PatrickDC said: "I believe a major distinction is that in 2017 it was part of the SHNSF season, versus 2018 when it’s an add-on with subscribers getting first access but no other incentives, such as discount rates. I don’t recall the exact numbers but 2017 season tix sales were double or so over previous SHNSF seasons. So the majority of seats were season tix holders — myself included. Or at least a large percentage of seats were taken up by season subscribers making it appear demand was higher.
I’m sure marketing will ramp up closer to February. The frenzy and wall to wall media coverage just isn’t there yet this time around. I saw it in 2017 — my one and only time — was impressed, thought it was close to brilliant. But I’ve moved on and won’t be seeing it in 2018."
I hadn't thought about that. SHN aggressively promoted the inclusion of Hamilton in its 2016-17 season. And as you mentioned, the show was at its popular peak, in terms of national attention, in late 2016/early 2017. I was helping Facebook friends get tickets, and they weren't the sort of people who usually see musicals. There was plenty of free media accompanying the fact that tickets were going on sale. But the fact that it was part of of SHN's season did limit seating availability.
This time, it's different, but not quite the way I expected. The highest priced tickets are still selling, even though prices have gone up substantially for all but a couple of rows. What's very available are the side orchestra seats, many of which are partial or obstructed view, rear orchestra, and a lot of the mezzanine. All of those are priced at $219. That's especially true later in the summer. Sho-Tunes-R-Us is probably right that a lot of these will be snapped up by tourists and corporate buyers, as well as individuals, once marketing gets in gear. What's different is that the show needs any marketing.
As I've seen the show three times, once with the original cast and twice during the 2017 San Francisco run with Michael Luwoye and Joshua Henry, I was a bit ambivalent about getting tickets myself. I usually just get rush tickets to everything, or find some other inexpensive way to see shows. But I decided to get a pair of tickets, mainly because I haven't seen as many musicals lately that I've really loved - not counting a couple of good local revivals. (I'm not counting Vietgone, which does have songs, as a musical.)