Click below to access all the grosses from all the shows for the week ending 12/26/2010 in BroadwayWorld.com's grosses section.
Also, you will find information on each show's historical grosses, cumulative grosses and other statistics on how each show stacked up this week and in the past.
I'm hoping that "Lombardi" will still be around by mid-March. Keeping my fingers crossed. If not that, I'm debating whether to get a ticket for "Anything Goes". from RC in Austin, Texas
"Noel [Coward] and I were in Paris once. Adjoining rooms, of course. One night, I felt mischievous, so I knocked on Noel's door, and he asked, 'Who is it?' I lowered my voice and said 'Hotel detective. Have you got a gentleman in your room?' He answered, 'Just a minute, I'll ask him.'" (Beatrice Lillie)
Honestly, considering the # of shows (especially the blockbusters), that is a TERRIBLE xmas week for Broadway. I blame the calendar and the storm.
Last year, xmas week had an increase in grosses of $4.6mil (23%) over the previous week. This year, it's less than a 5% increase over the previous week. 10% drop in average gross per performance.
Xmas eve on a Friday and Xmas on a Saturday is a killer for the non-tourist trap shows. And the snow storm obviously didn't help.
Now I want the best for Spiderman, but I am wondering if it is only a million a week because of the lack of performances. I mean when you spread from 4 to 8 performances a week, I assume grosses would go down.
Are the running costs $1mil regardless of the # of performances? I realize rent stays the same, but do they have to pay everyone for 8 shows even if there are only 4 or 5?
^ They had rehearsals instead of performances the nights they had canceled shows to rehearse and test the new safety measures so I'm guessing they were paid for that.
"There’s nothing quite like the power and the passion of Broadway music. "
Re: Spiderman and their weekly gross (and correct me if I'm wrong):
As I understand it, producers consider the expenses of previews to go towards the tabulation of capitalization (the $65 million you see thrown about).
So let's say going into this past week, their capitalization sat at $65 million exactly, then they ran the week with expenses of $1.5 million and box office take of $1 million, their new capitalization would sit at $65.5 million.
Not until they reach opening night does the capitalization # get locked. From there, the differences between expenses and box office take begin to either pay back investors, or begins to eat at "reserve for losses" (the $$$ that producers have built into the capitalization to make up the difference if expenses outpace receipts).
It should be noted that 13 shows only played 7 performances that week. Most of those shows will now play 9 performances this week. I think any shows that had two performances on Sunday got hurt the most. Still not bad numbers.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
Firstly, capitalization is not tabulated per se. The capitalization is specified in the offering papers for the show. It may be a what's known as a "mini/maxi" that gives some flexibility as to how much may be raised, but it is a finite amount from the start.
What I believe you are referring to is the final production costs which can be anything up to the maximum capitalization. If it's less, the extra money is generally set aside for a reserve. If it's more, the excess will typically need to be made up by priority loans.
As for how to figure out where Spiderman stands, it's pretty impossible to state accurately without specific access to the show's accounting.
Producers do budget for *additional* expenses during previews as part of the capitalization -- rehearsals, workcalls, possible script and/or physical production changes and associated expenses -- but the basic operation of the show in previews is treated as an operating expense.
So in the Spiderman's production budget is an allowance for expenses during previews. If they've been spending an extra $500K per week for tech and adjustments (which seems like a slightly high figure to me) than it's possible they have that money in the budget. Or it's possible they've already spent whatever the maximum their capitalization is legally allowed to be, in which case they would need to cover the "extra" $500K per week with priority loans or they would have to get permission from all of the investors to amend the offering papers and raise the capitalization (which very rarely happens because it dilutes everyone's share and may have already happened once on this show, making a second time even less likely).
However, the operating costs of the show in previews are typically NOT part of the production budget. The show needs to pay for its basic weekly operating costs from the outset. I haven't looked back at the numbers but it seems to me that the show has been breaking even on that front from week to week.
To be clear, our conclusions are the same -- if the show is costing them $1.5M/week in previews and they're making only $1M, that extra $500K per week needs to be accounted for somewhere. But I just wanted to give a bit more detail on the nature of theatrical budgeting/accounting and explain that it's probably only the "extra" $500K per week that needs to be covered in the production budget.
"No matter how much you want the part, never let 'em see you sweat." -- Old Dry Idea commercial
For whoever asked, actors are payed by the week, not by the performance.
"If this is going to be a Christian nation that doesn't help the poor, either we have to pretend that Jesus was just as selfish as we are, or we've got to acknowledge that He commanded us to love the poor and serve the needy without condition and then admit that we just don't want to do it." -Stephen Colbert