British transfers: money makers or myth?

[Ensemble1711444445]

Posted: 10/4/25 at 9:30am

Keep hearing about the British model being better financially.  How many of the Brit transfers have recouped?

Top of mind Stranger Things, Sunset Blvd, Back to the Future, Cabaret, Patriots, Shark is Broken,Old Friends and Hills of California did not recoup. Mincemeat probably won't either.  

Does Merrily count as a transfer or was that an American production - they worked on it off Broadway with those three actors?

Was Dorian Grey an Aussie production or Brit? It recouped. 

 

[kdogg36]

Posted: 10/4/25 at 10:07am

I don't really have any data to provide, but my impression is that costs are simply lower in London, so successful productions can recoup much more quickly (as with the limited run of Evita). I don't think anyone's claiming that they've found an inherently superior financial model that can be copied in New York without huge pay cuts for cast, crew, and/or creatives.

[Ensemble1711444445]

Posted: 10/4/25 at 10:20am

kdogg36 said: "I don't really have any data to provide, but my impression is that costs are simply lower in London, so successfulproductions can recoup much more quickly (as with the limited run ofEvita). I don't think anyone's claiming that they've found an inherently superior financial model that can be copied in New York without huge pay cuts for cast, crew, and/or creatives."

 

Updated On: 10/7/25 at 10:20 AM

[CoffeeBreak]

Posted: 10/4/25 at 11:57am

Ensemble1711444445 said: "Keep hearing about the British model being better financially. How many of the Brit transfers have recouped?

Top of mind Stranger Things, Sunset Blvd, Back to the Future, Cabaret, Patriots, Shark is Broken,Old Friends and Hills of Californiadid not recoup. Mincemeat probably won't either.

Does Merrily count as a transfer or was that an American production - they worked on it off Broadway with those three actors?

Was Dorian Grey an Aussie production or Brit? Itrecouped.

Mincemeat will recoup.  

 

[SteveSanders]

Posted: 10/4/25 at 12:18pm

Stating the obvious, but once a British production transfer, some of its costs then rise to American standards do they not?  Theatre rental and staffing immediately come to mind.  

[Ensemble1711444445]

Posted: 10/4/25 at 12:19pm

CoffeeBreak said: "Ensemble1711444445 said: "Keep hearing about the British model being better financially. How many of the Brit transfers have recouped?

Top of mind Stranger Things, Sunset Blvd, Back to the Future, Cabaret, Patriots, Shark is Broken,Old Friends and Hills of Californiadid not recoup. Mincemeat probably won't either.

Does Merrily count as a transfer or was that an American production - they worked on it off Broadway with those three actors?

Was Dorian Grey an Aussie production or Brit? Itrecouped.

Mincemeat will recoup.

 


"

 

Updated On: 10/7/25 at 12:19 PM

[ggersten]

Posted: 10/4/25 at 12:45pm

Ensemble1711444445 said:  They make money in London but it's proportional- very few massive run away hits there. The shows that are hits in both places make way more here. Ticket prices are so much lower there it kind of evens out. I do wish they would pay their actors WAY more."

Can't speak to actor pay - but ticket prices have increased dramatically in London. And it wasn't just Evita. There are few massive runaway hits in either place. Both have the same longrunners - Lion King, Wicked, Book of Mormon.  Mamma Mia started in London before the US transfer and has not closed. Then, of course, Les Miserables and Phantom in London have outlived their US versions (with some allowance for the Les Miserables variations and even the Phantom "restaging") [then there are two special cases: The Woman in Black (now closed) and some mystery show by Agatha Christie) Somehow, Thriller ran and ran and ran. And just like some British transfers don't recoup on Broadway, the West End is filled with US 'hits" and even "long runners" that failed dramatically in London.

 

[BroadwayNYC2]

Posted: 10/4/25 at 1:30pm

There isn’t a separate modal. The modal is that things are cheaper. That’s the big difference, not some differing financial model. 

[Ensemble1711444445]

Posted: 10/4/25 at 1:36pm

BroadwayNYC2 said: "There isn’t a separate modal. The modal is that things are cheaper. That’s the big difference, not some differing financial model."
 

