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.

Broadway Show Ticket Sales Analysis w/e 4/05/2015

This week’s notable movements on Broadway are:

New Shows: “Living on Love” and “Airline Highway”

In the week ending April 5, 2015, two new shows began previews on Broadway. First of all, Living on Love began previews on April 1, 2015 at the Longacre Theatre. Written by Joe DiPietro (Nice Work if You Can Get It) based on a play called Peccadillo by Garson Kanin, Living on Love is directed by Kathleen Marshall (Anything Goes) and stars opera singer Renee Fleming in her Broadway debut. Over the course of its first five performances, it brought in $126,172, which represents only 26.13% of its gross potential. With a top ticket price of $275.00, the average paid admission was $31.73, which represents very heavy discounting. Furthermore, the show filled up 74.1% of its audience capacity, so many of these tickets must have been complimentary in addition to discounted. In addition, Airline Highway began previews on April 1, 2015 at the Samuel J. Friedman Theatre in a Manhattan Theatre Club production. Written by Lisa D’Amour (Detroit) and directed by Joe Mantello (An Act of God), Airline Highway is one of the rare MTC productions on Broadway to be written by a woman in recent years. In its first six performances, the show only brought in $90,799, which represents 20.54% of its gross potential. The average paid admission was $34.67, and average audience capacity was at 69.6%. Fortunately, an MTC production can afford these low wraps more than a commercial work such as Living on Love, as the not-for-profit’s endowment should help make up for some of these losses.

Big Leaps in a Nine-Show Week

This past week, three of the top-grossing musicals on Broadway made the choice to play for nine performances, up from the usual eight. It is unclear why all three of these shows made this decision for the same reason, although two of them – Aladdin and The Lion King – are both Disney Theatricals productions and therefore probably made this choice in tandem. The third show is Wicked, which along with those two is generally at the top of the box office charts. In the week ending April 5, 2015, therefore, each of these shows saw a major increase in ticket sales. The Lion King went up by $569,329, which is accounted for not just by the extra performance, as the gross potential also went up to 100.78% from 99.2% the week before. Wicked saw an increase of $486,223, and Aladdin went up by $454,855. One of the reasons that these three musicals chose to add a performance may have been due to the timing of spring break, as these three shows are all major fare for tourists and families alike.

 

The following are the Broadway ticket sales numbers for the week ending April 5, 2015:Broadway-Show-Ticket-Analysis-4-05-15

Show Name GrossGross Total Attn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $617,753 6,475 89.24% $95.41
AIRLINE HIGHWAY $90,799 2,619 69.62% $34.67
ALADDIN $2,024,667 15,508 100.01% $130.56
AN AMERICAN IN PARIS $967,151 12,114 92.28% $79.84
BEAUTIFUL $835,957 7,312 89.08% $114.33
CHICAGO $669,411 7,463 86.38% $89.70
DOCTOR ZHIVAGO $368,018 7,480 72.30% $49.20
FINDING NEVERLAND $1,153,212 11,804 99.76% $97.70
FISH IN THE DARK $1,196,788 8,720 101.58% $137.25
FUN HOME $310,222 4,221 90.54% $73.49
GIGI $585,448 8,619 90.80% $67.93
HAND TO GOD $213,302 4,848 77.49% $44.00
HEDWIG AND THE ANGRY INCH $493,136 5,454 77.37% $90.42
HONEYMOON IN VEGAS $368,966 5,371 58.38% $68.70
IT SHOULDA BEEN YOU $310,872 5,473 69.95% $56.80
IT’S ONLY A PLAY $514,337 6,093 70.72% $84.41
JERSEY BOYS $710,080 7,466 76.00% $95.11
KINKY BOOTS $937,627 9,165 80.45% $102.31
LES MISÉRABLES $981,252 10,848 96.24% $90.45
LIVING ON LOVE $126,172 3,977 74.13% $31.73
MAMMA MIA! $813,160 8,884 95.24% $91.53
MATILDA $1,416,637 11,493 100.32% $123.26
ON THE TOWN $563,746 9,468 63.15% $59.54
ON THE TWENTIETH CENTURY $509,348 5,398 93.46% $94.36
SKYLIGHT $625,494 6,201 96.65% $100.87
SOMETHING ROTTEN! $507,102 10,257 95.33% $49.44
THE AUDIENCE $1,142,590 7,505 100.29% $152.24
THE BOOK OF MORMON $1,517,640 8,751 102.61% $173.42
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $749,788 7,412 91.01% $101.16
THE HEIDI CHRONICLES $275,393 3,994 49.88% $68.95
THE KING AND I $828,367 8,376 100.00% $98.90
THE LION KING $2,633,531 15,295 99.97% $172.18
THE PHANTOM OF THE OPERA $1,230,960 11,142 86.78% $110.48
THE VISIT $214,803 5,155 71.52% $41.67
WICKED $2,358,372 15,857 91.48% $148.73
WOLF HALL PARTS ONE & TWO $689,541 8,127 73.45% $84.85
Totals $29,551,639 294,345 85.37% $91.82

