Broadway Grosses: Week Ending 4/9/17 — Page 2

haterobics said: "Dysquith13 said: "This may be a silly question, but how exactly is the potential gross calculated?"

All tix selling at their listed price without discounts, etc., I'd imagine.

Also does not include premium ticket cost or standing room potential



"

Interesting. The new musicalsthat are doing well (and merit be damned) are Charlie and the CF... and Anastasia, clearly aimed at children and their moms who know the properties. Groundhog Day, War Paint and Amelie - all more or less intended for an older audience are doing middling business.And we can forget the straight play category. They are drowning or floating to get by.

This is what New York theater is becoming. Kiddieland! NYC once was the theatrical center of the western world. Today ?- and I'll quote George Furth: "New York is the center of New York."

I would concur with JayG, how is it people will flock to see Charlie, yet Dolls House is seemingly ignored? Quality be dammed apparently. Broadway is supposed to be the Meca for serious theater is it not? Sad state of affairs if what JayG is saying is true, and it seems it just may be.

JayG 2 said: "Interesting. The new musicalsthat are doing well (and merit be damned) are Charlie and the CF... and Anastasia, clearly aimed at children and their moms who know the properties. Groundhog Day, War Paint and Amelie - all more or less intended for an older audience are doing middling business.And we can forget the straight play category. They are drowning or floating to get by.

This is what New York theater is becoming. Kiddieland! NYC once was the theatrical center of the western world. Today ?- and I'll quote George Furth: "New York is the center of New York."

Sure, but that doesn't hold up if you look at even just musicals that have opened this year. CFA, DEH, Dolly, Miss Saigon, Comet... Shows that run on childhood nostalgia will always sell a lot of tickets, but there is plenty of room for new and different musicals.

I think it might be better to say "Childhood nostalgia is far more bankable than adult nostalgia". The difference is that Amelie and Groundhog day were seen by adults originally, whereas Anastasia and Chocolate Factory were originally seen by kids, now adults (The targeted age group of Anastasia not just kids but twenty somethings who watched the movie as kids)

COME FROM AWAY is slowly inching towards grossing $1 million.

Right. But teenagers aren't children.

froote said: "Right. But teenagers aren't children

"



Yes they are

Says a teenager.



https://en.m.wikipedia.org/wiki/Child

Still legally children if under 18.

canadian fan said: "I would concur with JayG, how is it people will flock to see Charlie, yet Dolls House is seemingly ignored? Quality be dammed apparently. Broadway is supposed to be the Meca for serious theater is it not? Sad state of affairs if what JayG is saying is true, and it seems it just may be."

Broadway is best for musicals, but the West End has the edge when it comes to plays.

Of course teenagers are children, in ever legal sense of the word. There really is no debating that particular point.

I do miss the teenagers on the board from years ago, who were much more willing to learn from knowledgeable posters like Pal Joey and others. Much of this current group, as this thread indicates, seems to already think they know everything.

Mildred Plotka said: "Still legally children if under 18."

Sure, legally. But I don't think anyone here is talking about legality. The argument is that teenagers (Such as are fans of DEH, which does include serious discussion of adult topics like suicide) and children (Such as might be fans of shows like Anastasia) are totally different markets and should not be lumped together when discussing what their interests are or what would be appropriate for them

But, on topic: In Transit's numbers continue to be incredibly grim, and Bandstand doesn't look great either. Pity, I've heard good things about it but it seems like it will be swallowed by a crowded season. Still waiting to see if CFA can hit that 1mill mark

if Chicago continues on its current trajectory, 2017 could be its highest grossing year ever. Admittedly, ticket price inflation is a significant factor, but that is still incredible, particularly if the producers manage the operating costs as tightly as I have read over the years.

So, for those of us who saw Carol Channing in the original Hello Dolly production, I am beginning to think that it is highly possible that the currently running productions of Chicago, The Lion King, Wicked, Hamilton, Phantom and, possibly, BOM will outlast us all. I only qualify BOM because I am not sure that it will get the foreign tourists that seem to be contributing to the continued success of the other war horses.