Broadway Grosses: Week Ending 11/6/22 — Page 4

Bill Snibson said: "I think "A Beautiful Noise" is actually very similar to "MJ"...a familiar pop name and song book. It's an easy and safe sell. It's obviously working."

I have not seen MJ, but I am under the impression that it is a slick production. I did see ABN, and it has only two things going for it: the music and Will Swenson. It’s production values are very cheesy, across the board. I will say that, despite that, the 5 people I was with all loved it while I predicted a big flop. Large up-front advance delays concluding whether I was right or wrong, but I can’t believe the reviews will be good.

RippedMan said: "I think it's much like the Bros movie turnout. I don't think the majority of the country is homophobic, but I also do think they don't want to see things that don't speak to them. So if the majority of Broadway is older white people, I can see why POC driven shows are struggling."

Yes, audiences will always flock to what resonates with them the most.

If you're not inherently drawn to stories about Black characters, then something like LEOPOLDSTADT or KIMBERLY AKIMBO might appeal more. On the flip side, if you aren't drawn to older Irish men monologuing on a Broadway stage for 2.5 hours, then...well, nobody was really into that.

Updated On: 11/9/22 at 11:09 PM

dshnookie said: "So did that Jesse Williams leak kill interest in Take Me Out or is the bigger house just swallowing it up?"

I think the weak sales are more about the ticket price increase between June and November. $318 for front orchestra at a straight play.

TAKE ME OUT is at the Schoenfeld theater right?

I'm not sure whether CFA was kicked out of the Schoenfeld theater by the Shuberts or if the producers just called it the quits..... but Come From Away would most likely be grossing higher than the numbers Take Me Out is getting right now.

MemorableUserName said: "Prices at the end of the Hays run after the leak were even higher though. That's how they were making so much more money then even though the attendance numbers were lower than they are now.

Last week's attendance numbers were higher than at any point during the first run, yet they made several hundred thousand less. The size of the theater has to be part of it, along with just less demand since there's not as much urgency. When the leak happened, there was a month to go, later extended a week or two. Now it's playing for 3+ months. No need to hurry.

"I agree with you, but I also think that it is a case of lightening not striking twice.


There is a lot of dramatic competition right now, which may also be a factor (I don’t remember how many well reviewed dramas were opening when this hit its stride).

I also think that the publicity about the photographing of the nudity helped with the surge in demand.

Forty years ago, Nicholas Nickelby was an impossible ticket from its first performance. It’s entire run commanded outrageous scalper prices. They brought the show back several months later, with some / many / all of the roles recast (but no one had ever heard of the original cast members) and it never caught fire, having a disappointing run. Audiences had moved on to the next thing. Same thing happened with the 1974 Moon For the Misbegotten…later in the run the always sellout show closed for a month, probably due to other commitments the actors had to fulfill; when it reopened, demand had dropped significantly.

This show is not in the same league as those shows, but it is probably experiencing the same issues.

Or I am wrong and demand will be huge for the last month of the engagement, maybe helped by some well times embarrassing publicity.

dshnookie said: "So did that Jesse Williams leak kill interest in Take Me Out or is the bigger house just swallowing it up?

To add to the race discussion which I will surely regret doing, but as a minority and an avid theatergoer for almost 20 years (I’m 36) and 500+ Playbills crowding my home, I’ve had to make some cuts on the types of shows I see. This includes most family dramas, anything Shakespeare (I’ve seen them all!), anything war themed, and sadly anything race themed. As an American, and post-BLM, George Floyd, Ahmaud Arbery, and countless others, I’m just tired. Yes, very important work and stories that NEED to exist to educate and give opportunities and offer representation, to/for all ages and especially the younger generation - but I’m personally just fatigued to spend my money on it. This post(ish)-pandemic world has me wanting to flock to & Juliet, Some Like it Hot, Kimberly Akimbo and I’m not ashamed of it.

"

I think that’s it 100%. We want popcorn and entertainment. I don’t want to be challenged right now. We are challenged everyday.

uncamark said: "However, "Chicken and Biscuits," a show that the white critics attacked as a 90s Fox/WB sitcom on stage, but a show that could attract Black audiences looking for just entertainment, bombed as big as the more serious/political plays (although a lot of regionals are doing it this season)."

My impression was that it was gaining word of mouth momentum but covid cancellations halted the progress and they weren't able to pick it up again

BoringBoredBoard40 said: "Any of those musicals making under $500k a week are in trouble

K-Pop is absolutely going to be gone by New Years"

Kimberly Akimbo is playing the Booth, so I have to assume David Stone has to know the more limited gross potential of in the smallest commercially available theater, as such I am just going to guess its operating costs are in the $400-$450K range. Stone also produced Next to Normal a similarly sized show and last musical to play the Booth had a nut of under $250K a week. I know that was over a decade ago at this point and operating costs have risen, but I can't imagine them doubling. David Stone has deep pockets and has a track record of producing small prestige musicals that keep costs low. I don't think Kimberly Akimbo is making money, but I don't think its bleeding cash either. I am just guessing as long as its grosses remain over $375K-$400K through mid-December the Shubert Organization won't evict them to make room for a Spring production and Stone will foot the bill to keep the show open through awards season.

Can confirm CFA was kicked out of the Schoenfeld. An original cast member told numerous people this and the producers were not happy and wanted to keep it around until at least the New Year. It sounded like something else had the theatre reserved for the fall but fell through at the last minute before they gave it to David Byrne.

bholtzinger544 said: "Can confirm CFA was kicked out of the Schoenfeld. An original cast member told numerous people this and the producers were not happy and wanted to keep it around until at least the New Year. It sounded like something else had the theatre reserved for the fall but fell through at the last minute before they gave it to David Byrne."

Do you mean Take me Out or are you talking about Dear Evan Hansen? Because Gabriel Byrne's show is playing the Music Box where Dear Evan Hansen was playing, but Take Me out is playing the Schoenfeld where Come From Away was playing?

Not trolling, just trying to comment while at work and got hairs crossed a little bit with theatres. They're across the street from each other and it's hard to keep the short runs in line. But I stand behind what I said and trust my sources. CFA had their stop clause pulled.