Broadway Grosses: Week Ending 9/10/17

Ouch, Hello, Dolly!

Donna Murphy is still bringing in nearly $1 mil. It's nowhere near Bette's numbers, but it's nothing to scoff at.

It's amazing that there's a $1.2 million-difference between the #1 and #2-highest grossing shows of the week (Hamilton and Lion King).

And War Paint continues its precipitous decline.

i dont think its ouch for Hello Dolly at all. In fact those numbers are a positive sign of it surviving without Bette. Especially as although she brings in high grosses, she costs a lot too

Princeton2 said: "i dont think its ouch for Hello Dolly at all. In fact those numbers are a positive sign of it surviving without Bette."

We don't know the % of people who went last week only to say "What do you mean Bette's on vacation?!?" Everyone I know who ever went to see Donna has had people around them who thought they were seeing Bette, usually because they bought their ticket through a third party site/hotel concierge who didn't tell them otherwise.

Surprised to see Wicked not selling out the last couple weeks. Is that normal?? (I don't follow the grosses)

In terms of "Gross % Potential", the two worst-performing shows this week were A Doll's House Part 2 (which already announced its closing) and Michael Moore's show.

Would Michael Moore's show post a closing notice? Or will the producers keep it open til it's limited engagement is scheduled to end later next month? Does the theater have the right to kick out a show like this that's doing so poorly, so that something else that makes more money can come in?

>Does the theater have the right to kick out a show like this that's doing so poorly, so that something else that makes more money can come in?<

The Belasco already has its next two tenants: Farinelli and the King, from December 5-March 25, followed by Getting the Band Back Together, previewing July 19 and opening August 13.

Theater3232 said: "Would Michael Moore's show post a closing notice? Or will the producers keep it open til it's limited engagement is scheduled to end later next month? Does the theater have the right to kick out a show like this that's doing so poorly, so that something else that makes more money can come in?"

It's not like any other show would be able to use the space between Moore and Farinelli and the King, so no reason to get Moore out their early.

People will make a huge deal over the DOLLY numbers, but the fact that Donna Murphy, as an alternate rather than a replacement, was able to bring in nearly a $1 million without doing any press, or winning the Tony, or having the kind of fanbase that Bette Midler has is hugely impressive and speaks to the power of word of mouth reviews.

This also bodes well for Bernadette Peters' run. Unlike Murphy, Peters' turn will be heavily advertised, so I imagine she'll bring in a healthy $1 million weekly.

Stage Door Sally said: "Was stunned to see the top ticket paid for Hello, Dolly! was $748. I wonder if the person who paid that thought it was for Bette."

I don't think BWW updates that stuff very precisely. I don't think they ever even try to charge normal front row prices when Bette is out.

IdinaBellFoster said: "Waiting for all the idiots to complain about the 900K for HELLO DOLLY. I'd say that's an excellent gross for Murphy."

IMO: If Murphy had opened the show, it would not be grossing what it does with Midler, but it would probably be selling out based on the show itself, its reviews, its newness, and the Tonys (including Murphy's third). She is hurt by the fact that its identity is currently so connected with the truly legendary performer Midler that no-one wants to see it without her. The big question: what happens when Midler leaves.

Some are predicting doom and gloom, a la Josh Groban. I think they are wrong.

1. Dolly is not TGC, which did NOT have broad appeal and will never have broad appeal. (What exactly is it's story and why do I care about the characters?? -- and I enjoyed it mostly!!!). Everyone loves good production of Hello Dolly, unless they are grinches.

2. Once Midler is not an option, people will focus on seeing the show. Admittedly, it is a shame that Peters is beginning in the dead of winter, and she will probably have some less than great early weeks; but, once her reviews come out, once she starts appearing everywhere to publicize the show, etc., the box office will do very well. And will continue to do so for some time.

3. Once Peters leaves, whether it is 3 months, 6 months or 12 months later, there are so many possibilities to replace her, just like the original run. And one of them will be the equivalent of Pearl Bailey, who will give it yet another new life. Creative producing and casting will be key. David Merrick managed to have this become the longest running show in Broadway history for awhile -- this was pre-Telecharge, pre-Internet sales, pre-television advertising, (I think) pre-credit card sales (I certainly remember paying with cash or check via mail order back then), pre-huge international tourism TO the US, pre-Times Square being a tourist magnet -- managing those criteria.



I am one of those who thinks -- one exception aside -- that this production is better than the original, which I saw many times. It may not run as long as Chicago, but it should. It will need creative casting, retaining the freshness, and staying on people's radar. If it does not run at least 5 years -- long for a revival -- then Rudin will have lost interest.

I wonder who they'll get after Berndette, Gavin, Kate, and Beanie leave. Of course Will Burton and Melanie Moore as well, but they're minor characters with little onstage appearances. Betsy Wolfe could've been a great Irene if she wasn't Carrie. Anyways, this isn't the place for casting ideas, but I do wonder who Rudin had up his sleeve.