PUFFS is Playful and Pleasing at Empress Despite Plodding Pace

MAGNA  —  The Empress Theatre’s production of Puffs delivers a magical and heartfelt homage to the often-overlooked heroes of a certain wizarding world. The play comes out of comedic improvisation and earned an off-broadway run with a story that resonates deeply with audiences broadly and me personally. The story is a retelling of the Harry Potter story from the perspective of the often beleaguered Hufflepuff or “Puff” students. With one notable – and fixable – caveat, The Empress Theatre’s production of Puffs: Or Seven Increasingly Eventful Years at a Certain School of Magic and Magic by Matt Cox, was a delight.  With clever staging, detailed production design, and a uniformly engaging cast, the show offers a delightfully humorous perspective on what it means to be a supporting character in someone else’s epic story. 

Divination in Direction

Director Kylee Larsen brings to life Matt Cox’s wildly imaginative script with strong use of space, levels, and movement. The Empress’s performance space itself is a marvel—multi-leveled with countless entrances and exits, revolving doors, and a sense of immersion that any director would envy. Larsen’s eye for composition shines in the show’s many group scenes and tightly choreographed ensemble moments—particularly the Puff emergency formations and frantic fight scenes that capture the chaos of magical adolescence.

House Points for Performances

I had the chance to observe the Lumos cast, who were excellent. At the heart of the story is Raiden Dwight as Wayne Hopkins, the reluctant hero of the Puffs. Dwight conveyed the angst and frustration Wayne feels at being overlooked quite well, but at times, I missed the quirky, nerdy, insecurity of the character in his performance. I don’t think this was a short coming of Dwight. He was funny, engaging and energetic. It felt like more of an intentional focus on sharing focus which allowed each actor to take greater control of their parts. 

While the narrative may center on Wayne, the strength of this production lies in its ensemble. The cast shares focus beautifully, creating a cohesive sense that this is the story of all Puffs—not just one. The performances are broadly comedic yet surprisingly grounded, with many moments of genuine emotion nestled between humorous bits.

A standout among the cast is Jana Wilhite as the Narrator, whose exceptional command of British RP, comedic timing, and facial expressiveness brought continual life and charm to the piece. Her reactions—whether being the emotional response for a badgered and derided book, joyfully puppeting an inflatable orca in Year 7, or mournfully holding a carnage of a dog puppet taken in the jaws of an inflatable dragon—earned some of the biggest laughs of the evening.

Hannah Stark’s Megan Jones also deserves high praise for her consistent timing and dry wit. Her delivery landed sharply and confidently, grounding her rebellious character in truth even amidst the fantastical chaos. 

Brenden Sampsel, stepping in as Cedric/Mr. Voldy, was a solid. He distinguished the two characters well and had some fun moments. I delighted in Sampsel’s playfulness in the Myrtle scene and his overall boyant optimism. 

Charmed Design

Visually, the show is top-tier. Lighting design from Kylee Larsen and Chris Peck drew focus well, told the story in key moments, and utilized gobos to great effect such as during the scene in the lake. The props from Lisa Shortridge were not only inventive but functional, giving the actors rich tools to work with and enhancing the humor and surprise at every turn. So many moments worked well due to visually striking props. The dementor puppet was excellent as was the set dressing. Adam Cannon’s technical direction led to great use of the set and scenic design as well. The walls had fun framed portraits, and the simple benches and stools used at various locations effectively conveyed a myriad of magical milieu; the production made excellent use of every corner of the set. I loved the raffle for a crocheted curio from Beck Skeen during intermission and the knits in the costumes were fabulous. This was a great show just to observe at times.

Minor Hexes

However, not every spell landed cleanly. One of the show’s few drawbacks was its run time and pacing. While the script jokes early on that it’s cut from 5 and a half hours to a brisk 110 minutes, opening night ran from 7:35 p.m. to final bows at 10:40 p.m. — over three hours with intermission. The first act alone lasted 100 minutes, and the second began to sag under its own weight. The energy, particularly in comedic beats, suffered from the extended pace. It’s the cardinal sin of comedy to not have timing that doesn’t land. The jokes themselves worked, but there needed to be cinching up in places to keep up the comedic energy of the piece. 

Additionally, while the cast was clearly tightly-directed, there were moments when improvised bits or delayed transitions punctured the rhythm. In a show that relies so heavily on banter and crisp delivery, even brief lapses stood out. These dips occasionally undercut otherwise strong performances, making some moments feel less like the tight ensemble comedy they so often were.

Sound design, while using familiar cues from the original Puffs audio library, was at times uneven in its mixing. Some effects rang clear and hilarious, while others were muddied due to poor volume control. My final concern– as a first time attendee to an Empress show – was how cold it was. Outside temperatures were below 50 degrees and overhead fans made the seating brisk. Other audience members had known to bring blankets, wear hoodies, or layer up; but, it was a relief to be warm again at the show’s conclusion. Come to the show, and get cozy.

Conclusion

I had previously never been to a production at the Empress Theatre. Much like a certain magical school for a well known magical boy who lived, this venue felt like home. It’s an intimate, dynamic space that invites the audience to be close to the story. It’s a fun atmosphere with a crowd that clearly connects to the space as a community center.

If you have the time, my complaints are nits to pick in an otherwise magical evening. I’m a Slyth… a “Snake”, but this is a show for anyone of any house. Puffs starts out feeling like an inside joke aimed at 90s kids with lightning bolt scars or other magical tattoos. However, its powerful message of individual worth – even during incompetence – has immense value. Empress’ production, with its standout performances and visually impressive world-building, offers a love letter to the underdogs and oddballs who may not save the day, but who matter just as much.