Broadway Grosses: Week Ending 10/20/24

[Rob]

Posted: 10/22/24 at 1:51pm

Click below to access all the Broadway grosses from all the shows for the week ending 10/20/2024 in BroadwayWorld'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.

Click Here to Visit the Broadway Grosses...

Up for the week by attendance (% of capacity) was: BACK TO THE FUTURE: THE MUSICAL (6.5%), JOB (5.9%), THE NOTEBOOK (5.9%), SUNSET BLVD. (5.5%), SUFFS (4.9%), LEFT ON TENTH (3.5%), MJ THE MUSICAL (2.1%), WATER FOR ELEPHANTS (1.9%), HELL'S KITCHEN (1.7%), STEREOPHONIC (1.7%), HARRY POTTER AND THE CURSED CHILD (0.9%), WICKED (0.5%), CABARET AT THE KIT KAT CLUB (0.2%),

Down for the week by attendance (% of capacity) was: YELLOW FACE (-88.3%), THE HILLS OF CALIFORNIA (-10%), CHICAGO (-6.1%), SIX (-3.8%), MOULIN ROUGE! THE MUSICAL (-2.8%), HAMILTON (-2.2%), THE BOOK OF MORMON (-1.9%), & JULIET (-1.7%), OUR TOWN (-1.6%), ALADDIN (-1.4%), THE LION KING (-1.3%), HADESTOWN (-1.2%), ONCE UPON A MATTRESS (-1.1%), THE GREAT GATSBY (-0.8%), THE ROOMMATE (-0.7%), ROMEO + JULIET (-0.3%), THE OUTSIDERS (-0.1%),

Click Here to Visit the BroadwayWorld Grosses...

[EDSOSLO858]

Posted: 10/22/24 at 2:07pm

See you soon, Betsy Wolfe and Joy Woods!

As expected, Maybe Happy Ending seems to be DOA, and the positive word of mouth that has started to develop probably won’t mean much. I’d like to try and catch this one before a potential pre-holiday closing.

Also unsustainable numbers for A Wonderful World. 

[Mr. Wormwood]

Posted: 10/22/24 at 2:14pm

OK start for A Wonderful World. Not so good for Maybe Happy Ending.

Cabaret seems to be trending in a slightly better direction. Also not bad for Moulin Rouge for its first post-Tveit week even with an understandable drop.

First time over $1mil since June for & Juliet

[Wick3]

Posted: 10/22/24 at 2:32pm

If Tammy Faye can get same gross for each of their performances this week I’d say that’s not a bad start.

[Smaxie]

Posted: 10/22/24 at 2:38pm

EDSOSLO858 said: "Also unsustainable numbers for A Wonderful World."

$637K for seven performances in its first week of performances at a $109 ATP in a theatre with 1000 seats is a very decent, respectable start. 

[EDSOSLO858]

Posted: 10/22/24 at 2:39pm

Smaxie said: "EDSOSLO858 said: "Also unsustainable numbers forA Wonderful World."

$637K for seven performances in its first week of performances at a$109 ATP in a theatre with 1000 seats is a very decent, respectable start."

Not necessarily for a show that has a weekly running cost of close to $800K.

[Smaxie]

Posted: 10/22/24 at 2:41pm

You have to start somewhere. At a slightly higher per performance gross, and when an eighth performance is added, they should hit it. 

[Jarethan]

Posted: 10/22/24 at 2:45pm

Wick3 said: "If Tammy Faye can get same grossfor each of their performances this week I’d say that’s not a bad start."

I only noticed a modest number of empty seats, so I assume the second balcony was not crowded.  I do find it surprising that the first preview of a new Elton John musical, on a Saturday night no less in the newly reopened Palace Theatre, was not sold out.  I would not expect great grosses for a full week.

i am really going to be interested in seeing what happens with SB in the coming weeks.  While the show did get mixed reviews, there were an awful lot of rapturous reviews from critics who I personally regard highly.  Even most of the mixed reviews acknowledged the ‘highs’.  In the really old days, the reviews would have had lines of ticket purchasers outside of the theatre longer than the lines to actually get into the show.

Is Aaron Tveit now a box office attraction?  ST did better than anyone expected and the impact of his return to and exit from MR was pretty amazing.  

