Harry Potter and the Cursed Child creative team John Tiffany & Steven Hoggett


>>HASKINS: Coming up on…>>HOGGETT: It’s an incredibly precious event, “Harry Potter,” and if we’ve got it wrong, you can’t put lights around it and then hopefully push it up. It would have just died.>>HASKINS: You could spoil it easy.>>HOGGETT: It would be forgotten about. We’d have been rinsed. It would have been quietly, to where nobody remembered it. ♪♪ ♪♪>>HASKINS: From New York City, this is “Theater Talk.” I’m Susan Haskins, and with me this week is my guest co-host Gordon Cox, Theater Editor of Variety. Welcome, Gordon. And this week our focus is “Harry Potter and the Cursed Child,” the most anticipated play of the season. It was a smash hit in London, where it won nine Olivier Awards, and it has just opened on Broadway with the London production in tact. Our guests are the show’s co-creator and director, John Tiffany, and the movement director, Steven Hoggett. Both John and Steven are old hands at creating theater on Broadway. And they first made their mark here on Broadway with their 2011 Tony-winning show, “Once,” and have gone on to do so many things. So, we are taping this while this show is in rehearsals and previews, and I haven’t seen it. But I invited Gordon here, who went all the way to London last year, and knows the score. So, Gordon?>>COX: So, John and Steven, as I understand it, this project came about when the producers, Sonia Friedman and Colin Callender, approached J.K. Rowling, who’d been sort of besieged with offers to create the next chapter of “Harry Potter,” whatever that is. Convinced her to do it, and then you were brought on board on the project? I know that you were sort of at the top of their wish list for people they wanted to work with.>>TIFFANY: Well, that’s what they tell me. [ Laughs ]>>COX: Well, yeah. Exactly.>>TIFFANY: Well, actually, Joe had been approached about adapting –>>This is Jo Rowling.>>Yeah, yeah. Sorry, guys. Jo. J.K. Rowling. Yeah.>>COX: She’s “Jo” to her fans.>>TIFFANY: She’d been approached about adapting the books as musicals, and she just said no to all of it — or as stadium shows or as kind of theme-park events. And she said no to everything. And then Sonia and Colin had approached her, met with her in Edinburgh, and they’d kind of got her into conversation about Harry as an adult, and how do you deal with the fact that, for 11 years, you didn’t know that anyone loved you and that you were orphan and you had a horrible, horrible life, and how that kind of affects you when you become an adult. And at that point, they brought me on. And I think originally they were imagining something a bit smaller than we’ve currently got now, with 40 actors.>>HOGGETT: The whole to-do.>>TIFFANY: Yeah, two parts and a purpose-built theater. But I started to talk about how we might move the story on.>>HASKINS: And the writer…?>>TIFFANY: Jack Thorne.>>HASKINS: Jack Thorne.>>TIFFANY: Yeah. Jack and Steven came on board immediately, and we started to talk about actually starting from where the last book ends, which is a chapter called “19 Years Later,” the epilogue where Harry and Ginny are at the Hogwarts Express, about to send their middle child, Albus Severus Potter, to Hogwarts for the first time. So we thought that we would start there and then move on.>>HASKINS: So when did you start in on these meetings between Jack and John and Jo?>>HOGGETT: I was actually here in New York when John rang me. I was working on “Rocky” at the time. I was in tech, and it was dark. And I was cold. It was freezing. And I was a bit glum, and John said, “I’ve been asked to work on ‘Harry Potter.’ What do you think about it?” I said the word “yes” before the sentence ended. [ Laughter ] And then I realized that John was, “Okay. Let’s,” and he put the phone down. And I suddenly was like, “Ooh. What have I just thrown him at?” So, I remember doing a very quick watch of the films again. And it was about six months later, towards the end of the year, and you’d already started to talk to Jack about some of the things in the plot. And then we had a workshop. That was 2013. So it wasn’t until 2014 that we got some workshop time.>>TIFFANY: Yeah.>>HOGGETT: And some space to start making material.>>COX: Were you fans before this? How well did you know the books and/or movies?>>HOGGETT: I thought I was a fan. Until the fans turned up.>>COX: [ Laughs ]>>TIFFANY: Yeah. Yeah.>>HOGGETT: ‘Cause the fans are devotional, and I do not count myself as being as knowledgeable as any of those.