Broadway Grosses: Week Ending 5/3/26

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: OH, MARY! (7.9%), MOULIN ROUGE! THE MUSICAL (3.2%), & JULIET (2.4%), THE BOOK OF MORMON (2.1%), JOE TURNER'S COME AND GONE (1%), FALLEN ANGELS (0.8%), MAYBE HAPPY ENDING (0.5%), CHICAGO (0.4%),

Down for the week by attendance (% of capacity) was: BEACHES, A NEW MUSICAL (-16.7%), DEATH BECOMES HER (-15.4%), THE BALUSTERS (-10.6%), STRANGER THINGS: THE FIRST SHADOW (-9.8%), SCHMIGADOON! (-9.7%), THE GREAT GATSBY (-9.6%), SIX: THE MUSICAL (-9.3%), OPERATION MINCEMEAT: A NEW MUSICAL (-9.2%), DOG DAY AFTERNOON (-7.6%), TITANÍQUE (-7.2%), THE OUTSIDERS (-5.2%), HADESTOWN (-4.9%), THE LOST BOYS (-4.9%), BECKY SHAW (-3.6%), JUST IN TIME (-3.3%), BUENA VISTA SOCIAL CLUB (-3.3%), ALADDIN (-2.8%), THE LION KING (-2.8%), TWO STRANGERS (CARRY A CAKE ACROSS NEW YORK) (-2.7%), PROOF (-2.3%), WICKED (-2.2%), CHESS (-2.1%), GIANT (-2.1%), THE FEAR OF 13 (-1.9%), MJ (-1.9%), DEATH OF A SALESMAN (-1.8%), CATS: THE JELLICLE BALL (-1.7%), HAMILTON (-1.1%), RAGTIME (-0.5%),

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Fantastic grosses for Chicago!  I was surprised to see that Chicago and Moulin Rouge had almost identical grosses.

Updated On: 5/5/26 at 02:36 PM

Chicago knows when to switch it up unlike Death Becomes Her, apparently.

Death Becomes Her has to be on life support now. I wish Two Strangers would get a boost with all of their Tony nominations.

 

 Beaches averaged 772 people per performance. If their matinees are getting ~1,000, that would mean their evening shows are getting ~500 people.

I’ve heard the nederlanders have already enacted the stop clause on DBH

Pretty much every show right now has the right to be worried, including the long-runners. People just aren't seeing anything for the shows themselves anymore. 

Major hordes of the theatergoing audience 1) is dying out / died out during COVID, 2) have adopted new, permanent routines staying at home as it is considered "safer" and less costly than travelling to NY (especially domestic folk from the East Coast), and 3) simply plan to avoid the US at all costs, no matter who is in charge. 

It's a rough world right now and it will be tough economically for a LONG time. In my experience, it's becoming easier and easier to predict which shows (if any) sell each season, a telling sign of this broken theatre industry. 

I'm surprised to see DBH with such a big drop in grosses this week, even considering its very steady decline that started right after the holidays. Unfortunate, particularly for a show that had been in a strong place for a while. 

• I was really surprised that JIT's grosses and capacity dropped by 10% and 5% respectively.  I would have expected JJ to be a bigger attraction than MM at this time.  Three possible explanations: (1) JJ is not in for just 3 weeks, so less urgency for fans; (2) overexposure, between return visit to GG and Floyd Collins; (3) the show has peaked and the producers will run it until it starts losing money (something the DBH producers don't seem to get).
• Maya Rudolph's gross tells me that Oh! Mary! can run indefinitely, as long as they can come up with real names who are willing to step into the show for pretty short time commitments.
• Scary that none of this season's musicals are doing well other than Ragtime, and Ragtime's average ticket price is still only $133.  People are assuming that Tony nominations will help...I am not so sure, as the musical nominations are not exactly thrilling.  
• The only new musical that I think may break through is The Lost Boys, assuming that it can become a hot ticket with younger audiences.  It clearly has a long way to go.
• DBH has really died quickly.  The producers really need to decide whether they want to continue to lose money week after week.  Clearly, summer audiences want to see the Broadway museum pieces and whatever is still open that has stars.
• I have already scheduled my fall trip for late October.  Normally, I would see a combo of new things and things I missed in the Spring.  I doubt there will be anything from the spring openings that are still open (that I am not seeing in 3 weeks).  I have not read much about fall openings.  I am guessing that this may be the visit in which I revisit Chicago and Wicked, neither of which I have seen in 10 years, and hope that the non-profits have some good options.  Looking at this list demonstrates that long-runs and star attractions are LARGELY the only things doing well.  
• Given Wicked's ridiculously low average ticket price, why are they not at TKTS??????

DBH in a limbo contest with Beaches is not what I anticipated, but here we are.

TotallyEffed said: "I'd imagine it's extremely difficult to cast the two leads in Death Becomes Her."

Bingo, I find the Chicago comparison unfair. Not only are the roles more difficult to cast, but I’d imagine just the cost of putting in a replacement is much higher. The DBH costumes are much more intricate than the single piece a Velma or Roxie has to wear. 

"I was really surprised that JIT's grosses and capacity dropped by 10% and 5% respectively."

I'm wondering too. I finally saw the show with Jeremy Jordan and thought he's sensational in it. The audience ate out of the palm of his hand. It has to be the overexposure. Jeremy even made joke at the beginning about being in 3 Broadway musicals in the past 2 years.

Updated On: 5/5/26 at 03:39 PM

Call_me_jorge said: "TotallyEffed said: "I'd imagine it's extremely difficult to cast the two leads in Death Becomes Her."

Bingo, I find the Chicago comparison unfair. Not only are the roles more difficult to cast, but I’d imagine just the cost of putting in a replacement is much higher. The DBH costumes are much more intricate than the single piece a Velma or Roxie has to wear."

 

There's no comparison whatsoever. One is a well-oiled machine that has been on Broadway for decades that costs very little to run. They throw a Housewife in and squeeze some more life out of it. Clearly the girl they most recently put in the show did some great business for them.

Death Becomes Her requires a vocal and physical prowess few performers possess, especially ones willing to replace and who also have some kind of selling power at the box office.