Broadway Grosses: Week Ending 7/28/24

[Rob]

Posted: 7/30/24 at 12:38pm

Click below to access all the Broadway grosses from all the shows for the week ending 7/28/2024 in BroadwayWorld's grosses section.

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.

Click Here to Visit the Broadway Grosses...

Up for the week by attendance (% of capacity) was: & JULIET (5.7%), MOULIN ROUGE! THE MUSICAL (3.6%), THE NOTEBOOK (3.6%), ILLINOISE (3.4%), HARRY POTTER AND THE CURSED CHILD (3%), ALADDIN (2.5%), BACK TO THE FUTURE: THE MUSICAL (2.3%), SIX (2.2%), CHICAGO (2%), THE WIZ (1.9%), SUFFS (1.8%), CABARET AT THE KIT KAT CLUB (1.6%), THE GREAT GATSBY (1.5%), THE OUTSIDERS (0.2%), WICKED (0.2%),

Down for the week by attendance (% of capacity) was: JOB (-4.9%), WATER FOR ELEPHANTS (-3%), THE LION KING (-1.2%), HADESTOWN (-0.7%), MJ THE MUSICAL (-0.6%), HAMILTON (-0.5%), HELL'S KITCHEN (-0.3%), THE BOOK OF MORMON (-0.2%),

Click Here to Visit the BroadwayWorld Grosses...

[Broadway Flash]

Posted: 7/30/24 at 12:48pm

Wow what a week!  The only show in danger is the Notebook which has been doing a lot of advertising.  

[ErmengardeStopSniveling]

Posted: 7/30/24 at 1:02pm

JOB transferring to Broadway now seems like a mistake unless they get rave reviews on the level that can turn a show's sales around overnight. Yes it's only got 4 actors, but it doesn't cost nothing to run.

NOTEBOOK announcing a new block of tickets through the end of the year seems more "real" to me than when someone like Ken Davenport puts a full year of performances on sale. Kevin McCollum might see a path forward to at least tread water through December, then try to make real money on the road. It's also a way to shut up agents who want to know when their clients are going to get out of work, esp if some of those people have other offers.

This is totally anecdotal but I was speaking to a semi-frequent theatergoer the other day (white woman, late 70s, UES liberal, financially comfortable –– a classic Broadway demographic) and she thought SUFFS was a musical comedy or parody, because of its title. I don't know if that helps or hurts or means nothing, and she might be in the minority, but I found it interesting that that's where at least one person's brain went because of an abbreviation as title.

Updated On: 7/30/24 at 01:02 PM

[EDSOSLO858]

Posted: 7/30/24 at 1:03pm

Big bump over at the Hirschfeld for Tveit.

& Juliet’s weekly running costs are supposedly close to a million at the moment, rumors are flying for a reason and they simply aren’t making enough money right now. 

[GottaGetAGimmick420]

Posted: 7/30/24 at 1:07pm

EDSOSLO858 said: "Big bump over at the Hirschfeld for Tveit.

& Juliet’s weekly running costs are supposedly close to a million at the moment, rumors are flying for a reason and they simply aren’t making enough money right now."

I was shocked when the West End version announced they were closing (I truly thought it'd be more popular!) but with those running costs, I can't imagine running for much longer on just steam alone. Which makes me wonder why they didn't bring in new Juliets, like Hadestown? I would've paid $200 easily to hear Jasmine Fosberg as Juliet

Updated On: 7/30/24 at 01:07 PM

[EDSOSLO858]

Posted: 7/30/24 at 1:13pm

GottaGetAGimmick420 said: "EDSOSLO858 said: "Big bump over at the Hirschfeld for Tveit.

& Juliet’s weekly running costs are supposedly close to a million at the moment, rumors are flying for a reason and they simply aren’t making enough money right now."

I was shocked when the West End version announced they were closing (I truly thought it'd be more popular!) but with those running costs, I can't imagine running for much longer on just steam alone. Which makes me wonder why they didn't bring in new Juliets, like Hadestown? I would've paid $200 easily to hear Jasmine Fosberg as Juliet"

Doesn’t make sense unless they’re big names, and Juliet is meant to be played by an unknown.

Joey Fatone has been teasing he will take over for Lance in early ‘25, and the show also intends to snag JC Chasez as Shakespeare in the spring and Kelly Clarkson to close the show as Anne a bit later. 