>>TIFFANY: I think you had to be of a particular age, didn’t you? If you were 11 when that first book came out — and, you know, which 11-year-old doesn’t think that they’re leading the wrong life, and don’t want a letter to come from an owl to tell them they really should be going to Scotland to train to be a wizard or a witch, you know? But we were just a little bit older, a couple of years…>>HOGGETT: Yeah, just one or two.>>TIFFANY: …when the first book came out. But I’d actually met Jo when — My first-ever job was in Edinburgh, at the Traverse Theatre, which is a new writing theater there. And I was an assistant director. And the Traverse was one of the first places in Edinburgh to sell cappuccinos. And so it had a brilliant café, and I was in there quite a lot meeting actors and writers. And I kept seeing this woman with a pram that sat writing, and we got to saying hello to each other –>>COX: No. No, I don’t believe that. Is that true?>>TIFFANY: Honestly. Totally true.>>COX: [ Laughs ]>>TIFFANY: Got to saying hello to each other. She would sit with a cappuccino for like three hours, writing, as it turned out, “Harry Potter and the Philoso– Sorcerer’s Stone,” here. And then I realized, about 18 months later, when the first book came out, that it had been J.K. Rowling.>>HASKINS: Well, when you met her, did she tell you what she was doing?>>TIFFANY: No, no. Actually, now and again she’d say, “Do you mind if I…?” I was like, “No, no, no.” I thought — yeah. I was worried she was writing a play, a terrible play that she would try and make us put on. [ Laughs ]>>HASKINS: Well, did she strike you, in those conversations, as this extraordinary mind? Or you were just taken…?>>TIFFANY: I mean, it was just literally a greeting, and I would just say, “You’re absolutely fine. You stay there as long as you want.” She wrote that first book in three cafés in rotation.>>COX: So “Harry Potter” wouldn’t have happened without you, is what you like to say. [ Laughter ]>>COX: I think that’s right. Yeah, exactly.>>HOGGETT: Couldn’t have wrote it without a cappuccino.>>TIFFANY: I think she’d have written it anyway. [ Laughter ] And so when we met again in 2014 and she recognized me — obviously I knew who she was — but she went, “Oh, we’ve met before, haven’t we?” And I kind of recapped the story, and she was like, “Oh, okay.” So that was a lovely way in.>>HASKINS: In the description of — you’re working together with Jack Thorne and J.K. Rowling on this story — you say, “Well, we just let our imaginations run wild. We just let it go wherever it went.” Then you came — Were there places in the script where you went, “How are we going to realize that?” Or were you just good with everything?>>HOGGETT: No, most of it was, “How are we going to do that?” Most of it was, I think. But in some ways — I think certainly the way that Jack has confidence, certainly, in John’s vision of things, and the way that I might implement performers. I mean, John, you kind of just said, “Jack, just write. Go for anything.” And as a trio, when they came back with that first — Actually, was it the first 20 pages that came first?>>TIFFANY: Yeah, yeah, yeah.>>HOGGETT: The first 20 pages came across. And just from the get-go, you just knew it would be incredibly challenging. But I had never seen something like that onstage before.>>HASKINS: But did you feel like, “I can do it”?>>HOGGETT: No. [ Haskins laughs ] Abject failure, first of all.>>HASKINS: Really? Yeah.>>HOGGETT: I think so. But also, I think, because the theatricality of it was so difficult, I will say that it saved us from ever really worrying about whether we were dealing with Harry Po– It was so — That fear was so large and prominent, as theater-makers. I genuinely think that we forgot that it was “Harry Potter,” that it was this massive filmic event and this huge literary kind of canon. It slight got put on the back burner because we had too many things to worry about on our page.>>HASKINS: What was your biggest worry?>>HOGGETT: That it wouldn’t be magical.>>TIFFANY: Yeah.>>HOGGETT: And that we’d have to resort to something other than theater. We said from the get-go that the reason why we decided a yes on this is because we had a vision in our heads where theater did it best. And that’s something that’s hard to make people believe, that that’s a true comment or statement.>>HASKINS: So, what would theater do best?>>HOGGETT: The light — yeah.>>TIFFANY: Everything. [ Laughter ]>>HASKINS: Are there projections?>>TIFFANY: Video, no. Not as — no. Not that you would know.>>HOGGETT: So there’s no kind of big CGI attempt or anything. It’s all very low-fi. It’s theater. It’s principle. Back to basics.>>HASKINS: But, now, you have people flying, am I correct?>>TIFFANY: Uh, maybe.>>HASKINS: All right. You see, I can’t give away spoilers because I don’t know them. But, now, what did you find particularly magical? No spoilers, please.