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.

“Finding Neverland” Thrives Despite Tony Snub

Broadway Proving Not So Welcoming to Harvey Weinstein

finding neverland posterHarvey Weinstein, the mega powerful film producer and distributor whose countless credits include Shakespeare in Love, Gangs of New York, The Artist, and The King’s Speech, has served as lead producer for the first time of a Broadway show. Finding Neverland, based on the 2004 film of the same name which Weinstein executive produced, is a new musical that has been running at the Lunt-Fontanne Theatre since it began previews on March 15, 2015. Its official opening night was April 15, 2015. Technically, Weinstein has been on the producing team of several Broadway shows in the past such as The Producers and Billy Elliot, but his involvement with those shows was almost exclusively financial. With Finding Neverland, he takes on the full producing responsibility for the first time on Broadway. Unfortunately, Broadway is proving a tough nut to crack, even for a man as powerful as Weinstein. The most important recognition that a show can receive is the Tony Award, and Finding Neverland was nominated for a grand total of zero of these awards. Proving the hostility Weinstein felt towards the Broadway community, he rescinded the invitations to the approximately 700 Tony voters, who are generally offered a free pair of tickets to all shows on Broadway. Though he had already sent out those invitations prior to the nominations, he bitterly revoked the offer upon the show receiving no nominations.

A Pitiful Series of Reviewsfinding neverland

In line with the Tony nominating committee’s decision not to recognize Finding Neverland, the show received almost entirely negative reviews after its opening night. Ben Brantley of The New York Times disdained the show, not falling for the strength of the brand name of the show or its stars, Kelsey Grammer and Matthew Morrison. David Cote of Time Out New York was equally unimpressed, calling the show awkward, garish, and manipulative. David Rooney of The Hollywood Reporter reported that the show was severely lacking in charm, despite admitting that it is probably critic-proof due to the strong brand name and pre-opening ticket sales. Jesse Green of Vulture found the show utterly false and therefore deeply frustrating. Robert Kahn of NBC New York was only slightly more generous, admitting there is some thrilling stage magic but ultimately finding it erratic. However, as The Hollywood Reporter presaged, the show is proving immune to these negative reviews, as it has been over the million dollar mark at the box office for every full week of its run so far.

Strong Box Office and Celebrity Album

finding neverlandThough Weinstein may be aggravated by the lack of full welcome to the Broadway community, his ticketbuyers don’t seem to be devastated. In the most recently reported week of ticket sales, the week ending May 24, 2015, Finding Neverland brought in a weekly gross of $1,107,925, which is almost exactly how much the weekly gross has been since its first full week ending March 22, 2015, give or take $100,000 at the most. That weekly gross represents 75.06% of the show’s gross potential, and the audience capacity was an average of 94.2% full. Therefore, there is some room for growth still in the box office grosses, but failing motivation from Tony recognition or critical appreciation, Weinstein is trying another approach. One innovation he has introduced is that he is releasing an album of celebrities singing the score for Finding Neverland, though most of these celebrities are not involved with the show. This is pure promotion, and Weinstein clearly knows how to pull a lot of strings. The extensive list of impressive singers on the album include Christina Aguilera, Nick Jonas, Jon Bon Jovi, John Legend, the Goo Goo Dolls, Kiesza, Jennifer Lopez, Ellie Goulding, and Matthew Morrison, only the last of which is actually in the cast of the show. The album is to be released on June 9, 2015 via Republic Records, although pre-sales started on May 12, 2015. In addition to providing another income stream for the show, this album is sure to spur continued interest in the Broadway musical, which is still looking for that last boost to reach its full gross potential.

Four Newly Opened Shows Vie for Best Musical

“An American in Paris,” “Fun Home,” “Something Rotten!” and “The Visit”

fun homeOn June 7, 2015, the Tony Awards will be broadcast live from Radio City Music Hall. The most prestigious and significant award is arguably that for Best Musical. This year there are four nominees for that honor: An American in Paris, Fun Home, Something Rotten! and The Visit. It will certainly be a tough race, and it is difficult to determine which the favorite will be among Tony voters. A somewhat less prominent Broadway awards ceremony, the Outer Critics Circle Awards, just announced their winners, which may or may not presage the Tony results. Of the five nominees for the Outer Critics Circle Award for Best Musical, three overlap with the Tony nominees, but Fun Home was excluded from the options, while It Shoulda Been You and The Last Ship were also included. The winner was An American in Paris. Still, many believe that Fun Home and also Something Rotten! have a fighting chance at this year’s awards. The Visit, on the other hand, is a nod to its creators John Kander and Fred Ebb, but there is little chance that show will prove victorious on the big day.

