Broadway Grosses: Week Ending 3/17/24

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: SPAMALOT (14.1%), KIMBERLY AKIMBO (11.8%), & JULIET (8.4%), BACK TO THE FUTURE: THE MUSICAL (7.5%), MJ THE MUSICAL (6.7%), DAYS OF WINE AND ROSES (5.7%), DOUBT: A PARABLE (4.5%), HARRY POTTER AND THE CURSED CHILD (3.8%), SWEENEY TODD: THE DEMON BARBER OF FLEET STREET (3.4%), WICKED (2.4%), THE BOOK OF MORMON (2.4%), A BEAUTIFUL NOISE, THE NEIL DIAMOND MUSICAL (2.2%), MOULIN ROUGE! THE MUSICAL (2.1%), WATER FOR ELEPHANTS (1.3%), SIX (0.7%), HAMILTON (0.5%), AN ENEMY OF THE PEOPLE (0.4%),

Down for the week by attendance (% of capacity) was: THE WHO'S TOMMY (-10.3%), CHICAGO (-5.8%), THE NOTEBOOK (-2.4%), THE LION KING (-1.3%), ALADDIN (-1.2%),

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Well, it looks like we're coming out of the winter doldrums, at least.

What's the weekly cost of The Notebook?

quizking101 said: "Seems the closing notice boosted SPAMALOT quite a bit, but DAYS is still middling.

We’re about to have a VERY interesting next few weeks as all the new shows enter the fray and the cage match begins.

I will say that WATER FOR ELEPHANTS is certainly not going to be able to sustain with an ATP of under $100 and the low showing is not boding well for when its competitors start up"

Except its competitors will be in the same boat, excluding Cabaret which is destined to be a juggernaut.

And to that end, I would hope they have a roster of people ready to take over the roles to keep the show going. Either one of the two leads would need to be a huge name to keep running for any length of time.

SIDEBAR: Likely not going to happen, but I would LOVE to see Conrad Ricamora take on the Emcee or Cliff at some point.

Days of W&R is probably the only one I've noticed this year that didn't see any movement on the needle with the closing announcement

As others have mentinoed, the captialization and weekly running costs of CABARET make it one of the most unlikely shows to open this season to ever recoup, despite what might end up being good business and strong reviews. They will have to maintain a ridiculously high ticket price average for multi-years to recoup. The replacements will need to be absolute A list.

quizking101 said: "And to that end, I would hope they have a roster of people ready to take over the roles to keep the show going. Either one of the two leads would need to be a huge name to keep running for any length of time.

SIDEBAR: Likely not going to happen, but I would LOVE to see Conrad Ricamora take on the Emcee or Cliff at some point."

The numbers for SWEENEY with Foster & Tveit give me some hope that it wouldn't need someone of equal or greater value than Redmayne after he leaves, but that can only be sustained for a finite amount of time, and they need to move a lot of premium tickets & seat packages. Most of the Cliffs & Sallys who replaced in London pale in comparison where name-value is concerned.

I believe they have Eddie for just 6 months, and it will need to run more than a year to recoup.

There are a number of savvy co-producer/investor types who've said "no thanks" to CABARET because of the capitalization, running costs, and competition.

Updated On: 3/19/24 at 03:00 PM

BETTY22 said: "How long has Eddie signed for? As long as he is with it, it will be fine."

Per the shows’s website, “Eddie Redmayne and Gayle Rankin star as the Emcee and Sally Bowles through Saturday, September 14, 2024.” So about 5 months.

I assume they’ll stick with the spirit of the London production and have a revolving door of celebrities and semi-celebrities filtering through those roles to keep the grosses up.

Updated On: 3/19/24 at 03:13 PM

lopside said: "Days of W&R is probably the only one I've noticed this year that didn't see any movement on the needle with the closing announcement"

I have not seen this, so no opinion from me. I only know three people who have seen it, and all three hated it. One said she would have left if she were not stuck in the middle to the row. All cited its dreariness and horrible music (!!). One saw it with a group of 6 friends, none of whom I know other than super-casually. They went to a matinee; at dinner, they spent the time discussing not the show itself, but why someone would invest in such a dreary show.

I suspect that WOM is just so awful on this one.

QueenAlice said: "As others have mentinoed, the captialization and weekly running costs of CABARET make it one of the most unlikely shows to open this season to ever recoup, despite what might end up being good business and strong reviews. They will have to maintain a ridiculously high ticket price average for multi-years to recoup. The replacements will need to be absolute A list."



the last Cabaret revival had some pretty big names, so I’d imagine they could keep it going. It’s a fairly easy show to stunt cast.

QueenAlice said: "They will need to stunt cast with names that can sell a large number of$400+ tickets, as that is what the recoupment schedule demands to break even."

I guarantee those producers have had their fingers busy dialing ANY possible replacements for months now. I don't think they'll need huge huge names but a B list pop star here, a fresh from a buzzy tv show actress there, a broadway name here, etc they can inch their way there.

Do we know if London has recouped yet? Costs/unions are different there so it's not apples to apples but I'm curious how long they took/are taking since they've kept selling well enough.

We all know that closing announcements can bump up ticket sales. When was the last time that ever resulted in a show reversing their decision to close? Sweeney Todd is closing. Move on, and maybe follow it on tour if you want to see it again. Let's move on and get excited about other shows!