Broadway Grosses: Week Ending 12/11/22

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: KPOP (28.5%), SOME LIKE IT HOT (25.9%), OHIO STATE MURDERS (18.8%), A CHRISTMAS CAROL (14.7%), 1776 (13.1%), CHICAGO (10.4%), HARRY POTTER AND THE CURSED CHILD (8.7%), BEETLEJUICE (6.8%), THE BOOK OF MORMON (6.4%), & JULIET (5.9%), KIMBERLY AKIMBO (5.7%), A STRANGE LOOP (5.7%), HAMILTON (5.5%), DEATH OF A SALESMAN (5.3%), THE PIANO LESSON (4.9%), A BEAUTIFUL NOISE, THE NEIL DIAMOND MUSICAL (4%), ALADDIN (3.9%), THE LION KING (3.8%), HADESTOWN (3.5%), INTO THE WOODS (3.4%), WICKED (3.3%), THE MUSIC MAN (2.7%), ALMOST FAMOUS (1.5%), TAKE ME OUT (1.4%), MIKE BIRBIGLIA: THE OLD MAN & THE POOL (1%), FUNNY GIRL (1%), MOULIN ROUGE! THE MUSICAL (0.9%), MJ THE MUSICAL (0.6%), THE PHANTOM OF THE OPERA (0.1%),

Down for the week by attendance (% of capacity) was: AIN'T NO MO' (-22.4%), BETWEEN RIVERSIDE AND CRAZY (-7.8%), TOPDOG / UNDERDOG (-4.4%), THE COLLABORATION (-3.4%), LEOPOLDSTADT (-0.2%),

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Seems like a great week all around! Amazing to see!

Kimberly Akimbo continues to do better every week. It stands in such stark contrast to KPOP and Aint No Mo as an example of what happens when producers budget properly and are able to have faith in their show and let the word-of-mouth spread and marketing work.

EDIT: Don't want to make it seem like I am saying that these 3 shows are exactly the same or that Kimberly Akimbo hasn't always been in a much better place than the other two. But, it is interesting to note that there was a potential for a similar situation for Akimbo that has seemingly been averted.

Speaking of KPOP, I know it was a snap closing, but it does say a lot to me that despite a seemingly high amount of energy around the show, it only did $160,000 better this week. It was supposedly at 100% capacity, but even the people most excited about the show and desperate to catch it before it closed weren't willing to pay full price for it.

Updated On: 12/13/22 at 03:15 PM

Stunned by the BEAUTIFUL NOISE $1.4M million-plus. And on a week with a whole lot of comping for press.

Some Like It Hot papered like crazy last week. Neil Diamond's avg. ticket is hard to believe. I guess its target audience really likes him.

In contrast to the recent doom and gloom of other off Broadway transfers failing to find an audience on Broadway, I am happy Kimberly Akimbo clearly is! I have no idea what the show’s nut is but I hope it’s officially making money, and would be surprised if it wasn’t.
Hopefully it can be a testament that a Broadway still has room for little shows that could sleeper hits.

Kimberly's weekly cost is around $550,000 this was the first week I believe they didn't lose money, here is hoping the momentum lasts into January

Surprised Some Like It Hot has struggled so much.

I hope The New York Times rave changes that.

I'm old enough to remember when certain posters on this board were accusing the Kimberly Akimbo producers of "bad producing" on the very first night of previews for daring to transfer this to Broadway.

BETTY22 said: "Surprised Some Like It Hot has struggled so much.

I hope The New York Times rave changes that."

I will definitely have a positive effect. But I think SLIH is a show that is hitting up against its own demography related issues. And onto the baseline we also have to layer in that this is the demographic that is the slowest to come back.

I would think A Beautiful Noise and Some Like It Hot would be pulling in similar crowds.

^For one, the movie is 60+ year old...

People under the age of 45 aren't the ones buying most tickets right now, but all the same, most of those under 45 I know have never seen it.

pethian said: "Could you elaborate on that, please? I've been scratching my head about SLIH not catching on and yours is the first response that seems to hold an explanation."

I think others have chimed in to basically say a bit more specifically what I was saying more generally. The film was late 50s, Sugar was early 70s. If we posit that the entry age for either was 20, that means true nostalgia is looking for those now 60-80 or older. That is not a great group in which to be pinning one's hopes for robust sales, and nowadays it is also the group that is leaving home cautiously. There is, of course, a market segment of younger people for whom this era of nostalgia holds interest but I think it is challenging to expand that group beyond Musical Theatre types and fans of movies that are both of that period and also of this type. The talented creatives have done nice work "updating" some but I think it is still hard to pull in the average 50 year old. Hopefully they can perform some magic and bring together a critical mass but I don't think it is going to be a blockbuster. Maybe they will prove me wrong. The Beautiful Noise comparison is to me pretty simple. Those same 50 year olds grew up with Neil Diamond playing on their parents' stereos. It's a harder sell, methinks.

I find it amazing that Leopoldstadt is grossing as much as it is, has the average ticket price that it does. And is playing to 80% capacity. Clearly, they are not selling the cheap seats.

I don’t understand how there is no way to better sell the inexpensive seats. This is in demand for expensive seats but a dud for less expensive.


Have to admit that I cheaped out, saw it from the second balcony — something had to offset the price of the Funny Girl tickets — and enjoyed it immensely.