Sunset Blvd. had its best box office numbers yet last week, while Maybe Happy Ending showed some welcome improvement and both Elf and A Wonderful World opened to houses with 90% of seats filled. The pre-holiday news wasn’t quite so cheery for all of Broadway though, as no fewer than 26 of the 37 productions
Broadway Box Office
Broadway‘s hit musical revival Sunset Blvd. stayed strong last week amidst the controversy surrounding star Nicole Scherzinger’s social media post interpreted (or rather misinterpreted) by many as an endorsement of Donald Trump. The latest Broadway grosses (for the week ending November 10) indicate that Sunset Blvd. was up $134,498 over the previous week. With attendance
Death Becomes Her, the new musical adaptation of the 1992 comedy fantasy film, worked up some Broadway magic in its second week since beginning performances at the Lunt-Fontanne, grossing an impressive $1,073,018 for seven previews and filling 98% of the venue’s seats. The musical, starring Megan Hilty, Jennifer Simard, Christopher Sieber and Michelle Williams, was by far
The strong (well, some of them) got stronger on Broadway last week even as the overall box office trended slightly downward, with 28 productions on the 36-show roster reporting receipt dips. In all, the 36 shows grossed $33,921,069 for the week ending October 27, about 2 percent lower than the previous week’s 35-show roster. Total
Sunset Blvd. and Romeo + Juliet added some major heft to Broadway’s autumn box office last week, with the ecstatically reviewed Blvd. grossing $1,211,699 even with press comps during its opening week, and R+J, selling out its eight previews at Circle in the Square, taking $1,056,775. R+J, starring starring Kit Connor and Rachel Zegler, opens
New York’s July heat wave is doing nothing to wilt the prospects of some recent Broadway arrivals, with four spring-summer arrivals filling each and every seat at their respective venues last week: Oh, Mary!, The Outsiders, Stereophonic and Hell’s Kitchen were sell-outs for the week ending July 14. Long-runners Hadestown and Hamilton were SRO, as
Merrily We Roll Along, the Tony-winning mega-hit musical revival starring Jonathan Groff, Daniel Radcliffe and Lindsay Mendez, went out on a very high note last week, selling out with a $2,766,127 weekly gross that the production hails as the biggest ever for a Stephen Sondheim musical on Broadway. Meanwhile, on its way to this Thursday’s
Broadway continued settling in to its post-Tonys summer last week, with box office for most shows slipping at least a bit from the previous week and the total roster trimmed to 30 from 32. In all, receipts for the 30 productions totaled $34,783,390, down about 7% from the previous week (one of the shows no
A double-digit slip in the Nielsen ratings notwithstanding, the Tony Awards worked their magic at the box office, with this year’s winners, contenders and show-stealers reporting big increases in attendance and receipts. Just a few examples: An Enemy of the People, Merrily We Roll Along and Stereophonic posted box office gains in the six figures.
For those keeping track of such things, nearly 10% – or $3,239,838 – of Broadway‘s total $36.8 million box office last week was earned by productions directed by Taymors: The Lion King‘s Julie Taymor and her niece, The Outsiders director Danya Taymor. And that’s before The Outsiders‘ big Tony-winning night on Sunday. Two of the
Broadway is heading into its final pre-Tony weeks doing robust business, with box office for last week up 7% over the previous week, nine shows selling out (including the two most-nominated productions) and ticket-buyers for two nominated musicals shelling out more than an average $200 per seat. In all, the 35 shows grossed a total
Broadway box office held fairly steady as the industry settled into a post-Memorial Day summer, with most productions reporting some slippage from the holiday traffic highs. In all, the 35 productions grossed $33,662,845 for the week ending June 2, down about 5% from the previous week (but up 8% over last year at this time).
