A week ago, I went to see Puffs, an off-Broadway homage to Harry Potter (but totally unofficial) that was filmed and shown on two nights in selected movie theaters. I am not a theater critic, and I’m certainly not a critic of plays that are filmed and then shown in movie theaters (though this does seem to be an art form–some creative camera work was involved in this one), so I’ll make my remarks from the perspective of a fan.
First, it was amusing to see how the writers bent over backward to avoid using copyrighted names, such as Hogwarts, which they referred to as an unnamed “School of Female Magic and Male Magic,” and Dumbledore, whom they always referred to simply as the headmaster. Other characters, like Cedric Diggory, were called by first name or last name, never both together. In many cases, it was clear that the writers were having fun exploiting the limitations–and, perhaps, gently ridiculing the idea of placing such restrictions on such household names.
The four houses were called Brave, Smart, Snake, and Puff, and the story focused on the Puffs, the house that has the least interaction with Mr. Potter in the canonical story, which meant that this house was the perfect vehicle for exploring the experience of a non-famous, non-chosen student who’s just trying to get through school with decent grades. The protagonist was Wayne, an American kid who ends up at the school by a series of unlikely events, probably fulfilling a fantasy of the writers themselves. I should point out here that the actors were all adults, which says a lot about the intended audience. I think the goals of this play were to make long-time Harry Potter nerds squeal with recognition at the inside jokes, to aim a little irreverence at a sacred cow (without becoming cynical or nasty, although some of the jokes were definitely for a “mature audience”), and to provide a bit of vindication for the Hufflepuffs. The childlike wonder of magic was not really a focus.
The play was only about 90 minutes long, and the seven books provided its organizational structure, so in this sense, it reminded me of a parodic play called Potted Potter that I saw a few years ago. (A lot of the humor came from the forced brevity, kind of like in the popular Complete Works of William Shakespeare Abridged.) The plot stuck to events that happen in the books, except in one (ultimately rather anticlimactic) plotline involving the Death-Eater mother of Wayne’s friend Megan. The play is best enjoyed as sketch comedy rather than as a full narrative arc, although it does have a climax: the Battle of Hogwarts, as seen from the Puff perspective. I don’t want to give away spoilers here in case the filmed version ever comes out on DVD, but I will say that the until-now underrated contribution of the Hufflepuffs in this battle, recently pointed out by J. K. Rowling (wait–am I allowed to say her name?), was given its due here. I thought there were some tonal infelicities in this last segment of the play (i.e. some stuff that was played for laughs that I didn’t think should have been), but the writers redeemed themselves with a heartwarming scene between Wayne and the headmaster, which in itself was a vindication (since in the books, it’s only Harry who gets to process things one-on-one with Dumbledore).
As a Hufflepuff, I enjoyed Puffs; I think I would have enjoyed it even if I were a Brave, a Smart, or a Snake. I also realized that I switched between past and present tense in this post. I hope you didn’t notice.