booked*. Reduced rates midweek in A-reserve seating as well as booking periods in advance of general public access are also available. Contact the Groups department for helpful advice on how to come and experience the magic.

Based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany, Harry Potter and the Cursed Child is a new play by Jack Thorne. It is the eighth story in the Harry Potter series and the first official Harry Potter story to be presented on stage.

The critically acclaimed play has won 24 major theatre awards in the UK and is the most-awarded production in the history of Britain’s prestigious Olivier Awards, winning a record-breaking nine awards including Best New Play and Best Director. The play opened on Broadway in April 2018 to rave reviews and won 6 Tony Awards including Best Play, 6 Outer Critics Circle Awards, 5 Drama Desk Awards and many more.

It was always difficult being Harry Potter and it isn’t much easier now that he is an overworked employee of the Ministry of Magic, a husband and father of three school-age children.

While Harry grapples with a past that refuses to stay where it belongs, his youngest son Albus must struggle with the weight of a family legacy he never wanted. As past and present fuse ominously, both father and son learn the uncomfortable truth: sometimes, darkness comes from unexpected places.

Harry Potter and the Cursed Child is one play presented in two parts, which are intended to be seen in order on the same day (matinee and evening) or on two consecutive evenings.

* School groups allocations are subject to availability, bookings can also be made on any performance from best available seating. Free of cost teacher tickets are only available on Wednesday performances, with 1 free ticket provided for every 10 paid tickets to a maximum of 5 free tickets.

4. Enjoy pre- and post-show activities.

5. Share your experiences and let your friends and colleagues know about Harry Potter and the Cursed Child play

Share photos from your magical visit to the Princess Theatre on your favourite social media platforms using the official hashtag #CursedChildAUS. Be sure to follow Harry Potter and the Cursed Child to continue your education in the Wizarding World through exclusive backstage content, videos with the cast and crew and the latest news from Hogwarts.

Facebook.com/CursedChildAus Instagram @CursedChildAus

Twitter @CursedChildAus

ABOUT THE WRITERSarah Jackson- www.sarahjacko.com

With over 20 years experience in education, teaching, leading, facilitating and designing exciting resources for Government and Not For Profits across Australian, the USA and Europe, Sarah has a unique understanding of what works well in and for, schools.

Highlights of Sarah’s work include expert education writer for ABC Commercial Education Packs, The Michael Cassel Group (Priscilla Queen of the Desert and Kinky Boots), Princess Pictures, the South Australian Wellbeing and Resilience Centre as well as key appointments within the NSW Department of Education and NSW Education Standards Authority.

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WHO’S WHO IN HARRY POTTER AND THE CURSED CHILD

HARRY POTTER Now a father to James, Albus and Lily, Harry works as Head of Magical Law Enforcement at the Ministry of Magic and is married to Ginny Weasley, Harry struggles with the demands of parenting while still fighting against the forces of Dark Magic. Memories from his childhood, and the pain and death he endured growing up and facing Voldemort, continue to haunt his thoughts. Despite this, Harry is now a grown man devoted to his family, wife and friends, and as ever, the importance of good over evil.

HERMIONE GRANGER Hermione is now the Minister for Magic, and is a strong leader, not afraid to stand up and confront issues her predecessors tried to ignore. She is married to Ron and has two children, a daughter Rose and a son Hugo, whom she adores. Her close friendship to Harry remains as they work together as a team at the Ministry. Her fond frustrations with her husband Ron remind us of the many squabbles they had at school, but their devotion to each other is clear.

RON WEASLEY A loving father and husband, Ron has two children that he looks after alongside running his own joke shop, Weasleys’ Wizard Wheezes. Affable as ever, Ron is a stalwart friend to Harry and a reliable and affectionate husband to Hermione. As in his youth, Ron is determined and quick to offer help to support Harry and defend the wizarding world.

GINNY POTTER Married to Harry, Ginny works as a sports editor for the Daily Prophet. She stands alongside Harry as a supportive wife but also has to show great patience as he struggles with his relationship with his son Albus, while still grappling with his past. She understands Harry’s troubled sleep and dreams and knows when he is not being totally open with her.

DRACO MALFOY Just as devoted to his family as Harry Potter, Draco Malfoy is utterly committed to protecting his son Scorpius whilst battling against rumours about him and his parentage. Draco continues to mistrust Harry Potter and his many successes and openly attacks the decisions of the Ministry of Magic to try and get them to do what he thinks best. Always immaculately dressed, Draco reveals that for all his appearances of anger, his actions are just as rooted in love and family as the other characters.

