Broadway Grosses: Week Ending 6/15/26- Page 2
Broadway Grosses: Week Ending 6/15/26
Broadway Grosses: Week Ending 6/15/26#25
Posted: 6/16/26 at 4:56pm
Titanique also has a sizable orchestra as required by the venue, further adding to its costs.
It also never recouped off-Broadway despite running for several years. Those rights are a major drag and I think there’s a ceiling to what audiences are willing to spend on a show like this.
Broadway Grosses: Week Ending 6/15/26#26
Posted: 6/16/26 at 5:32pm
I'm not disputing there is a real perceived difference, but it is interesting how perceptions about being a replacement can vary so much for different shows. Fourth lead in Just In Time? May be hard to sell someone on take the part. Yet it isn't hard to imagine people chomping at the bit to be the 13th replacement in Oh Mary!
Broadway Legend Joined: 9/20/18
Broadway Grosses: Week Ending 6/15/26#27
Posted: 6/16/26 at 5:32pm
Titanique initially cost closer to $1 million, but service providers, authors, producer have probably waived their royalties/weekly fees to get the cost down. So it could be closer to 850-900 now.
Broadway Legend Joined: 9/20/18
Broadway Grosses: Week Ending 6/15/26#28
Posted: 6/16/26 at 5:47pm
SteveSanders said: "I'm not disputing there is a real perceived difference, but it is interesting how perceptions about being a replacement can vary so much for different shows. Fourth lead in Just In Time? May be hard to sell someone on take the part. Yet it isn't hard to imagine people chomping at the bit to be the 13th replacement in Oh Mary!"
You make a fair point but throughout history there are some star vehicles that people just do not want to touch as a replacement.
No one star is being associated with OH MARY right now, which benefits it, and actors can interpret the role in different ways. Aside from Maya, none of the Marys were shockingly big gets either - they were people who’d worked in theatre or weren’t A-tier stars. The role isn’t easy, but it’s a short, well-constructed play that gives her moments offstage and moments when featured players can take the spotlight.
JUST IN TIME is a not-great book and it requires the leading man to make it work. The role is a beast for vocals, dance and stamina. I think it is still being viewed as The Groff Show even tho he’s been gone several months and the consensus around the two replacements is they’re not better than Groff - but I’ve heard OM fans make a convincing case for why almost each replacement is the best they’ve seen in the part.
Broadway Grosses: Week Ending 6/15/26#29
Posted: 6/16/26 at 6:06pm
CoffeeBreak said: "CATS will pick up and do well over the summer.
Cats just announced that Cynthia Erivo is gonna be a guest judge this Thursday, they also got a performance slot on THE TONIGHT SHOW, and they’re kicking off the NYC Pride March, if those things don’t cause it’s ticket sales to pick up over the summer idk what will
Broadway Grosses: Week Ending 6/15/26#30
Posted: 6/16/26 at 6:22pm
& Juliet seems likely to be done soon. Fourth lowest grossing week of all time this week, which you never want to see in June. It may have run long enough to get more of an extended runway to closing but I think we'll hear something soon.
An all time low for Buena Vista. I think it'll be gone by the end of the summer or end of the year at the latest. Also the lowest since November 2024 for Maybe Happy Ending, back when it was struggling to survive.
Becky Shaw had a really nice run for the Hayes
Good bump for Schmigadoon as expected and a lesser but still solid bump for Ragtime. A nice little bump for Rocky Horror too and The Lost Boys/Two Strangers held steady. Cats dropped but is still OK. Really Titanique is the one I'm keeping my eye on. Proof that Tony performances matter at least to a small degree.
It's really interesting to see how Dog Day Afternoon fell apart. The reviews and lack of Tony noms seemed to really do a number on what was once a hot ticket.
I feel like The Outsiders has had a trajectory similar to Hadestown and Moulin Rouge. Gangbuster numbers for awhile after the Tony wins then a slip into softer numbers where it looked like it might not run for as long before finally settling into a pretty solid weekly number as it becomes a tourist favorite. I could see it easily getting a 5+ year run like Moulin.
Broadway Grosses: Week Ending 6/15/26#31
Posted: 6/16/26 at 6:36pm
Not a good week for Eva Price
Broadway Grosses: Week Ending 6/15/26#32
Posted: 6/16/26 at 6:53pm
The post-Criss collapse of Maybe Happy Ending is disheartening. Unlike The Outsiders, the show never became the star - even though I thought it could hold up better because it’s a well-crafted musical that could appeal to a wide audience.
But musicals, with fewer international tourists and pricey running costs, have such high margins for error, and even well-liked shows like MHE or Death Becomes Her or Buena Vista Social Club run out of steam.
I speculated last week about shows that might stick it out through Tony season and survive, in part they will be some of the few remaining musical options. But you can’t make people go to the theater to see shows they don’t really want to see, or already have seen.
The commercial failure of Maybe Happy Ending on Broadway, barring a comeback, is Exhibit A for why musicals, especially new ones, are a bad investment. Without international tourism, the audience is just smaller and fewer people want to see replacement casts.
Broadway Grosses: Week Ending 6/15/26#33
Posted: 6/16/26 at 7:04pm
ErmengardeStopSniveling said: "Titanique initially cost closer to $1 million, but service providers, authors, producer have probably waived their royalties/weekly fees to get the cost down. So it could be closer to 850-900 now."
I know I've brought this up before, but... if the authors "waive their fees," are they literally not getting paid for their work being performed? That seems so bizarre to me. It should be just as unthinkable as Equity allowing actors work for free.
