CMU School of Drama

Wednesday, April 12, 2017

‘Harry Potter and the Cursed Child’ Sets Olivier Awards Record

The New York Times: The Broadway-bound “Harry Potter and the Cursed Child” shattered records at the Olivier Awards for London theater here on Sunday night, picking up nine prizes, including best new play, and honors for the actors playing Harry, Hermione Granger and Draco Malfoy’s son, Scorpius.

The previous record-holders were “Matilda the Musical” and “The Curious Incident of the Dog in the Night-Time,” both hits in London before opening on Broadway. Those shows each won seven Oliviers, which are Britain’s equivalent of the Tony Awards.


Evan Schild said...

The Oliver awards seem to be very telling of what the Tonys could be. While I am sure Ben Platt of Dear Evan Hansen will win best actor, there has been talk that Andy Karl could be up for it. I cannot wait for Harry Potter to arrive on Broadway. I am certain that it will turn a profit here. Not only is the show a huge brand already, in London it sold out for months on end. I cannot wait to see the design elements. I know in the early previews they would have owls set out into the theater. They cut that part since the owls went lose inside the theater, but I hope they bring it back. The only concern I have about Harry Potter is that the show is going into the lyric theatre. It is the biggest house on Broadway and no show has been successful in it. From spider man to Crique which are huge names they lost a lot of money. Hopefully this will be the first show to be successful.

Marisa Rinchiuso said...

I think it's very interesting that the Oliver Awards are right before Tony Nominations. It kind of acts as a preface to our season or to keep us in tune with what may be coming our way soon, like Harry Potter. I am shocked that Harry Potter won so many awards because, frankly, they could of produced a very low quality show and people still would of come. I'm glad to hear that it not only continues the story of Harry Potter in a valid and quality way, but also the design. One thing that I found shocking was the fact that it was done in 2 parts- and 2 days. I know that is a very popular style in European theatre, but I wonder if they will continue that on Broadway. It seems that we, in America, have shorter attention spans. I have always heard the motto "shorter, faster, funnier" during rehearsals. However I think a longer theatre event establishes itself more as art rather than entertainment. I am looking forward to see how it take a place on Broadway in 2018.

Zak Biggins said...

So it looks like the West End has found their "Hamilton." Which is kind of funny, if you think about it- our record breaker literally has "An American Musical" in its title, and Harry Potter is famous because of its location in the UK. I wonder if the origin of the pieces contribute to its commercial success- I would argue that it does because although Matilda was a successful transfer, it did not receive the same type of attention at the Tony Awards as it did at the Oliver awards. I don't think there is a different standard, rather a preference of taste. I am fortunate enough to have seen 5 shows on the West End. Each unique, and holistically different from American theatre--- which is interesting because some of them were American Musicals. Harry Potter and the Cursed Child is something that is so incredible because it redefines the audience experience- they are required to come back 2 days in a row (or a matinee and a night performance on the same day). Thats two shows to learn, two to design, two to manage. I am excited to see it when it transfers and wonder if it will change structurally,