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 3/29/2015

This week’s notable movements on Broadway are:

“Something Rotten!” and “Doctor Zhivago” Begin Previews

In the week ending March 29, 2015, Something Rotten! was one of four new shows that began previews. Over the course of seven performances at the St. James Theatre, the new musical directed and choreographed by Casey Nicholaw (The Book of Mormon) brought in $363,874, which represents 68.51% of its gross capacity. That is not bad for a new show without previous brand name recognition. Furthermore, it has Broadway stars but not Hollywood stars, including Christian Borle, Brian D’Arcy James, Brooks Ashmanskas, and Peter Bartlett. With a top ticket price of $197.00, the average paid ticket was only $35.30. Therefore, though the average audience capacity was 99.1%, the ticket buyers mostly paid highly discounted rates. This is a good tactic for a new show to gain popularity through word of mouth in its early days. Furthermore, Doctor Zhivago began previews at the Broadway Theatre on March 27, 2015, playing three performances over this first week. With a weekly gross of $291,270, the show brought in 60.39% of its gross potential, with an average paid admission of $74.02.

“Fun Home” and “The Visit” Also Join the Broadway Ranks

After a wildly successful run at the Public Theatre, Fun Home began previews on March 27, 2015, playing 4 performances in this first week. The show brought in a weekly gross of $218,509, representing 58.56% of its gross potential. With a top ticket price of $200.00, the average paid admission was $77.43, representing a moderate amount of discounting to reach the audience capacity of 100.5%. This is another new musical that hopes to spread word of mouth through early discounting in the run, but will hope to maintain full audiences at higher priced tickets after opening. Finally, The Visit began previews on March 26, 2015 at the Lyceum Theatre. Starring Chita Rivera and Roger Rees, this musical has a book by Terrence McNally, and a score by John Kander and Fred Ebb. Over its first five performances, the show only brought in $167,410 despite its high pedigree of cast and creative team. This represents 35.12% of the show’s gross potential. With a top ticket price of $225.00, the average paid admission was $46.74, reaching an average audience capacity of 79.5%.

The following are the Broadway ticket sales numbers for the week ending March 29, 2015:Broadway-Show-Ticket-Analysis-3-29-15

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $642,467 6,469 89.15% $99.31
ALADDIN $1,569,812 13,785 100.01% $113.88
AN AMERICAN IN PARIS $859,762 10,620 92.45% $80.96
BEAUTIFUL $979,932 7,279 88.68% $134.62
CABARET $935,989 7,042 98.57% $132.92
CHICAGO $694,655 8,032 92.96% $86.49
DOCTOR ZHIVAGO $291,270 3,935 88.75% $74.02
FINDING NEVERLAND $1,046,994 11,211 94.75% $93.39
FISH IN THE DARK $1,200,038 8,720 101.58% $137.62
FUN HOME $218,509 2,822 100.50% $77.43
GIGI $483,908 7,407 78.03% $65.33
HAND TO GOD $235,413 5,379 85.98% $43.77
HEDWIG AND THE ANGRY INCH $506,395 5,908 83.81% $85.71
HONEYMOON IN VEGAS $371,576 5,020 54.57% $74.02
IT SHOULDA BEEN YOU $335,706 6,144 78.53% $54.64
IT’S ONLY A PLAY $612,583 6,130 71.15% $99.93
JERSEY BOYS $738,877 8,053 81.97% $91.75
KINKY BOOTS $1,004,700 9,875 86.68% $101.74
LES MISÉRABLES $800,286 9,568 84.88% $83.64
MAMMA MIA! $699,086 8,483 90.94% $82.41
MATILDA $1,137,135 11,486 100.26% $99.00
ON THE TOWN $573,548 9,032 60.25% $63.50
ON THE TWENTIETH CENTURY $486,398 5,664 98.06% $85.88
SKYLIGHT $618,692 6,215 96.87% $99.55
SOMETHING ROTTEN! $363,874 10,307 99.11% $35.30
THE AUDIENCE $1,164,962 7,584 101.35% $153.61
THE BOOK OF MORMON $1,529,584 8,751 102.61% $174.79
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $792,781 7,758 95.26% $102.19
THE HEIDI CHRONICLES $335,976 4,981 62.20% $67.45
THE KING AND I $776,946 8,377 100.01% $92.75
THE LION KING $2,064,202 13,494 99.22% $152.97
THE PHANTOM OF THE OPERA $964,013 11,422 88.96% $84.40
THE VISIT $167,410 3,582 79.51% $46.74
WICKED $1,872,149 14,604 94.78% $128.19
WOLF HALL PARTS ONE & TWO $886,920 8,877 80.23% $99.91
Totals $27,962,546 284,016 88.65% $94.28

