Broadway Grosses: Week Ending 2/25/24

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: SWEENEY TODD: THE DEMON BARBER OF FLEET STREET (6.2%), DAYS OF WINE AND ROSES (5.7%), & JULIET (2.9%), PRAYER FOR THE FRENCH REPUBLIC (2.6%), A BEAUTIFUL NOISE, THE NEIL DIAMOND MUSICAL (2.5%), MJ THE MUSICAL (1%), THE LION KING (0.6%), WICKED (0.6%), HADESTOWN (0.5%), SIX (0.3%), MOULIN ROUGE! THE MUSICAL (0.2%), DOUBT: A PARABLE (0.1%),

Down for the week by attendance (% of capacity) was: SPAMALOT (-15.2%), CHICAGO (-4.4%), BACK TO THE FUTURE: THE MUSICAL (-3.1%), KIMBERLY AKIMBO (-2.9%), THE BOOK OF MORMON (-2.4%), ALADDIN (-1.6%), HARRY POTTER AND THE CURSED CHILD (-1.6%), THE NOTEBOOK (-1.1%), HAMILTON (-0.8%), APPROPRIATE (-0.3%),

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ElephantLoveMedley said: "Love to seeHadestown continuing strong."

Yes! What's the reason for the recent bump?

Really happy about Sweeney. Proves that Foster gets people into seats…I don’t know how much of a following Tveit has, although I admit to being surprised at all the shrieking when I saw Catch Me. I wonder if the producers were hedging on May, so Foster and Tveit could exit gracefully if they did not pull in audiences. With them obviously doing so, I wonder if we’ll see an announcement extending with them in a month or so (assuming grosses continue this good).

I am also amazed at how well Appropriate is doing. I am betting that it will do great at the Belasco, because momentum will not have shriveled, as with Take Me Out.

i am not surprised by the Roses gross at all. I just wonder what O’Hara and James must be thinking when they are playing to less than half-filled theatres. I am assuming they do better on the week-end than during the week, but that may not be the case,

Wonder why Notebook dropped $133,000!!!

Is this going to be this season's Almost Famous? Started strong but declined each week?

BETTY22 said: "Wonder why Notebook dropped $133,000!!!

Is this going to be this season's Almost Famous? Started strong but declined each week?"

No. They dropped the average ticket price by $20 last week to keep the house full. They are doing good business with strong word of mouth.

Sweeney's numbers are particularly impressive especially since they've continued the 7 performances per week. I noticed The Notebook also only did 7 performances this week - is that normal for them?

Mainly Ani DiFranco. She's the reason I saw it again and on the day I attended, many people were there for Ani as well.



barcelona20 said: "ElephantLoveMedley said: "Love to seeHadestown continuing strong."

Yes! What's the reason for the recent bump?"

Updated On: 2/27/24 at 03:43 PM

Jarethan said: "Really happy about Sweeney. Proves that Foster gets people into seats…I don’t know how much of a following Tveit has, although I admit to being surprised at all the shrieking when I saw Catch Me..

I’m pretty sure Tveit is a factor, too. He has a ton of female fans. They are really enjoying his look/performance as ‘Sweeney.” Why are you guys so dismissive of him?

ErmengardeStopSniveling said: "In hindsight, MERRILY probably wishes they'd gone for a house bigger than the 975-seat Hudson. This could easily be making an additional $350,000 a week at the August Wilson or Nederlander (or even more at someplace like theSt. James or Imperial)."

I disagree quite a bit. The intimacy and limited availability are selling points and a big part of why the show has been such a smash success. If everyone who wanted to see this show had been able to get tickets easily, I don't think it would have blown up like it has.

BETTY22 said: "Wonder why Notebook dropped $133,000!!!

Is this going to be this season's Almost Famous? Started strong but declined each week?"

Granted there are only three weeks of data, and the first week only had three performances, but I think it was more that their average ticket price spiked up by $20 that second week, which just so happened to include Valentines Day, and this past week settled back down. For now it’s doing numbers that any sensible producer would be happy with at this point in previews.

It's really funny and interesting how things have shifted. In years past, when a show like "Water For Elephants" started previews to such negative audience reviews, theater-folk would flock to the box office to get tickets to it immediately to see it for themselves but now, all I hear from the same people who would have done that is how, because prices are so high, they'll just skip it.

OhHiii said: "Bad Cinderella probably jaded a lot of those types of people Jordan. Fool me once as they say."

Yeah we've had so many stinkers in the past decade that burned people (at least Bad Cin was one of the more fun stinkers) + most people who were once completists are seeing less stuff than pre-pandemic.

That, and the practice of papering has grown so much that some of us know it's just a matter of time.

Even TDF's musical price of $63 is not THAT great a deal and is about $20 more than the average rush/lotto seat.

ErmengardeStopSniveling said: "jkcohen626 said: "ErmengardeStopSniveling said: "In hindsight, MERRILY probably wishes they'd gone for a house bigger than the 975-seat Hudson. This could easily be making an additional $350,000 a week at the August Wilson or Nederlander (or even more at someplace like theSt. James or Imperial)."

I disagree quite a bit. The intimacy and limited availability are selling points and a big part of why the show has been such a smash success. If everyone who wanted to see this show had been able to get tickets easily, I don't think it would have blown up like it has."

I usually agree with the supply-and-demand argument, but in this case the demand is just SO high (higher than even they anticipated). Even someplace like the Schoenfeld or Barrymore with 100 more seats would have helped demand without hurting it and increased $$. But that's just me Monday Morning Quarterbacking."

Demand was also due to the cast. That production is similar enough to the West End 2014 and Boston 2017 productions with lesser-known casts. I still remember going to Boston for a weekend back in 2017 and was able to get a discounted orchestra seat for around $30.