每日跟讀#488 :How Much Magic Can ‘Harry Potter’ Make?


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每日跟讀#488 :How Much Magic Can ‘Harry Potter’ Make?

Joanne Kathleen Rowling looked slightly tense. She had just completed a television segment, alongside her collaborators on “Harry Potter and the Cursed Child,” the eighth — and the only theatrical — installment in her celebrated wizarding saga, which begins previews on March 16 at the Lyric Theater on Broadway. Now she had another interview to do.

Rowling is famously private. And crazily famous. Her Harry Potter novels have sold over 450 million copies since the first was published in 1997, spawning an empire that now encompasses movies, the spinoff “Fantastic Beasts” films, Harry Potter Wizarding World theme parks, and detective novels (written under a pseudonym) that have been made into a television series.



Like much else she touches, her first theatrical venture has been a smash. It earned rave reviews and sold-out houses in London, going on to win in a record-breaking nine categories at last year’s Olivier Awards, the British equivalent of the Tonys.

And yet Rowling, who started out as a struggling single mother, writing her first Harry Potter novel in Edinburgh cafes, seemed — despite an armor of smart wrap dress and high heels — determined to take absolutely nothing for granted.



“We see this as a new challenge,” she said, looking at John Tiffany, the show’s cheerful director, and Jack Thorne, its tall and gangly writer, who were seated with her backstage at the Palace Theater in the West End here. “Broadway is a scary place.”

Broadway is a scary place, with new productions — even those based on beloved titles — routinely failing to live up to their producers’ hopes and dreams. And “Cursed Child” confronts challenges in New York that it didn’t face when it opened here in July 2016 amid more mystery, excitement and anticipation than attends most presidential elections. (And what felt like just about as much media coverage.)


百老匯確是個可怕的地方,一些新的製作,即使是以深受喜愛作品為基礎的產品,往往仍無法符合製作人的期望和夢想。「被詛咒的孩子」在紐約面對的,是該劇2016年7月在此間搬上舞台時並未曾遭遇的挑戰, 當時伴隨該劇的神秘感、興奮感和期待都高於大多數總統選舉。 (感覺獲得的媒體報導也一樣多)。

Secrecy about the story line, collectively developed by Rowling, Thorne and Tiffany, fed a growing obsession with what the play would reveal about Harry and Company, and a #keepthesecret campaign encouraged a clublike camaraderie among the preview audiences.

But now that script has been published, reviews have been written and tweets have been tweeted, the plot — a coming-of-age trajectory for Harry’s second son, Albus — is out there. (According to Scholastic, the Potter publisher, the book version of “Cursed Child” has sold over 5 million copies in the United States.)

Unlike most family-oriented Broadway offerings, “Cursed Child” is a play, not a musical, and it will compete in the spring with Disney’s musical adaptation of the animated blockbuster “Frozen.”


不過,如今腳本已公諸於世,評論也已出爐,推文也已被發送,至於情節,哈利的二兒子阿不斯的成熟軌跡,已攤開在那裡。 (根據哈利波特出版商學者出版集團,「被詛咒的孩子」的印刷版已在美國銷售逾500萬本。)


文/Roslyn Sulcas 譯/王麗娟

Source article: https://udn.com/news/story/11320/3023975



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