Broadway Grosses: Week Ending 7/27/25

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: CALL ME IZZY (28.9%), GYPSY (7%), HARRY POTTER AND THE CURSED CHILD (4.7%), PIRATES! THE PENZANCE MUSICAL (4.5%), MOULIN ROUGE! THE MUSICAL (1.6%), ALADDIN (1.5%), OH, MARY! (0.7%), OPERATION MINCEMEAT: A NEW MUSICAL (0.7%), SIX: THE MUSICAL (0.5%), THE LION KING (0.2%), THE OUTSIDERS (0.2%), CHICAGO (0.1%), MAYBE HAPPY ENDING (0.1%),

Down for the week by attendance (% of capacity) was: CABARET AT THE KIT KAT CLUB (-17.1%), BUENA VISTA SOCIAL CLUB (-3.7%), THE GREAT GATSBY (-3.5%), DEATH BECOMES HER (-2.3%), THE BOOK OF MORMON (-1.2%), STRANGER THINGS: THE FIRST SHADOW (-0.7%), PURPOSE (-0.6%), JOHN PROCTOR IS THE VILLAIN (-0.5%), MJ (-0.4%), HELL'S KITCHEN (-0.3%), JUST IN TIME (-0.3%), & JULIET (-0.1%), HADESTOWN (-0.1%), HAMILTON (-0.1%),

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I think it could be Auf wiedersehen, à bientôt before long. 

Good for John Proctor post-Sadie. I wish they could stay put and continue like Oh, Mary!. 

The producers knew for 10 months that Jessie Buckley wouldn’t be able to transfer, and they should’ve pulled the plug on this revival then. They contacted so many names, but never imagined this could flop in a world where it was so successful in London. Happy the cast and crew had work for a year and a half, though. 

Pirates was awful. I hope the new leadership at theatre start using new directors and choreographers

KrupYou said: "Pirates was awful. I hope the new leadership at theatre start using new directors andchoreographers"

 

I didn't see it, but the Tony Awards Ceremony performance really didn't entice me. I thought the washboard choreography took up waaaaay too much of that performance and just didn't make me want to see more of... that. 

 

PIRATES was a feel-good twist on a dusty old musical. I highly doubt a straight and conventional PIRATES would’ve been any more successful. Jinkx Monsoon got a career boost, Ramin Karimloo got to be a total ham, and any time David Hyde Pierce is on stage is reason for celebration.

On the other hand, I can already hear Billy drafting a statement about audiences not wanting to see black performers in iconic roles and that the audience just didn’t “get it” re: his new conception of the Emcee as expat. I feel really bad for Marisha since this is her big homecoming role and it’s being overshadowed by a guy who, as of late, has an ego that outweighs his ability to carry a turn.

Also, that number for Call Me Izzy is just…pitiful. I think they made the major mistake of selling the rear mezzanine for this because it’s an intimate play that also has very sodden and depression material. I think word of mouth killed this show in the same caliber that it saved Maybe Happy Ending

Is Cabaret truly going to continue to throw roughly $500K into the fire each week through the fall??? The decision to extend past Orville and Eva is truly a baffling one. I don't mean any disrespect to Marisha Wallace, who is by all accounts lovely and an incredible performer, but she simply isn't a name here that will sell tickets. Which means they are relying entirely on Billy Porter's name to sell the tickets. But we are quite removed from his golden period of Kinky Boots and Pose. He certainly didn't help Jelly's Last Jam with ticket sales. And he is more commonly seen on stage, so it doesn't feel like as big of an "event" as Adam Lambert and Orville Peck, since those two were making their Broadway debuts. The sales MIGHT shoot up in the final week of the run, but otherwise we should expect the $600-700K range for the entirety of Billy and Marisha's tenure. Producers could easily loose another $5 million in the remaining weeks. Absolutely wild.

 

@Observation The Tony performance really did not do any favors to Pirates. That number is actually one of the most delightful parts of the production imo, but it didn't translate on the telecast at all. It got swallowed up on the stage and it seemed to be sapped of energy. Too bad. The show wasn't groundbreaking, but a very fun night out at the theater. Act 1 was nearly perfect. Act 2 overstayed its welcome quite a bit, but contained several worthwhile numbers. Had they pushed for David Hyde Pierce to be eligible in featured actor instead of lead, he would have easily secured a nomination. Happy trails to the pirate king and the general!

I thought Ramin was pretty cringe.  Why didn’t they get Andy Karl to do it?  He would have been perfect for it.  Ramin is no comedian. 

Pirates was a perfectly agreeable production and I doubt any casting would’ve changed its fortunes. Roundabout is essentially a regional theatre that happens to be on Broadway and productions like this are a stark reminder of that. But it was another very late season opening that got entirely lost in the shuffle of a crowded season and its awards oxygen got sucked out of the room by Sunset and Gypsy. 

Crusty Bagel said: "I thought Ramin was pretty cringe. Why didn’t they get Andy Karl to do it? He would have been perfect for it. Ramin is no comedian."

Andy Karl was in Moulin Rouge during this time 

Updated On: 7/29/25 at 03:45 PM

Observation said: "KrupYou said: "Pirates was awful. I hope the new leadership at theatre start using new directors andchoreographers"



I didn't see it, but the Tony Awards Ceremony performance really didn't entice me. I thought the washboard choreography took up waaaaay too much of that performance and just didn't make me want to see more of... that.
 

Yes.  The weakest version of Pirates! we've seen - and why SO many songs from other G&S ??   We were not a fan of the choreography and some of the cheesy ensemble.  Pierce, Karimloo, Barasch, and Boyd were good.  Jinx was fine.  Williams and the set, no.