Jennifer R Jones

About Jennifer R Jones

With over 20 years experience in the Broadway field, including marketing, production, development and show investment, Jennifer R Jones is an all-around subject-matter-expert in the Broadway business. She lives in Manhattan with her husband and her iMac and tries to see at least five Broadway shows per week.

“Tuck Everlasting” Finds Broadway Theatre for Spring Season

Musical Will Begins Previews March 23, 2016 After Long Delay

tuck everlastingThis musical based off of Natalie Babbitt’s well known young adult novel has been gestating for a long time. The first announcement of a pre-Broadway run specified that the show would have trial production in Boston in the summer of 2013. However, allegedly due to the scarcity of an available theatre to transfer the show to after the Boston run, that production was postponed. It is also possible that the show was not ready creatively at that point. In any case, the world premiere of Tuck Everlasting finally took place at the Alliance Theatre in Georgia in early 2015. The show is directed by Casey Nicholaw, who is also the director behind such hits as The Book of Mormon, Aladdin, and Something Rotten! Finally, it has now been announced that the Broadway production will indeed take place this upcoming spring 2016 season. With previews beginning on March 23, 2016, the musical is scheduled to open on April 17, 2016, just in time for Tony Awards consideration for next year.

The Broadhurst Theatre Will Be The Musical’s New Hometuck everlasting

Presently, Mamma Mia! is playing at the Broadhurst Theatre, and it is scheduled to wrap up its performaces on September 12, 2015. Previously, Mamma Mia! ran at the Winter Garden Theatre for many years since 2001, but it stepped aside in November 2013 to allow for the highly anticipated musical production of Rocky, which had a surprisingly short run due to low ticket sales. Following the conclusion of Mamma Mia!, the Broadhurst will house a limited engagement of the play Misery by William Goldman, directed by Will Frears, and starring Bruce Willis and Laurie Metcalf. When that production concludes on February 14, 2016, the theatre will be available for Tuck Everlasting to step in. The Broadhurst is owned by the Shubert Organization, which is the landlord for many of the theatres on Broadway. In order to secure this theatre, the producers of Tuck Everlasting had to make an agreement with the Shuberts to occupy one of their houses, and it was just decided that the Broadhurst would be it.

A Warm Reception for the Atlanta Pre-Broadway Run

When Tuck Everlasting opened in Atlanta in February 2015, Charles Isherwood of the New York Times flew down to witness it and report back to New York. Isherwood was moved by the piece, remarking that it was refreshing to see a musical based off of dancers in dream sequences, which used to be a staple of theatre but is lesser seen in recent years. Isherwood also remarked that it is surprising to see this direction from Casey Nicholaw, as it demonstrates a softer touch than is seen in some of his shows such as The Book of Mormon and Aladdin. He found the show to be already polished, which is a compliment for a trial run where many other Broadway shows are still working out their kinks. Even though the show is kid-friendly and emotionally compelling, Isherwood did remark that perhaps the show may find it difficult to compete in the commercially cutthroat atmosphere of Broadway, as it does not rely on the element of spectacle.

“Penn & Teller on Broadway” Opens at the Marquis Theatre

Famous Magician Duo on Broadway for Limited Engagement

penn and teller posterPenn & Teller on Broadway played its opening night performance at the Marquis Theatre. This famous magician duo has been in residence at the Rio Hotel and Casino in Las Vegas for 14 years, and it is a rare treat for them to come to Broadway. In this case, they were able to swing a quick engagement just over a month in New York. Penn, whose full name is Penn Jillette, is always the one who talks onstage, whereas Teller, who just goes by the single name Teller, is mute onstage. In this classic reimagining of their act, they incorporated many of the most famous magician tricks, such as pulling a rabbit out of a hat, and sawing a woman in half. They also incorporated the use of technology, at one point asking an audience member to videotape a certain trick so that it can be projected on a large screen for the entire audience to see. In an interview, Penn explained how this New York engagement is an opportunity for them to make their act a little more intellectual, in an effort to appeal to a New York audience rather than the usual Las Vegas crowd. This show is directed by John Rando, who has also directed Broadway shows including On the Town, A Christmas Story: The Musical, and Urinetown.

