Broadway Grosses: Week Ending 11/19/23

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: MELISSA ETHERIDGE: MY WINDOW (5.7%), HERE LIES LOVE (4.3%), JAJA'S AFRICAN HAIR BRAIDING (3%), ALADDIN (0.7%),

Down for the week by attendance (% of capacity) was: BACK TO THE FUTURE: THE MUSICAL (-11.7%), SOME LIKE IT HOT (-9.5%), CHICAGO (-9.4%), HARMONY (-9.3%), SIX (-9.2%), GUTENBERG! THE MUSICAL! (-9.1%), SPAMALOT (-9%), A BEAUTIFUL NOISE, THE NEIL DIAMOND MUSICAL (-8.3%), SWEENEY TODD: THE DEMON BARBER OF FLEET STREET (-8.2%), KIMBERLY AKIMBO (-8.1%), SHUCKED (-7%), HARRY POTTER AND THE CURSED CHILD (-5.3%), THE BOOK OF MORMON (-5.2%), WICKED (-4.8%), HADESTOWN (-3.5%), MOULIN ROUGE! THE MUSICAL (-3%), I NEED THAT (-2.6%), PURLIE VICTORIOUS: A NON-CONFEDERATE ROMP THROUGH THE COTTON PATCH (-2.4%), MJ THE MUSICAL (-2.3%), THE LION KING (-1.8%), HAMILTON (-1.6%), & JULIET (-0.7%), THE SHARK IS BROKEN (-0.5%),

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Ooof. BTTF took an unexpected hit this week.

I’m excited that Purlie Victorious has grown in grosses to a comfortably safe amount where it looks like the extension is justified and may actually complete the whole run.

Sad to see HLL only filling up the house now that people who slept on it are flocking in now.

Was this a scheduled vacation week for Josh Groban or was he out unexpectedly?

rough first week for OHIO

Unless Ohio gets "best musical" type reviews, I can't see this making it to 2024. It's brutal for new shows without some known property these days.

barcelona20 said: "Unless Ohio gets "best musical" type reviews, I can't see this making it to 2024. It's brutal for new shows without some known property these days."

I mean I have to imagine they are budgeted to run for more then 6 weeks, the question is do you let a plane in a nosedive crash (burn all the money) or atleast have enough sense to let the pilot eject while they still can (return remainder of funds to investors)

Everyone with the doom and gloom about new musicals. We often forget that even pre-COVID only 1-2 new musicals (we actually have 3 new musicals and a VERY successful revival that will still be running past the new year from the latest season, Beautiful Noise, &Juliet, Kimberly Akimbo and Sweeney) in any given season lasted more than a year. That's still largely true looking at the two seasons we've seen since we came back.

That said, it definitely is a tough market for new musicals, but staying power trends haven't exactly changed completely.

Yikes at OHIO. That's a really tough place to start and it doesn't seem like it's going to get the buzz/reviews of a little musical that could like Kimberly or even The Prom. Hoping for the best for it but I worry for it...

"It feels like it is almost impossible for a new musical to survive on Broadway that doesn't have a star or is based on a big film (thus, not really original) or is packed with pop hits (Neil Diamond, &Juliet, Hell's Kitchen)"

I love new musicals. Nothing about this makes me want to see it. The songs sound generic, the advertising is bland, I don't know or care about any of the performers, the creative team are mostly unknowns, it's not coming off some high-profile tryout... why? I've seen the documentary and it's lovely but what else could this possibly say? I might love this but I'm not gonna risk 150$ to see this unless something makes me feel like I must see it. I'd pay 45$ to see this in a small theater.

It's not enough to put something on Broadway. You have to give the audience something they want to see. Or have a plan to make them want to see it.

Add to that Fun Home, etc.

But all of that was pre-pandemic. We’ll see if Kimberly can make a profit. It seems to be limping along but not quite “hit” status.

What it all boils down to is every new show is a big gamble, and a producer doesn't fully know what they have until they're deep in the weeds on the show.

For every Come From Away there's a bunch of shows like Amelie or In Transit or Scottsboro Boys or The Last Ship.

For every Beautiful Noise, you have shows like Summer, Baby It's You, and Cher Show.

RE: the point about closing quickly vs using up all the reserve: it's important that shows be given a chance. Yes, producers should be able to see the writing on the wall, but running as long as possible on Broadway can still be an important thing even if it means losing all money vs returning a minuscule amount of capital to investors. It lets Tony voters and tour programmers see it an builds WOM for licensing. The longer it runs, the better the chances are for a tour or licensed productions or cast album or international plans. And on the rare occasion, a show can turn around.

Updated On: 11/21/23 at 11:55 PM

I think we’re still waiting for a post-pandemic new musical hit that isn’t a jukebox or based on a famous film. I’m not saying the latter two don’t count or are guaranteed hits either, as we have seen, but the success of & Juliet and Back to the Future (if it’s a hit) are driven at least in part by other factors. Six is a special case, because of its pre-pandemic success.

How to Dance in Ohio was always going to be a tough sell. If it succeeds, it will be more like Kimberly Akimbo - driven by word of mouth, critical praise, low costs, and patience.

bear88 said: "Back to the Future(if it’s a hit)"

At what point will that be decided? What does it have to do to be considered a hit?