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

“It Shoulda Been You” Begins Previews

David Hyde Pierce Directs, Tyne Daly Stars

it shoulda been youOn March 17, 2015, It Shoulda Been You began previews at the Brooks Atkinson Theatre. The musical comes to Broadway after a critically acclaimed run at the George Street Playhouse in Millburn, New Jersey. The show marks David Hyde Pierce’s Broadway directorial debut. As an actor Pierce has appeared on Broadway in many shows including Spamalot, La Bête, and Vanya and Sonia and Masha and Spike. This is in addition to his numerous screen credits, most notably TV’s “Frasier.” The musical has book and lyrics by Brian Hargrove (who happens to be David Hyde Pierce’s husband) and a score by Barbara Anselmi. This marks the Broadway debuts of both Hargrove and Anselmi. This wedding musical comedy stars Tyne Daly (Mothers and Sons, Master Class, Gypsy) as the mother of the bride, Sierra Boggess (Master Class, The Little Mermaid) as the bride, Harriet Harris (Rodgers + Hammerstein’s Cinderella, Present Laughter) as the mother of the groom, and David Burtka (Gypsy, husband of Neil Patrick Harris) as the groom.

Further Cast and Creative Teamit shoulda been you

Additional roles are played by Montego Glover (Memphis, The Color Purple) as the bride’s maid of honor, Lisa Howard (Priscilla Queen of the Desert, 9 to 5) as the sister of the bride, and Edward Hibbert (Mrs. Warren’s Profession, The Drowsy Chaperone) as the wedding planner. The show is choreographed by Josh Rhodes (Rodgers + Hammerstein’s Cinderella, First Date), and the musical director is Lawrence Yurman (On a Clear Day You Can See Forever, Grey Gardens). In addition, the scenic design is by Anna Louizos (Rodgers + Hammerstein’s Cinderella), the costume design is by William Ivey Long (On the Twentieth Century), the lighting design is by Ken Billington (Hugh Jackman, Back on Broadway), and sound design is by Nevin Steinberg (Rodgers + Hammerstein’s Cinderella), who happens to share the same last name as the bride’s family in this musical comedy.

A Wedding Comedy Gone Awry

In It Shoulda Been You, two families of different backgrounds come together for the wedding of their son and daughter. Rebecca Steinberg, the bride, comes from a very Jewish family, whereas Brian Howard, the groom, comes from a WASPier clan. The groom’s mother loves to drink, and the bridge’s mother loves to kvetch. Not only do the parents clash immediately, but there are other tensions brewing beneath the surface. Ultimately, the bride’s sister needs to come to the rescue, as she realizes her sister has gone too far and the secrets need to be revealed. The show is scheduled to open on April 14, 2015, and it is presently set for an open-ended run.

Broadway Show Ticket Sales Analysis w/e 3/22/2015

This week’s notable movements on Broadway are:

“It Shoulda Been You” and “Gigi” Start Previews

In the week ending March 22, 2015, three new shows began previews on Broadway. None of them appear to be immediate hits. On March 17, 2015, It Shoulda Been You began previews at the Brooks Atkinson Theatre. Starring Tyne Daly and directed by David Hyde Pierce, this new musical transferred from the George Street Playhouse is having difficulty in its opening performances. In the first week of six performances, the show brought in $293,768, which amounts to 41.16% of the show’s gross potential. With a top ticket price of $197.00, the average paid admission was only $57.49, showing a heavy amount of discounting. Nevertheless, it only filled up 87.1% of seats. On March 19, 2015, Gigi began previews at the Neil Simon Theatre. Over the course of four performances, Gigi brought in $331,484, which is 47.99% of gross potential. Starring Vanessa Hudgens, the musical revival may not have enough star attraction for the Broadway ticket buying demographic. With a top ticket price of $198.00, the average paid admission was $77.25, and the average audience capacity was 79.1%. Therefore, in comparison to It Shoulda Been You, ticket buyers for Gigi are paying slightly more but fewer of them are buying.

“Wolf Hall: Parts 1 and 2” Begin Performances in Repertory

On March 20, 2015, Wolf Hall: Parts 1 and 2 began playing in repertory at the Winter Garden Theatre. Following a successful run in London, this two-play series based on the novels by Hilary Mantel may have difficulty gaining traction in the U.S. Though British transfers often do well, the hefty nature of the two plays may dissuade ticket buyers who are looking for lighter fare. On the other hand, perhaps it will just take time for word of mouth and positive reviews to catch hold at the box office. In its first week of 4 performances, the two-play production brought in $419,780, which represents 58.73% of its gross potential. With a top ticket price of $293.50, the average paid admission was $99.66, and the average audience capacity was 76.1%. Therefore, similar to Gigi, Wolf Hall: Parts 1 and 2 is not discounting quite as much as it might be able to, but as a result fewer seats are filled across the week’s performances. It will be interesting to view how this evolves as even more shows begin performances in this bursting spring season.