Post-Opening Critical Responsesomething rotten

If the critical reaction to these musicals means anything for their Tony prospects, then it does seem that it’s most likely a race between An American in Paris and Fun Home. When An American in Paris opened on April 12, 2015, the New York Times gave it a rave, as did most other critics. Charles Isherwood called the ballet musical adapted from the film of the same name “rhapsodic,” “witty,” and “vivifying.” Of the major press, only David Cote from Time Out New York was on the fence, deeming the quality of the show “patchwork,” though admittedly “lavish,” and believing it to be principally a dance show with a storyline squeezed in between the numbers. As for Fun Home, all the main reviewers were extremely impressed, with Ben Brantley of The New York Times describing Visit-Broadway-Musical-Chita-Rivera-Tickets-176-012818it as a universal detective story. He was relieved and revitalized by the breath of fresh air that this show is in comparison to the often recycled nature of Broadway fare. Furthermore, Adam Feldman of Time Out New York found Fun Home to be graceful and moving. As for Something Rotten!, many critics were moved and delighted by this original take on the origin of the musical in Shakespearean times, but the most well regarded critic, Ben Brantley of The New York Times, vehemently disagreed. He was not impressed by the unchecked enthusiasm on display, and he was bored by the repetitive nature of the wannabe showstopper. Still, many other critics were impressed, such as David Rooney of The Hollywood Reporter, who found the show rambunctious and magnificently cheesy. As for The Visit, the reviews were decidedly mixed.

If Box Office Has Any Bearing on the Awardsan american in paris

Furthermore, the box office response is interesting to consider in light of the show’s potential at the Tony Awards. Ever since the Tony nominations were announced in late April, An American in Paris has been firmly in the millionaire’s club, which cannot be said of any of the other three nominees. This past week, the week ending May 17, 2015, the show brought in $1,280,111, which represents 87.01% of its gross potential. It was full to 99.9% capacity, which demonstrates a small amount of discounting. Fun Home, on the other hand, is having a more difficult time attracting an audience. Though reviews are splendid and buzz is abounding, the highest week thus far, which was this past week, brought in a weekly gross of $587,716, representing 78.85% of its gross potential. The show is playing in the much smaller Circle in the Square Theatre, but still it is having difficulty keeping up with An American in Paris, even in terms of percentage of gross potential. Nevertheless, this past week it had filled 102.5% of its audience capacity, so the energy is high in the theatre and excitement is sure to pick up as the Tony’s approach. Something Rotten! has also been creeping up since the Tony nominee announcements, reaching a high this past week of $950,418, representing 91.74% of its gross potential. The Visit, on the other hand, is barely staying afloat, bringing in only $211,430 this past week, which represents only 27.72% of its gross potential. Chances are that The Visit will close soon after the Tony Awards.

“Hand to God” Opens to Rave Reviews

Irreverent Puppet Comedy Up for Best Play

hand to god On April 7, 2015, Robert Askins’ Hand to God officially opened at the Booth Theatre. It had been playing in previews since March 14, 2015. This new play has traveled a long and untraditional journey to make it to Broadway, where both the playwright and director, as well as several actors, are making their Broadway debuts. The show first premiered Off-Broadway (arguably Off-Off-Broadway) at the Ensemble Studio Theatre in October 2011. This small theatre on the west side of midtown shepherds new writing and acting talent through a variety of productions, community building, and education initiatives, but never before has it sent a show all the way to Broadway. After the play received such positive response, it returned to EST for a continued engagement in February 2012. After repeated extensions, the show then transferred to a more prestigious Off-Broadway venue, the Lucille Lortel Theatre, where it was mounted in March 2014 in a co-production with MCC Theatre, run by the renowned casting agent Bernard Telsey. Like at EST, the show was directed by Moritz von Stuelpnagel, and several of the cast members returned, including the lead actor Steven Boyer. Finally, in spring 2015, the show made it to Broadway, and it has now been nominated for the prestigious Tony Award for Best Play.

All Around Rave Reviews for this Unlikely Broadway Showhand to god

Upon its opening, critics left and right praised the play for its wit, humor, and excellent production. Charles Isherwood in The New York Times found the play darkly delightful, deeming it a very welcome misfit among the Broadway fare out there this season. Jesse Green in Vulture magazine loved what he called Broadway’s unlikeliest new must-see play, comparing the antihero of this play, the sock puppet Tyrone, among the infamous historical antiheroes in such works as Sweeney Todd. David Rooney in The Hollywood Reporter compared the sock puppet to the Bad Idea Bears in Avenue Q, praising this play both for being commercially risky and bold, as well as for being a welcome breath of fresh air. Joe Dziemianowicz in the New York Daily News found the play ridiculously raunchy and funny, proclaiming that is bound to leave the audience sore from laughing. In addition, Matt Windman in AM New York found the play both dark and smart, congratulating it on being one hell of a success story, resulting in making Broadway a more exciting place.

