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
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 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
Once Upon A One More Time, the revisionist fairy tale Broadway musical set to the hits of Britney Spears, continued its downward slide at the box office last week, with the latest figures suggesting the producers’ decision to close Sept. 3 was a smart one. For the week ending Aug. 20, the musical filled just
Air-conditioned Broadway held its own as New York City plunged ever deeper into a hot summer last week, with total box office receipts keeping steady at $31,520,593, a tiny increase of 2% over the previous week. Total attendance for the 30 Broadway productions was 257,204, consistent with the previous week but up nearly 15% over
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
Back To The Future: The Musical landed on Broadway last week in overdrive: The stage adaptation starring Casey Likes and Roger Bart scored a dizzying $1,035,256 for just four preview performances, filling 98% of seats at the Winter Garden. The musical, which opens August 3, features a book by Bob Gale and new music and
Broadway continued on its post-Tony glow last week, with the 32 productions grossing $34,004,232, about 3% more than the previous week and 10% over the same week last season. In all, attendance for the week ending June 25 was 270,206, 4% higher than the previous week and 18% over last year. This year’s Tony winners
Strong showings at the June 11 Tony Awards – both in terms of trophies and on-air performances – seem to have made an equally sturdy impact at the box office, with best musical Kimberly Akimbo and nominated & Juliet – posting their best numbers yet, and best play Leopoldstadt making significant gains over the previous
With the Tony Awards – and a seriously orange New York City sky – prompting some Broadway productions to reduce their playing schedules last week, total box office and attendance was down a bit, with the 33 shows taking in $30,961,479 for the week ending June 11. In all, four productions – Kimberly Akimbo, New
Broadway box office was down 6% last week – the second week of the 2023-24 season – with even some Tony-nominated productions taking noticeable hits. Camelot, New York, New York, Life of Pi, Fat Ham, Parade, Prima Facie and Shucked were among the productions reporting at least some box office slippage. In all, the 34
Broadway box office overall held steady last week, even as the recent Tony Award nominations already seemed to lose some of their power to boost ticket sales. Some shows with nominations saw declines at the box office, from Good Night, Oscar and Some Like It Hot to Leopoldstadt and New York, New York. For the
Broadway’s box office was up a bit during the final week of the 2022-23 season, with only a few productions reporting slips from the previous week, including two – Funny Girl and Grey House – that saw temporary declines due to Covid cases within their casts. Last week, Funny Girl announced that Lea Michele had
Broadway box office for the 2022-23 season – the first full season since the industry’s return from the Covid closure – reached $1,577,586,897, a big increase over the last two hard-hit seasons but still about 14% lower than the pre-pandemic high of $1.8 billion. Figures released today by the Broadway League indicate that total attendance
Tony nominations seem to have given a box office boost to at least some of Broadway’s shows, with Some Like It Hot, Kimberly Akimbo, Parade and Leopoldstadt reporting noticeable bumps for the week ending May 14. The biggest improvement, though, was for a musical that scored zero nominations: Bob Fosse’s Dancin’ grossed $678,147 in its
Perhaps last week’s Tony Award nominations started paying off at the box office quicker than expected, at least for a few productions: Figures for last week, while down overall, indicate a nice bump upwards for Some Like It Hot, Shucked, Summer, 1976 and Good Night, Oscar. Some Like It Hot, the musical adaptation of the
The Broadway box office report won’t register the impact of this morning’s Tony Award nominations for a week or two, but today’s news certainly comes as welcome and promising signs for Shucked, Kimberly Akimbo, Fat Ham and other well-reviewed productions doing their best to compete against blockbusters like Sweeney Todd and Parade. Shucked in particular
The Phantom of the Opera, Andrew Lloyd Webber’s musical that closed its Broadway run on Sunday after 35 years, went out on a very high note: Box office receipts for the show’s final week hit a best-ever $3,739,934. Playing, of course, to standing room only audiences at longtime venue the Majestic Theatre, Phantom commanded a
Broadway showed signs of a spring blossoming last week, with box office receipts and ticket prices taking their traditional climb during the tourist-bumped week leading up to Easter. In all, the 33 productions grossed $38,594,054, a 12% increase over the previous week. Attendance for the week ending April 9 was 280,760, up 4%. The more
With two weeks left in its 35-year Broadway run, Andrew Lloyd Webber’s The Phantom of the Opera posted a huge box office gross last week of $3,247,106, nearly 10% of Broadway’s total take for the seven-day period ending April 2. The beloved musical – which, Lloyd Webber has suggested, might well find its way back
Broadway’s The Phantom of the Opera had yet another smashing, down-to-the-wire week at the Majestic, grossing more than $3 million for the second consecutive week as the countdown to its April 16 closing continues. Meanwhile, another villainous character – the bloodthirsty killer of the ecstatically reviewed Sweeney Todd, The Demon Barber of Fleet Street –
Broadway’s old and new teamed up last week to boost total box office nearly 20%, with The Phantom of the Opera (the old) posting a best-ever $3 million weekly gross and The Jonas Brothers (the new, to Broadway anyway) taking in $1.6 million for their five-concert residency. In all, Broadway’s 29 productions grossed a total
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