>>COX: You know, actually, what I found magical… First of all, there’s one really cool effect, that I’ll tell you about after this, that was my favorite thing, and you proceeded to do it over and over, and it made me happy every time. But what I actually found most magical was, because you concentrated on making it so theatrical, I felt like there were moments — My favorite moment is this entirely wordless — I don’t even know how it’s notated in the script — sequence that you guys call the staircase ballet, that is a really beautiful piece of theatrical storytelling. And it could only exist in theater. There is no other medium in which that story could be told in that exact way. And it feels… It’s really struck me as the kind of show, the kind of moment where at least one kid in that audience is gonna sit up and go, “Wait a minute. Theater can do this?” And maybe want to see some more.>>TIFFANY: Yeah. I mean, it kind of comes out of me and Steven and Jack working together, and Christine Jones, the designer on “Let the Right One In,” as well. We’ve known each other for a long time.>>COX: Which is another unlikely story to adapt into theater. That’s about vampires. Child vampires, in fact. [ Laughter ] One child vampire.>>TIFFANY: And there was a sequence in that where — Basically, it’s the falling-in-love sequence, where Oscar, the bullied boy, and Eli, the vampire, and it’s where they run around the stage between silver birch trees, kind of swapping and grabbing off each other foam bananas, don’t they?>>HOGGETT: Mm.>>TIFFANY: And it’s Jack’s favorite moment in the whole show. And so when it came to this particular sequence, where things are — the relationship is in a dark place for Albus and Scorpius, who are the next generation two main characters. We thought that we’d give that a go. I mean, it also kind of taps into the fact that, you know, how do you put Hogwarts onstage? Because it is a magical place, as Steven said. But we could smell something, couldn’t we, about suitcases, cloaks, and staircases…>>HOGGETT: Staircases. Yeah.>>TIFFANY: …that we just thought was very, very, very theatrical.>>COX: The visual vocabulary is very sparse, we should say.>>TIFFANY: Yeah. I mean, tell the crew that.>>COX: Well, exactly. It’s actually quite a lot.>>HOGGETT: Check the budget.>>COX: But it’s kept to a very minimal kind of palette, I guess.>>TIFFANY: That’s right, yeah. Because, I mean, you know, theater is all about suggestion and imagination and all those things. So I knew that Steven would have great fun with creating Hogwarts out of staircases that would be manipulated by actors. And you did, didn’t you?>>HOGGETT: But that scene in particular, it was a scripted scene to start with.>>TIFFANY: Yeah.>>COX: With lines?>>HOGGETT: Yeah. Both the boys were speaking during it. And I think it is that thing where, if you’re working with a writer, and John is the director, and with Christine, and we just sit there, and we’d watch it. And Jack was the person who took away a few lines after a few runs of it. And then he took away a few more. And then John and I just waited, and he was shown it a few more times, and it is that beautiful thing where he just said, “Let’s get rid of all the lines.” And it’s not like I thought that would happen, or John put it in place so that that would be the event in the end. It was just, the lines might have stayed, but they weren’t necessary. And Jack as a writer is not gonna let a line stand in the way of storytelling. That’s not an oxymoron.>>HASKINS: That’s very generous.>>HOGGETT: Well, yeah. But also he gave us those lines, with which John and I then started to build a sequence onstage that’s a visual, physical sequence. So, you can talk about it till the cows come home, but ultimately it’s like a cyclical event that just — In the end, there’s a version that sits in front of an audience.>>HASKINS: Going back to your producers, Sonia Friedman and Colin Callender, who initiated this project, did they put any restrictions on you? Did they say, “Now, we really need this,” or, “We don’t need that”?>>COX: Or did J.K. Rowling?>>HASKINS: Yeah, but she was there in the room when they were…>>TIFFANY: No, all they did was liberate us, all of them. I mean, Jo and Jack and I, we spent probably about a year developing the story. But alongside that, we were doing kind of development workshops, weren’t we, for how we would develop the language, for how we would — you know, with suitcases and cloaks and staircases, et cetera, for how we might start to put the Harry Potter-verse onstage. And it was actually Colin and Sonia who, when Jack and I and Jo, we had the idea for how part one ends, which is quite a cliffhanger. But obviously I won’t tell it. When we had the idea and we realized we weren’t going to be able to get to that point within an hour and a quarter or something, I remember being in a café in London, and Sonia and Colin said — which is kind of amazing for producers, knowing that they would have to deal with this — went, “Why don’t you do it in two parts?”