 

The following are the Broadway ticket sales numbers for the week ending March 22, 2015:Broadway-Show-Ticket-Analysis-3-22-15

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $688,806 6,907 95.19% $99.73
ALADDIN $1,445,641 13,786 100.01% $104.86
AN AMERICAN IN PARIS $737,241 9,050 91.92% $81.46
BEAUTIFUL $992,794 7,512 91.52% $132.16
CABARET $856,644 6,953 97.33% $123.20
CHICAGO $675,431 7,926 91.74% $85.22
FINDING NEVERLAND $1,004,171 10,460 101.03% $96.00
FISH IN THE DARK $1,192,234 8,720 101.58% $136.72
GIGI $331,484 4,291 79.11% $77.25
HAND TO GOD $217,974 5,137 82.11% $42.43
HEDWIG AND THE ANGRY INCH $421,691 4,631 65.70% $91.06
HONEYMOON IN VEGAS $386,247 5,188 56.39% $74.45
IF/THEN $857,730 8,837 84.26% $97.06
IT SHOULDA BEEN YOU $293,768 5,110 87.08% $57.49
IT’S ONLY A PLAY $420,606 4,700 54.55% $89.49
JERSEY BOYS $783,181 8,390 85.40% $93.35
KINKY BOOTS $1,056,517 10,381 91.13% $101.77
LES MISÉRABLES $834,837 10,313 91.49% $80.95
MAMMA MIA! $634,709 7,881 84.49% $80.54
MATILDA $1,049,234 11,514 100.51% $91.13
ON THE TOWN $575,425 8,583 57.25% $67.04
ON THE TWENTIETH CENTURY $466,078 5,804 100.48% $80.30
SKYLIGHT $581,494 5,372 95.69% $108.25
THE AUDIENCE $1,173,331 7,602 101.59% $154.35
THE BOOK OF MORMON $1,547,575 8,752 102.63% $176.83
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $797,549 7,812 95.92% $102.09
THE HEIDI CHRONICLES $329,002 5,869 73.29% $56.06
THE KING AND I $814,492 8,316 99.28% $97.94
THE LION KING $1,901,829 13,499 99.26% $140.89
THE PHANTOM OF THE OPERA $974,043 11,372 88.57% $85.65
WICKED $1,855,247 15,214 98.74% $121.94
WOLF HALL PARTS ONE & TWO $419,780 4,212 76.14% $99.66
Totals $26,316,782 260,094 88.17% $97.73

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

“Constellations” Concludes Its Run

Last Performance March 15, 2015

constellations-large-643x441On March 15, 2015, Constellations played its last performance at Broadway’s Samuel J. Friedman Theatre. Produced by the Manhattan Theatre Club, Constellations began performances on December 16, 2014 and officially opened on January 13, 2015. Upon closing, it had played 76 performances on top of 29 preview performances. The play starred Jake Gyllenhaal and Ruth Wilson, both making their Broadway debuts. Constellations is a new play by Nick Payne, a British writer whose last New York production, If There Is I Haven’t Found It Yet, also starred Jake Gyllenhaal, but that time Off-Broadway in a Roundabout Theatre Company production. Constellations was directed by Michael Longhurst, who also directed the Roundabout play. This two-hander play premiered in London at the Royal Court Theatre in 2012, after which it transferred to the Duke of York’s Theatre in the West End. It earned strong reviews as well as the covetous honor of Best Play in the Evening Standard Theatre Awards, marking Nick Payne as the youngest writer whose play has ever received that honor. At one point, Payne disclosed that a film adaptation was in the works, but that plan has since been shelved according to a later interview.

Moderate Performance at the Box Officeconstellations

Over the course of its run, Constellations performed fairly well but not excellently at the box office. The highest weekly gross was earned in the closing week of performances, amounting to $704,605, which represents 85.83% of the gross potential. That week, the average ticket price was $120.53, and the audience was at an average 99.9% capacity. Furthermore, in the final three weeks of performances (as well as one week in January), Constellations played nine performances, whereas it had played three weeks of only seven performances each in the first month of its run. It is unclear whether this is due to scheduling conflicts, or designed so as to allow the performers to warm up to the heavy schedule. In any case, throughout the run, the weekly gross was more often around $500,000 per week, with the average paid ticket across the run being $98.87. Furthermore, the percentage reached of gross potential each week averaged out to 67.87%. Therefore, the show could have certainly performed better at the box office, but this is also not bad for a straight play with a small cast and no brand name title recognition, although it may have been thought to fare better due to the starry cast.

Overall Extremely Positive Reviews

Despite the only moderate success at the box office, the theatre critics loved Constellations. Following its opening night on January 13, 2015, the rave reviews poured in. Ben Brantley of The New York Times found the play to be gorgeous and emotionally devastating, praising the excellent performances and writing. Other critics were wowed by the production as well, including Time Out New York, Variety, the Hollywood Reporter, and NBC New York. Therefore, this goes to show that not all plays get the box office response that they deserve, but fortunately many people were able to catch this brilliant production in its New York rendition.