Five Tony Award Nominations and Steadily Increasing Box Office

Hand to God was nominated for five Tony Awards. These are Best New Play, Best Director for Moritz von Stuelpnagel, Best Performance by an Actor in a Leading Role in a Play for Steven Boyer, Best Performance by an Actress in a Leading Role in a Play for Geneva Carr, and Best Performance by an Actress in a Featured Role in a Play for Sarah Stiles. This is a major achievement for a play that never expected to be compared to such timeless shows as the others that have made it to Broadway. Whether or not the play wins any or all of these awards, this is sure to have increased to notoriety for this play which was surely a risky commercial bet. In fact, the producers were so aware that the play was a risk that the advertising campaign made light of it, pointing directly to the fact that the play had no major stars, was not based off of a movie, nor did it transfer from London. The plea: Pray for Us. It seems that America’s prayers have worked, as not only is the show recognized for awards, but the box office has been creeping up steadily because of it. In the last reported week of box office figures, the week ending May 10, 2015, the show brought in a weekly gross of $400,886. Though this is still only 59.33% of its gross potential, that is a significant jump from its first full week of performances, when the show brought in only $217,974.

Alan Cumming and Kristin Chenoweth to Host Tony Awards

Two Tony Winners Emcee on June 7th

alan cumming kristin chenowethOn June 7, 2015, the 69th Annual Tony Awards will be broadcast live from Radio City Music Hall. The hosts have been announced: Alan Cumming and Kristin Chenoweth. These two beloved stars are both Tony winners themselves, and they also both starred in musicals that played this season. Alan Cumming revived his magnificent role as the Emcee of Cabaret in this past year’s revival, a role that he played opposite first Michelle Williams, then Emma Stone, and finally Sienna Miller. As that production was an exact revival of an earlier revival production, with the same directors Sam Mendes and Rob Marshall, as well as the same star Alan Cumming playing the Emcee, it was not eligible for the Best Revival award category. As such, Cabaret did not receive any nominations this year. However, Alan Cumming did receive the Tony Award for Best Performance by a Leading Actor in a Musical for playing that role in the 1998 production of Cabaret. As an award-winning emcee, therefore, he is the perfect emcee for this awards event. Furthermore, Kristin Chenoweth starred in On the Twentieth Century, a revival of a musical comedy by Betty Comden, Adolph Green, and Cy Coleman. That production has received five Tony Award nominations, including one for Kristin for Best Performance by an Actress in a Leading Role in a Musical. Its other nominations are those for Best Revival of a Musical, Best Featured Actor in a Musical for Andy Karl, Best Scenic Design, and Best Costume Design.

A Broadway History of Alan Cummingalan cumming

On top of the two productions of Cabaret, Alan Cumming has been on Broadway an additional three times. In 2001, he played Otto in a production of Noel Coward’s Design for Living. In 2006, he played Macheath in a production of The Three Penny Opera. And very notoriously, in 2013, he played Macbeth in a one-man production of that Shakespeare classic, first at Lincoln Center and then at the Ethel Barrymore Theatre. In addition to his Tony Award for the earlier revival of Cabaret, Cumming has received four Olivier Awards: the British equivalent of the Tonys. He received an analogous award for his role in Cabaret in 1994. He also received an Olivier Award for the Comedy Performance of the Year for La Bete in 1993. Before that, he received the same comedy award for his performance in Accidental Death of an Anarchist, and he was commended as Best Newcomer in a Play by the Oliviers in 1988 for Conquest of the South Pole.

A Broadway History of Kristin Chenoweth

kristin chenowethAs for Kristin, she has been nominated for Tony Awards twice before, winning one. She won the Tony Award for Best Featured Actress in a Musical in 1999 for You’re a Good Man, Charlie Brown. In 2004, she was nominated for her role as Glinda in Wicked for the award for Best Actress in a Musical, although she did not win (instead, Idina Menzel won the same award for the same production for her role as Elphaba). This is now her third Tony Award nomination. Furthermore, she starred as Fran Kubelik in Promises, Promises in 2010, and she played Eve among other roles in the 2006-2007 production of The Apple Tree. Before Wicked, she also played Louise Goldman in the 1999 production of Epic Proportions as well as a series of roles in the 1997 production of Steel Pier, as well as her star turn in You’re a Good Man, Charlie Brown.