A Mixed Review by the New York Timespenn and teller

In Ben Brantley’s review of Penn & Teller on Broadway in The New York Times, he did justice to the profundity with which Penn and Teller have infiltrated themselves into the contemporary American cultural mindset. The review begins by explaining that the duo has been performing together for 40 years, and yet they seem as fresh and relevant as ever. This is partly due to the fact that the magicians, while holding down their gig in Las Vegas for 14 years, also have made several television shows that have solidified their inclusion in the continued cultural zeitgeist. For example, they had a long running series on Showtime called Penn and Teller: BS, and more recently they began a new show called Penn and Teller: Fool Us on ITV in Britain and the CW in the U.S. In Brantley’s review, in addition to remarking on this wide reach of the famous magicians, he also commented that their acts were not entirely new or surprising. While some may have appreciated the relatability of the common acts such as pulling a rabbit out of a hat, the choice also bespeaks a lack of creativity.

A Fairly Successful Start at the Box Office

In the first two weeks of performances, which are the only two weeks of box office figures that have been reported thus far, Penn & Teller on Broadway show a significant increase. In the first week, the week ending July 12, 2015, the show brought in $1,075,289, which represented 62.40% of its gross potential. In the second week, the week ending July 19, 2015, the show saw an increase of $150,111, bringing the weekly gross to $1,225,400, which represents 71.11% of the show’s gross potential. This past week, the average audience capacity was 70.0%, which is a decrease from the first week’s average audience capacity of 78.6%. However, the average paid admission went up to $120.37 this week from $114.64 the week before, resulting in an overall increase in ticket sales for this past week. Overall, it is clear that Penn & Teller are a major box office draw, even as visitors to New York from their usual home of Las Vegas, and that as word of mouth spreads, the box office will most likely continue to creep upwards.

ABC’s The View in Slow Motion Crash

Rosie Perez and Nicolle Wallace to Step Down

the view cohostsIn the eighteenth season of The View on ABC, the original creator and co-host Barbara Walters had stepped down, and it was new territory to test whether the remaining co-hosts would bring in as high ratings and overall support from audiences and the network. Along with Walters’ departure, her co executive producer and co-creator Bill Geddie also stepped down, and he was replaced with Bill Wolff, the former executive producer of The Rachel Maddow Show and vice president of primetime programming at MSNBC. In addition, Season 18 had a new filming location, now taking place at the former studios of the now cancelled talk show Katie, which is located in the ABC Broadcast Center in New York City. As for the most interesting personnel on the show for the majority of audiences, the co-host positions also underwent significant transitions in the eighteenth season. The lone incumbent was Whoopi Goldberg, who was joined by former co-host Rosie O’Donnell. In addition, actress Rosie Perez and former Republic correspondent Nicolle Wallace were the remaining co-hosts. However, O’Donnell cited health reasons in announcing she would not return for the 19th season of The View. In addition, both Perez and Wallace will be stepping down. Therefore, for the 19th season, which will commence in mid-September 2015, Whoopi Goldberg will be joined by an additional group of co-hosts.

Wallace Asked to Resign, Raven-Symoné and Michelle Collins Will Joinrosie perez nicolle wallace

For the 19th Season of The View, Rosie Perez chose to step down in order to pursue acting opportunities. Nicolle Wallace, on the other hand, was asked to step down. She was offered the position of rotating co-host for a contributor slot, and she is currently thinking that over. However, she was reportedly offended to be refused the permanent co-host slot on the new season. As for the new co-hosts, it has been announced that former child star Raven-Symoné (from the Disney Channel’s That’s So Raven) will be joining the panel. This is sure to rile up the discussion topics, as Raven has already caused some controversy. During a guest host appearance, Raven contributed to a discussion on politicians feeling obliged to take selfies by saying that she gets a cramp in her hand now when she tries to sign autographs. Nicolle Wallace responded with a rare burst of aggressiveness by quickly asking if she was that famous. However, the ratings must have shown more of an appreciation for Raven’s self interested-ness than with Wallace’s witty instincts because Wallace has been axed, whereas Raven has been offered a permanent position. In addition, comedian Michelle Collins has been offered a co-hosting position for the 19th season. Collins has appeared as a guest host on several occasions, and is excited to join the permanent panel.