Updated On: 10/7/25 at 01:36 PM

[BroadwayNYC2]

Posted: 10/4/25 at 2:00pm

“yeah. just a myth that the Brit shows on Broadway are a better investment.”

 

I would say that’s an immersive oversimplification of the issue, nor is this “myth” really a thing. I doubt anybody would ever call the listed shows as a better investment, they were just cheaper to put on in London. The buck ends there. 

[DaveyG]

Posted: 10/4/25 at 2:20pm

kdogg36 said: "I don't really have any data to provide, but my impression is that costs are simply lower in London, so successful productions can recoup much more quickly (as with the limited run of Evita).

My understanding is that producing a new musical in London costs approximately 1/3rd of what it would cost to mount on Broadway. So a 12 million dollar show (in USD) on Broadway would cost around 3 million GBP/4 million USD. 

[Phillypinto2]

Posted: 10/4/25 at 2:27pm

Broadway is a bigger money maker for the directors and the actors.  Not sure about producers unless you got a big hit 

[Owen22]

Posted: 10/5/25 at 11:10am

ggersten said: "Ensemble1711444445 said: They make money in London but it's proportional- very few massive run away hits there. The shows that are hits in both places make way more here. Ticket prices are so much lower there it kind of evens out. I do wish they would pay their actors WAY more."

Can't speak to actor pay - but ticket prices have increased dramatically in London. And it wasn't just Evita. There are few massive runaway hits in either place. Both have the same longrunners - Lion King, Wicked, Book of Mormon. Mamma Mia started in London before the US transfer and has not closed. Then, of course, Les Miserables and Phantom in London have outlived their US versions (with some allowance for the Les Miserables variations and even the Phantom "restaging") [then there are two special cases: The Woman in Black (now closed) and some mystery show by Agatha Christie) Somehow, Thriller ran and ran and ran. And just like some British transfers don't recoup on Broadway, the West End is filled with US 'hits" and even "long runners" that failed dramatically in London."

I don't understand how West End prices are approaching Broadway's.  London producers do not have to contend with the extreme costs of union demands as New York producers do.  It seems like they are just raising prices in the West End just because they can...

 

[Kad]

Posted: 10/5/25 at 11:14am

Maybe the producer argument that union minimums are the central driver of rising production costs has always been… self-serving. 

[Ensemble1711444445]

Posted: 10/5/25 at 11:34am

Owen22 said: "ggersten said: "Ensemble1711444445 said: They make money in London but it's proportional- very few massive run away hits there. The shows that are hits in both places make way more here. Ticket prices are so much lower there it kind of evens out. I do wish they would pay their actors WAY more."

Can't speak to actor pay - but ticket prices have increased dramatically in London. And it wasn't just Evita. There are few massive runaway hits in either place. Both have the same longrunners - Lion King, Wicked, Book of Mormon. Mamma Mia started in London before the US transfer and has not closed. Then, of course, Les Miserables and Phantom in London have outlived their US versions (with some allowance for the Les Miserables variations and even the Phantom "restaging" [then there are two special cases: The Woman in Black (now closed) and some mystery show by Agatha Christie) Somehow, Thriller ran and ran and ran. And just like some British transfers don't recoup on Broadway, the West End is filled with US 'hits" and even "long runners" that failed dramatically in London."

I don't understand how West End prices are approaching Broadway's. London producers do not have to contend with the extreme costs of union demands as New York producers do. It seems like they are just raising prices in the West End just because they can...

"

 

Updated On: 10/7/25 at 11:34 AM

[ggersten]

Posted: 10/5/25 at 11:45am

Owen22 said: "ggersten said: "Ensemble1711444445 said: They make money in London but it's proportional- very few massive run away hits there. The shows that are hits in both places make way more here. Ticket prices are so much lower there it kind of evens out. I do wish they would pay their actors WAY more."

Can't speak to actor pay - but ticket prices have increased dramatically in London. And it wasn't just Evita. There are few massive runaway hits in either place. Both have the same longrunners - Lion King, Wicked, Book of Mormon. Mamma Mia started in London before the US transfer and has not closed. Then, of course, Les Miserables and Phantom in London have outlived their US versions (with some allowance for the Les Miserables variations and even the Phantom "restaging") [then there are two special cases: The Woman in Black (now closed) and some mystery show by Agatha Christie) Somehow, Thriller ran and ran and ran. And just like some British transfers don't recoup on Broadway, the West End is filled with US 'hits" and even "long runners" that failed dramatically in London."