ALBUS POTTER The middle child of Harry Potter, Albus struggles with the weight of his father’s reputation and past. He doesn’t fit into Hogwarts in the way he thinks is expected of him. Surprised to find himself placed in Slytherin, he forms a close friendship with Scorpius Malfoy, Draco’s son. Determined to prove himself, Albus is quick-witted and brave though perhaps shows some of the recklessness his father occasionally showed in his youth, trying to solve problems without fulling grasping the dangers and consequences. Much of the trouble with his father stems from Albus wanting to be his own man while also wanting to know his father more closely.

SCORPIUS MALFOY Extremely bright, clever and well-read, Scorpius can’t wait to begin life at Hogwarts and all that will entail but he is well-aware of the rumours that surround his parentage. Close to his mother and keen to impress his father, he has a great deal to endure but reveals himself to be a devoted friend, brave wizard and extremely optimistic and enthusiastic young man. Scorpius is a character who never gives up and isn’t afraid to speak his mind when necessary.

ROSE GRANGER-WEASLEY Ambitious, clever and hard-working, Rose shares many of her attributes with her mother, Hermione and her father, Ron. She is eager to get to Hogwarts and begin her life there. Rose tries to remain friends with her cousin Albus, and despite drifting apart during the course of the action, it is clear she is likely to remain part of Albus’ life, and perhaps Scorpius’, forever.

4. Can you create a list of words that describe the kinds of things that happen to the characters, the emotions they experience and the atmosphere of the books?

5. Which character do you most enjoy seeing grow up throughout the series?

6. Which character do you find most like yourself or a close friend of yours? Why?

Write a social post to a friend explaining that you are going to see the play. Include some of your thoughts and feelings about what you expect. You may write more than one post but try and keep it succinct!

UPON TURNING THIS PAGE SOME OF THE MANY SECRETS

OF THE PRODUCTION WILL BE REVEALED. YOU ARE RESPECTFULLY ADVISED TO ONLY PROCEED WHEN YOU HAVE SEEN THE PRODUCTION TO ENSURE

MAXIMUM ENJOYMENT AND SURPRISE.

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PRE-SHOW ACTIVITIESSMALL GROUP TASK: Students to consider the following discussion questions:

• What do you already know about the production?

• What are you looking forward to?

• Having looked at the marketing and social media resources, what do you expect from the production? (You might use the posters, website or Instagram page as a resource).

• What characters and settings from the Harry Potter stories do you expect or hope to see?

• How do you think the magical world will be created?

• What techniques and skills might be employed?

SPEED CHAT: Harry Potter series

• Move students in to a large free space.

• Position students facing each other, in pairs. One person indicates they are Person A, the other, Person B.

о Person A- asks questions 1, 3 and 5. о Person B- asks questions 2, 4 and 6.

• Students are provided with the questions and are to ask their first partner question 1. Each pair has 1 minute to discuss their responses.

• Student A moves one space to the left, Student B remains in the same place and the next question is read out by their new partner and answered. And, so on until all questions are answered.

QUESTIONS:

Teachers’ note: These questions assume some knowledge of the Harry Potter stories.

1. Do you have a favourite character from the Harry Potter stories? If so, why do you like them?

2. Can you remember specific qualities they have or moments that you enjoy?

3. What do you remember about the stories?

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• Students write their thoughts on sticky notes (as many of their favourite moments as they can possibly think of) over a period of 2 minutes. Placing each of their post it notes on the board so there is a collection of ideas.

• Students work together to place similar ideas together in themes on the board.

• Students select one favourite moment and working individually write a paragraph explaining why this moment was effective.

Teachers’ note: Encourage students to aim to use only one or two sentences to explain what happened in the moment and the rest of the paragraph to explain how the moment was presented and why it was effective.

THINK-PAIR-SHARE: Surprise

• Students think back to some of the many different locations and characters that appear in the play.

• Questions

a. Which of these surprised you or were you not expecting? b. Select one of your favourite unexpected moments either in terms of

location or character. What made it so enjoyable?

HASHTAGS: Reviews

Ask students to imagine they are creating new marketing material for the production Harry Potter and the Cursed Child.

• Students work individually to create at least three hashtags which could be used to describe/promote/encourage people to see the play. For example, #harrypottermelbourne, #bestshowever, etc.

• Students work in pairs or as individuals to create headlines or quotations as if taken from reviews that can be used to encourage people to see the show.

Write a review of the production for your school newsletter or magazine. Students may wish to first read a theatre review online or in a daily newspaper to identify the key features of a theatre review.

Teachers’ note: You may choose to use real-life examples of reviews of the play as a stimulus. Students should be guided towards short, snappy statements and may also wish to use a thesaurus to extend vocabulary.