“The View” in Slow Motion Crash

Since Barbara Walters retired from The View in May 2014, the ratings have taken a significant dip. In the second quarter of 2015, the ratings were down 16% from last year, reaching 2.48 million viewers. As for the key demographic of women aged 18 to 49, the ratings were down 18% to only 386,000 women viewers. With the relative failure of the 18th season, the producers are aiming for a five co-host format again in the 19th season. This will include Whoopi Goldberg, Raven-Symoné, Michelle Collins, and two co-hosts to be announced. One of these will possibly be a rotating co-host slot, and it remains to be seen whether Nicolle Wallace will accept the offer to be an occasional rotating co-host in this slot. The show cannot seem to decide whether if it wants to focus on news-worthy items or just cover the frivolous pieces, like who has the best looking pooch. Without Walters and Geddie, the show now appears rudderless, but instead of running in small circles, The View is running like a full speed, out of control, speedboat with an imminent crash in sight as soon as it hits land. Expect more firings to come until they can turn it around.

“Penn & Teller on Broadway” Begins Previews

Famous Magician Duo Returns for a Broadway Engagement

penn and tellerOn July 7, 2015, Penn and Teller on Broadway began previews at the Marquis Theatre. The show is scheduled for a limited engagement to conclude on August 16, 2015. The performance is directed by John Rando, who has directed many shows on Broadway including the current revival of On the Town, A Christmas Story: The Musical, The Wedding Singer, Urinetown, and A Thousand Clowns. The duo – whose full names are Penn Jillette and Teller (Teller goes by just the one name) – has been performing together for over 40 years. However, they haven’t performed on Broadway together since 1991, with their show The Refrigerator Tour. One of the reasons for the long hiatus is that they have strict contracts with the Rio Hotel and Casino in Las Vegas, which is understandably reluctant to let them take even seven weeks off from their regular performing five nights a week to do the Broadway show. Penn Jillette told Entertainment Weekly that when you’re having success in Las Vegas, Las Vegas wants to keep you there. Therefore, the negotiation just to take this break for New York took 15 years to complete, even though they wanted to return to the Big Apple the moment they left.

Old Tricks and New Nutty Ideaspenn and teller

The duo reportedly works very hard on their bits, even though they appear to be effortless on stage. For example, Teller revealed in an interview that they have a new bit for this show where they use the song “I’m a Little Teapot,” where Penn picks up Teller and pours tea out of him like a teapot. Even though it will be quick in performance, they said they have been working on that new trick for two years and three months. This New York run is an opportunity for Penn and Teller to reconfigure their act for a different audience. Though America has become more homogenous over the years, Penn mentioned that he believes the audiences in New York are a little more intellectual, and a little more interested in political content. Although their show will not enter the realm of the political, they will be taking the opportunity to put a little more intellectual thought into this show. They will be performing one of their oldest tricks – Needles – where Telle eats a fistful of needles and some sewing thread, and then pulls it out of his mouth with the needles threaded. Furthermore, they are bringing back one of the oldest tricks in magic, but one which they say is deceptively hard to do: pulling a rabbit out of a hat.

Sardi’s Caricature and “Fool Us” TV Show

Just last week, Penn and Teller were welcomed into the Broadway community the best way we know how: they were given their very own framed caricature to be hung on the walls of Sardi’s Restaurant. They had a small signing ceremony at the classic Broadway eatery on July 1, 2015. Now theatregoers can enjoy their smiling faces alongside all the timeless faces while enjoying their pre or post theatre meal. Furthermore, just one day before previews began for their Broadway show, their television show Penn & Teller: Fool Us began its second season on the CW. In this British-American co-produced television show hosted by Jonathan Ross, Penn and Teller hold a magic competition where magicians line up to show off their best tricks to the duo. Penn and Teller do their best to explain how the trick is done. If they cannot figure it out, the magicians win a five-star trip to Las Vegas where they get to perform as the opening act to Penn and Teller’s show at the Rio Hotel and Casino. On top of this, the duo will be performing their act in the upcoming feature film Sharknado 3: Oh Hell No! With such a busy schedule, it will likely be a long time before they return to Broadway again, so this six-week engagement is an exciting time to catch them live in New York.