“The Heidi Chronicles” Wraps Up Its Run Early

Difficulty Catching Hold at the Box Office

On February 23, 2015, a revival of Wendy Wasserstein’s 1989 play The Heidi Chronicles began previews at Broadways Music Box Theatre. Following the show’s opening on March 19, 2015, it received generally very positive reviews. The play is considered a modern feminist masterpiece, traversing through the life of a woman named Heidi Holland, from her school days to her later career as an art historian, dealing with issues ranging from motherhood to settling down with a partner. heidi chroniclesThe 2015 revival starred Elisabeth Moss, who is well known for her role as Peggy Olson on “Mad Men,” in addition to stage roles such as Speed-the-Plow on Broadway and The Children’s Hour in the West End. Moss’ performance was highly praised in particular, and her co-stars Jason Biggs (American Pie, “Orange is the New Black”) and Bryce Pinkham (A Gentleman’s Guide to Love and Murder) also were reported to have given excellent performances. The show was directed by Pam MacKinnon (Who’s Afraid of Virginia Woolf?, Clybourne Park), and produced by Jeffrey Richards and Jerry Frankel. Nevertheless, despite the good notices, this was an example of a play merely failing to catch hold at the box office, with audience members inundated with too many other exciting choices.

Elisabeth Moss Nominated for a Tony Award

In an unusual move, the play announced its closing prior to the disclosure of the Tony Award nominations. In any case, Elisabeth Moss was nominated for the award for Best Performance by an Actress in a Leading Role in a Play. She is going up against Helen Mirren from The Audience, Geneva Carr from Hand to God, Carey Mulligan from Skylight, and Ruth Wilson from Constellations. That race is not a clear one, and any of the women may end up taking home the award. Still, that is the only Tony nominations that the play received, as it failed to receive the coveted honor of being nominated for Best Revival of a Play. Also, Pam MacKinnon, who has been previously recognized by the Tony committee, did not receive a nomination for Best Director of a Play. If Elisabeth Moss wins, therefore, it cannot help to spur sales for the already closed production. Still, it would be a great honor for the highly talented actress. The original Broadway production, which was mounted in 1989 to 1990, received the Tony Award for Best Play, and Joan Allen in the role of Heidi Holland was nominated for the Tony Award for Best Actress in a Play as well.

heidi chronicles elisabeth mossClosing on May 3 After 80 Performances Total

On April 21, 2015, the producers announced that the last performance of the 2015 revival of The Heidi Chronicles would take place on Sunday, May 3, 2015. It closed having played 27 preview performances followed by 53 regular performances, totaling 80. In contrast, the original production played 630 performances. This revival had a capitalization between $3.5 million and $4 million, and it will close having failed to recoup this investment. The total gross that the show brought in was not much higher than $2.5 million, but weekly running costs took a large chunk of that. The highest weekly gross that the show managed to accumulate was in the final week, ending May 3, 2015, when the show brought in $378,471. This is only slightly higher than the second highest weekly gross from the week ending April 12, 2015, when the show brought in $368,596. The show never brought in more than 42.47% of its gross potential in any given week, and the audience capacity never averaged higher than 74.7% even with heavy discounting. Therefore, this revival will go down in history as a financial flop, although it was a critical success, and it may yet have a chance to take home one Tony award as well.

Broadway Show Ticket Sales Analysis w/e 5/03/2015

This week’s notable movements on Broadway are:

“The Heidi Chronicles” and “Living on Love” Close

On May 3, 2015, both The Heidi Chronicles and Living on Love played their final performances on Broadway. Both shows chose to shutter their doors due to having received poor box office performance. Living on Love also closed having failed to receive any Tony nominations. The Heidi Chronicles, which received one nomination for Elisabeth Moss for Best Actress in a Leading Role in a Play, announced its closing prior to the revelation of the Tony nominations. Both shows saw a slight, but not significant, increase in sales in their last week of performances. Living on Love played its final week with a weekly gross of $160,105, which represents only 16.58% of its gross potential. This was not its all-time high; that took place in the week ending April 12, 2015, which was its first full week of performances, when it brought in $198,392. Still the final week saw a slight upturn of $4,459 from the week before, when the show had previously been declining in the two weeks prior. However, the show never broke through the $200,000 mark for any weekly gross, and therefore needed to close in order to avoid losing more unnecessary money. As for The Heidi Chronicles, the final week saw an upturn of $65,046, bringing the final gross to a high of $378,471. This is the largest gross earned in any week of the run, although it still only represents 42.47% of the gross potential. Despite earning good reviews, the box office was not up to speed, and the show therefore closed after 80 performances.

No Real Change Yet for “An American in Paris” or “Fun Home”

Two musicals that appear to be perhaps the strongest contenders for the Tony Award for Best Musical – An American in Paris and Fun Home – budged only slightly in the week ending May 3, 2015, although this week marked the announcement of these Tony nominations. However, in the month to come before the Tony Awards in early June, chances are that interest will continue to develop as buzz spreads for this hot race. Fun Home, which was a relatively unknown title before coming to Broadway from the Public Theater, brought in $531,985 this past week, which is an increase of $95,812 from the week before. In fact, this is the largest increase of any show this past week, but it is still not hugely significant. The show reached its highest potential of its weekly gross yet at 71.37%, but there is still room for growth to be competing the millionaire’s club along with other celebrated musicals. As for An American in Paris, buzz has already taken off as the show has been in the millionaire’s club for the past three weeks. This past week, it brought in $1,220,231, which represents 84.20% of its gross potential. Although this show was a surprise at the Tony nominations, sweeping with an incredible 12 nominations, many for newcomers, it already seems to be exciting at the box office. In this past week following the nominations, however, it actually brought in $15,016 less than the week before. As the Tonys approach, this show too will likely continue to creep upwards in its box offices grosses.