POST-SHOW ACTIVITIESPROFESSORS: These tasks are best completed as soon as possible after your visit. The tasks progress from helping students recall details from the production to formalising critical responses as far as may be required.

BRAIN WRITING: First thoughts

• Hand out small index cards (5x7) - one to each student.

• Using only single words or two-word phrases students have 2 minutes to record their first thoughts on the production on small index cards. Encourage them to be honest and link thoughts to their feelings and reactions first, before moving onto elements of the narrative or characters that stuck in their mind.

• Students place cards up on wall (This enables teachers to explore patterns and links in student responses).

• Students walk around with sticky notes - putting their sticky notes on top of the card(s) they have in common about the production.

• Whole class discussion on the top three responses by the whole class.

CIRCLE HIGHLIGHTS: Narrative and staging

This task asks students to focus more on the narrative and the staging of the play.

• Seat small groups of students in a circle.

• First time around the circle each student should each offer one moment of the story they remember as a highlight.

• Second time around the circle students should offer a moment of staging they remember as a highlight.

• Third time around the circle students should add to why they thought moments were highlights and can offer input on the suggestions of others aiming to flesh out the details of how and why certain moments were effective or memorable.

BRAINSWARM: Favourite moments

A ‘brainswarm’ is a brainstorm conducted in silence with sticky notes. In brainswarming there is no critiquing of ideas, dominant voices or a reluctance to contribute.

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• Students work individually and select two actors that they would like to focus on for an extended critical response. Encourage students to select two actors who are slightly different in their performance style. For example, the two actors who play Scorpius and Draco or Harry and Delphi. For each actor select two or three of their key moments in which their performance skills engaged the audience.

The actor playing Draco engaged the audience with his physical and vocal skills. In his first appearance he stood with an upright posture and often in a very static position using little movement but suggesting to the audience a sense of control and authority. However, he communicates his underlying hurt and concern with a certain restlessness as he delivers key lines “Astoria hasn’t been well” by pacing and avoiding eye contact. Similarly, he used a strong, deep voice with very clear diction sometimes almost spitting out words particularly at Harry, but when talking about his family his voice became somewhat softer and more impassioned and pleading. He gave away little in his facial expressions other than to sometimes frown showing his displeasure at having to ask Harry for help and a frown to show his anger when it is refused.

THINK-PAIR-SHARE: Goals

• In pairs, students are allocated up to three characters from the play.

• Students discuss what they feel each of those characters desire most in the play; i.e. what is their goal? They may then reflect on how the goals may change or develop with the action of the play.

• Share with the class.

‘Scorpius’ – for his father to see him act bravely and know him, to find great friends, to make Rose his girlfriend.

Working individually ask students to note down their own goals perhaps in terms of family or school or personal hobbies. Do they recognise any similarities with any characters in the play? You may go on to discuss how our goals affect our behaviour and relationships and/or how those goals might be achieved.

STICKY NOTE STORM: Feelings

• Students work in groups of three with a pile of sticky notes.

• On ‘go’, students have 30 seconds to generate a list of feelings and emotions they felt whilst watching the performance (one feeling per sticky note).

• The goal is to try and fill their table with as many sticky notes as possible.

• If no table has filled it thoroughly, time can be extended.

• Compare table responses as a class.

• Using different coloured sticky notes, students create a list of the feelings and emotions seen onstage.

• Whole class discussion:

о Think back to your expectations before the performance – does anything about the two lists surprise you?

о How did your feelings change from the end of Part One to the end of Part Two?

CRITICAL RESPONSE: Performers

• Whole class brainstorm on performance skills to remind students and/or model an example on the board.

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STAGING THE PLAYMAGIC AND ILLUSIONPLACEMAT THOUGHTS: Magic

A world of magic and illusion is created from the very outset of the play.

• Students work in groups of four to complete the placemat activity template (Appendix A). Each student is allocated a corner of the page to describe how the wizarding world is brought to life in the production. They may list aspects of the set and design but also moments of magic demonstrated by props or movement.

• After five minutes, students share their thoughts with their group and write down the top responses in the middle box.

• Share group answers with the class.

You may wish to remind students of some of the following:

о Wands, sweets, bookcase in Hermione’s office, Dementors, telephone entry to the Ministry of Magic, transformation using Polyjuice Potion, a Patronus, Draco and Harry’s duel, Trolley Witch (exploding pasties and transfiguring hands into spikes), levitating pews, Expelliarmus spell.

о It will be more constructive to focus on the effect the magic has on the audience rather than trying to deconstruct how effects were created.