I don't understand how West End prices are approaching Broadway's. London producers do not have to contend with the extreme costs of union demands as New York producers do. It seems like they are just raising prices in the West End just because they can...

"

Normally, we try for day seats or other discounts, but this last June trip, for a variety of reasons (sightlines, heights of stage, availability), we bought full price box office tickets (with some allowance for dynamic pricing which is endemic in London).

Checking credit card statement:

In June we paid $180 on Today Tix for Dress Circle - i.e. mezzanine left for Evita. Tickets were purchased that day after not getting the online rush tickets. But stalls seats and front/center of mezzanine were in 190-300 GBP range on official site.  I read that after press night, the producers wanted to really jack up prices - like pricing stalls above 500 GBP - but that Lloyd stepped in against that plan. (Note, there were many seats sold at a discount to various groups - and people who purchased early. I think the first row was something like 35 GBP early before opening.  By mid July, it may have been like airplanes, with every seat having been sold at a different price)

We stayed under 100 GBP for our other shows from the official sites - so producer prices - even with dynamic pricing:

Oliver front of mezzanine were $135 

A Comedy About Spies - stalls - 8th row or so - $125  (a deal)

Stereophonic - stalls - 8th row or so - $125. (we did see this early before sales really dropped off)

So, yes, less expensive than Broadway, but not the "deal" that we were used to.  

[Jordan Catalano]

Posted: 10/5/25 at 12:04pm

If we’re talking about west end prices, there’s one thing to also keep in mind. Yes, prices are getting a lot more expensive than they used to be, but I’d say pretty much all W.E. shows will have £20 - £25 normal priced tickets for every performance. Thats not rush or standing room just regular priced they you can buy in advance. And while yes, the seats are usually in the last few rows, it still offered a relatively cheap way for anyone to see any new show. Broadway would be wise to go back to doing that, as well. 

[SteveSanders]

Posted: 10/5/25 at 12:11pm

Echoing what Jordan said and adding that for a healthy percentage of shows you can still get decent seats (particularly if you're flexible on dates) in the £50-£75 range.  I'm seeing three plays next week and the most I paid is £59.

[ErmengardeStopSniveling]

Posted: 10/5/25 at 12:17pm

I plan to see 6-10 shows on my upcoming trip to London, and based on my initial research into pricing sections, I can get not-awful seats to most of what I'd like to see for ~~~$80 USD average. Some for quite a lot less than that.

Some shows are more expensive than I'd expect upon first look, but I'm still a few months away and we know prices can rise and fall.

Updated On: 10/5/25 at 12:17 PM

[JT2030]

Posted: 10/5/25 at 4:18pm

Agree with many sentiments here --- I haven't been to London since pre-COVID (a 2026 resolution I've already made to fix) --- but back when I was in college, I spent a semester abroad and did a Senior Thesis on about a half-dozen plays and how they addressed contemporary themes. I was able to afford decent-to-very-good seats to all on a college student budget (in no small part to the many day-seats / student tickets deals that I believe still exist....needless to say I'm well past the glory days of being eligible for student rates.... :)

But to the bigger issue --- the general info I've followed is that West End productions are vastly less expensive to capitalize than Broadway / profitability is far more achievable. The producer Sonia Friedman has been an active advocate, often voicing with disappointment how many of her well-regarded West End shows she'd love to bring through were the economics not so daunting - and even so, she's continued to bring over many works, some of them my most favorite (lookin' at you, The Ferryman / eagerly anticipate the Robert Icke Oedipus in a few weeks):

There's a lengthy and well done profile of her this spring from the NYT (gift link below) where she talks about it a bit that's worth a read:

https://www.nytimes.com/2025/03/19/theater/sonia-friedman-broadway-stranger-things.html?unlocked_article_code=1.rE8.3KY6.LbBEI7VfwET4&smid=url-share

Updated On: 10/5/25 at 04:18 PM