Broadway Grosses: Week Ending 1/29/23

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.

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Up for the week by attendance (% of capacity) was: TAKE ME OUT (9.4%), LEOPOLDSTADT (6%), PICTURES FROM HOME (5.7%), KIMBERLY AKIMBO (2.9%), A BEAUTIFUL NOISE, THE NEIL DIAMOND MUSICAL (2.8%), HARRY POTTER AND THE CURSED CHILD (2.8%), SOME LIKE IT HOT (2.1%), WICKED (1.2%), & JULIET (0.8%), MOULIN ROUGE! THE MUSICAL (0.8%), HAMILTON (0.2%),

Down for the week by attendance (% of capacity) was: THE COLLABORATION (-9.2%), FUNNY GIRL (-3.3%), BETWEEN RIVERSIDE AND CRAZY (-2.6%), THE LION KING (-1.5%), HADESTOWN (-1.2%), ALADDIN (-1.1%), CHICAGO (-0.7%), THE PHANTOM OF THE OPERA (-0.7%), THE BOOK OF MORMON (-0.6%), SIX (-0.5%), MJ THE MUSICAL (-0.1%),

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I think we've seen enough sustained weeks to say that Kimberly Akimbo and Some Like it Hot have really found their audiences. There is definitely still room for both shows to grow (and a possibility of a fall as Spring shows begin performances), but I think it's fair to say that they have a MUCH better outlook than they did on Christmas day.

Pictures from Home surprises me a bit. It's obviously not in hit territory yet, but it's doing better than a lot of plays have over the past 18 months. I guess the cast (especially Lane) does have some pull.

If I was the Leopoldstadt producers, I might be rethinking that extension until July. I guess they're hoping to be open for and after the Tonys, but I don't know that the audience to sustain (what I assume based on cast size is) such an expensive play is there for 4 and a half more months. Does anyone know what they're running cost is?

I'm sure it's in large part due to astronomical prices for the anniversary performance, but those Phantom numbers astounding.

Funny Girl also continues to amaze. I wonder how long it is before they recoup (or if they already have).

Unless LM missed a performance, looks like she played to a few empty seats unless Julie Benko played to half a house. Given how more than decently everything did, I am surprised athougg it doesn’t take anything away from the phenomenal run since September.

Disappointed that KA and SLIH aren’t doing a little better, although I would imagine their chances of being around by Tony time have gone up considerably. With all the revival candidates, they might not even get that many nominations (a lot of acting options out there, particularly for featured roles). Time will tell what impact Shucked, Bad C and NYNY are going to impact them as well in terms of competition for nominations and the big win.

At this rate, maybe Kimberly Akimbo doesn't even need to win 'Best Musical' to make a profit haha.

ACL2006 said: "Continue to be impressed with these numbers in the fead of winter. Could it be lack of choices? We're down to just 22 Broadway shows now with nothing set to start previews for a few weeks."

Broadway week 2-for-1 tickets are being heavily advertised. Most of the general public isn’t aware of how to get discount tickets, so they jump on this offer usually. It’s helping to turn historically anemic weeks into really good weeks.

Updated On: 1/31/23 at 12:55 PM

HogansHero said: "@jkcohen While I think KA seems more promising, SLIH is still bleeding a ton of money."

Is Kimberly breaking even regularly? Strikes me as a show that probably costs about $600K a week to run, unless the creative team & service providers are already on waivers.

The decision to bring back TAKE ME OUT –– by Barry & Fran Weissler, of all people –– continues to baffle me, for a show that never did gangbusters in its 2nd Stage run until the very end (due to the Tonys + nudity press). And this is the best sales week yet.

ACL2006 said: "Continue to be impressed with these numbers in the fead of winter. Could it be lack of choices? We're down to just 22 Broadway shows now with nothing set to start previews for a few weeks."

My cousin and I saw Kimberly Akimbo as part of Broadway week. We both LOVED it. I also saw &Juliet that night (the audience behavior ruined it for me). As someone who sees theatre more often than most, I feel like there are plenty of choices at the moment.

ErmengardeStopSniveling said: "HogansHero said: "@jkcohen While I think KA seems more promising, SLIH is still bleeding a ton of money."

Is Kimberly breaking even regularly? Strikes me as a show that probably costs about $600K a week to run, unless the creative team & service providers are already on waivers.

The decision to bring back TAKE ME OUT –– by Barry & Fran Weissler, of all people –– continues to baffle me, for a show that never did gangbusters in its 2nd Stage run until the very end (due to the Tonys + nudity press). And this is the best sales week yet."

