Broadway Grosses: Week Ending 6/29/25

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: STEPHEN SONDHEIM'S OLD FRIENDS (24.9%), DEAD OUTLAW (19.4%), REAL WOMEN HAVE CURVES: THE MUSICAL (12.4%), CALL ME IZZY (3.6%), MAYBE HAPPY ENDING (1.2%), THE PICTURE OF DORIAN GRAY (0.1%),

Down for the week by attendance (% of capacity) was: GYPSY (-17.5%), PIRATES! THE PENZANCE MUSICAL (-8.8%), MOULIN ROUGE! THE MUSICAL (-8.5%), BOOP! THE MUSICAL (-8.4%), THE GREAT GATSBY (-8.3%), SIX: THE MUSICAL (-7.9%), HELL'S KITCHEN (-7.3%), HARRY POTTER AND THE CURSED CHILD (-7.2%), STRANGER THINGS: THE FIRST SHADOW (-6%), DEATH BECOMES HER (-4.3%), BUENA VISTA SOCIAL CLUB (-3.9%), CHICAGO (-3.6%), MJ (-3.1%), ALADDIN (-2.5%), THE BOOK OF MORMON (-2.4%), GLENGARRY GLEN ROSS (-1.7%), OPERATION MINCEMEAT: A NEW MUSICAL (-1.1%), CABARET AT THE KIT KAT CLUB (-1%), HADESTOWN (-0.9%), JUST IN TIME (-0.8%), THE LION KING (-0.6%), HAMILTON (-0.3%), & JULIET (-0.2%), THE OUTSIDERS (-0.2%),

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Six is probably still making more money than they'd make in an Off-Broadway house unless they were to charge Broadway prices. They just don't have much incentive to move and lose the Broadway brand yet. My two cents.

Wow, Sunset Blvd has really been such a post-Tony runaway. I'm positive its going to break it's all-time gross record ($1.9M) by closing if not this week. Such a success. Good for them. It really makes the case for Jamie not to really waste time for Evita, but I also know that Much Ado was supposed to be on the way as well. Though the Tonys have definitely given Sunset a boost, I don't know that it was turning a great deal of profit, if not losing money many weeks this winter and spring. That may make the case to engineer a Spring opening for Evita so they aren't slogging through to make it to the Tonys.

I still have my eye on Moulin Rouge. It's wild that that brand doesn't do better in the Summer months, but it needs to be grossing north of $1m to break even. I've been banging this drum (and admittedly have been wrong about Hadestown managing to stick it out), but I don't know how Moulin Rouge survives into 2026. 

OhHiii said: "

I still have my eye on Moulin Rouge. It's wild that that brand doesn't do better in the Summer months, but it needs to be grossing north of $1m to break even. I've been banging this drum (and admittedly have been wrong about Hadestown managing to stick it out), but I don't know how Moulin Rouge survives into 2026."

Despite seeming like a tourist show, Moulin Rouge always seems to sag a bit in the summer and do better off peak. I feel like that has happened for a couple years now, not sure why.

With a lot of the unsurprising closings mostly done now or announced, the next ones to keep an eye on IMO are Gypsy and Mincemeat 

Patti LuPone FANatic said: "Unless I'm mistaken, I don't recall Chicago's numbers being this low during the summertime. In the back of my mind, I'm wishing that Terra C would make a return to Chicago, after finishing her Canadian shows."

Possibly after Sophie leaves in August. But Terra won't help sell tickets. Chicago needs a name in the show soon.

gibsons2 said: "Mr. Wormwood said: "With a lot of the unsurprising closings mostly done now or announced, the next ones to keep an eye on IMO are Gypsy and Mincemeat"

What makes you think that Mincemeat is the one to keep an eye on. It has one of the steadiest grosses from the beginning of its run. No highs, but no lows either, except tinyfluctuations. Why do you think it's in danger of closing?"

I'd second this. It's one of the only new musicals that has likely consistently made money. The numbers appear lower, but that's simply because the venue is significantly smaller. I would bet it made more profit last week than Death Becomes Her.

I'm more worried about Hells Kitchen, Gatsby, and Moulin Rouge, all of which likely lost money last week. There are quite a few long runners more marginal than they used to be, too. Mormon, Hadestown, and Six are, I'd think, fine for a bit, but it's not so pretty.

OhHiii said: "Six is probably still making more money than they'd make in an Off-Broadway house unless they were to charge Broadway prices. They just don't have much incentive to move and lose the Broadway brand yet. My two cents.

Wow, Sunset Blvd has really been such a post-Tony runaway. I'm positive its going to break it's all-time gross record ($1.9M) by closing if not this week. Such a success. Good for them. It really makes the case for Jamie not to really waste time for Evita, but I also know that Much Ado was supposed to be on the way as well. Though the Tonys have definitely given Sunset a boost, I don't know that it was turning a great deal of profit, if not losing money many weeks this winter and spring. That may make the case to engineer a Spring opening for Evita so they aren't slogging through to make it to the Tonys.

