Broadway Grosses: Week Ending 11/27/22 — Page 2

I'm going to offer a glass-half-full perspective on KPOP; I think it's encouraging that revenues have gone up, especially given that the production likely gave away a ton of tickets for press week. Attendance is an issue, of course, but it looks like the marketing team is making more of an effort to be visible.

Obviously many tourist-driven shows did well on Thanksgiving week but the ones that I found most impressive this week were: & Juliet, Aladdin, Beetlejuice, Funny Girl, Phantom & MJ

Least impressive? A Beautiful Noise, Some Like It Hot and of course the bottom of the barrel performers like Ain't No Mo & KPOP

What exactly is artistic crap to you? And unless you've seen whatever you're referring to, you can't really comment with any real merit.

Sutton Ross said: "What exactly is artistic crap to you? And unless you've seen whatever you're referring to, you can't really comment with any real merit."

I did not comment on any particular show. “Artistic crap” can very often, although certainly not always, be ascribed to shows which receive near-unanimously poor reviews from established professional critics. It also seems there are people who cheer for the success of shows which they themselves don’t particularly like, as though supporting every Broadway show is supporting Broadway.

Updated On: 11/29/22 at 08:56 PM

NoItAll said: "Sutton Ross said: "What exactly is artistic crap to you? And unless you've seen whatever you're referring to, you can't really comment with any real merit."

I did not comment on any particular show. “Artistic crap” can very often, although certainly not always, be ascribed to shows which receive near-unanimously poor reviews from established professional critics. It also seems there are people who cheer for the success of shows which they themselves don’t particularly like, as though supporting every Broadway show is supporting Broadway."

Perhaps it would be helpful if you actually told us which show you are referring to, since this is a thread where we are discussing specific shows. I initially took “artistic crap” to mean like “pretentious artsy fartsy not mainstream”, and maybe you were referring to Kimberly Akimbo, but as that got nearly all positive reviews, I’d guess that’s not the case.

Or maybe you don’t want to have a discussion about a particular show, and that’s fine, but I’ve found discussion in the weekly grosses threads tends to get granular, and that’s actually why it’s my favorite recurring thread type.

Updated On: 11/29/22 at 09:20 PM

JanMaxwellsBag said: "NoItAll said: "Sutton Ross said: "What exactly is artistic crap to you? And unless you've seen whatever you're referring to, you can't really comment with any real merit."

I did not comment on any particular show. “Artistic crap” can very often, although certainly not always, be ascribed to shows which receive near-unanimously poor reviews from established professional critics. It also seems there are people who cheer for the success of shows which they themselves don’t particularly like, as though supporting every Broadway show is supporting Broadway."

Perhaps it would be helpful if you actually told us which show you are referring to, since this is a thread where we are discussing specific shows. I initially took “artistic crap” to mean like “pretentious artsy fartsy not mainstream”, and maybe you were referring to Kimberly Akimbo, but as that got nearly all positive reviews, I’d guess that’s not the case.

Or maybe you don’t want to have a discussion about a particular show, and that’s fine, but I’ve found discussion in the weekly grosses threads tends to get granular, and that’s actually why it’s my favorite recurring thread type."

I was not referring or even alluding to any current Broadway production, none of which I have seen. I was making a comment about the generic responses to the latest grosses.

And if its grosses you wish to discuss, how can capacity drop and gross rise, both substantially, in the same week for Funny Girl and, to some extent, for Broadway totals?

Phantom knocked MJ out of the top five.

Rainah said: "Glad to see Hadestown have a good week.

Do we know how long Lilias White is contracted for? For all the praise I've heard, she hasn't moved the box office one bit. Chris Sullivan has said he's interested in returning to the role, and that might work better to drum up demand among fans and non fans alike.

Hades may also be an interesting role to star cast. They already transpose it up for people who aren't Patrick."

There's no indication of her leaving soon, so I would assume it's at least 6 months (which puts her to the beginning of March).

Not sure how much Chris Sullivan would move the box office since the "This Is Us" fervor has likely died down. I thought about Norm Lewis as Hades, but he's going on tour with "A Soldier's Play". Phillip Boykin could also do it since he'll be free after "The Music Man".

Honestly, with the cast of "A Strange Loop" in mind, Jason Veasey and Antwayn Hopper from "A Strange Loop" could also sing Hades as written, and John-Andrew Morrison could be a fun Hermes.

I just wish they would replace Reeve and Eva already - when I saw it last month, they (especially Reeve) looked very "phoned in" and it took me out of it...

Tom5 said: "I have a very simplistic and probably flawed way of seeing how a show is doing as I'm sure someone will let me know. But with the exception of one person shows if the average ticket price is one third or lower than the full ticket price the show is a financial flop."

I get that but you really need to look at the gross and figure out an estimate on what the weekly running costs might be. A lot of people like to look at attendance percentages but that isn't necessarily a good indication of how a show is doing. A show might be at 90% but if the average ticket price is lousy or worse if it's heavily papered than the show isn't doing that great.

I'd hate to be a producer right now. Ticket sales seem to be mostly "day of" and "week o"f with very few people buying in advance like they used to. So much more difficult to figure the trajectory of any given show.

Bill Snibson said: "Tom5 said: "I have a very simplistic and probably flawed way of seeing how a show is doing as I'm sure someone will let me know. But with the exception of one person shows if the average ticket price is one third or lower than the full ticket price the show is a financial flop."

I get that but you really need to look at the gross and figure out an estimate on what the weekly running costs might be. A lot of people like to look at attendance percentages but that isn't necessarily a good indication of how a show is doing. A show might be at 90% but if the average ticket price is lousy or worse if it's heavily papered than the show isn't doing that great.

I'd hate to be a producer right now. Ticket sales seem to be mostly "day of" and "week o"f with very few people buying in advance like they used to. So much more difficult to figure the trajectory of any given show."

Could not agree more. I have always assumed that some of the investors of dramas without stars in particular are wealthy people who love the theatre and can always use write-offs. For example, did the people who invested in Toipdog or Ohio State or even Kimberly Akimbo.or the Gabriel Byrne show think they would get a positive return on their investment, especially right now. I imagine some did, but others did not. I am very thankful for those people. I hope that I don't sound too much like Pollyanna.

I think very often the wealthy who have money to burn like the "cache" of being able to say that they are "producers" of a broadway show. The reality is they are simply investors...have zero say in the production...but can get their friends house seats and tell everyone that they are attached to a broadway production.

And Kandi Burruss is making it clear that’s her intention as well (producing Piano Lesson, plus it’s TV adaption)