I highly doubt Kimberly Akimbo costs $600K, it has a cast of 14 including understudies and a pit of 8. For comparison we know that Parade will have an operating cost of $659K a week pre-royalties, and it has a cast of 34 and pit of a size to be determined, I am going so assume its smaller than the one at City Center, but still likely larger than Kimberly Akimbo's. David Stone is known for producing small productions on a tight budget and having a show that costs $600K a week at the Booth is just malpractice. Like I said in my previous post, I could see it costing in the $450K-$500K range, but still that seems like a lot for a show of its size.

Regarding Take Me Out's return engagement failure, its producers clearly misjudged that the bulrush on tickets for its final weeks at 2nd Stage were for its award wins and the play itself, when its was clearly the twitter pictures...You can see them realizing this in the advertising which shifted from focusing on the award winning must see production returning to Broadway due to popular demand, to focusing on the casts umm sex appeal with thirst traps.

Could this be the beginning of the end for Hamilton?

It might take another couple years or so for its NY empire to crumble, but its numbers are down somewhat, as Ermengarde pointed out.
Just something to keep watching for…

bdn223 said: "I know someone on here a some time ago statedKimberly Akimbo's nut is around $575K, but looking at these numbers I simply can't believe that. I know they are clearly discounting tickets, but as its selling to near capacity crowds with 96% of tickets sold, its hard to believe Stone would sell tickets at a price below the show's break even. Note I am not saying I think the show is making money, its definitely hovering around its break even, but I simply can't imagine a show playing to 96% capacity is loosing money. Looking at how willing they are to lower prices, I would have to guess its nut is more likely in the $450K-$500K range.



Some Like It Hot, is more questionable in my opinion, but it is clear that both shows have found a consistent audience to sell too."

Re KA, I think its issue is that people do not want to pay full price for this little musical. Give it to them for 40 - 50% less and they will go for it. Perhaps I am just thinking of it from my personal perspective. I enjoyed it at rush prices (or TKTS), but I don’t think I would pay full price in the orchestra if I had to. Shoot me, but I don’t think this is a show that has broad appeal, even if it is enjoyable. Feels like it should be selling at off-Broadway prices.

Finally, while the grosses are really looking great for January, I think they also look better because of all the low-grossers which have closed in the last couple of weeks. I imagine they would be doing just as badly as before. Also, Take Me Out is helped by its imminent closing and Riverside probably by the fact that there are so few non-musicals right this minute. The point that grosses were really good for January is absolutely encouragingly true, but aided by the fact that most low grossers have closed.

Updated On: 1/31/23 at 01:50 PM

ErmengardeStopSniveling said: "HAMILTON is by no means doing badly, but this is a significant drop from the days when it was regularly doing $3M. A natural progression considering the touring companies, Disney+, and other competing product in the marketplace (and, believe it or not, it opened 7.5 years ago). Seller & co. may want to be thinking about their advertising plan as they head into the summer, because I don't think this show is "selling itself" anymore, and it's no longer "impossible to get tickets."

How's the show/cast these days? Still super solid, or does it need a refresh?

"I think it was hurt dramatically at the box-office by the availability of an excellent production on Disney with the original cast. My wife and I saw Hamilton 3 times in NYC and once on the road before Covid set in, and it was televised. It is my wife’s favorite show ever, yet she has had no interest in seeing it live again when she can see the original cast anytime she wants. Given theatre prices, I think that is true for a lot of people, particularly repeat viewers.


We have seen many shows many times (in a shorter timeframe, we have seen MR as many times, saw Hello Dolly 4 times in its brief run, and etc.

Maybe I am wrong, but I think that is the real reason. Given that the demand was more rabid than any other show I can ever recall (including original Hello, Dolly and Fiddler and BOM and Wicked and A Chorus Line and even Phantom at its peak, I think the telecast is the primary reason.

Phantom4ever said: "the consensus out there (especially on Broadway Tiktok) is that streaming is the wave of the future for Broadway. Anecdotally, many theater people I know claim to have "seen" Hamilton when all they did was watch it on Disney+ and often people are surprised to hear that it's still open."

Streaming will never be able to take the place of the live theatre experience for me.

II kinda think that "Off-Broadway" and "Musical" has become an oxymoron. With the exception of Little Shop and the Yiddish Fiddler does any musical really enjoy a commercial for profit run anymore?