“Wolf Hall Parts One and Two” Concludes On Broadway

Final Performance July 5 at the Winter Garden Theatre

wolf hallOn March 20, 2015, Wolf Hall: Parts One and Two began previews at the Winter Garden Theatre. The two plays in repertory, written by Mike Poulton and based off of Hilary Mantel’s novels Wolf Hall and Bring Up the Bodies, respectively, officially opened on April 9, 2015 under the direction of Jeremy Herrin. The productions transferred to Broadway following a successful London run, where the plays had been named the same as the novels; the name simplification was instituted for American audiences. These very ambitious productions amounted to five and a half hours in total, and could be seen separately or together, on the same day or different days. The stories deal with the reign of King Henry VIII and his several wives, the first play dealing with the period from 1500 to 1535, and the second with the period that follows immediately after. A third novel, The Mirror and the Light, is planned to be published later this year, and that will deal with the period from 1536 to 1540, the last four years of Thomas Cromwell’s life. Playful Productions, the London-based theatre producers who staged the shows both in the United Kingdom and on Broadway, have announced their intention to develop the third novel into a play as well, and eventually to stage the trilogy all together. That will certainly happen in London, but whether the trilogy will make it to New York anytime soon remains to be seen. Wolf Hall Parts One and Two plays its final performances on Sunday, July 5, 2015, wrapping up a run that started very strong but has dwindled at the box office in recent weeks.

A Six Million Dollar Advance But No Recoupment As of Yetwolf hall

The double bill Wolf Hall Parts One and Two had a reported capitalization of $4.2 million. (In comparison, it had cost just under a million pounds to stage the plays in London.) Playful Productions, who also staged the very successful British play The Audience this same season, appeared to be going strong with these plays as well. Before the shows began previews, they had collected an advance of $6 million. Though this is larger than the initial capitalization, there are also weekly running costs to take into account, and so it’s a game of making enough each week to sustain those running costs in addition to making back the initial capitalization, before the shows can be operating in profits. In this case, Wolf Hall has not officially announced recoupment; The Audience, on the other hand, did so after only eight weeks. Unlike The Audience which starred Helen Mirren in a performance that won her a Tony Award as well as an Olivier and an Oscar, Wolf Hall had no major stars to speak of. Furthermore, the box office was burdened by the apprehension American audiences may have faced regarding the duration of the double bill, as well as the cost incurred to watch two productions in order to get the full story. Though Wolf Hall was nominated for eight Tony Awards including that for Best Play, it won only one: that for Best Costume Design of a Play for Christopher Oram.

A Final Push to Fill Seats

wolf hallThough Wolf Hall was aided by the BBC mini-series starring Mark Rylance, as well as the novels, which helped spread the name recognition of the title, the plays had trouble keeping up in their final weeks. For this final weekend, made more difficult by the Independence Day holiday taking people out of town or to the beach, the producers even resorted to offering complimentary tickets on papering sites such as studentrush.org. This was in order to fill seats and give the illusion to paying audiences of a full house. In the last reported week of box office figures so far, the week ending June 28, 2015, the shows collectively brought in $515,472, which represents only 46.24% of its gross potential. This is in contrast to their top grossing week, the week ending March 29, 2015, wherein the shows earned $886,920, representing 64.38% of their gross potential.

Jason Alexander Replaces Larry David in “Fish in the Dark”

Box Office Takes Major Dip With David’s Departure

jason alexander larry davidFish in the Dark has been one of this season’s major hits. Written by and starring Larry David, the creator of Seinfeld and creator / star of Curb Your Enthusiasm, this play marked the household name’s Broadway debt. The theatre going audience was riveted by this new face on the big stage, as the box office receipts were immediately excellent right out of the gate, and stayed that way until Larry David’s final performance on June 7, 2015. This was the same day as the Tony Awards. Although Fish in the Dark was not honored with any awards or nominations, there was a nod to the stardom of Larry David as he was given the honor of presenting the most coveted award and the final award of the evening: that for Best Musical. He presented this award to Fun Home. Despite this lack of accolades, Fish in the Dark was an undeniable box office success. It announced recoupment of its initial capitalization on May 20, 2015. It brought in over one million dollars every week, with rising weekly grosses as the run went one, from the first full week of performances ending February 15, 2015 until Larry David’s final week ending June 7, 2015. However, the moment Jason Alexander stepped in on June 9, 2015, the box office took a major dip. In his first week, the week ending June 14, 2015, the show saw a decrease in ticket sales of $403,563 from the week before. Though Jason Alexander is also a major star, he is also a much more prevalent face on Broadway, and fans were just not as excited to pay top dollar to see him.

