Broadway Grosses: Week Ending 5/20/18

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: KINKY BOOTS (8.8%), A BRONX TALE THE MUSICAL (8.4%), CHILDREN OF A LESSER GOD (7.6%), WAITRESS (7.3%), ONCE ON THIS ISLAND (7.2%), BEAUTIFUL (5.7%), SUMMER (5.7%), THE PLAY THAT GOES WRONG (5.0%), THE PHANTOM OF THE OPERA (5.0%), WICKED (4.6%), CAROUSEL (4.1%), SPONGEBOB SQUAREPANTS (2.7%), HELLO, DOLLY! (2.6%), ESCAPE TO MARGARITAVILLE (2.4%), CHICAGO (2.4%), THE BAND'S VISIT (1.2%), TRAVESTIES (1.2%), ALADDIN (1.1%), THE BOYS IN THE BAND (0.5%), HAMILTON (0.2%), FROZEN (0.2%), COME FROM AWAY (0.2%), DEAR EVAN HANSEN (0.1%),

Down for the week by attendance was: SAINT JOAN (-5.4%), ANASTASIA (-1.3%), SCHOOL OF ROCK (-0.9%), ANGELS IN AMERICA (-0.3%), THE ICEMAN COMETH (-0.1%), THE LION KING (-0.1%),

Click Here to Visit the BroadwayWorld Grosses...

Those numbers for Kinky Boots and School of Rock are no good.



I hope they can survive the New Years Eve, hope to catch them in October.

Call_me_jorge said: "Really don’t understand why Rudin is pulling the plug on Hello, Dolly"

Because after a certain period of time, an event becomes a show.

qolbinau said: "Look carefully at the grosses, when Murphy took over for 2 weeks in peak summer time it went from 936k to 722k. That's a massive drop in just two weeks. How do you think the sales would have fared if Murphy had took overfor the 15+ weeks Bernadette has now been running it for? I mean, believe me if they thought the show would be sustainable with someone else they would surely do it. It's almostalways about money. And I'm confused why you reference Great Comet - that was definitely about money too!"

Even with going through many weeks without a "face", Comet never once dropped below $700,000. I find it hard to believe it wasn't meeting its nut. Likewise, even though Donna was barely pulling in $700,000, I'm 100% certain Dolly met its nut during those weeks. If Rudin really wanted to run the show with an unknown, I'm certain he could make it happen. But instead, he can simply close this production and bring in a shiny new production of a different show starring Jeff Daniels that will make more money than Dolly would without a star.

haterobics said: "Call_me_jorge said: "Really don’t understand why Rudin is pulling the plug on Hello, Dolly"

Because after a certain period of time, aneventbecomes a show."

OOOO -- This! -- wish I would have said it.

Great Comet closed because it had no advance sales, ie. it was almost definitely going to be in the red for those months, probably drastically in the red. Without a star, Dolly probably runs into the same problem.

raddersons said: "Great Comet closed because it had no advance sales, ie. it was almost definitely going to be in the red for those months, probably drasticallyin the red. Without a star, Dolly probably runs into the same problem."

Not to jump in, but I'm surprised NOBODY has yet mentioned the controversy of hiring Mandy Patkin over Oak O. for three weeks. I believe it could have lasted up until late December if that never happened, especially because the fandom swelled in size after closing. What a shame.

dramamama611 said: "No, it wasn't surviving with Oak. Sales were dusmal; Patinkin was a life jacket."

I’d also say that Comet has been dogged by reports that the revenue was mismanaged, that somehow not one of its off-Broadway productions recouped despite being popular. So the Broadway production was on more unstable footing than many shows from the get go. Add to that the lack of substantial advance sales, it was destined to close.

By comparison, Hello, Dolly! seems to be well managed shows (say what you will, but Rudin appears to know how to turn a profit). There are reports the show has recouped, but we may never know for sure. For the show to have strong advance sales, it has been clear it needs a star in the lead. Not sure why they couldn’t find another talented star to take over, but I’ll say this...

Let’s be glad it was revived. We needed this show as surely as we needed The Band’s Visit. The corner offers an escape from our troubling times while the latter. reminds that hospitality can be found in the most unexpected places, even those places we might expect to be rejected.

I’d also say that it’s human nature to want our favorite shows to run forever or at least for a long time. But if we want new works and revivals we have to make room for them. Of course, the last mostly dismal year for new musicals doesn’t inspire much hope. I am a fan of both Dolly (saw it with both Bette and Bernadette) and The Great Comet (missed the Broadway run, but saw the last off-Broadway run).

I also think we probably underestimate how high the weekly nut is for most shows while forgetting that just barely meeting the weekly nut does not contribute to paying back the investors.

dearalanaaaa said: "raddersons said: "Great Comet closed because it had no advance sales, ie. it was almost definitely going to be in the red for those months, probably drasticallyin the red. Without a star, Dolly probably runs into the same problem."

Not to jump in, but I'm surprised NOBODY has yet mentioned the controversyof hiring Mandy Patkin over Oak O. for three weeks. I believe it could have lasted up until late December if that never happened, especially because the fandom swelled in size after closing. What a shame."

The problem is one in the same. With the controversy, they couldn't get a star attached to the show. Without a star, they couldn't sell tickets.

I'm one of Comet's biggest fans, and I do think if Mandy stuck with it, then it could have lasted longer. But it wasn't going to be much longer. I doubt it would have been open now.

Agree about the set. When they announced the tour and then the closing I assumed the show was closing so they could use the set on tour. It would only make sense. The set is so gorgeous and lush that to recreate it would be quite expensive. The same goes for the costumes.

KINKY BOOTS and SCHOOL OF ROCK are probably still making money at ~ $760K, but I wonder what their future ticket sales look like? Same with BRONX TALE.

Come springtime... do we think JAGGED LITTLE PILL/HADESTOWN to the Longacre/Kerr, and CRAZY FOR YOU/MOULIN ROUGE to the Hirschfeld/Winter Garden?