>>HASKINS: Oh.>>TIFFANY: Which is a nightmare for them. But we just went, “Yes!” [ Laughter ]>>HASKINS: It’s a nightmare for them in terms of booking and all these –>>TIFFANY: It’s just an audience, they’re not used to — Booking. The booking system.>>HASKINS: I mean, you get more money, but…>>TIFFANY: Well, yes. Well, you know, you can only do eight shows a week, still.>>HASKINS: Very true.>>TIFFANY: So you do four of each part. So, I mean, ultimately — But you also have the headache of, you know, Can people buy tickets for individual parts? Are audiences going to devote from 2:00 to 10:30? Are they going to be happy to devote that time to a piece of theater when they’re used to two and a half hours? All those things. But, you know, we were really excited by that, because it felt like we were really, really creating an event.>>HASKINS: So, speaking of audiences paying for tickets, you did an incredible initiative in London to bring in a wider range of audiences, some at prices that they could afford, and you’re doing that here. Can you tell us a little bit about that?>>TIFFANY: Yeah, I mean, we were very, very aware, weren’t we, from the start that this was an audience who were used to paying $20 for a book or a cinema ticket. And so paying $100 was going to be a shock to them. And so we wanted to make sure that those people, that they had access to the show. And something like between 65% and 70% of our audiences so far in London — and I think it’s the same here — have been first-time theatergoers. So, and i think that is in part due to the fact that you can see both parts for $40.>>HASKINS: It’s 300 tickets a performance.>>TIFFANY: 300 tickets. And also, then, there are 40 seats per show that go in a lottery every Friday, the Friday 40, also for $20 per part. So you can see five and a half hours of theater for $40. That’s 340 seats for every single show.>>HASKINS: Ah, we like that.>>TIFFANY: Yeah, we like that, too.>>HOGGETT: Yeah. A lot.>>COX: Was there ever any talk of making it a musical? Ever?>>HOGGETT: Sure. Some people still think that we’ve made one. [ Laughter ]>>TIFFANY: Yeah, they do.>>HOGGETT: It’s so strange. We’ve never, ever, ever declared it as anything other than a play. I would say that it operates a bit like a musical in the way that Jack and Jo and John have come to it as a script, and then just because of the way John and I do work, it kind of just rolls forward. There’s certain rhythms in it that are very much like you look at a musical. But the only thing I’ve ever heard — one person said, there’s a moment where Harry walks up the staircase with Hermione, and she said, “I thought for a horrible moment he was gonna break into song.” And I said, “I don’t know if that’s a compliment or not, but I’ll take it anyway. But, yes, I think it — Because it’s on Broadway, I guess, and it’s a big two-part thing. Does it herald itself as a musical? So we’re having to sort of defy people that. So there are no songs in this. There’s lots of music. So we’ve scored it like a musical, as well. Imogen Heap has created hours of this beautiful score, which has been amazing to work with that, as well as another palette for us to draw from. But, sadly, no songs. Well, not even sadly. There are no songs. It’s a play.>>COX: But it was never even a topic of discussion?>>TIFFANY: It would never have happened. Jo was very, very, very clear that she’d turned down every single offer about turning it into a musical. I think she just doesn’t like them. Which is all right. Which is fair enough, isn’t it.>>HOGGETT: But also, we wouldn’t do it if it was a musical, I don’t think.>>HASKINS: She hasn’t seen the right ones. But then, there’s plenty of wrong ones, so… [ Laughter ] Now, I read that you cast a fair amount of Shakespearean actors in this company.>>TIFFANY: Yeah.>>HASKINS: Going back to the use of the language. Why was that important?>>TIFFANY: Because it’s actually incredibly complex. The language is complex. What the characters are kind of dealing with is very, very complex. And I wanted it to have gravitas. You know, people do look at fantasy as a genre which is dismissed easily, when actually, when you look at Grimm’s tales, Aesop, Philip Pullman, C.S. Lewis — Actually, when fantasy works, it can get to the heart of human experience much, much deeper than realism and naturalism can. And J.K. Rowling certainly kind of knows that. But I wanted actors that could actually take us into that reality, even though sometimes they’re talking about pumpkin pasties and chocolate frogs and spells and things. Actually, what they’re talking about is the hell of living.