Staircases – two large staircases on wheels can be moved across the stage by performers to create the illusion of the infamous moving staircases at Hogwarts. As performers walk up and down the stairs, often whilst they are in motion, the illusion of a constantly changing space and shape is created. The sense of travelling from one place to another around the school, and also the atmosphere of time and space shifting is enhanced. It also creates a sense of the characters’ confusion as they try to solve the problems of the narrative. The staircases also serve a practical purpose of creating a range of other settings including a platform from which Hermione can deliver her opening at the special meeting at the Ministry and a place from which students can listen in on Professor McGonagall’s office. The effect of movement is also enhanced through the use of music with faster tempo and louder music used when scenes suggest the frantic atmosphere of time moving and a slower, more ethereal and sometimes threatening mood created by music in more sinister or eerie scenes.

IMPACT DESCRIPTION: Staging

One of the most powerful moments of staging is at the end of Part One when the Dementors descend onto the stage.

• Students work individually to recall this moment and describe how this moment was created using a combination of performance and design. Students explore the impact it had on them and audience members around them.

The Dementors appearance at the end of Part One is highly effective. Performers shrouded in long black and grey Japanese organza draped over their bodies concealing their exact shape and face, swoop across the stage, eerily close to the audience. They appear to lean and reach out towards us as if trying to grab our souls. This movement is accompanied by a sound that begins as a shrill whisper and grows to a horrible screeching and screaming that gets louder and louder to the point of considerable discomfort before snapping off to silence and a complete blackout. The moment is extremely chilling and terrifying.

It can be difficult to create fear and suspense on stage. In small groups with one person acting in a director role, create a short sequence without dialogue where one or more figures, playing a role similar to that of a Dementor, approaches an individual or the audience in such a way that creates the same kind of atmosphere and response. You may wish to consider movement and gesture, use of levels, masks, costume, stillness versus movement, music and sound.

LEARN MORE ABOUT THE STAGING OF HARRY POTTER AND THE CURSED CHILD ON OUR EDUCATION PAGE

HarryPotterThePlay.com/au/education

• Whole group discussion

о What are you imagining as you listen to each piece of music?

WRITTEN RESPONSE: Comparing music tracks

• Students select two contrasting pieces of music from the score. (For example. Suite Two: Dumbledore and Suite Three: Dementors).

• Students describe the tone, colour, dynamics and the expressive techniques used by the composer, Imogen Heap.

• Using a Venn Diagram, students list the similarities and differences between the two pieces of music.

INDIVIDUAL THOUGHTS: Choreography

• Students work independently to answer the following questions;

1. Identify the choreographic elements such as variation and contrast to communicate intent.

2. Choose one scene to describe how movement is used.

Wand dance, movement of set pieces at transition points in the storyline, staircase movements, Hogwarts Express train carriages, Voldemort Day.

THINK-PAIR-SHARE: School sequences

We see Albus, Rose and Scorpius starting school at Hogwarts in the sequence that looks to capture some of the excitement and nervousness of their first day.

MOVEMENTACTION SEQUENCE: Passing of time

• The early scenes of Part One create a sense of the passing of time as well as the infamous train journey aboard the Hogwarts Express.

• Students discuss how this was created through the use of movement and simple props (cloaks and suitcases) in the production.

Working in large groups or perhaps even as a whole class devise a sequence of action that suggests a busy train station and then a large number of people travelling by train. Student focus should be primarily on individual and collective movement to create the sense of travel. Consider how sound or music may be used to support this.

SOUNDSCAPE: Train travel

• Divide students into groups of five.

• Students given ten minutes to develop a thirty second soundscape that demonstrates train travel.

• All groups must have the same scene location (Hogwarts Express) but each actor contributes a sound that represents something happening within the carriage.

• After ten minutes invite groups to share their soundscape.

Teachers’ note: Encourage the actors to be creative, expressive and original with their sounds, without using dialogue. Roam around the room listening, suggesting and assisting where necessary.

THINK-PAIR-SHARE: Music from the play

• Using the soundtrack from Harry Potter and the Cursed Child, students listen to;

о Suite One: Platform 9 ¾ and

о Suite Two: Staircase Ballet

• Students identify; о The sounds they can hear о The Instruments they can hear о The rhythm (is it strong, tribal, uneven?)

Piece One: ..................................................... Piece Two: ......................................................

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BRAINSTORM: Staging scenes

• Students think back to the staging of the scenes from the Triwizard Tournament.

о How was the sense of the crowd watching the challenges achieved?

о What did the crowds add to those moments?