Three Weeks of Piddling Grossesjason alexander larry david

In the three weeks of full performances since Alexander took over, the weekly grosses have remained fairly constant. Following the week ending June 14, 2015 with the weekly gross of $842,633, there was the week ending June 21, 2015 with a gross of $849,330, and then this past week ending June 28, 2015 had a weekly gross of $848,378. In this past week, the average paid admission was $107.66, which is still higher than many plays on Broadway, but it is a sharp decrease from the average paid admission in David’s final week, which was $142.98. Whereas David was regularly filling up the audience to an average capacity of 101.5%, the weekly average audience capacity since Jason Alexander took over have averaged about 90%. Finally, while the average percentage reached of gross potential during David’s run was about 114%, the percentage reached of gross potential since Alexander took over has been about 81%.

Keeping It in the “Seinfeld” Family

When Jason Alexander played George Costanza on Seinfeld for many years, he was reportedly written to be a character based on Larry David himself. It is therefore appropriate that he should replace David in the role he wrote and played himself in his Broadway debut. Alexander is a common name on Broadway. He was in the second cast of The Producers opposite Martin Short, when Matthew Broderick and Nathan Lane departed the production. He has also appeared in Accomplice, Jerome Robbins’ Broadway, Broadway Bound, The Rink, and Merrily We Roll Along. Most of these roles were before his Seinfeld days, so he left his established position of appearing onstage when he became a sitcom regular. At this point, however, he is returning to his stage roots, combined with the creative source that made him a household name as well. However, he just isn’t able to sell tickets the way Larry David can. Alexander continues with the show until its final performance on August 1, 2015.

Fall Gears Up for Slew of New NYC TV Shows

Neil Patrick Harris’ “Best Time Ever” Premieres Sept 15th on NBC

neil patrick harris best time everIn fall 2015, a lot of changes are afoot on network television. Neil Patrick Harris, the beloved star of stage and screen from such shows as Broadway’s Hedwig and the Angry Inch and CBS’ How I Met Your Mother, has a new variety show coming to NBC. The name of this show has been announced: Best Time Ever. The variety show will be based off of the British program on ITV called Ant & Dec’s Saturday Night Takeaway. A teaser was shown during this year’s Super Bowl, which thoroughly excited Harris’ huge fan base, but the name and premiere date were only announced recently. This past week, NBC set its fall premiere dates and Best Time Ever is set to begin a week before the rest of the shows. Best Time Ever will launch on Tuesday, September 15th at 10:00pm, after the finale of America’s Got Talent. For the majority of its run, however, it will be at the 8:00pm slot on Tuesdays. The variety show includes a mixture of comedy, musical numbers, performances, sketches, and celebrity guests, and therefore is suitable for an early evening demographic. The rest of the NBC new programming will start the following week.

“Late Show with Stephen Colbert” and “Daily Show with Trevor Noah”late show stephen colbert

As for late night television, two programs are launching their new hosts this fall. Stephen Colbert, who has been on leave from late night since wrapping up The Colbert Report on Comedy Central, will premiere his new part as host of the Late Show on September 8, 2015 on CBS. This also marks a summer break for Late Show, as David Letterman hosted his final episode of Late Show with David Letterman on May 20, 2015. Over the summer, the network opted to air reruns of sitcoms rather than reruns of Late Show, so that fans will be eager for the new host after having been without any episodes for the summer. Colbert’s first hosts have not yet been disclosed, but he has launched a podcast and website while his writing team is busy conceiving the new show, as well as the Colbert demeanor without the faux daily show with trevor noahconservative Colbert character from The Colbert Report. In addition, the Daily Show on Comedy Central will be undergoing a shift in leadership. Jon Stewart steps down with his final episode airing August 6, 2015. After a short break, Trevor Noah will step into his shoes, with the first show airing September 28, 2015. Trevor Noah was a controversial choice for the Daily Show replacement, as he is a 31 year-old relatively inexperienced comedian from South Africa. After the announcement was made, there was a bit of a backlash on social media with some fans declaring him a racist and anti-Semite. However, this is likely a resistance to anyone replacing the beloved Jon Stewart, and Comedy Central stands behind their choice of Trevor Noah as a new face on their network.