Broadway Show Ticket Sales Analysis w/e 3/15/2015

This week’s notable movements on Broadway are:

“The King and I,” “An American in Paris,” and “Skylight”

In the week ending March 15, 2015, five new shows kicked off the spring season by beginning previews. None of them were sell outs right out of the gate, but they are all appearing to be strong contenders for the season. First of all, the Lincoln Center production of The King and I began previews on March 12, 2015. In its first week of four performances, the show brought in $420,879, which represents 75.58% of the gross potential. With an average ticket price of $100.50, the theatre was at 100% capacity, showing a degree of discounting and a successful effort to fill all seats for the first performances. In addition, An American in Paris began previews with a first partial week of two performances. Over those two shows, the new Gershwin musical brought in $317,918, which represents 86.55% of its gross potential. With an average paid admission of $100.57, the theatre was at an average 98.7% capacity, showing successful use of strategic discounting. Furthermore, David Hare’s Skylight began performances this past week, playing three shows in its first partial week. In that time, the show brought in $253,369, which represents 83.59% of the show’s gross potential. Similarly, with an average paid admission of $105.31, the audience was at 100% capacity. Therefore, all three of these shows performed similarly in its first few performances, modestly discounting and successfully filling almost all seats.

“Finding Neverland” and “Hand to God”

In addition, the week ending March 15, 2015 saw two additional new shows begin previews, which are at opposing ends of the spectrum in terms of familiarity of brand name and industry power. Finding Neverland, based on the film of the same name, is produced by Harvey Weinstein, a Hollywood powerhouse producer and distributor who is venturing into Broadway producing for the first time with this new musical. With the brand power of the familiar film behind it, Weinstein is betting this show will attract an eager audience. This past week, it only had one preview so far, making it difficult to analyze how successfully the show is performing out of the gate. Still, in that one performance it brought in $159,823, which represents 85.9% of the gross potential. With an average ticket price of $105.84, the show filled 102.1% of its seats in that one performance. Finally, “Hand to God” also began performances this past week, playing also one performance. Unlike the Weinstein production, this show comes to Broadway after a successful Off-Broadway (arguably Off-Off-Broadway) run at the Ensemble Studio Theatre, where the playwright, director, and several actors all making their Broadway debuts. It may take some time for this show’s word of mouth to spread, as in the first preview it brought in only $36,122, which represents 46.02% of the show’s potential. Nevertheless, it still managed to fill 98.2% of seats due to a heavy amount of discounting.

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

Show Name GrossGross Total Attn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $693,830 6,928 95.48% $100.15
ALADDIN $1,320,262 13,785 100.01% $95.78
AN AMERICAN IN PARIS $317,918 3,161 98.72% $100.57
BEAUTIFUL $955,472 7,004 85.33% $136.42
CABARET $834,163 6,909 96.71% $120.74
CHICAGO $623,279 7,889 91.31% $79.01
CONSTELLATIONS $704,605 5,846 99.93% $120.53
FINDING NEVERLAND $159,823 1,510 102.10% $105.84
FISH IN THE DARK $1,223,970 8,720 101.58% $140.36
HAND TO GOD $36,122 768 98.21% $47.03
HEDWIG AND THE ANGRY INCH $604,849 5,961 84.57% $101.47
HONEYMOON IN VEGAS $410,732 5,514 59.93% $74.49
IF/THEN $698,319 9,451 90.11% $73.89
IT’S ONLY A PLAY $518,653 5,843 67.82% $88.76
JERSEY BOYS $720,612 7,838 79.78% $91.94
KINKY BOOTS $1,012,351 10,051 88.23% $100.72
LES MISÉRABLES $790,406 9,950 88.27% $79.44
MAMMA MIA! $567,670 7,291 78.16% $77.86
MATILDA $949,057 11,067 96.60% $85.76
ON THE TOWN $543,130 8,099 54.02% $67.06
ON THE TWENTIETH CENTURY $390,599 5,936 102.77% $65.80
SKYLIGHT $253,369 2,406 100.00% $105.31
THE AUDIENCE $1,085,327 7,591 101.44% $142.98
THE BOOK OF MORMON $1,540,949 8,752 102.63% $176.07
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $765,691 7,539 92.57% $101.56
THE HEIDI CHRONICLES $321,977 5,895 73.61% $54.62
THE KING AND I $420,879 4,188 100.00% $100.50
THE LION KING $1,824,627 13,587 99.90% $134.29
THE PHANTOM OF THE OPERA $847,147 10,290 80.14% $82.33
WICKED $1,818,766 15,024 97.51% $121.06
Totals $22,954,552 224,793 90.25% $99.08

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

Broadway Show Ticket Sales Analysis w/e 3/8/2015

This week’s notable movements on Broadway are:

