Broadway Grosses: Week Ending 7/16/23 — Page 2

perfectpenguin said: "JSquared2 said: "perfectpenguin said: "bdn223 said: "hearthemsing22 said: "So what will close first- Grey House or New York, New York?"

Grey House is only on sale through September 3rd and at this point I am just going to assume they are going to publicly confirm its a limited run and not extend past that date."

I believe they have to state it’s a limited run when it was announced and not now. It’s an open run on sale through Sept 3rd. While I love love love Grey House but I believe this will be what happens though."



There is no rule stipulating when a show can and can't advertise as a limited run. Where on earth do people come up with this stuff?

"

I’ve never seen a show open, then say jk we’re actually a limited run months later."





by definition, doesn't every show (other than Chicago) become a limited run at some point?

ACL2006 said: "HLL needs to pick up sales. Their weekly nut is rumored to be around $1 million. Might end up the biggest bust of the season."

Speaking of the weekly nut, anyone have an idea (or a very educated guess) of what it is for BTTF? I'd think it was really high given the extent of the technology and the size of the theater. I know that the orchestra consists of 14 musicians.

bdn223 said: "RaisedOnMusicals said: "ACL2006 said: "HLL needs to pick up sales. Their weekly nut is rumored to be around $1 million. Might end up the biggest bust of the season."

Speaking of the weekly nut, anyone have an idea (or a very educated guess) of what it is for BTTF? I'd think it was really high given the extent of the technology and the size of the theater. I know that the orchestra consists of 14 musicians."

I have spoken with someone attached and was surprised to learn its only about $900K."

If that is true then NYNY and SLIH are doing something wrong with their weekly nut...

I agree that for all of its shortcomings, The Ambassador would easily find a new tenant. And its location is more desirable than many others..

SLIH is back to doing mediocre business after a little bump right after the Tony's. I am wondering whether we are going to see it and NYNY close the same day.

I also find it really interesting that, week-in and week-out, Grey House's grosses are remarkably consistent in the mid-$300K range. Consistent, just not good enough. Would it be served by moving to an Off-Broadway theatre; there is clearly interest in it, just not enough for a Broadway house.

Re Good Night Oscar, i truly expected it to be doing better business than it is doing, helped by Sean Hayes' Tony award. I assume that it is going to lost much of its investment, which is a shame.

trpguyy said: "re: Chicago.
I forgot to mention a huge factor, which is, there is no stop clause in their contract with the Shuberts. The Ambassador will only become available when/if Chicago closes voluntarily."

I'm guessing the Shuberts did not make that mistake again.

Didn’t Phantom also not have a ‘no stop clause’ with the Shuberts?

Chicago sells well with stunt casting and during peak periods. I’m guessing they make enough money during those times to offset lower grosses throughout the year. The investors have already recouped a long time ago so as long as the grosses are above the weekly nut, it’ll keep running.

Chicago also caters to tourists by having more than 7 foreign languages available as captions.

As a New Yorker I do feel this is the first summer that truly feels like pre-pandemic so hopefully we will keep seeing overall good grosses.

Mr. Wormwood said: "bdn223 said: "RaisedOnMusicals said: "ACL2006 said: "HLL needs to pick up sales. Their weekly nut is rumored to be around $1 million. Might end up the biggest bust of the season."

Speaking of the weekly nut, anyone have an idea (or a very educated guess) of what it is for BTTF? I'd think it was really high given the extent of the technology and the size of the theater. I know that the orchestra consists of 14 musicians."

I have spoken with someone attached and was surprised to learn its only about $900K."

If that is true then NYNY and SLIH are doing something wrong with their weekly nut..."

I can imagine a scenario in which a show like Back to the Future has higher PRODUCTION costs (the cost to build and create the physical production) but cheaper weekly running costs than SOME LIKE IT HOT which has an enormous amount of complicated costumes, wigs, dance (tap) shoes (as just a few line item examples) that require expensive regular maintance.

I also wonder what the weekly royalty situation is for payment to the rights holders is for each of these films turned musicals. I imagine that could also vary greatly, depending on the contract.

BossBroadway said: "If BTTF only costs 900k per week to run, SLIH should definitely not be any higher than 850k as opposed to 950k."

BTTF runs 980 a week but the license fee is more than 40% of the profit, so they will take a long time to recoup.

OMG U Guyz said: "signorafosca2 said: "BossBroadway said: "If BTTF only costs 900k per week to run, SLIH should definitely not be any higher than 850k as opposed to 950k."

BTTF runs 980 a week but the license fee is more than 40% of the profit, so they will take a long time to recoup."

Isn’t universal studios a lead producer?

"

The production still has to pay back a license fee, and it’s a hefty one.

B212323 said: "trpguyy said: "re: Chicago.
I forgot to mention a huge factor, which is, there is no stop clause in their contract with the Shuberts. The Ambassador will only become available when/if Chicago closes voluntarily."

I'm guessing the Shuberts did not make that mistake again."

I’m not sure if it’s viewed as a mistake, but Chicago is (and probably will be) the last Broadway show without a stop clause.

msmp said: "tThat explains a lot, but lord, I wonder how on earth the Weisslers' managed to get the Shuberts to agree to that."



Chicago moved from the very desirable Richard Rodgers to the less desirable Ambassaor. I wonder if that had something to do with it and the Shuberts sweetened the pot by eliminating the stop clause for the move.

pethian said: "msmp said: "tThat explains a lot, but lord, I wonder how on earth the Weisslers' managed to get the Shuberts to agree to that."



Chicago moved from the very desirable Richard Rodgers to the less desirable Ambassaor. I wonder if that had something to do with it and the Shuberts sweetened the pot by eliminating the stop clause for the move.

"

You’re missing the roughly 7 years it was at the flagship Shubert Theatre