They just have to hope their numbers don’t slip too badly after Labor Day weekend. 

Updated On: 7/30/24 at 01:13 PM

[EvanstonDad]

Posted: 7/30/24 at 1:14pm

Possibly very dumb question, but I haven't heard anyone actually say the title of the show "JOB" out loud. So is it job, as in "I need to get a job," or Job, as in the name from the Bible? Asking for a friend.

[EDSOSLO858]

Posted: 7/30/24 at 1:15pm

EvanstonDad said: "Possibly very dumb question, but I haven't heard anyone actually say the title of the show "JOB" out loud. So is it job, as in "I need to get a job," or Job, as in the name from the Bible? Asking for a friend."

It’s the profession. 

[ErmengardeStopSniveling]

Posted: 7/30/24 at 1:26pm

GottaGetAGimmick420 said: "Which makes me wonder why they didn't bring in new Juliets, like Hadestown? I would've paid $200 easily to hear Jasmine Fosberg as Juliet"

Remember that you are an extreme minority: no meaningful amount of the general public gives a damn about someone on the level of Jasmine Forsberg or Solea Pfeiffer or Maya Boyd.

Every producer has a different strategy about this stuff, but the bottom line is &Juliet probably cannot wait till 2025 to start star-casting. If these are their numbers for summer, they're going to get worse in the fall. "Intentions" and verbal commitments are meaningless until contracts are signed. Celebs (or people who think they're celebs) flirt with shows all the time then don't follow through, for a multitude of reasons.

[PipingHotPiccolo]

Posted: 7/30/24 at 1:33pm

EDSOSLO858 said: "EvanstonDad said: "Possibly very dumb question, but I haven't heard anyone actually say the title of the show "JOB" out loud. So is it job, as in "I need to get a job," or Job, as in the name from the Bible? Asking for a friend."

It’s the profession."

I thought it was a play on the word- both fit. 

[Broadway Flash]

Posted: 7/30/24 at 1:38pm

Why is their running costs so much higher than the other shows?

[chrishuyen]

Posted: 7/30/24 at 1:44pm

It's definitely a play on words, but the playwright has pronounced it as the profession when talking about it.

I'm also curious about the high running costs of & Juliet.  I know they have a fairly large cast but is it also the cost of licensing the songs?  I would've expected it to be a similar cost to Moulin Rouge and that one has been chugging along fairly well (though of course it has more name recognition and done more stunt casting).

[Kad]

Posted: 7/30/24 at 1:48pm

EDSOSLO858 said: "Joey Fatone has been teasing he will take over for Lance in early ‘25, and the show alsointends tosnag JC Chasez as Shakespeare in the spring andKelly Clarkson to closethe show as Anne a bit later.

They just have to hope their numbers don’t slip too badly after Labor Day weekend."

Kelly Clarkson would be a huge get for them. But her talk show isn’t going anywhere- how could she do both? 

[Mr. Wormwood]

Posted: 7/30/24 at 1:49pm

chrishuyen said: "It's definitely a play on words, but the playwright has pronounced it as the profession when talking about it.

I'm also curious about the high running costs of & Juliet. I know they have a fairly large cast but is it also the cost of licensing the songs? I would've expected it to be a similar cost to Moulin Rouge and that one has been chugging along fairly well (though of course it has more name recognition and done more stunt casting)."

I may be wrong on this but isn't there a difference in cost between sampling a song as Moulin Rouge does and a full song as & Juliet does?

[EDSOSLO858]

Posted: 7/30/24 at 1:49pm

Kad said: "EDSOSLO858 said: "Joey Fatone has been teasing he will take over for Lance in early ‘25, and the show alsointends tosnag JC Chasez as Shakespeare in the spring andKelly Clarkson to closethe show as Anne a bit later.

They just have to hope their numbers don’t slip too badly after Labor Day weekend."

Kelly Clarkson would be a huge get for them. But her talk show isn’t going anywhere- how could she do both?"

They don’t film most of the summer. Ever wonder why she’s in Paris for the Olympics right now?

Updated On: 7/30/24 at 01:49 PM

[Jordan Catalano]

Posted: 7/30/24 at 2:04pm

Someone correct me if I’m wrong but I’m pretty certain Clarkson has been public about not working when her kids aren’t in school, so she can be with them. 

