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
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
Broadway box office was back on earth last week following the previous week’s unusual double-holiday surge, when both Christmas and New Year’s Eve fell within the same theatrical window. For the week ending January 7, Broadway’s 26 productions grossed a total $29,681,396, a 35% drop from the previous week‘s $45,413,789. Attendance was down about 14%
A double-holiday week on Broadway – the final week of 2023 – saw a surge in box office, with many shows posting record numbers. Winner of the week? Disney’s The Lion King, which grossed a massive $4,316,629, not only setting a house record at the Minskoff but a Broadway record for the highest single-week gross
Broadway held steady as it continued through the holiday season, with a total gross of $30,723,247 for the 26 productions up a small 4% from the previous week, and attendance of 227,099 up about the same percentage. Year over year, though, the news isn’t quite so cheery. The $30.7M weekly figure is about 17% lower
Broadway box office and ticket prices fell back to earth last week following the previous week’s Thanksgiving holiday-inflated numbers, with the total gross for the 26 productions dropping 14% to a combined $29,568,897. The average ticket price for the week ending Dec. 3 was $134.70, down $16.19, or 11%, from the holiday week’s average. Total
Thanksgiving proved plentiful for Broadway last week, with box office – and ticket prices – up by nearly 30% over the previous week. With tourists packing New York City, theatergoers splurging on higher priced holiday seats and the annual Macy’s Thanksgiving Day Parade trumpeting Broadway’s bounty, the 26 shows on the boards grossed a combined
Broadway box office took a 7% slide in the week before the Thanksgiving holiday, with the 29 shows settling in at a total $27,060,113 in receipts. Attendance for the week ending Nov. 19 was 228,423, about 86% of capacity and a slip of 3% from the previous week. The attendance figure is 12% lower than
Broadway began its trek into the lucrative holiday season last week at a steady clip, with the 28 shows grossing a total of $29,163,440 for the week ending November 12. That’s up about 10% over the previous week, though down about the same percentage from last year at this time. Last year’s take at this
Broadway box office held fairly steady heading into trick or treat season, with receipts for the week ending Oct. 29 at $26,480,578 (about 6% down from the previous week) and attendance at 218,581 (a slip of just 3%). Staying strong was Merrily We Roll Along, enjoying another sell-out week, with the roster’s top average ticket
Broadway box office held steady last week with total grosses for 28 shows tallying up to $28,106,860, with 224,832 ticket buyers paying an average $125.01 per seat. A healthy chunk of those total numbers were contributed by such recent arrivals as Merrily We Roll Along (grossing, for its sold-out week ending Oct. 22, $1,820,753, another
Merrily We Roll Along, the Sondheim revival starring Daniel Radcliffe, Jonathan Groff and Lindsay Mendez, cemented its place among Broadway’s top earners during its opening week, grossing $1,706,962, filling all seats at the Hudson and securing the highest average ticket price with $220.88. The figures for the week ending Oct. 15 saw only four productions
Broadway‘s starry Merrily We Roll Along revival had another strong run of previews last week, grossing a hefty $1,471,644 and setting another house record at the Hudson Theatre. The Stephen Sondheim-George Furth musical starring Daniel Radcliffe, Jonathan Groff and Lindsay Mendez topped the venue’s previous seven-performance record of $1,431,543, held by David Byrne’s American Utopia.
Merrily We Roll Along, the new Broadway revival of the Sondheim classic musical starring Daniel Radcliffe, Jonathan Groff and Lindsay Mendez, broke the six-performance house record at the Hudson Theatre with a $1.3 million gross in its first week of previews. Filling every seat in the venue, the revival carried an eye-popping average ticket price
A trio of new shows joined Broadway last week to mostly decent box office figures as the fall season begins to take shape. Most impressive was Gutenberg! The Musical! starring Josh Gad and Andrew Rannells under the direction of Alex Timbers. For the first three previews of its run, the musical filled 96% of seats
With Funny Girl off the boards last week and the impact of the 2-for-1 ticket prices of the Broadway Week promotion, Broadway box office receipts for the week ending Sept. 10 took an 18% tumble from the previous week, settling in at $21,334,228. Gone from the roster was Funny Girl and its $2 million-plus contributions
Lea Michele treated the final-night audience of Broadway’s Funny Girl to an extra song Sunday, performing “My Man,” popularized by Fanny Brice in 1921 but not included in the musical’s original score. Michele performed the song – omitting, as did Barbra Streisand in the 1968 film version, the infamous “he beats me too” introductory verse
Good Night, Oscar, the Oscar Levant bio-play starring Sean Hayes, and El Mago Pop, the Broadway debut of Spanish illusionist Antonio Díaz, ended their limited Broadway engagements on upswings last week, with the former selling out for its best week take of $1,147,057 and the magician conjuring a big $2,717,000 to break the house record
Parade, winner of this year’s Tony Award for Best Musical Revival, ended its Broadway run on a very high note Sunday, grossing a big $1,814,013 and selling out its special nine-performance week. That’s a house record for the Jacobs Theatre. The Jason Robert Brown-Alfred Uhry musical was among the top earners on Broadway for the
Box office for most Broadway shows last week wilted a bit as June’s Tony glow gave way to plain old New York summer heat, though a couple newcomers were among the handful bucking the downward trend, one very impressively so. In its second week of previews, Back To The Future: The Musical grossed a whopping