 

The following are the Broadway ticket sales numbers for the week ending May 3, 2015:Broadway-Show-Ticket-Analysis-05-03-15

Show Name GrossGross TotalAttn %Cap AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $500,038 5,148 70.95% $97.13
AIRLINE HIGHWAY $157,029 3,419 68.16% $45.93
ALADDIN $1,408,344 13,785 100.01% $102.16
AN AMERICAN IN PARIS $1,220,231 13,026 96.98% $93.68
BEAUTIFUL $1,033,010 7,421 90.41% $139.20
CHICAGO $598,993 7,457 86.31% $80.33
DOCTOR ZHIVAGO $515,163 7,994 67.61% $64.44
FINDING NEVERLAND $1,093,498 11,308 93.98% $96.70
FISH IN THE DARK $1,158,381 8,694 101.28% $133.24
FUN HOME $531,985 5,700 97.60% $93.33
GIGI $550,516 6,833 61.71% $80.57
HAND TO GOD $346,364 4,758 76.05% $72.80
HEDWIG AND THE ANGRY INCH $418,702 4,203 69.56% $99.62
IT SHOULDA BEEN YOU $350,281 4,849 59.78% $72.24
IT’S ONLY A PLAY $584,042 6,078 70.54% $96.09
JERSEY BOYS $575,211 5,913 60.19% $97.28
KINKY BOOTS $901,034 8,471 74.36% $106.37
LES MISÉRABLES $571,832 7,732 68.59% $73.96
LIVING ON LOVE $160,105 4,821 56.16% $33.21
MAMMA MIA! $660,796 7,718 82.74% $85.62
MATILDA $735,660 9,430 82.31% $78.01
ON THE TOWN $501,640 7,944 52.99% $63.15
ON THE TWENTIETH CENTURY $489,687 5,639 97.63% $86.84
SKYLIGHT $776,373 6,401 99.77% $121.29
SOMETHING ROTTEN! $801,033 11,243 84.31% $71.25
THE AUDIENCE $1,166,293 7,534 100.68% $154.80
THE BOOK OF MORMON $1,407,988 8,749 102.59% $160.93
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $631,589 6,320 77.60% $99.93
THE HEIDI CHRONICLES $378,471 5,455 68.12% $69.38
THE KING AND I $998,387 8,376 100.00% $119.20
THE LION KING $1,908,299 12,937 95.13% $147.51
THE PHANTOM OF THE OPERA $837,178 10,503 81.80% $79.71
THE VISIT $194,145 4,342 60.24% $44.71
WICKED $1,387,456 12,512 86.60% $110.89
WOLF HALL PARTS ONE & TWO $724,737 6,805 61.51% $106.50
Totals $26,274,485 269,518 80.12% $93.66

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

Broadway Show Ticket Sales Analysis w/e 4/26/2015

This week’s notable movements on Broadway are:

“The Heidi Chronicles” to Close Early

In the week ending April 26, 2015, The Heidi Chronicles brought in $313,425. This represents 35.17% of the show’s gross potential. Since the show began previews on February 23, 2015, and well past its opening on March 19, 2015, it has been struggling at the box office. Its highest weekly gross came in the week ending April 12, 2015, when it brought in $368,596, which still only represents 41.36% of its gross potential. From one perspective, this is surprising, as the show stars Elisabeth Moss of “Mad Men” fame, and Jason Biggs of American Pie fame. Furthermore, this is the first major production of the beloved playwright Wendy Wasserstein’s works since she passed away. However, these ingredients are not enough for this competitive Broadway season, and the show’s producers have therefore announced that the show will close on May 3, 2015. At that point, it will have played only 80 performances, including previews. This is in contrast to the 630 performances the play had in its run during 1989 – 1990. The show, which was capitalized at between $3.5 million and $4 million, will not recoup its initial investment.

Other Struggling Shows: “Airline Highway,” “Living on Love,” and “The Visit”

In addition, this past week, three shows that have recently begun performances are not demonstrating very much promise at the box office. The lowest weekly gross in the week ending April 26, 2015 was earned by Airline Highway, a Manhattan Theatre Club production at the Samuel J. Friedman theatre. That show brought in only $126,468 this past week, which represents 23.44% of its gross potential. Still, it is discounting heavily, as it managed to fill 86.7% of the audience across the eight performances. The next lowest weekly gross this past week was earned by Living on Love, the Renee Fleming vehicle based off of Garson Kanin’s play Peccadillo, which was now re-written by Joe DiPietro. This past week, the show brought in only $155,646, which represents 16.26% of its gross potential. With a top available ticket price of $275.00, the average paid admission was only $26.05, and the average audience capacity was 69.6%. Comp tickets were available in as wide a marketplace as to include studentrush.org and many highly accessible papering sites. Finally, the Chita Rivera starrer The Visit, written by John Kander and Fred Ebb, only brought in $180,105 this past week, which represents 23.62% of its gross potential. The average paid admission was only $34.45, and the average audience capacity was 72.5%. Time will tell whether these three shows can survive on Broadway much longer.