Broadway Grosses: Week Ending 6/15/26#34
Posted: 6/16/26 at 7:08pm
kdogg36 said: "ErmengardeStopSniveling said: "Titanique initially cost closer to $1 million, but service providers, authors, producer have probably waived their royalties/weekly fees to get the cost down. So it could be closer to 850-900 now."
I know I've brought this up before, but... if the authors "waive their fees," are they literally not getting paid for their work being performed? That seems so bizarre to me. It should be just as unthinkable as Equity allowing actors work for free."
Authors may want to try and help save a show in trouble. They will get profits in any future life of the show, while the actors and other crew generally do not.
Broadway Grosses: Week Ending 6/15/26#35
Posted: 6/16/26 at 7:13pm
broadfan327 said: "Authors may want to try and help save a show in trouble. They will get profits in any future life of the show, while the actors and other crew generally do not."
Your latter point does make sense. (As to your first point, I can count on approximately one finger the musicals in recent years that went from struggling to making a weekly profit.) What I'm really troubled by is that, from what I've heard, producers put a lot of pressure on the authors to waive their royalties. There should be safeguards in place to prevent that kind of thing. Most composers, lyricists, and librettists aren't independently wealthy like ALW or Stephen Schwartz.
Broadway Grosses: Week Ending 6/15/26#36
Posted: 6/16/26 at 7:27pm
kdogg36 said: "broadfan327 said: "Authors may want to try and help save a show in trouble. They will get profits in any future life of the show, while the actors and other crew generally do not."
Your latter point does make sense. (As to your first point, I can count on approximately one finger the musicals in recent years thatwent from struggling to making a weekly profit.) What I'm really troubled by is that, from what I've heard, producers put a lot of pressure on the authors to waive their royalties. There should be safeguards in place to prevent that kind of thing. Most composers, lyricists, and librettists aren't independently wealthy like ALW or Stephen Schwartz."
There are all kinds of unnecessary pressures in this industry to cut costs and keep a show running, whether it be forcing creatives to waive royalties, not hiring enough swings and having performers go on sick or a show gets cancelled, and cutting back on marketing.
It’s a perpetual game of plugging holes in a boat.
Broadway Grosses: Week Ending 6/15/26#37
Posted: 6/16/26 at 8:15pm
quizking101 said: "There are all kinds of unnecessary pressures in this industry to cut costs and keep a show running, whether it be forcing creatives to waive royalties, not hiring enough swings and having performers go on sick or a show gets cancelled, and cutting back on marketing."
I know you're right, and I appreciate your perspective on this. To me, authors in the world of theater are analogous to doctors, nurses, and aides in the healthcare system - if anyone is getting rich, it should be them.
Chorus Member Joined: 11/27/19
Broadway Grosses: Week Ending 6/15/26#38
Posted: 6/16/26 at 9:35pm
ErmengardeStopSniveling said: "To date Macfarlane has turned everything down, even short runs and “you pick the project” projects. I’d be happy to see him on Broadway (or Encores or someplace) someday but I don’t expect to.
Buble has been compared to Darin and Sinatra so much over his career that I doubt he’d come into this of all things.
I can’t think of many guys who are incredible famous (to a different audience than the people who’ve already gone) AND would be willing to be the fourth actor to play this role on Broadway."
It wouldn't have much of an audience behind a Morrison-esque strictly limited engagement (four weeks or less) but I would give an arm and a leg to see Tony-winner John Lloyd Young play Bobby Darin. Sure, playing another 60's pop star could be extreme typecasting, but since JLY doesn't have a single Broadway credit to his name other than Jersey Boys, it's not like he currently has a flourishing Broadway career that such a typecasting could hurt. It would be fun to see him play a role other than Frankie Valli.
Broadway Grosses: Week Ending 6/15/26#39
Posted: 6/16/26 at 9:59pm
The big winners from the Tony Awards were Giant, which got a nice boost (based on John Lithgow’s Best Actor win?) and Schmigadoon!, I guess. Was last week the musical’s first profitable one? $1.1 million is a nice bounce but doesn’t seem like anything extraordinary unless my guess on running costs is too high.
I am not counting Ragtime and Death of a Salesman, which won and had strong weeks. But both of those shows would probably have done well regardless.
Broadway Grosses: Week Ending 6/15/26#40
Posted: 6/16/26 at 11:04pm
The Lost Boys outgrossed Wicked, so that's something.
Broadway Legend Joined: 6/28/05
Broadway Grosses: Week Ending 6/15/26#41
Posted: 6/16/26 at 11:12pm
Lanie J said: "ErmengardeStopSniveling said: "To date Macfarlane has turned everything down, even short runs and “you pick the project” projects. I’d be happy to see him on Broadway (or Encores or someplace) someday but I don’t expect to.
Buble has been compared to Darin and Sinatra so much over his career that I doubt he’d come into this of all things.
I can’t think of many guys who are incredible famous (to a different audience than the people who’ve already gone) AND would be willing to be the fourth actor to play this role on Broadway."
It wouldn't have much of an audience behind a Morrison-esque strictly limited engagement (four weeks or less) but I would give an arm and a leg to see Tony-winner John Lloyd Young play Bobby Darin. Sure, playing another 60's pop star could be extreme typecasting, but since JLY doesn't have a single Broadway credit to his name other thanJersey Boys, it's not like he currently has a flourishing Broadway career that such a typecasting could hurt. It would be fun to see him play a role other than Frankie Valli."
Sadly, that would run for about one performance.
The show needs influencers who are crooners to survive, unfortunately.
Latest Posts
Videos
.jpg?format=auto&width=365)