Working as a large group create a sequence of action using movement and sound that conveys the sense of a crowd watching an event, perhaps a sporting event or competition. How can you use a range of performance skills including gesture, facial expression and levels as well as sound and voice, to convey the feelings and emotions of the crowd? Consider how you would stage the scene so that the audience are convinced something exciting is happening without actually seeing the event itself.

• Students discuss;

о How did this sequence make you feel? How do you think it captured the feelings of some of the characters?

Working in groups create a sequence of action that uses movement, gesture and facial expression to convey the feelings of different students on their first day at school. Students may wish to think back and draw on their own experiences of their first day at school. Movements should suggest a range of different possible emotions and feeling. You may wish to add music to the sequence to suggest an overall mood or feeling.

TABLE TWITTER: Atmosphere

The opening of Part Two looks to establish that we are no longer in a world where Voldemort was defeated at the Battle of Hogwarts. This is a world where Dark Magic reigns.

• Students work in groups of three.

• Using an A3 piece of paper, students write in the middle of the page, PART TWO and have 1 minute to fill their page with 140 character limited sentences (include the use of hashtags) on how has the changed state and atmosphere been created through movement?

• Place A3 pages on wall of classroom for a whole class discussion.

Movements are jerky, aggressive and hard. There are strong connotations of a militaristic regime, suggestive of repression and control, echoed in the repeated gesture of wrists bound. This is all enhanced with the use of black costumes and cloaks that violently swirl and seem to conceal and remind the audience of the swirling movements of the Death Eaters. The performers move as a group and create harsh straight lines and shapes that again suggest control and strength. The final diamond shape converging on the audience suggests the size and scale of an army that is controlling the world.

Working in groups of four or six create a similar sequence that suggests the same intense atmosphere of repression and control. You may wish to use music to enhance the sequence. One approach would be to create three sequences in pairs that you present to the rest of the group which you then work on bringing together to create the same dynamic conclusion seen in the production.

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FRIENDSHIPBRAINSTORM: Friendship

“I can do it without you – but I want you there – Because I want us to do this together.” Albus Potter

• Whole class brainstorm the examples of friendship they saw in the show. Examples may include:

о Harry/Hermione/Ron/Draco о Albus/Scorpious о Rose/Albus о Delphi/Albus/Scorpious

SIX SQUARES: Making friends

When Rose and Albus first board the Hogwarts Express, Rose is keen to concentrate on carefully choosing who to be friends with. Albus seems unsure and says that choosing who you want to be friends with for life seems scary.

• Students fold one piece of A4 paper into three and then in half, creating ‘6 squares’ to write on.

• Students number the squares 1 to 6.

• Students write their answers in the corresponding box to the following questions:

1. What was your first experience of making friends?

2. Can you ‘choose’ who to be friends with? If so, how would you decide?

3. Think back to your own experience, perhaps at school or your first time at a new club or activity. How did you become friends with others?

4. What factors do you think create friendships?

5. What factors sustain friendships?

Possible suggestions: age, geography, family connection (parents know each other, sibling), shared experience, shared interest, similar style or clothes, similar attitudes or morals.

6. Rose thinks that everyone will want to make friends with Albus and herself because of their family name and status. Do you think that can affect or create friendships?

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• Students then form groups of three to discuss their answers and generate their top three responses as a group for each question.

• Conclude with a whole class discussion.

THINK-PAIR-SHARE: Creating friends

Scorpius is clearly nervous about making friends knowing that the rumours surrounding his parentage might affect people – particularly a Potter or Granger-Weasley – from being friends with him. His mum’s advice was that offering sweets may help make friends.

• Do you agree? Have you ever used a similar tactic to help create friendships?

• Just before they find the Time Turner Scorpius says that there is a reason that he and Albus are friends “a reason we found each other”. Do you have a friendship that gives you a similar feeling?

BRAINSTORM: Importance of friends

Harry knows the importance of his friendship with Ron and Hermione in helping him survive Hogwarts and even helping to save his life. We also learn that both Draco and Ginny envied the wonderful friendships Harry had. Draco goes on to suggest that Tom Riddle’s loneliness may have been in part what led him to becoming Voldemort and that Harry must protect Albus from his own loneliness.

• Thinking back over the story why do you think some characters become such good friends? Identify some examples from the play where friendship is important?

о Think back to scenes that show friends sharing good times, sharing problems, offering companionship and giving advice.

• In small groups discuss why friendships are so important? You need not refer to personal examples but may wish to do so.

Write about a personal friendship of yours and why it is important.

Differentiation – Students in need of additional support or a more basic task may focus on describing the friend and narrating the friendship. Students in need of a more advanced task should assess the qualities of the friendship and evaluate why they friendship is important. You may also wish to allow the option of writing about a friendship from the production rather than a personal friendship depending on the dynamics of your group.