>>HASKINS: Yeah.>>TIFFANY: And so Noma, Jamie, and Paul, who play Hermione, Harry, and Ron, they’re all very, very kind of renowned classical actors.>>HASKINS: I wanted to look back at the earlier days when you worked together. I first became aware of you — “Black Watch.”>>TIFFANY: That old thing. [ Laughter ]>>COX: Speaking of the Traverse Theatre, right? Isn’t that where that…?>>TIFFANY: It was in conjunction with the Traverse. It was in a drill hole in Edinburgh. But yeah, it was first run at Traverse.>>HASKINS: And then it came here to St. Ann’s Warehouse and just blew us all away, seeing this. Was that the first time you two had worked together?>>TIFFANY: No.>>HOGGETT: Well, it was only the second. We’d worked –>>TIFFANY: “Mercury Fur”?>>HOGGETT: We’d done “Mercury Fur.”>>TIFFANY: Third time.>>HOGGETT: Third. Yes.>>TIFFANY: “Straits,” “Mer–” Yeah. Third time. But the first time we’d been in a room for the whole rehearsal process together. ‘Cause Steven was always so busy, I could only get him for the odd day.>>HOGGETT: You were quite busy. You were quite busy. [ Laughter ] You weren’t short on hours.>>TIFFANY: No. But it was the first time we’d sat down and gone, “Okay, let’s create something” that we’ve got no idea what it’s going to be. As opposed to the written script, where you can kind of guess what — you know, you get a good sense of what it’s going to be. “Black Watch” was the first time. It was terrifying, wasn’t it?>>HOGGETT: It was, yeah.>>TIFFANY: About three weeks in, we were like, “What on Earth are we doing?”>>HOGGETT: Yeah.>>TIFFANY: “We’ve got no idea what this is.”>>HASKINS: And then at what point did you realize you were going to New York?>>HOGGETT: Well, it wasn’t in Edinburgh, ’cause we were told it was never gonna tour.>>HASKINS: Right.>>HOGGETT: That was very explicit. So as a creative team, it was like, “Go for your lives.” It’s unfathomably expensive. “This will never tour. It’s gonna play three weeks in a drill hole. Go for it.>>HASKINS: Uh-huh.>>HOGGETT: So, when it got the New York date, it was well after it closed in Edinburgh.>>TIFFANY: Yeah. Although that first preview, do you remember?>>HOGGETT: Yeah.>>TIFFANY: We kind of went, “Ooh,” because the audience — Because we did it in Traverse, which is like the Edinburgh Tattoo, which had been to Edinburgh Castle every year during the Edinburgh Festival, where the audience sit in two seating banks, and down the middle parade military companies, bands, armies, et cetera. And so I’d see that, so that’s what I wanted to create so that we told our story in the middle of two seating banks. Which is why it was so unwieldy, wasn’t it.>>HOGGETT: Yeah.>>TIFFANY: But I remember sitting there with Steven and just watching the people, and just stand up and feeling like, “Oh, wow. This isn’t ours anymore.”>>HOGGETT: Yeah.>>TIFFANY: Which is a lovely feeling.>>HASKINS: Yeah. Now you’re Broadway regulars. So at what point, then — Was it with that, or with “Once,” that you started to feel that Broadway was going to bring you into their fold? You’d kind of made it as Broadway artists.>>HOGGETT: I don’t think anybody ever feels like they’re a Broadway artist full out. I mean, I always think, like most people, you might get a tap on the shoulder and told your time’s up, and you’ve done very well.>>HASKINS: [ Chuckles ]>>HOGGETT: Genuinely.>>TIFFANY: Or not very well.>>HOGGETT: Or, yeah, in some instances, not very well. I mean, it’s very odd for us. I was… In lots of ways, there’s a career here, and there’s a career in the U.K., which is — My point in life an absolute — you know, “What a charmed life.” It really is incredible. But I don’t ever feel like you can play to Broadway in some respects. And I think you can see certain shows try to arrive here as a Broadway show and — you know, how many of them, really? But I don’t know if we put our head above the parapet for long enough. I don’t think we’ve spent enough time outside of a rehearsal room. We’re very lucky to work regularly and often. I’m one of the worst people to talk about their college year of theater and Broadway, because I just don’t really have — For the most part, I don’t have a sense of –>>HASKINS: Well, that’s probably a better thing.