It’s a huge bet in a flop-prone industry, but a seemingly safe one, predicated on the expectation that “Cursed Child” will become a big hit on Broadway, a long-running production that can spin off profits for years.

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NEW YORK — The Harry Potter economy is filled with jaw-dropping numbers, including 500 million books sold and $7.7 billion in worldwide film grosses.

Here’s another one: “Harry Potter and the Cursed Child,” a two-part drama now in previews and opening April 22, cost about $68.5 million to bring to Broadway, including $35.5 million to capitalize the show — more than for any other nonmusical play in history — and $33 million more to clear out and redo the theater.

It’s a huge bet in a flop-prone industry, but a seemingly safe one, predicated on the expectation that “Cursed Child” will become a big hit on Broadway, a long-running production that can spin off profits for years.

“That’s a ton of money, no question about it, in terms of what things cost around here. But it’s Harry Potter, one of the most popular brands in the history of brands,” said Tom Viertel, executive director of the Commercial Theater Institute. “It has a title the likes of which we would rarely, if ever, get to see on Broadway.”

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Even in previews, as the cast finds its footing and the creative team makes adjustments, the show is setting box-office records. Potter fans have been filling up the Lyric, one of Broadway’s largest theaters, and the $2.1 million the play took in during the first week of April was more than any play had previously grossed in a single week.

The record-setting $35.5 million capitalization — the amount raised from producers and investors to pay an unusually large cast and crew, rehearse an unusually long show and build an unusually elaborate production — was disclosed in a filing with the Securities and Exchange Commission. By comparison, most nonmusical plays on Broadway are between $3 million and $5 million, and even the splashiest musicals rarely top more than $25 million.

The capitalization is only a portion of what it took to pave the way for “Cursed Child” to get to Broadway.

The Ambassador Theater Group, the British theater giant that operates the Lyric, spent about $23 million to persuade its previous occupant, Cirque du Soleil, to shutter its “Paramour” musical and make way for “Cursed Child,” according to two people with knowledge of the transaction.

Ambassador, which competed with other Broadway landlords to woo “Cursed Child,” overhauled the Lyric at the behest of the play’s producers. A charmless barn of a theater (previously home to a series of flops, including the $75 million musical “Spider-Man: Turn Off the Dark”), it was reconfigured to feel more like an old-fashioned opera house, with a vaulted ceiling, a necklace of boxes, and 1,622 seats (down from 1,896). Even the entrance was relocated, from 42nd Street to the less dense 43rd Street.

The play, a two-part experience with a running time of more than five hours, is a sequel to the series of young-adult fantasy novels written by J.K. Rowling about a boy wizard. “Cursed Child” takes place 19 years after the final book, when Harry and his friends have become parents.

“Cursed Child” was written by Jack Thorne, based on a story by Thorne, Rowling and director John Tiffany. It was developed in Britain and has been sold out in London’s West End for 22 months, and last year it won a record nine Olivier awards — the British equivalent of the Tonys — including one for best play. A third production, in Melbourne, Australia, is scheduled to open next year.

Two of the lead producers, Sonia Friedman and Colin Callender, offered a tour of the renovated theater. Strolling through the theater, they showed off phoenix sconces and dragon lanterns and a lobby wall featuring prints of patronuses (silvery animal guardians).

Friedman, who has been vocal about the high cost of working on Broadway, said the play has cost significantly more to mount in New York than in London. Labor, marketing and theater rentals all tend to cost more in New York.

“I find the costs here difficult to comprehend,” Friedman said. “It’s a number I do not like.”

But she also said that particular aspects of “Cursed Child” make it expensive. A play in two parts required twice as much time to rehearse; the show’s elaborate illusions required significant substage mechanics and extra training. It took 16 weeks just to load the show’s set elements into the theater.

Investment documents filed with the New York attorney general’s office offer a rough breakdown of the capitalization, including $11.7 million for the physical production, $7.8 million for “general and administrative” costs, including the design and signage of the facade, $3.4 million for advertising and publicity and $3.2 million for salaries.

That money goes to pay a cast and crew that is much bigger than for most plays. According to Friedman and Callender, a shop crew of 220 people was assembled to build and install the scenery and lighting and costumes. The show has 40 actors, a stage crew of 26, some 16 people assigned to wardrobe and hair, and five stage managers.

“It’s very obvious where the money went — the whole theater has been transformed to fit the show, and the level of technical expertise is like nothing I’ve ever seen on Broadway,” said Jonathon Rosenthal, 38, an IT consultant who runs a Harry Potter meetup group and who saw the play on Broadway this month. “It looks like there is magic going on, on the stage.”

The Broadway production is already largely sold out through next March, although there are periodic releases of more tickets, including some low-priced ones every Friday. Each part of the show had a recent average ticket price of $164.83 and a top price of $286.50; 300 seats per performance cost $40 or less. The two parts can be seen on the same day or consecutive days.

Among the biggest beneficiaries will be Rowling. The investment papers do not detail her compensation, but say that the “underlying rights owner, licenser and their affiliates” — a group that includes Rowling — will initially receive 31 percent of the play’s net profits, and that cut will eventually rise to 41 percent as the show moves deeper into profitability. Rowling can profit from the play in other ways; she is the third lead producer, through her company Harry Potter Theatrical Productions.