I still have my eye on Moulin Rouge. It's wild that that brand doesn't do better in the Summer months, but it needs to be grossing north of $1m to break even. I've been banging this drum (and admittedly have been wrong about Hadestown managing to stick it out), but I don't know how Moulin Rouge survives into 20

I would imagine that Evita is a much more sellable property, all other things equal, that SB.  If it opens in the fall and gets really good reviews, I would expect it to sell better than SB, and not repeat the SB drop that occurred sometime in the winter.

I don't know about OM closing any time soon, but I bet it won't extend again.  It is selling out, but it is surprisingly heavily discounted and has been pretty much since the start of performances.  I doubt very much that it will ever turn a profit on its investment.  It is not the hit they were expecting, which is always a shame.

I wonder whether Chicago is actually hitting the end of its life.  Its grosses for the past couple of months have been awful and I imagine it has been losing money.   I wonder what type of a war chest may be set up for it to run at least as long as the Weisslers?  He is at least 85 and she is at least 96.

To end on a positive note, Oh! Mary! has completed its first year of sold out performances, an incredible accomplishment for a non-musical.  Considering what its weekly breakeven could be -- again no idea -- it may replace Chicago as the show to run forever by coming up with clever replacement casting.  Good for them!

Updated On: 7/1/25 at 06:14 PM

dan94 said: "Mincemeat could go either way. It hasn't been losing money. But the advance is low, even in an age where advances don't exist anymore.

Look 6 weeks out from tonight and it appears only about 100 ticketshave been sold at this point. Most tickets are moving within 6 weeks from show date, but....this is close tothe entire house they need to move. Could absolutely do it. Wouldn't be shocked if they didn't."

I don’t think Mincemeat is in any danger. They have a loyal fan base, a relatively modest production (compared to most), and a very savvy marketing team that keeps their base engaged at all times with surprise discounts and great use of social media.

Being a Tony and Olivier winning show that’s also not wholly dependent on its cast to sell tickets is a major plus and they lean into the premise that variation in the cast creates unique experiences and incentives fans to return multiple times for different iterations. 

On that note, I’m really shocked that CALL ME IZZY isn’t the hot seller that it was poised to be, but I think people catching on that they aren’t getting “funny” Jean Smart and that’s what people may want, as opposed to a thinly written domestic violence Lifetime-esque drama.

A few random thoughts (which may be wrong):

- Audra McDonald was out two performances last week, which only reinforces how completely dependent the Gypsy revival is on her. That was the third-lowest week in its run, and one of those was when they had to cancel a bunch of performances over the holidays due to cast-wide illness. The revival was promoted that way, so it’s no surprise. Gypsy also might be hitting the wall that many prestige revivals hit after this many months.

- John Proctor is the Villain will continue to make big bucks until Sadie Sink leaves. I know it’s an ensemble piece, but seats are quite available after she’s gone.

- Real Women Have Curves and Dead Outlaw just never caught on. The last week brought a modest boost, but nothing much. I liked Dead Outlaw, despite a few complaints, but this seems more like a regional production/college theater candidate than a realistic national tour option. I didn’t see Real Women Have Curves so am less able to assess its chances.

- It’s always this way, but the feast-or-famine theme is really stark. The winners - Maybe Happy Ending and Sunset Blvd. - get richer. The shows that have found an audience - Oh, Mary! - continue to thrive. Other shows limp along. 

- I don’t know the running costs of Operation Mincemeat but the show is still holding up fine. Sold-out theater, $120 a ticket. Maybe it falls apart but I’m not seeing weakness yet.

- I wonder if the Tony Awards performances helped any show. It seems like Nicole Scherzinger’s might have helped Sunset Blvd., although its victories and upcoming closure also have helped. 

DramaTeach said: "Another random thought: I don’t think we’re giving Groff enough credit. Hamilton was Hamilton. Merrily had Radcliffe. This is all his, and he’s selling the heck out of it. As much as he was a success before, I think this solidifies him as a fully bankable name."

I feel like Groff may actually be that unicorn: an actual bankable Broadway star. (Yes, I know he has a TV career.)

Updated On: 7/2/25 at 07:13 AM

witchoftheeast2 said: "Correct me if I'm wrong, but isn't Mincemeat also a limited engagement? Are we basing the closing thoughts on if it will make it to it's newly announced closing date?"

It started out as a limited engagement, following the West End production's precedent of announcing short "extensions," but months ago they announced that they've been "extended" through February 15, 2026 (possibly when the original cast's year-long contracts end?) without calling that a closing date. It's essentially an open run.