[OhHiii]

Posted: 7/30/24 at 2:08pm

Mr. Wormwood said: "chrishuyen said: "It's definitely a play on words, but the playwright has pronounced it as the profession when talking about it.

I'm also curious about the high running costs of & Juliet. I know they have a fairly large cast but is it also the cost of licensing the songs? I would've expected it to be a similar cost to Moulin Rouge and that one has been chugging along fairly well (though of course it has more name recognition and done more stunt casting)."

I may be wrong on this but isn't there a difference in cost between sampling a song as Moulin Rouge does and a full song as & Juliet does?"

There are all sorts of rules and fee scales for amount of a song that's used. In the case of &Juliet, they are certainly paying full royalty for the songs, but with Max Martin so involved, I have to imagine publishing fees could be up for getting cut to lower those costs, but his representation may nix that. It doesn't surprise me that their running costs would be in the $800-$900K given the size of the cast and song usage. I'd imagine Moulin Rouge is in the $1-$1.1M neighborhood weekly.

[binau]

Posted: 7/30/24 at 2:25pm

GottaGetAGimmick420 said: "EDSOSLO858 said: "Big bump over at the Hirschfeld for Tveit.

& Juliet’s weekly running costs are supposedly close to a million at the moment, rumors are flying for a reason and they simply aren’t making enough money right now."

I was shocked when the West End version announced they were closing (I truly thought it'd be more popular!) but with those running costs, I can't imagine running for much longer on just steam alone. Which makes me wonder why they didn't bring in new Juliets, like Hadestown? I would've paid $200 easily to hear Jasmine Fosberg as Juliet"

& Juliet is doing far better in NYC than it ever did in London - there were so many half empty houses for so long in London. But of course the costs were much lower so that kind of thing happens all the time there. 

[ErmengardeStopSniveling]

Posted: 7/30/24 at 2:35pm

Two other things to remember about running costs:

1) Running costs can vary week to week and what we're usually discussing is an average approximation of what it will cost each week. Sometimes fees/costs also rise post-recoupment and with inflation, especially when it's almost 2 years into a show's run (as with Juliet). What's in the offering papers aren't always totally accurate.

2) If a show is losing money, the producer can go to all the service providers/creative team/royalty recipients to ask them to waive their fees for X number of weeks, to try to get the show on better track financially and bring the running cost down for a temporary period of time. That could be what is keeping NOTEBOOK afloat right now. If things are really bad sometimes even actors are asked to reduce salary to minimum, if they are earning significantly more than minimum, but that's less common (Bernadette Peters in Gypsy, for example).

Updated On: 7/30/24 at 02:35 PM

[ACL2006]

Posted: 7/30/24 at 3:22pm

The overall lack of shows is helping the struggling ones. The top shows are selling out this summer, so that leaves few options for last minute options. The Notebook probably hangs on until mid-October.

[Broadway Flash]

Posted: 7/30/24 at 4:07pm

Buena vista social club also had an epa so I’m wandering if they will take over the schoenfeld 

[HogansHero]

Posted: 7/30/24 at 10:57pm

Mr. Wormwood said: "chrishuyen said: "I may be wrong on this but isn't there a difference in cost between sampling a song as Moulin Rouge does and a full song as & Juliet does?"

Actually, this is yet another area in the theatre in which there are no rules. These are called grand rights which means rights for songs that are to be used in the context of a live performance.The cost is a matter of negotiation between the owner of those rights and the production. Typically, the price will be higher for more rather than less but there are a ton of other variables. The top of a famous songwriter's catalog would generally cost more than the work of an unknown, but if they like you, they may well give you a break, and if they hate you or your work, they might price it so high - even for a small sample - that you would have to move on. (Or they can of course just give you a "no.") The same is true of things like adaptation rights for a book to play and so on. A couple of examples that are kinda interesting (and demonstrative). For Ragtime, Doctorow was pretty greedy; for Hamilton, Chernow was not. But Ragtime was already a well-known property whereas Hamilton was not. I am sure Chernow made good royalties off the book as a result of the play.

[scripps]

Posted: 7/30/24 at 11:03pm

Chernow moved into the Dakota this spring so those royalties worked out for him.