Dr. Phil to Launch New TV Show in Fall 2016dr phil

Looking ahead to the following fall, Dr. Phil McGraw, best known just as Dr. Phil, has partnered with DailyMail.com to launch a new syndicated television show. Like much of the content currently on the site, this show will focus on celebrity news. It is not yet clear whether Dr. Phil will be a regular on-camera presence on the show, only that he will appear if the Daily Mail wants to run interviews he has done for his own show, Dr. Phil. The producers of this new show will be Dr. Phil, his son Jay, and Carla Pennington, who is the executive producer of Dr. Phil. The show will most likely be based in New York, although there are plans to have studios in New York, Los Angeles, London, and Sydney. The new DailyMail show will be distributed by CBS, which also distributes Dr. Phil. Dr. Phil declared that he saw an opportunity to create something utterly unique, unlike anything else on TV. Further details are yet to come to describe exactly what this will be.

“Skylight” Completes Run on a High Note

Tony Award Winning Best Revival Concludes Run

skylight posterOn June 21, 2015, Skylight played its final performance of its Tony Award winning run. It had been running since it began previews on March 13, 2015, and opening night took place on April 2, 2015. Skylight is a play by David Hare (The Year of Magical Thinking, The Vertical Hour) the premiered in the West End in 1995, followed by a Broadway premiere in 1996. The 2015 revival at the John Golden Theatre is likewise a transfer from the West End, where Stephen Daldry’s production ran in 2014. Stephen Daldry is the extremely prolific theatre director whose credits this season alone also include the highly acclaimed Broadway production of The Audience, as well as earlier productions on Broadway of Billy Elliot: The Musical, An Inspector Calls, and Via Dolorosa, the last of which was also written by David Hare. This revival of Skylight was nominated for seven Tony Awards, taking home only one but a prestigious one: the award for Best Revival of a Play. Of the three actors in the play – Carey Mulligan, Bill Nighy, and Matthew Beard – all received nominations for their performances, which were, respectively, Best Performance by an Actress in a Leading Role in a Play, Best Performance by an Actor in a Leading Role in a Play, and Best Performance by an Actor in a Featured Role in a Play. Stephen Daldry received a nomination for his direction, and the scenic designer and lighting designer were also honored with nominations.

Recoupment and Escalating Box Officecarey mulligan bill nighy skylight

On May 31, 2015, Skylight announced that it had recouped its initial capitalization, which is suspected to be in the realm of $3 million. Its highest weekly gross was achieved in the final week of performances, when the show brought in $927,539, representing 108.09% of its gross potential. The penultimate week was also an excellent one for Skylight’s box office, bringing in $865,346, which represents 100.85% of its gross potential. Though it took the final two weeks to reach the heights of 100% or higher of gross potential, the box office throughout the run was really not bad. With only two minor exceptions, every single week showed an increase in box office from the week before. In the first full week of eight performances, the week ending March 29, 2015, the weekly gross was $618,692, representing 76.54% of its gross potential. The only two occasions where the box office took a dip from the week before were the week ending May 10, 2015, and the week ending May 31, 2015, which were the insignificant decreases of $12,606 and $16,475, respectively. Therefore, ticket buyers became more interested in Skylight as the run went on, due likely to positive word of mouth, reviews, and then the announcement of Tony nominations and wins.

Another Coup for Scott Rudin

The lead producers of Skylight were Robert Fox and Scott Rudin. Rudin is known for his excellent productions of both new plays and revivals, generally starring a major Hollywood name. This season alone, Rudin was also responsible for the already recouped Fish in the Dark, the highly acclaimed A Delicate Balance, and the excellent revival of This Is Our Youth. He also had a hand in The Audience, The River, The Curious Incident of the Dog in the Night-time. In previous seasons, he has mounted such hits as The Book of Mormon, Death of a Salesman starring Philip Seymour Hoffman, Motherf**ker with the Hat, and countless others. Therefore, an investment with Rudin is generally a good bet, as is buying a ticket to a show that he has produced.