 

The following are the Broadway ticket sales numbers for the week ending April 26, 2015:Broadway-Show-Ticket-Analysis-04-26-15-small

Show Name GrossGross TotalAttn %Cap AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $578,704 5,860 80.76% $98.76
AIRLINE HIGHWAY $126,468 4,349 86.70% $29.08
ALADDIN $1,492,453 13,786 100.01% $108.26
AN AMERICAN IN PARIS $1,235,247 12,819 95.44% $96.36
BEAUTIFUL $1,049,011 7,536 91.81% $139.20
CHICAGO $552,016 6,819 78.92% $80.95
DOCTOR ZHIVAGO $485,335 9,366 79.21% $51.82
FINDING NEVERLAND $1,096,966 11,594 96.36% $94.61
FISH IN THE DARK $1,182,215 8,720 101.58% $135.58
FUN HOME $436,173 5,350 90.37% $81.53
GIGI $570,683 7,322 66.13% $77.94
HAND TO GOD $343,575 4,575 73.13% $75.10
HEDWIG AND THE ANGRY INCH $702,944 6,363 90.27% $110.47
IT SHOULDA BEEN YOU $447,362 5,919 72.97% $75.58
IT’S ONLY A PLAY $678,842 6,895 80.03% $98.45
JERSEY BOYS $614,631 6,295 64.08% $97.64
KINKY BOOTS $927,593 9,087 79.77% $102.08
LES MISÉRABLES $724,981 9,108 80.80% $79.60
LIVING ON LOVE $155,646 5,975 69.61% $26.05
MAMMA MIA! $666,960 7,925 84.96% $84.16
MATILDA $995,903 11,296 98.60% $88.16
ON THE TOWN $567,250 8,560 57.10% $66.27
ON THE TWENTIETH CENTURY $462,221 4,973 86.10% $92.95
SKYLIGHT $775,492 6,416 100.00% $120.87
SOMETHING ROTTEN! $716,593 12,031 92.49% $59.56
THE AUDIENCE $1,164,521 7,537 100.72% $154.51
THE BOOK OF MORMON $1,469,646 8,744 102.53% $168.07
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $713,943 7,147 87.76% $99.89
THE HEIDI CHRONICLES $313,425 4,195 52.39% $74.71
THE KING AND I $981,217 8,376 100.00% $117.15
THE LION KING $1,972,747 13,557 99.68% $145.52
THE PHANTOM OF THE OPERA $866,892 10,663 83.05% $81.30
THE VISIT $180,105 5,228 72.53% $34.45
WICKED $1,740,459 14,857 96.42% $117.15
WOLF HALL PARTS ONE & TWO $734,292 6,640 60.01% $110.59
Totals $27,722,510 285,883 84.35% $93.55

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

Broadway Show Ticket Sales Analysis w/e 4/19/2015

This week’s notable movements on Broadway are:

“An American in Paris” Joins the Millionaire’s Club

In the week ending April 19, 2015, An American in Paris broke through the million dollar mark, bringing in a weekly gross of $1,149,324. With a book by Craig Lucas, this musical based on the ballet film of the same name has music and lyrics by George and Ira Gershwin. This week’s gross is a significant increase from the week before, which brought in $826,417. However, that week had only seven performances, and this week a full eight. Nevertheless, the percentage reached of gross potential also reached a high, increasing from 75.58% the week before to 79.31% this past week. The show opened on April 12, 2015, with reviews hitting the presses the next day. Therefore, this increased audience awareness and also interest. Also, this past week reached a high in terms of audience capacity, filling up 98.3% of the audience. With a top ticket price of $223.00, the average paid admission was $91.61. Therefore, there is still some discounting, but discounts may phase out as the show continues to make its way towards hit status.