A Stable Week on Broadway

In the week ending March 8, 2015, no new shows began previews. Furthermore, the overall weekly gross for all shows on Broadway stayed almost exactly the same. In the previous week, the entire industry brought in $18,260,267, and this week it brought in $18,202,017. Overall, that is an increase of only $58,250. Of the 25 shows that had performances this past week, 17 saw an increase in sales, though generally this increase was very slight. The biggest increase was seen by Wicked, which brought in $1,352,213, demonstrating an increase of $147,746 from the week prior. Overall, Wicked was the third highest grossing show this week, only beat out by The Book of Mormon with a weekly gross of $1,450,723 and The Lion King with a gross of $1,450,034. Other than Wicked, every other show that increased this week did so by no more than 5 digits. The closest gross between this and last week was brought in by A Gentleman’s Guide to Love and Murder, which went down by only $649. Strangely, almost all of the shows performed within $50,000 of their gross the week before, demonstrating a very stable, if not lucrative, week on Broadway.

Two Top Grossing Plays Showed a Decrease in Sales

The two straight plays that have been demonstrating the most promise so far this early spring season are The Audience starring Helen Mirren, and Fish in the Dark written by and starring Larry David. Both of these shows recently opened to relatively mixed reviews, The Audience leaning toward the positive and Fish in the Dark leaning toward the negative. Perhaps the silence being broken about the quality of the shows brought down some of the allure that had made ticketbuyers go crazy for these shows, because both saw a fairly significant decrease in sales this previous week. The Audience brought in a weekly gross of $861,884, which was a decrease of $228,595 from the week before. Fish in the Dark, which is still performing excellently, brought in a weekly gross of $1,006,832, although this is a decrease of $152,705 from the week before. Nevertheless, another reason why this week was a bit low for these two shows could be accounted for by the fact that one of the week’s performances was the opening night, for which tickets are mostly complimentary for guests of the production. Therefore, the overall gross would show a decline due to one performance of lost ticket sales.

The following are the Broadway ticket sales numbers for the week ending March 8, 2015:Broadway-Show-Ticket-Analysis-3-08-15-1

Show Name GrossGross Total Attn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $543,966 5,830 80.35% $93.30
ALADDIN $1,148,004 13,689 99.31% $83.86
BEAUTIFUL $1,049,875 7,516 91.57% $139.69
CABARET $708,067 6,125 85.74% $115.60
CHICAGO $508,909 6,386 73.91% $79.69
CONSTELLATIONS $689,238 5,837 99.78% $118.08
FISH IN THE DARK $1,006,832 8,703 101.39% $115.69
HEDWIG AND THE ANGRY INCH $537,064 5,152 73.09% $104.24
HONEYMOON IN VEGAS $310,450 4,492 48.83% $69.11
IF/THEN $519,720 7,096 67.66% $73.24
IT’S ONLY A PLAY $480,381 5,070 58.84% $94.75
JERSEY BOYS $592,549 6,348 64.62% $93.34
KINKY BOOTS $814,313 8,228 72.23% $98.97
LES MISÉRABLES $624,346 8,493 75.35% $73.51
MAMMA MIA! $417,314 5,732 61.45% $72.80
MATILDA $714,894 8,992 78.49% $79.50
ON THE TOWN $474,989 7,266 48.47% $65.37
ON THE TWENTIETH CENTURY $364,904 5,082 87.98% $71.80
THE AUDIENCE $861,884 7,532 100.65% $114.43
THE BOOK OF MORMON $1,450,723 8,750 102.60% $165.80
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $670,953 6,695 82.21% $100.22
THE HEIDI CHRONICLES $316,904 5,642 70.45% $56.17
THE LION KING $1,450,034 13,051 95.96% $111.11
THE PHANTOM OF THE OPERA $651,741 8,427 65.63% $77.34
WICKED $1,352,213 12,457 86.08% $108.55
Totals $18,260,267 188,591 78.91% $95.05

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

“The Audience” Opens on Broadway

Excellent Reviews to Match Excellent Box Office

the audienceOn March 8, 2015, The Audience opened at the Gerald Schoenfeld Theatre on Broadway. Written by Peter Morgan (Frost/Nixon) and directed by Stephen Daldry (Billy Elliot: the Musical, Skylight), The Audience stars Helen Mirren in the role of Queen Elizabeth II. One of the main reasons this show has been garnering so much excitement is that Mirren played this same role on screen in the 2006 British historical drama, which was also written by Peter Morgan, and for which she won the Academy Award for Best Performance by an Actress in a Leading Role. The film was also nominated for Best Picture, Best Director, Best Original Screenplay, Best Original Score, and Best Costume Design. It also won the BAFTA Award for Best Film, while Mirren also took home the BAFTA Award for Actress in a Leading Role. For all of these reasons, the show has been accumulating much buzz since even before it began previews on February 14, 2015. Particularly noteworthy were the first few weeks of box office reports, which showed that the production brought in over 100% of the show’s gross potential in each of the three first weeks.