Broadway Show Ticket Sales Analysis w/e 6/14/2015

This week’s notable movements on Broadway are:

“Fish in the Dark” Took Major Hit with Jason Alexander Replacing Larry David

In the week ending June 14, 2015, Larry David’s blandly reviewed but heretofore top-selling comedy Fish in the Dark brought in $842,633 at the box office. This is a decrease of $403,563 from the week before. In almost every single week of the show’s run so far, it has brought in over one million dollars per week, and reached over 110% of its gross potential. However this past week, it only reached 80.97% of its gross potential. The reason is too clear to be denied: Jason Alexander took over the lead role from Larry David this week. Larry David, whose last performance was on June 7, 2015, has proven himself to be a huge draw at the box office. Even though the show was reviewed by most critics as less than magnificent, David lured fans in immense numbers for every single week in which he appeared onstage. Jason Alexander played Larry David’s surrogate George Costanza on the TV show “Seinfeld” for many years, and he is also a very successful actor on both stage and screen. However, it is probably the fact that Alexander is such a usual face on Broadway that made fans less interested in seeing him in this role. On the other hand, David was making his Broadway debut, and fans were dying to see him in person, even if the overall play was less than gut wrenchingly hilarious.

Tony Awards Had Only Small Impact on Sales This Week

This week was the first full week of Broadway performances since the Tony Awards, which took place on June 7, 2015. The biggest award, that for Best Musical, was given to Fun Home. Still, in the week ending June 14, 2015, Fun Home brought in $716,631, which is an increase of only $63,701 from the week before. It is true that Fun Home is in the very small Circle in the Square Theatre, which has a low ceiling on the number of audience members it can accommodate. Still, this week Fun Home brought in 94.26% of its gross potential, where other shows bring in over 100% due to premium ticket sales. Therefore, there is still room for growth in audience interest in this Tony Award winning Best Musical. As for An American in Paris, which some thought to be Fun Home’s biggest competition for that award, it showed a similar minor increase in ticket sales. This past week, it brought in $1,399,818, which is an increase of $31,084 from the week before. It barely beat out Fun Home in terms of percentage reached of gross potential, achieving 95.14% of its potential. As for Something Rotten!, the third and only other possible contender for the Best Musical award (no one thought The Visit would win), it brought in $1,178,048 this past week, which is an increase of $144,556 from the week before. Therefore, though it only reached 92.77% of its gross potential, it still saw a greater increase than either of the other two Best Musical nominees, proving that the winners of Tony Awards saw only a minor impact in comparison to those nominees that lost, at least in this first week right after the ceremony.

The following are the Broadway ticket sales numbers for the week ending June 14, 2015:Broadway Show Ticket Gross analysis

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $553,366 6,046 83.32% $91.53
ALADDIN $1,592,508 13,786 100.01% $115.52
AN ACT OF GOD $852,902 6,889 85.60% $123.81
AN AMERICAN IN PARIS $1,399,818 13,345 99.35% $104.89
BEAUTIFUL $993,724 7,607 92.68% $130.63
CHICAGO $702,637 8,392 97.13% $83.73
FINDING NEVERLAND $1,172,903 11,920 99.07% $98.40
FISH IN THE DARK $842,633 7,781 90.65% $108.29
FUN HOME $716,631 6,116 103.31% $117.17
GIGI $508,643 6,482 58.54% $78.47
HAND TO GOD $389,264 4,585 74.24% $84.90
HEDWIG AND THE ANGRY INCH $456,585 4,858 68.92% $93.99
IT SHOULDA BEEN YOU $403,081 6,151 75.98% $65.53
JERSEY BOYS $681,426 7,144 72.72% $95.38
KINKY BOOTS $880,700 8,462 74.28% $104.08
LES MISÉRABLES $639,481 8,160 72.39% $78.37
MAMMA MIA! $776,089 8,773 94.05% $88.46
MATILDA $1,058,673 11,446 99.91% $92.49
ON THE TOWN $559,983 8,360 55.76% $66.98
ON THE TWENTIETH CENTURY $609,744 5,717 98.98% $106.65
SKYLIGHT $865,346 6,416 100.00% $134.87
SOMETHING ROTTEN! $1,178,048 12,195 91.44% $96.60
THE AUDIENCE $1,171,220 7,577 101.26% $154.58
THE BOOK OF MORMON $1,494,196 8,748 102.58% $170.80
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $885,114 8,015 98.42% $110.43
THE KING AND I $1,109,198 8,115 96.88% $136.68
THE LION KING $2,102,748 13,500 99.26% $155.76
THE PHANTOM OF THE OPERA $980,877 11,657 90.79% $84.14
THE VISIT $274,465 4,613 64.00% $59.50
WICKED $1,954,144 15,332 99.51% $127.46
WOLF HALL PARTS ONE & TWO $581,972 5,978 54.03% $97.35
Totals $28,388,117 264,166 86.94% $105.08