FAMILY AND IDENTITY“Love blinds. We have both tried to give our sons, not what they needed, but what we needed” - Draco Malfoy

PROFESSORS: Please make clear that for this section students need not discuss their own families unless they wish to and no-one should refer to a real family other than their own. They can choose to focus on families depicted in the production (Potters, Malfoys, Granger-Weasleys, Diggorys) or use families from other books, films or television shows to explore these questions.

GRAFITTI WALK: Protection

We see Harry and Ginny desperately trying to protect their son and worrying about him. The second conversation between Dumbledore and Harry at the Ministry also explores how Dumbledore tried to be a father figure to Harry but couldn’t protect him as he wished to.

• Create four graffiti sheets (four pieces of butchers paper/A3 sized paper around the room each with one of the following questions written at the top of the page).

• Students work in small groups.

• Allocate two minutes for each group to work with each graffiti sheet. After two minutes, groups move on to the next graffiti sheet.

• Once each group has completed all five graffiti sheets, each group chooses, and highlights five pieces of information recorded on the last graffiti sheet they wrote on as a group and present these to the class.

1. In what ways do the characters in the play try to protect their children and how similar is that to the ways your parents try to protect you? Think of an example and in pairs, compare your thoughts.

2. “You are a constant curse on my family” – both Draco and Amos Diggory see Harry as responsible for the fortunes of their families. How important is it for the audience to hear these ideas about Harry? Does it affect what the audience think of him?

3. Scorpius, perhaps out of friendly solidarity, confides that he sometimes thinks he can see his Dad thinking “how did I produce this?”. What can make relationships between parents and children difficult? Consider what might cause problems, how they might be resolved and when families might be closest? You should draw on events that unfold in the production as a starting point.

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4. Following the first attempt to go back in time Harry decides that he is no longer concerned with Albus liking him, instead he wants only Albus’ obedience in order, he believes, to protect him. Do you think Harry is right? Should parents be concerned with their children liking them or obeying them?

Y-CHART: Difficult relationships

Albus and Scorpius both have difficult relationships with their fathers. During the heated argument in Part One, Albus says he wishes Harry weren’t his Dad and Harry says he sometimes wishes Albus weren’t his son.

• Students discuss with a partner: What was your reaction to this moment? Did it surprise you? Why do you think Harry became so frustrated with Albus?

• Students draw a large Y-Chart in their books.

• Students have one minute to talk about what they think a good parent;

о Looks like о Feels like о Sounds like

Teachers’ note: Students may draw upon some of the moments from the play or think of their own ideas.

THINK-PAIR-SHARE: Harry and Albus’s relationship

• Students think back to the end of the play and discuss:

о How do you think the relationship between Harry and Albus has changed? You may wish to compare the closing scene of the play and the conversation between father and son with the earlier argument in Part One.

MIND-MAP: Developing identities

Starting school is often an important stage in beginning to develop our identities. At Hogwarts which house you are in becomes a significant part of your identity. When Albus is put into Slytherin by the Sorting Hat, Rose exclaims “This is not how it’s supposed to be”.

• Students create a mindmap to explore the following questions: How did this scene make you feel? What do you think of Slytherin house or any of the other houses?

Re-enact the scene where the Sorting Hat is making its selection. You may choose to present the Sorting Hat as it is staged in the production or you may devise another method. Focus on showing the reactions of those around Albus including Rose and perhaps Scorpius, Professor McGonagall, James Potter, other Slytherins. Try and get across to your audience a range of different feelings through their reactions.

DEBATE: Growing up

Draco suggests that growing up is the hardest job in the world. Do you agree with this statement? What do you think leads him to say this? You may wish to comment on Albus’ realisation that his actions were rooted in feeling that he constantly had something to prove.

• Debate the following topic: “Growing up is the hardest job in the world”

• Divide class in half.

• Half the class will debate ‘for’ the argument and the second half ‘against’ the argument.

• Students work as individuals. Provide a ten-minute time allocation to write as many dot points for their side of the argument as possible.

• Students form small groups of three to combine their dot points.

• Alternating between for and against sides, each group takes it in turns (one student at a time) to present their side of the argument.

• Whole class discussion.

Write a persuasive article for your school newspaper in which you argue either for or against the statement that growing up, rather than parenting, is the hardest job in the world.

Can you think of any examples in your life where an important element of your identity might be expected to be the same as your parents? Choice of career, sporting or artistic skills, physical attributes? Discuss how it feels to share in elements of your parent’s identity and how it feels to be different.