[TigerBait88]

Posted: 10/22/24 at 3:11pm

I don’t get those saying Maybe Happy Ending is DOA. Even if you take into account they’re holding 50 seats back per performance for rush/lottery, you can see look at availability for this next week and see that they’ve almost already clinched a capacity increase this next week.

Yes, I know they’re selling at a steep discount right now but they started slow in Atlanta apparently and became profitable later on. That’s all they can keep asking for before the (hopefully) great reviews come in. This show was always going to be a slow climber not an instant smash. 

Updated On: 10/22/24 at 03:11 PM

[GoldenGiggery]

Posted: 10/22/24 at 3:19pm

Most seem to be doing excellently or at the very least maintaining (with a few exceptions).

-Alyssa Milano is clearly not the draw producers assumed she’d be. She only has two weeks left anyhow, here’s hoping they have someone good coming in after her!

-Maybe Happy Ending is going to struggle, yes, but the word of mouth has been off to a strong start, and that’s helpful. Don’t forget, the show also frontloaded with lottery entries for ALL preview performances and aggressively pushed discount codes and rush, so expect the Avg Ticket Price to be low for a few weeks. 
 

-(Woof) Left On Tenth & Hills of California. Those numbers are rough. LoT made the mistake of barely advertising itself, and then having a middling to negative word of mouth among those who did know….if it lasts a month post-opening, it’ll be a gift. Hills of California….i know someone said Sonia Friedman doesn’t close shows early typically, but if this trend continues, maybe she should. The interest appears to be barely existent. And getting rid of/being stingy with the MTC under 35 code was a big mistake. 
 

-Poor W4E. I know it’s not a lot of people’s favourites, but it didn’t deserve to go out this soft. Seems PigPen didn’t realize how much of the draw wasn’t necessarily the show, but Grant Gustin. 
 

-Tammy Faye has a LONG road ahead of it. I was at the 2nd preview, and it was abundantly clear that it was being heavily papered; the ticket windows were WRAPPED. And while the audience also seemed to like it (myself included), it definitely needs edits and some re-writes. We shall see! 

[TotallyEffed]

Posted: 10/22/24 at 3:23pm

Maybe Happy Ending is the worst title since Once Upon a One More Time.

[Ricey2]

Posted: 10/22/24 at 3:27pm

The fact that Tammy Faye’s balcony is closed for the rest of the run is not a good sign it will sell as well as the first preview, which already wasn’t the best. I wish it well. 

[RW3]

Posted: 10/22/24 at 3:27pm

Do we know what company Maybe Happy Ending is using for their marketing?

[JasonC3]

Posted: 10/22/24 at 3:47pm

Does "new Elton John musical" hold much appeal and move ticket sales?

[ErmengardeStopSniveling]

Posted: 10/22/24 at 3:47pm

RW3 said: "Do we know what company Maybe Happy Ending is using for their marketing?"

AKA - advertising
Situation - digital
Super Awesome Friends - digital content
Polk & Co - press

[quizking101]

Posted: 10/22/24 at 3:48pm

Those AWW grosses aren’t exactly promising. This show is selling at a high price point to begin with even though it’s not coming in with much fanfare or hype. The lack of a sufficient discount is not enticing many theatregoers, to say nothing of their stingy rush policy. ($49 for the Rear mezzanine or $79 for “upgraded” rush in the orchestra - it’s easier to buy the rear mezz seat and move down at intermission).

I do think converting the Wednesday evening show into a matinee might be a smart move since the crowd I see is definitely a “Beautiful Noise/The Roommate”-aged crowd. I think other shows will capitulate first, but I don’t see this having a life beyond last January.

 

[ErmengardeStopSniveling]

Posted: 10/22/24 at 3:52pm

GoldenGiggery said: "LoT made the mistake of barely advertising itself, and then having a middling to negative word of mouth among those who did know….if itlasts a monthpost-opening, it’ll be a gift."

LEFT ON TENTH's only mistake is coming to Broadway in the first place. Anyone with even a slight knowledge of the climate for plays right now could have told you this was going to crash and burn given the thin subject matter and the stars.

[Call_me_jorge]

Posted: 10/22/24 at 3:53pm

ErmengardeStopSniveling said: "RW3 said: "Do we know what company Maybe Happy Ending is using for their marketing?"