Review Round Uphelen mirren the audience

Overall, theatre critics found the show to be quite excellent. Nevertheless, Ben Brantley of The New York Times was more on the fence, praising Mirren’s performance but determining that the play was more a parade of statesman than a dramatic masterpiece. He also remarked that Mirren is performing her lines a bit differently than she did in London, emphasizing different aspects of the phrases in order to spice up the comedy for American audiences. David Cote from Time Out New York, on the other hand, was fully positive in his response to the play. Instead of calling the series of prime ministers a “parade” as Brantley does, Cote calls it a “pageant,” evoking more majesty and grandeur. Like Brantley, however, Cote agrees that Mirren’s transformations across the different eras were magnificent. David Rooney in The Hollywood Reporter acknowledges that the writing’s episodic nature is not its strongest point, and yet he deems the vignettes to be linked in an elegant fashion. Robert Kahn from NBC New York calls the show “exquisite,” pondering over the Queen’s “grace” and Mirren’s excellent performance. Matt Windman of AM New York gave it three stars out of four, finding the play a bit choppy but fascinating.

Excellent Box Office that May Show Signs of Tapering Off

In the first three weeks of performances, The Audience brought in over 100% of its gross potential. In the first incomplete week of two performances, that percentage was 111.21%, and the following two weeks of seven performances each brought in 102.63% and 106.74% of the gross potential, the last of these showing a weekly gross of $1,090,479. However, in the last reported week of performances, the week ending March 8, 2015, The Audience saw a decline in weekly grosses of $228,595, bringing in $861,884 which represents 84.37% of its gross potential. The most likely explanation for this is that the last of these performances was the show’s opening night, for which most tickets are complimentary for guests of the production. Therefore, it is too early to say whether the show’s box office is tapering off, or whether it has just taken a slight dip to regain its footing the following week. Presumably, the generally positive reviews can only help stimulate the box office in a positive direction. The show is presently scheduled to run until June 28, 2015.

John Cameron Mitchell Returned After Injury, Next Hedwig Announced

The Original Hedwig Playing His Creation on Broadway

john cameron mitchellHedwig and the Angry Inch, created by John Cameron Mitchell, premiered on Broadway on March 29, 2014. The show originally opened Off-Broadway in 1998, starring Mitchell in the title role of the gender-bending East German rock performer. He also wrote and starred in the 2001 film version. When Hedwig came to Broadway for the first time, however, the producers and Mitchell felt that he was no longer in his prime, and thus the lead role was given to Neil Patrick Harris, who won the Tony Award for Best Actor in a Musical. After Harris departed, the role was played by Andrew Rannells (The Book of Mormon, Girls), followed by Michael C. Hall (Dexter). However, to the delight of diehard Hedwig fans, it was announced that John Cameron Mitchell himself would be stepping in to play the role after all, with his first performance on January 21, 2015. Originally, he was slated to perform for just six weeks until March 14, 2015, as a trial run to see if he had enough stamina to play the intensive part at this point in his career. Fortunately, he was brilliant as always, and fans flocked to see him, and thus he announced that he would extend his run until April 26, 2015.

Mitchell Sustained Knee Injury, Michael C. Hall Stepped Inhedwig lena hall

Unfortunately, on February 7, 2015, Mitchell injured his knee during the performance. He continued on until the end of the 7pm show, but the later 10pm show that night was cancelled. At the time, the show’s representatives tweeted that he planned to return for the next scheduled performance on the following Tuesday, and that doctors were examining him. However, they then announced that one week later, Michael C. Hall would return to the role to allow Mitchell time for his injury to heal. From February 17 to 21, therefore, Hall donned the wig once again. In the week where Mitchell performed with a knee brace, he made the best of the humorous situation. One joke, for instance, was “You’re seeing the original cast!” Furthermore, he played on the dominating relationship Hedwig has with his co-star Yitzhak by making her attend to his injury, demanding that she place a crate underneath his propped foot, while he sat on an elevated chair so that he could still be visible while seated. As planned, after a week of performances by Michael C. Hall, Mitchell returned to the stage on February 24, 2015, and he plans to continue as announced until April 26, 2015.