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DISCUSSION: Difficult relationships

Albus’s difficult relationship with his father Harry is clear throughout the play.

• Students work as individuals and write down the impact that this difficult relationship had on both Albus and Harry.

• What does Albus do to impact this relationship both positively and negatively?

• Who helps Albus through these tough times? Who helps Harry? (Here it is important for teachers to point out to students the places they can go when they are going through tough times. Teachers may also want to point out to students the support available at their local context, including in-school supports as well as supports available in the school and community including school counsellors, welfare/wellbeing, online support agencies as well as Kids Helpline).

• What characteristics do these people possess when helping Albus and Harry?

• What other characters go through tough times in the play?

• In the same pairs, students use an A3 paper to draw a Y chart diagram. Label each section of the chart;

о Looks like о Feels like о Sounds like

• Students fill in the chart with their responses to: When I help a friend who is going through a tough time it…

• Whole class discussion on where to go for help, including online support organisations.

In-school supports

Teacher

Year Advisor

Head Teacher Welfare / Wellbeing

Teacher’s Aide

Aboriginal Education Officer / School / Support Officer or Teachers Aide

Chaplain / Pastoral Care Worker / School Counsellor

Out-of-school supports

Parent / carer / extended family member

Friends

Community / cultural groups

Coach

Online services such as: ReachOut.com, headspace, beyondblue, youth beyondblue

Counsellors / psychologists / GPs

Kids Helpline - 1800 55 1800

TEACHERS’ NOTE: ACCESSING HELP Guide discussion so that students consider:

Online and offline places to go for help, including organisations in the local school area. Discussion MUST also include: If you or a student are worried about someone and feel urgent professional support is needed, turn to a trusted adult to help. If the need for assistance is life threatening, call 000 (triple zero; Australia only).

Places students can go to for help include:

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TRUTH, RUMOUR AND DREAMS “The truth is a beautiful and terrible thing, and should therefore by treated with great caution” - Harry quoting Albus Dumbledore

STICKY NOTE SLAM: Truth and rumours

The link between rumours and truth is established early in the play and much of the action is dependent on trying to prove truth in the face of rumour.

• Students in groups of three, have 45 seconds to write down as many rumours as they can remember from the story in the production.

• The aim of the activity is to see if students can fill their desk with sticky notes before the time limit is up.

• Discuss responses as a group.

PAIRS BRAINSTORM: Rumours

• Students discuss the following questions;

1. How does Scorpius seem affected by the rumour that surrounds his parentage? He tries to use his physical similarity to his father to disprove the rumour, i.e. his hair, his nose, and he is quick to address it rather than ignoring it. Do you think this helps?

2. Why might this rumour be so powerful?

3. Why and how do rumours become so powerful?

In small groups create a short scene where students are gossiping about the rumours about a new student at school. What might they discuss and what are their sources? Would anyone defend the student or speak against the rumours? (Teachers’ note: Ensure this scene is entirely fictional and no real names are used).

CLASS DISCUSSION: Rumours and more rumours!

• Draco seems to think that Harry refuting the rumours surrounding Scorpius would put an end to the story. Do you think this would work? Why or why not?

• Dumbledore reveals that he is aware, perhaps through rumours, about Harry and Albus. How does Harry react to the idea that there may be gossip about him and his son?

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Draco is initially dismissive of Hermione’s concern about Voldemort’s return referring to the regular rumours that appear in the Daily Prophet about his return. What part do you think the press and media play in creating rumours in the real world?

BRAINSTORM: Reality and truth

Harry’s dreams: Several scenes at first might confuse the audience about what is reality and truth until it becomes clear they are Harry’s dreams. The dreams contain scenes from the past, some of which the audience may be familiar with, but others appear to show us new memories or things that never happened.

• As a class brainstorm what you can remember from the scenes that contained Harry’s dreams.

Aunt Petunia, his childhood, his parents Lily and James, snakes, Parseltongue, seeing Albus, voice of Voldemort, death.

Working individually create a description of a dream you might have. You should use vivid vocabulary and aim to include several of the features from the class brainstorm.

Do you think dreams show truth? How might what happens in a dream affect our understanding of what is true once we are awake?

Ginny has spent many years with Harry and seems to know that his sleep is often troubled. The return of his dreams is a worrying sign. Growing up Harry had many dreams but in many cases these were created by Voldemort. Imagine you keep a diary. Write a diary entry where you explain what a friend has told you about their recent dreams and show the concerns you have about them.

DEBATE: Who is the cursed child?

• Debate the following topic: “______IS THE CURSED CHILD”.

• Divide class into four groups.

