Credit to Just in Time and Jeremy Jordan. Those are very solid numbers, especially average ticket price.
I assumed Maybe Happy Ending would struggle in the wake of Darren Criss’ departure and with attention focused elsewhere. Too early to panic, but this is where reduced tourism may hurt.
All the Best Musical nominees need to win, even The Lost Boys given its higher costs.
The hit plays exist in their own world, and I guess Death of a Salesman will sell out the remainder of its run, probably at higher prices than we are seeing now once it wins awards.
Credit to the producers of Giant, and John Lithgow for presumably taking less money than he could have demanded. The play is showing a little softness at this point, but not much, and it doesn’t matter anyway because the production already recouped.
I asked this before, but does Best Revival of a Musical usually help at the box office? It did plenty for Sunset Blvd. although there wasn’t enough time to take advantage. Cats: The Jellice Ball can use all the help it can get, although I kind of suspect that any boost it gets will probably be short-lived. I liked the revival but it’s probably not for everyone.
What is the situation with Ragtime? It’s been a big success, but at a nonprofit, so I don’t quite understand if recouping is even a thing. How does that work?