“Wolf Hall” and “Something Rotten!” Remain Steady

Wolf Hall, which opened on April 9, 2015, brought in a weekly gross this past week of $860,730. (That is for both shows, Parts One and Two, combined.) This is an increase of $265,972 from the week before. However, the show had seen a decrease in ticket sales the following two weeks, and therefore Wolf Hall is wavering but showing positive signs in its box office returns. This past week, it reached 62.48% of its gross potential, which is comparable to its first full week, the week ending March 29, 2015, when it brought in 64.38% of its potential. What these two weeks have in common is that one follows shortly after the beginning of the previews, and the other follows shortly after the opening night and printing of reviews. Therefore, time will tell if the show’s word of mouth continues to bring in ticket sales, or whether the show can only draw enough interest to respond in the short term to press coverage. Furthermore, Something Rotten!, which is directed by Casey Nicholaw, continues to show a gradual steady increase. This past week, it brought in $702,924, which is an increase of $83,765 from the week before. With a top ticket price of $249.00, the average paid admission was $71.48. This show will open on April 22, 2015, and therefore it remains to be seen whether the reviews push this show from unknown territory to the next big hit of the season.

 

The following are the Broadway ticket sales numbers for the week ending April 19, 2015:Broadway-Show-Ticket-Analysis-04-19-15

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $624,330 6,151 84.77% $101.50
AIRLINE HIGHWAY $144,334 4,556 90.83% $31.68
ALADDIN $1,534,574 13,703 99.41% $111.99
AN AMERICAN IN PARIS $1,149,324 12,546 93.40% $91.61
BEAUTIFUL $1,045,282 7,427 90.48% $140.74
CHICAGO $457,461 5,776 66.85% $79.20
DOCTOR ZHIVAGO $464,613 8,097 78.26% $57.38
FINDING NEVERLAND $1,049,280 11,781 97.91% $89.07
FISH IN THE DARK $1,180,983 8,700 101.35% $135.75
FUN HOME $335,213 5,813 98.19% $57.67
GIGI $529,723 7,185 64.89% $73.73
HAND TO GOD $319,194 4,464 71.36% $71.50
HEDWIG AND THE ANGRY INCH $491,112 5,390 76.46% $91.12
IT SHOULDA BEEN YOU $350,708 6,285 77.48% $55.80
IT’S ONLY A PLAY $614,702 6,287 72.97% $97.77
JERSEY BOYS $659,295 6,545 66.62% $100.73
KINKY BOOTS $926,778 9,034 79.30% $102.59
LES MISÉRABLES $710,489 8,710 77.27% $81.57
LIVING ON LOVE $170,833 6,745 78.58% $25.33
MAMMA MIA! $634,127 7,546 80.90% $84.03
MATILDA $953,753 10,933 95.43% $87.24
ON THE TOWN $552,910 8,252 55.04% $67.00
ON THE TWENTIETH CENTURY $520,852 5,691 98.53% $91.52
SOMETHING ROTTEN! $702,924 9,834 91.67% $71.48
THE AUDIENCE $1,165,779 7,565 101.10% $154.10
THE BOOK OF MORMON $1,467,290 8,716 102.20% $168.34
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $710,303 6,879 84.47% $103.26
THE HEIDI CHRONICLES $311,933 4,024 50.25% $77.52
THE KING AND I $764,035 8,376 100.00% $91.22
THE LION KING $1,843,463 13,187 96.96% $139.79
THE PHANTOM OF THE OPERA $774,420 9,607 74.82% $80.61
THE VISIT $212,750 5,101 70.77% $41.71
WICKED $1,655,749 14,065 92.73% $117.72
WOLF HALL PARTS ONE & TWO $860,730 7,607 68.75% $113.15
Totals $25,889,242 272,578 83.24% $90.75

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

“Cabaret” Concludes Its Run

Last Performance March 29 at Studio 54

cabaret Roundabout Theatre on BroadwayOn March 29, 2015, the Roundabout revival of Cabaret shuttered its doors at Studio 54, one of Roundabout Theatre Company’s Broadway venues. The revival has been playing since it began previews on March 21, 2014, ensuring that the show stayed on just past the one year mark. This production of Cabaret was based off an earlier production from 1993, also directed by Sam Mendes and co-directed by Rob Marshall, with choreography by Rob Marshall. Furthermore, Alan Cumming reprised his renowned role as the Emcee from that production, and he stayed with this revival for the entire run. It therefore makes sense that the production would choose to close upon the end of his contract, rather than rehearsing a replacement who would probably not fare as well as the box office. Instead, the focus has been on ensuring that his co-star, the leading lady playing Sally Bowles, would attract enough ticket buying attention. When the show began last year, Michelle Williams played the role of Sally. She received mixed reviews, and was able to attract some but not wildly outstanding box office attention. Michelle played that role until November 9, 2014. Throughout her stint, the highest weekly gross was $839,690, which took place in the week ending August 3, 2014.