Broadway ticket sales raw data are provided courtesy of The Broadway League All other data, text, opinion, charts and commentary are copyright © 2015 nytix.com

“Fun Home” and “Curious Incident” Win Big at the Tony Awards

Alan Cumming and Kristin Chenoweth Host at Radio City Music Hall

alan cumming and kristin chenowethLast night, the 69th Annual Tony Awards took place at Radio City Music Hall, hosted by Alan Cumming and Kristin Chenoweth. After much excitement, the winners were revealed, amidst many gorgeous musical numbers performed by shows that were nominated, as well as by shows that received no nominations. At the end of the night, the final and most anticipated award was announced: Fun Home took home the Tony Award for Best Musical. Arguably the most prestigious and meaningful award among a list of huge honors, this award will ensure that Fun Home continues to run for at least another year if not many more. After transferring from the Off-Broadway Public Theater, Fun Home has been playing at the small Circle in the Square Theatre since March 27, 2015. Though it has been playing to sold out houses, it has not been reaching the top of its money earning potential. This past week, the week ending June 7, 2015, it made only 87.60% of its gross potential. That is sure to change immediately, as the tiny venue can only accommodate 776 people, by far the smallest house on Broadway. Time will tell whether the show will need to transfer to a larger venue to meet demand, or whether it will just become an extremely tough ticket.

Best Play, Best Revivals, Best Actors, and Best Directorscurious incident

The other very prestigious honor at the Tony Awards is that for Best Play, which was earned by The Curious Incident of the Dog in the Night-time. Having transferred to Broadway from the National Theatre in London, this show took home 5 of the 6 awards for which it was nominated. In addition to Best Play, it won the awards for Best Direction of a Play for Marianne Elliott, Best Actor in a Leading Performance in a Play for Alex Sharp, Best Lighting Design of a Play for Paule Constable, and Best Scenic Design of a Play for Bunny Christie and Finn Ross. As for revivals, the award for Best Revival of a Play was earned by Skylight, which did not earn any of the other awards for which it was nominated. These include three acting awards, for Carey Mulligan, Bill Nighy, and Matthew Beard, none of whom took home an award for their performances, as well as the award for Best Direction, which Stephen Daldry lost to Marianne Elliott. The award for Best Revival of a Musical was given to The King and I. That show also earned the award for Best Actress in a Leading Role in a Musical, given to Kelli O’Hara. This is the sixth time this wonderful actress has been nominated for a Tony Award, and the first time that she won. The award for Best Actress in a Leading Role in a Play was given to Helen Mirren for The Audience, and the award for Best Actor in a Leading Role in a Musical was given to Michael Cerveris for Fun Home. Finally, Sam Gold took home the award for Best Direction of a Musical, also for Fun Home.

Writing and Composing Awards

fun homeWhereas the creators of straight plays are honored through the awards for Best Play and Best Revival of a Play, separate awards are given to the book writers, as well as the composers and lyricists, of musicals. These awards are in addition to the awards for Best Musical and Best Revival of a Musical, which are generally accepted by the producers. The award for Best Original Score was given to Jeanine Tesori and Lisa Kron, who wrote the music and lyrics respectively for Fun Home. The award for Best Book of a Musical was also given to Lisa Kron for Fun Home. Whereas this year the award for Best Musical served basically the same purpose as these two awards, sometimes the recipients do differ. In this case, the three separate honors proved irrefutably that Fun Home is the most exciting new musical of the year. Something Rotten!, which was the only show nominated for Best Musical not based on a previous work, was only recognized once, when Christian Borle took home the award for Best Performance by an Actor in a Featured Role in a Musical. Still, that show was nominated for a total of ten awards, which is certainly no small honor. As for An American in Paris, which was considered to be the next most likely show to win Best Musical, it only took home the awards for Best Choreography for Christopher Wheeldon, as well as Best Orchestrations, Best Scenic Design, and Best Lighting Design, showing that the Tony voters ultimately considered it to be a beautiful ballet show, but not dramatically substantial enough to win the highest honor of the event.