>>HOGGETT: I think it does help to a degree. I think it does help us, certainly in rehearsal rooms. We’re responsible to a certain kind of vision of a piece of art. And we have amazing producers on “Harry Potter,” and they’ve looked beyond our rehearsal room. But we had enough of a problem just getting that thing on its feet. So the fact that it’s here on Broadway is spectacular, and genuinely, hand on heart, the pair of us would still say it was a surprise that something this big landed here. So there’s nothing, inevitably, in our minds, so I don’t really think we have a very accurate or a very good sense of what it is to be.>>HASKINS: Do you think there was something inevitable in your producers’ minds?>>TIFFANY: About it going to Broadway?>>HASKINS: Yes, and –>>TIFFANY: I think that was the hope.>>HASKINS: And also that they’re taking on a brand — excuse that word. Excuse that vulgar word. But that they’re taking a brand which is already a theme park and making it legitimate theater. But still, you’d think there would be high hopes there.>>HOGGETT: Yeah, but you have to remember that it’s an incredibly precious event, “Harry Potter,” and if we’ve got it wrong, you can’t put lights around it and then hopefully push it up. It would have just died.>>HASKINS: You could spoil it easy.>>TIFFANY: We’d have been rinsed.>>HOGGETT: It would be forgotten about. Yeah, we’d have been rinsed. It would have been quietly, to where nobody remembered it.>>HASKINS: Well, it’d be “Harry Potter went too far.”>>HOGGETT: Well, it’d be the thing you don’t put on your CV.>>HASKINS: [ Laughs ]>>HOGGETT: You know? So I think the producers, until the show opened, they did all they could to make us as a creative team make the best version possible for the sake of the piece.>>HASKINS: For the sake of the work.>>TIFFANY: I had three very kind of distinct groups that I really, really was determined not to let down…>>HASKINS: Okay.>>TIFFANY: …when I agreed to do this. The first one was Jo herself, because she trusted us with the next story in the most successful and popular literary franchise of all time, and the next chapter, she allows to be a stage play for the first time is kind of incredible. So that’s a real honor and privilege that we had. The second group was the fans, because I became very — As Steven said, you meet them very quickly, and it’s very clear that this means everything to them in some ways. If you’ve cleaved to “Harry Potter” when you were 11, and all through your teenage years, then it’s part of your makeup. It’s part of your soul in some ways. So you can’t let them down. And the third group was theater as a — you know, that we were taking “Harry Potter” — we’ve read the books. We’ve seen the films — and we were putting it into our beloved art form and telling the story there. And as Steven said, we wanted it to be magical, but also I just didn’t want to make “Harry Potter” boring, or allow theater to make “Harry Potter” boring by not having the ambition, by not having the scope of the story, by not having the epic kind of sweep. Because I believe theater can do anything as long as the audience are connected in the right way. And so I was very, very aware all through that there were those three groups that I really, really — That were very precious to me.>>COX: Can I ask, for the, say, habitual theatergoers who maybe are not as familiar with “Harry Potter,” what is your advice to people coming to see the show? How much of the “Harry Potter” story do they need to know going in?>>HOGGETT: I can say this. I’ve sent people to the show before, and I’ve told them to read the synopsis of the fourth film or the fourth book, and that tended to be enough.>>TIFFANY: That’s quite useful.>>HASKINS: But if they haven’t, are they gonna be okay?>>COX: What about the origin story? Don’t you feel like they need to know the origin story of…?>>TIFFANY: That too.>>COX: …the Boy Who Lived, I guess is what I mean.>>TIFFANY: Exactly. We explore that quite kind of deeply through Harry’s scenes, because that’s what he’s kind of dealing with. But I mean — I’m told by people that have never, ever read a word of “Harry Potter” that actually we tell you enough that you can dive into it okay, but yeah.>>HASKINS: So, you can do your “Harry Potter” homework or you can just go in cold.>>HOGGETT: Totally.>>HASKINS: But audiences have embraced this show. As I said, nine Oliviers in London, and now it’s such a wonderful hit here in New York. It’s such a pleasure to have you here, John Tiffany, Steven Hoggett. And thank you, Gordon Cox.>>COX: Thank you, Susan. Thanks, gentlemen.>>HASKINS: All right.>>COX: Thank you guys.>>HASKINS: Our thanks to Friends of “Theater Talk” for their significant contribution to this production.>>ANNOUNCER: We welcome your questions or comments for “Theater Talk.” Thank you.

Leave a Reply

Your email address will not be published. Required fields are marked *