Emma Stone as Sally Bowlesemma stone cabaret

Beginning November 11, 2014, Emma Stone stepped into the role of Sally Bowles, which she continued in until February 15, 2015. She ended up extended her run two weeks longer than originally planned. Emma Stone received excellent notices, and furthermore she brought the box office higher than it had been ever before in the run. The weekly gross box office record while she was in the lead was $1,051,850, which took place in the week ending January 4, 2015. That was one of two weeks in which the show made it into the millionaire’s club, the other being the week ending December 28, 2014. The combination of the high tourist Christmas season, along with Emma Stone, was a winning mix. Emma Stone was riding high off of her excellent reviews in the movie Birdman, where she played the daughter of a Broadway actor, with the movie primarily taking place backstage in a Broadway theatre. It was therefore fitting when she stepped into the role of Sally Bowles soon thereafter.

Sienna Miller as Sally Bowles

sienna millerTo complete the rest of Alan Cumming’s run, from February 17, 2015 until the last performance on March 29, 2015, Sienna Miller stepped into the role of Sally. Miller had been on Broadway once before, as the title role in After Miss Julie in 2009. Though she didn’t receive excellent reviews then, she has certainly captivated the attention of America through her screen performances in such recent hits as Foxcatcher and American Sniper. Miller, though not as successful as Stone, also did fairly well at the box office. She reached a high note in the final week, with a weekly gross of $935,989, although the credit is not due entirely to her of course, as a show generally picks up its ticket sales in the final week before closing. All in all, this revival of Cabaret can be considered a success, but the musical is such a classic that it almost supersedes the concept of success and failure. Whether or not the Tony committee chooses to recognize a revival of a revival, there will always be an audience delighted to see Cabaret.

“Something Rotten!” Begins Previews

A New Musical from the Director of “The Book of Mormon”

something rottenOn March 23, 2015, Something Rotten! began previews at the St. James Theatre. This is a new musical with a book by Karey Kirkpatrick and John O’Farrell, and music and lyrics by Wayne Kirkpatrick and Karey Kirkpatrick. The musical is directed and choreographed by Casey Nicholaw, who also directed and choreographed The Book of Mormon, Aladdin, Elf, and The Drowsy Chaperone. The musical will officially open on April 22, 2015, and is scheduled for an open ended run. The musical deals with two brothers named Nigel Bottom and Nick Bottom, who are desperately attempting to write a hit play, but they keep being overshadowed by some guy named William Shakespeare. In this effort, they accidentally invent the first ever musical! Like the protagonists, the show was conceived by a pair of brothers: Wayne and Karey Kirkpatrick. Though they are both Broadway newbies, they have had a great deal of success in other realms. Wayne Kirkpatrick is a songwriter based in Nashville whose hit songs have been sung by the likes of Amy Grant, Trisha Yearwood, Eric Clapton, and Garth Brooks. Meanwhile, Karey Kirkpatrick is based in Los Angeles, where he is a writer and director of such films as James and the Giant Peach, Chicken Run, and The Hitchhiker’s Guide to the Galaxy.

A Heavy Hitting Broadway Cast and Creative TeamCasey Nicholaw

The lead roles of the musical writing brothers are played by John Cariani (Fiddler on the Roof) and Brian d’Arcy James (Macbeth, Time Stands Still, Next to Normal, Shrek the Musical). The role of William Shakespeare is played by Christian Borle (Peter and the Starcatcher, Legally Blonde, Mary Poppins). Additional roles are played by Brooks Ashmanskas (Bullets over Broadway, Promises, Promises, Present Laughter), Heidi Blickenstaff (The Addams Family, [title of show], The Little Mermaid), Brad Oscar (Big Fish, Nice Work if You Can Get It), and Kate Reinders (Good Vibrations, Wicked, Gypsy). In addition to the extremely successful director and choreographer Casey Nicholaw, Something Rotten! also has a very experienced creative team. The scenic design is by Scott Pask, the lighting design is by Jeff Croiter, the costume design is by Gregg Barnes, the sound design is by Peter Hylenski, the musical coordinator is John Miller, and the conductor is Phil Reno. Also notably, the lead producer is Kevin McCollum, who is also behind Hand to God this season, as well as The Last Ship, Motown the Musical, and Bengal Tiger at the Baghdad Zoo.

Difficult to Pre-Sell, but Not Necessarily to Sell

In his interview with Variety, producer Kevin McCollum was questioned about his choice of lead producing two new shows this season – Something Rotten! and Hand to God – both of which have little name recognition with the average audience member. In response, he said that these shows are not hard to sell; they are just hard to pre-sell. Something Rotten!, which is still in previews, is proving this to be correct thus far, as the box office figures in the first few weeks of the run are not spectacular. In the last reported week of box office, the week ending April 12, 2015, the show brought in $619,159, which represents 76.60% of its gross potential. With a top ticket price of $197.00, the average paid admission was $66.50. However, the good news is that this is a steady increase from the previous two weeks. Even with one fewer performance, that week was an increase of $112,057 from the week ending April 5, 2015, and that week showed and increase of $143,228 from the week before. Therefore, word of mouth is beginning to spread, and the post-opening reviews will prove whether this musical will be a long-standing hit.