The Next Hedwig: Darren Criss

GQ Celebrates The Grammys With Giorgio Armani - ArrivalsFollowing Mitchell’s departure, Darren Criss (Glee) will step into the spotlight on April 29, 2015 for a run of 12 weeks through summer. Criss’ huge fanbase was evidenced by his brief turn on Broadway in 2012, when he replaced Daniel Radcliffe in How to Succeed in Business Without Really Trying. At the time, he significantly boosted ticket sales for the three weeks he played the part. Therefore, this appears to be a good move for the show’s producers, who hope to keep it running as long as possible by bringing in a string of stars who appeal to a variety of audience members. Furthermore, the second and only other main character in the musical, Yitzhak, has been played by Lena Hall since the start of the revival. Hall wonrebecca naomi jones the Tony Award for Best Supporting Actress in a Musical, and has been the Yitzhak to all four Hedwigs so far: Harris, Rannells, Hall, and Mitchell. However, she has recently announced that her last performance in the role will be April 4, 2015. The new Yitzhak will be played by Rebecca Naomi Jones (American Idiot, Passing Strange), who will step in on April 14, 2015. In the interim week, the role will be played by understudy Shannon Conley. Therefore, Jones will play opposite John Cameron Mitchell for less than two weeks, before partnering with Darren Criss to continue the tradition of Hedwig on Broadway.

Broadway Show Ticket Sales Analysis w/e 3/1/2015

This week’s notable movements on Broadway are:

“The Heidi Chronicles” Not An Immediate Hit

In its first week of previews, the new revival of The Heidi Chronicles brought in a weekly gross of $305,345, which represents only 34.26% of its gross potential. The show began previews on February 23, 2015, and therefore this first week was a full week of eight performances. With a top ticket price of $223.00, the average paid admission was only $51.05, and despite this heavy amount of discounting, the audience capacity was only on average 74.7% full. This comes as a slight surprise due to the high profile stars on the marquee such as Elisabeth Moss, Jason Biggs, and Bryce Pinkham, in addition to the acclaim of the playwright Wendy Wasserstein, as well as the fact that the play is a Pulitzer Prize winning drama. Directed by Pam MacKinnon (Who’s Afraid of Virginia Woolf?), the play is set to open on March 19, 2015. Perhaps when the reviews hit the presses, more audience members will become aware of this new production. The fact that New York still feels like it is in the midst of winter may have been a dissuading factor for ticket buyers, and hopefully sales will pick up as the run proceeds.

An Overall Slow Week on Broadway

In the week ending March 1, 2015, Broadway was in a bit of a slump. Despite the month of March having arrived, the city is still steeped in winter and more snow is expected this week. This may be one of the main reasons that the overall demand on Broadway is not particularly high. This past week, of all the shows running on Broadway, only six experienced an increase in ticket sales. One of these was The Heidi Chronicles, which, as just discussed, was a new show that performed fairly poorly in its first week. Another one was Constellations, which did experience an increase in weekly gross of $61,504, but that is due to that fact that the show played nine performances that week, up from the usual eight. With that in mind, the show is still not doing excellently, as it only reached 80.59% of its gross potential across the nine performances. In its last week of performances, Disgraced saw an increase of $82,172, bringing its final weekly gross to $415,237, which is only 53.39% of its gross potential. Besides the usual suspects, the only plays that are performing extraordinarily are Larry David’s Fish in the Dark, which had a weekly gross of $1,159,537, and The Audience starring Helen Mirren, which brought in a weekly gross of $1,090,479.

The following are the Broadway ticket sales numbers for the week ending March 1, 2015:Broadway-Show-Ticket-Analysis-3-1-15

Show Name GrossGross Total Attn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $544,615 5,571 76.78% $97.76
ALADDIN $1,198,904 13,452 97.59% $89.12
BEAUTIFUL $1,019,934 7,577 92.31% $134.61
CABARET $674,524 6,043 84.59% $111.62
CHICAGO $474,672 6,031 69.80% $78.71
CONSTELLATIONS $661,547 5,753 98.34% $114.99
DISGRACED $415,237 5,316 72.39% $78.11
FISH IN THE DARK $1,159,537 8,720 101.58% $132.97
HEDWIG AND THE ANGRY INCH $585,799 5,374 76.24% $109.01
HONEYMOON IN VEGAS $284,648 4,450 48.37% $63.97
IF/THEN $503,433 7,111 67.80% $70.80
IT’S ONLY A PLAY $493,244 5,432 63.05% $90.80
JERSEY BOYS $579,183 6,230 63.42% $92.97
KINKY BOOTS $804,924 8,442 74.10% $95.35
LES MISÉRABLES $571,871 7,705 68.36% $74.22
MAMMA MIA! $413,270 5,633 60.39% $73.37
MATILDA $701,215 8,783 76.67% $79.84
ON THE TOWN $407,366 6,089 40.61% $66.90
ON THE TWENTIETH CENTURY $377,072 5,098 88.26% $73.96
THE AUDIENCE $1,090,479 7,512 100.39% $145.16
THE BOOK OF MORMON $1,433,408 8,741 102.50% $163.99
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $660,205 6,398 78.56% $103.19
THE HEIDI CHRONICLES $305,345 5,981 74.69% $51.05
THE LION KING $1,490,989 13,036 95.85% $114.37
THE PHANTOM OF THE OPERA $561,366 7,269 56.61% $77.23
WICKED $1,204,467 11,905 82.26% $101.17
Totals $18,617,251 189,652 77.37% $95.59

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