AKA - advertising
Situation - digital
Super Awesome Friends - digital content
Polk & Co - press"

Is there a valid reason for why there has to be 4 separate entities for these things? 

[GoldenGiggery]

Posted: 10/22/24 at 4:01pm

ErmengardeStopSniveling said: "LEFT ON TENTH's only mistake is coming to Broadway in the first place. Anyone with even a slight knowledge of the climate for plays right now could have told you this was going to crash and burn given the thin subject matter and the stars."

This feels/sounds like the sort of show that might’ve done well in an Off-Bway house. I’m not sure why the producers thought this depressing/treacly play would sell consistently into February in the near 1100-seat Jones.

[ErmengardeStopSniveling]

Posted: 10/22/24 at 4:01pm

quizking101 said: "I do think converting the Wednesday evening show into a matinee might be a smart move since the crowd I see is definitely a “Beautiful Noise/The Roommate”-aged crowd. I think other shows will capitulate first, but I don’t see this having a life beyond last January."

Two matinees a week isn't usually possible in previews because shows need to rehearse during the day. WONDERFUL WORLD is already running on a reduced schedule in previews.

By having Tuesday as the dark night, it would be borderline cruelty -- but not illegal -- to have a Monday night show, Tues dark, then a Wednesday matinee less than 48 hours later. It'll be a tough enough schedule on the cast as it is.

Producers agonize over performance schedules but at the end of the day it doesn't really matter. If a show isn't selling tickets, whether they offer shows at 2pm Thursday or 8pm on Wednesday or 11am on Monday won't mean a thing.

[JSquared2]

Posted: 10/22/24 at 4:01pm

Call_me_jorge said: "ErmengardeStopSniveling said: "RW3 said: "Do we know what company Maybe Happy Ending is using for their marketing?"

AKA - advertising
Situation - digital
Super Awesome Friends - digital content
Polk & Co - press"

Is there a valid reason for why there has to be 4 separate entities for these things?"

 

Yes.  Because it's 4 different jobs.  

[ErmengardeStopSniveling]

Posted: 10/22/24 at 4:07pm

Call_me_jorge said: "Is there a valid reason for why there has to be 4 separate entities for these things?"

Two companies doing digital/social is really the only unusual part. It's common to have separate companies doing Press, Advertising and Social. Sometimes the ad agency also handles social/digital. Occasionally there's also a different agency doing marketing partnerships on a show.

But as the person above implies, these are all different budget lines, and no one agency handles everything. Each company brings their own strengths.

Updated On: 10/22/24 at 04:07 PM

[BossBroadway]

Posted: 10/22/24 at 4:19pm

Someone please tell me how 600k for Left on Tenth is bad for a small play that has had zero marketing...plus its grosses have increased every single week. I'm sure reviews will help it too. 

[Jonathan Cohen]

Posted: 10/22/24 at 4:23pm

GoldenGiggery said: "ErmengardeStopSniveling said: "LEFT ON TENTH's only mistake is coming to Broadway in the first place. Anyone with even a slight knowledge of the climate for plays right now could have told you this was going to crash and burn given the thin subject matter and the stars."

This feels/sounds like the sort of show that might’ve done well in an Off-Bway house. I’m not sure why the producers thought this depressing/treacly play would sell consistently into February in the near 1100-seat Jones."

I'm not accusing Left On Tenth of being good, but depressing? It's very much an "...and we all lived happily ever after" play. 

[MayAudraBlessYou2]

Posted: 10/22/24 at 4:27pm

Call_me_jorge said: "ErmengardeStopSniveling said: "RW3 said: "Do we know what company Maybe Happy Ending is using for their marketing?"

AKA - advertising
Situation - digital
Super Awesome Friends - digital content
Polk & Co - press"

Is there a valid reason for why there has to be 4 separate entities for these things?"

Of course. Four totally different disciplines. Polk, for instance, handles reviews, editorials, etc, helping to create a narrative with various journalists and appearances. That is a totally different job than coming up with a captivating advertisements (AKA) or finding the right social media influencers to send to the show to create content (Super Awesome Friends). Basically all shows use 3-4 agencies for their marketing and pr now.