• Each group is allocated one character from the play (Harry, Albus, Delphi or Scorpius) and will debate ‘for’ their character to be seen as the ‘cursed child’.

• Students work as individuals to come up with as many reasons from the play that indicate that their character is the ‘cursed child’. Provide a ten-minute time allocation to write as many dot points for their side as possible.

• Students re-form into their small groups (four groups in total) to combine their dot points.

• Each group is invited to present their argument points to the class.

• Whole class discussion.

Possible reasons for each of the characters listed below to be seen as the ‘cursed child’.

• Harry- A horcrux for Voldemort and watches his own parents die again.

• Albus- “When spares are spare, when time is turned, when unseen children murder their fathers. Then the Dark Lord will return.”

• Delphi- Voldemort’s daughter.

• Scorpious- Harry bans Albus from being friends with Scorpious. Harry thinks Scorpious is the ‘black cloud’ surrounding Albus.

TIME“There is no escaping the past” - Draco Malfoy

THINK-PAIR-SHARE: Connections to the past

• Harry has many connections to the past that are explored in the production. Think back and in pairs discuss as many references as you can remember to his life as a child.

The Triwizard Tournament, the blanket from his mother, the Sorting Hat, his relationship with Dumbledore, Hermione’s Time Turner, Bane and the Battle of Hogwarts, the Invisibility Cloak and Marauder’s Map, his scar hurting and his dreams.

CIRCLE CHAT: Consequences

Albus says “A mistake has been made and we’re going to right it” and this is his reason for using the Time Turner. He wants to help correct what he sees as one of his father’s past mistakes and is convinced he must do it.

• Move students into a large free space.

• Position students in two circles, the inside circle facing out and the outside circle facing in so everyone has a partner.

• The teacher reads out the questions below and each pair has 1 minute to discuss their responses.

• The outside circle moves one space to the left and the next question is read out and answered. This is repeated until all questions are answered.

Questions:

1. Does Albus seem to understand the power of time and changing it?

2. What are the general consequences of Albus and Scorpius returning to the past?

3. Why do you think Albus is so convinced he must correct the past? You may like to consider how the production explores Albus seeing this as “a journey” i.e. What is it a journey of, or towards?

4. In the second act of Part One how is it revealed that time has been changed by the first visit back to the Triwizard Tournament? How significant are these changes? Are they what you would expect? You may also want to consider what doesn’t change.

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5. The changes after the second visit back in time are even more dramatic and severe. What do you remember has been changed?

First visit: Ron and Hermione don’t get married and therefore Rose isn’t born (or Hugo), Hermione becomes a professor at Hogwarts and not Minister for Magic, Albus has been placed in Gryffindor. Second visit: Harry is dead, the world is under the control of Voldemort and Dark Magic, Dolores Umbridge is Headmistress of Hogwarts, Professor Snape is alive and still teaching at Hogwarts, Scorpius is in line to be Head Boy and his father is Head of Magical Law Enforcement.

SPIDERGRAM: Going back in time

A spidergram is a visual tool used to organised information in a logical way.

• Delphi says “Today you get an opportunity few are given-today you get to change history – to change time itself”.

• Students work individually to think back to an event or moment in your own life that you would like to go back to and change. Students create a spidergram of information about the following;

о Event/moment you would like to change.

о What would you have to change and why would you want to change it?

о Would changing the event have any other consequences?

This need not be an entirely serious task particularly if you are aware of any sensitivities in the class. Instead, ask students to focus on a more light-hearted or trivial change such as stopping an embarrassing mistake or improving a sports result or performance.

Example:

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BRAINSTORM: Time

• In small groups students brainstorm how the theme of time is reinforced through the set design and other design and performance elements.

• Whole class discussion.

о A large clock adorns the set and appears to be ticking. In the sequences where time is reversed the clock reverses and we see the hands turning quickly backwards.

о The sound effect of loud ticking speeding up accompanies sequences of time changing.

о Lowered lighting levels and flashes.

о Swirling cloaks and robes.

о Rapid entrances and exits across the stage.

о Use of the revolve.

о Moving staircases.

о Described in the script as “a never-world of time change”, the passage of time early in Part One is conveyed through a continuous sequence of short scenes to show the years passing for Albus at Hogwarts. Performers use their robes and cloaks in a grand swishing movement to cover the moving of props and set creating the illusion of things disappearing, and suitcases acting as train seats as well as luggage can quickly create the multiple train journeys departing from Kings Cross without needing a fixed set. The use of a revolve further conveys the sense of movement as scenes blend into each other from the Sorting Hat to Quidditch.

Appendix A: Placemat thoughts template

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Appendix A: Placemat thoughts template

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