Broadway Grosses: Week Ending 11/20/22 — Page 2

blaxx said: "In 22 years only two Best Musical winners have flopped. I'd still say the award gives any production a very high chance to become a hit."



Absolutely. PASSION and A STRANGE LOOP are atypical in that regard.

ErmengardeStopSniveling said: "My guess is David Stone (one of the smartest producers around) feels he has a more populist, crowd-pleasing show with KIMBERLY than his colleagues had with A STRANGE LOOP. Whether that’s true remains to be seen though…."

David Stone may not be one of the smartest, but he certainly has some of the deepest pockets of usual suspect producers. His name’s been on the Wicked title page since 2003.


There is no way to positively spin Kimberly Akimbo’s grosses or capacity after some of the best reviews in the last decade. The show may be an artistic hit among a small group of people but clearly is not translating into wider appeal. Grosses should’ve steadily increased each week, immediately decline.

Did Hugh Jackman miss one performance or two?

The Lion King is amazing. I would expect this to pass Phantom's numbers (albeit in a decade) if they really do close it. I do wonder how much reserve the Weisslers have stocked away to allow Chicago to continue running (until they pass?). While it has had slow periods in the pass, the weekly nut MUST be going up, especially with recent inflation. Is there any stunt casting left that will actually energize the box office or are they finally on life support??

Piano Lesson's grosses compared to Topdog / Underdog and Salesman must be proof that, at least in this 'semi' post-Covid period, people need stars to get them to see dramas.

Jarethan said: "Piano Lesson's grosses compared to Topdog / Underdog and Salesman must be proof that, at least in this 'semi' post-Covid period, people need stars to get them to see dramas."

And then there's LEOPOLDSTADT. No movie stars and packed houses.

BoringBoredBoard40 said: "What makes a smart producer is knowing when to cut your loses

What makes a dumb producer is not knowing when to stop"

The problem with those platitudes is that they assume you know when "when" is.

I'll offer a platitude that happens to be rooted in truth: the making of theatre is an art not a science. If we did it by science, we would have 5-6 shows a year.

RippedMan said: "Hm. I think there could be a case of audience? A play about Jewish heritage and a play about the Black experience. Audiences on Broadway tend to be older, white, and in NYC at least, Jewish. So... I don't think that's a fair comparison."

You are addressing a different point than the one that was raised. That point was about stars and, specifically, said PL vs. Topdog and Salesman "must be proof that ... people need stars to get them to see dramas." Leopoldstadt is the counter to that. Yes Leopoldstadt is helped by its particular niche.

I always find it so interesting when well known theatre actors, who can carry a decent run in a musical, completely flop in plays. That must be slight irritating as a performer.

If historically the Best Musical Tony winners are not flops, then right now it looks like Kimberly Akimbo will not win the Tony for Best Musical.

It could very well go to a Spring show no one has seen yet like NYNY or Shucked or Here Lies Love rumored to announce a Spring opening soon.

Could BroadwayWorld get Shocked by Shucked?

Maybe not, it sounds dumb, but maybe dumb will be what recession audiences want?

I think if Here Lies Love comes in this Spring it takes the lead in the race for the Tony.

pethian said: "Jarethan said: "Piano Lesson's grosses compared to Topdog / Underdog and Salesman must be proof that, at least in this 'semi' post-Covid period, people need stars to get them to see dramas."

And then there's LEOPOLDSTADT. No movie stars and packed houses.

"Good point. Here, I attribute it to Tom Stoppard fame, publicity about huge cast, subject matter (Broadway does have a huge Jewish audience) and great reviews. It is as close to 'event' theatre as I can think of.

Luminaire2 said: "Can someone explain Take Me Out? It was selling so well in its initial run. Why did it come back? Why is it so low?"

Jesse Williams was out almost all (or all), of last week, plus Jesse Tyler Ferguson missed three shows, so that probably contributed to last week's significantly lower numbers.

We discussed this last week, but it's really only doing worse than the last few weeks of the previous run, after the leak when they jacked up prices significantly, even more than they are now, and the smaller house meant greater demand.

Otherwise the attendance numbers the past three weeks were higher than they ever were in the initial run (until this past week with the absences) and the grosses were higher than what they were pre-leak. The capacity numbers look a lot worse since it's in a much larger house. This is just a show that seems to have an upper limit on interest it's not exceeding, and all the hype that followed the leak has died down. Unless they do something to drum up publicity again, it's going to stay in this same range.

And no, I don't know why they brought it back, other than that last minute surge before the closing leading them to believe there was more demand than there is.

Updated On: 11/23/22 at 12:34 PM