Broadway Grosses: Week Ending 4/19/15

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.

Click Here to Visit the Broadway Grosses...

Up for the week by attendance was: AIRLINE HIGHWAY (14.5%), LIVING ON LOVE (11.0%), HEDWIG AND THE ANGRY INCH (9.7%), DOCTOR ZHIVAGO (2.9%), ON THE TWENTIETH CENTURY (0.4%), THE AUDIENCE (0.3%),

Down for the week by attendance was: IT SHOULDA BEEN YOU (-18.2%), JERSEY BOYS (-17.2%), ON THE TOWN (-16.7%), CHICAGO (-15.6%), HAND TO GOD (-15.4%), LES MISÉRABLES (-14.7%), KINKY BOOTS (-13.9%), A GENTLEMAN'S GUIDE TO LOVE AND MURDER (-13.7%), IT'S ONLY A PLAY (-13.2%), GIGI (-12.8%), THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME (-12.7%), THE HEIDI CHRONICLES (-11.4%), MAMMA MIA! (-9.6%), WOLF HALL PARTS ONE & TWO (-8.3%), SOMETHING ROTTEN! (-7.3%), THE PHANTOM OF THE OPERA (-6.8%), BEAUTIFUL (-5.6%), AN AMERICAN IN PARIS (-4.9%), MATILDA (-4.4%), FINDING NEVERLAND (-4.4%), WICKED (-3.3%), THE LION KING (-1.8%), THE VISIT (-1.2%), ALADDIN (-0.6%), THE BOOK OF MORMON (-0.4%), FISH IN THE DARK (-0.2%), FUN HOME (-0.1%),

Click Here to Visit the BroadwayWorld Grosses...

Ouch Living on Love and The Visit.

Spring breaks are finishing up, that's probably why. ^

Living on Love may not even make it to the Tony awards.

An American in Paris is turning into quite the surprise box office hit. Good for them.

"Love..." is the kind of charmning stunt (singer in non-singing role) that brightens a summer venue, as it did last year, apparently (though plenty of reservations were voiced). But who wants to see this world-class opera star in an evening that doesn't employ her known gifts? Were she in, say, "She Loves Me," and a couple of years ago, she might've been lovely in that central role, just chosen as an example, I would imagine a sell-out. But this is a farce, and she's playing a diva, and unless the script is top of the line, why would anyone pay top dollar?

No Skylight perfs this week.

In addition to what's been mentioned, the other notable things at the margins are OTT (down against new competition) and HTG (up some, certainly to a sustainable level). In the grey area are 4 also ran new musicals that are clearly in the red and maybe dead.

Those percentages have nothing to do with gross, but rather capacity of the theatre.

Having a full house is nice, but preferably you'd want those seats to be filled with paying patrons.

Question. What's the difference between the first 14 shows, and the 20 shows beneath them?

I don't get why THE HEIDI CHRONICLES isn't papering rather than playing to 50% capacity.

"To be fair, I'm an Anglophile, but I don't get the intensity of the aversion to London transfers. I'm gratified to see I'm not alone, as the two plays without any stars that still averaged over $100/ticket average were CURIOUS INCIDENT and WOLF HALL. CURIOUS is already an established hit (and I'm so happy for them for that) and I'm so glad they still have such strong grosses heading into Tony season."

I agree, and those two plays were my two favorite productions this season.