Broadway box office was down just a bit last week, about 3%, with the first week of the 2024-2025 season reporting a total gross of $35,295,405 for 34 productions. Total attendance was off just shy of 2% from the previous week, settling at 287,246. The total attendance figure for the week ending May 26 indicates
Attendance for Broadway‘s just-ended 2023-2024 season held roughly steady with last year even as it remains nearly 17% below pre-pandemic levels, according to box office figures released today by the Broadway League. The year-end stats indicate that the 71 Broadway productions on the boards from May 22, 2023, to May 19, 2024, grossed a combined
Broadway‘s spring roster seemed to settle into a Tony season box office ranking, with the strongest of the newcomers maintaining their draws and the weakest continuing downward slides. In that first category were repeat sell-outs An Enemy of the People, Cabaret at the Kit Kat Club and Hell’s Kitchen, with both The Outsiders and Stereophonic
The great Broadway Crunch of Spring 2024, when 18 new productions opened between mid-March and late April – 19 if you count the commercial transfer of Appropriate – seems to be showing early signs of the inevitable shake-out, with one show (Lempicka) closing soon and a few others already playing to houses with attendance at
Broadway‘s busy, busy spring of new shows came to an end today with this morning’s Tony nominations announcement, and while the impact, if any, of the nominations won’t be felt at the box office for a while, there were some indications last week about how things could pan out. The Great Gatsby, for example, starring
A very busy Broadway held its own last week, with 36 productions pulling in a combined $34,650,614, a good 10% increase over last year at this time. About 92% of all available seats were occupied, with total attendance of 299,107 about 15% greater year-over-year. No fewer than five shows opening during the week ending April
Broadway‘s spring newcomers continued pulling in the city’s tastemakers, tourists and the merely curious last week, with overall box office down about 10% from the previous week but most new shows filling at least 90% of their seats. Topping the newcomers was Cabaret with Eddie Redmayne as the Emcee (full title of the revival: Cabaret
Broadway box office soared last week, as five productions joined the roster, one returned and no fewer than 30 of the 32 shows saw attendance at 90% of capacity or more. Twenty productions were sell-outs. A raft of recent arrivals were among the strong box office performers, with The Outsiders, The Wiz, Suffs, Hell’s Kitchen
Broadway’s first salvo of spring newcomers was more than holding its own last week, with recent arrivals drawing strong audiences. Two shows had their opening nights during the week ending March 24, with An Enemy of the People, starring Jeremy Strong, Michael Imperioli and Victoria Pedretti, playing to standing room only crowds at Circle in
Broadway‘s insanely busy spring doesn’t really kick into full gear until next month when 14 new shows have their official openings, but with March as a sort of sign of things to come – five shows have opened or will soon this month – box office was strong last week. In all, the 25 productions
A slate of Broadway newcomers drew strong audience figures last week, with several – An Enemy of the People, The Notebook and The Who’s Tommy filling every seat and then some. Of the recent late-winter/early-spring arrivals, An Enemy of the People, the Ibsen revival starring Jeremy Strong, Michael Imperioli and Victoria Pedretti, was the top
An Enemy of the People, director Sam Gold’s Broadway revival of the Ibsen classic starring Jeremy Strong and Michael Imperioli, is off to a great start, grossing more than $1M last week and playing to stand-room-only crowds. In its first week of seven previews, Enemy grossed $1,005,141, filling 103.16% of seating capacity at Circle in
The Presidents Day Weekend was like a little Christmas gift for Broadway, with grosses for the 23 productions posting a hefty 27% increase over the previous week, topping out at $26,946,864. More than 94% of available seats were filled during the week ending February 18, with total attendance at 201,227, a modest 7% bump over
Winter had a chilling effect on Broadway last week, with most shows reporting at least some downturn at the box office and overall receipts dropping nearly 10% from the previous week. In all, box office for the 24 productions totaled $21,192,251 for the week ending February 11, with attendance of 187,573 down about 12% from
Broadway said goodbye last week to two well-regarded but underperforming productions, with both Harmony and Purlie Victorious: A Non-Confederate Romp Through the Cotton Patch posting better-than-usual weekly box office as last-chancers grabbed seats. Harmony, the Barry Manilow-Bruce Sussman musical about the real-life 1920s German singing group the Comedian Harmonists, filled a robust 99% of seats
Broadway box office held fairly steady last week, with Sweeney Todd‘s post-Groban slide at least partially offset by gains from most other shows. In all, the 25 productions grossed $24,615,726 for the week ending January 28, about 4% greater than the previous week. Attendance was up about 5% to 217,847. Box office for Sweeney, which
Broadway box office took a slide last week as receipts for Sweeney Todd fell by more than $1 million with the departures of Josh Groban and Annaleigh Ashford (and before the February 9 arrival of big-name replacements Aaron Tveit and Sutton Foster). Overall, box office for the 25 Broadway productions was off by 15% from
Winter doldrums and a closing night be damned: Shucked just had a very good week, with news of a planned movie adaptation and its best-ever Broadway gross of $1,111,038. The Brandy Clark-Shane McAnally-Robert Horn musical, which opened March 8, played its final Broadway performance on January 14 after 28 previews and 327 regular performances. The
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