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 1/25/2015

This week’s notable movements on Broadway are:

An Overall Slow Week

In the week ending January 25, 2015, only three shows demonstrated an increase in ticket sales from the week before. Those were The Elephant Man, Constellations, and The Last Ship. The Elephant Man went up by $357,369, which is an inflated figure due to the fact that the production played only five performances last week. In terms of percentage reached of potential gross, the performance actually went down from 111.75% to 110.23%, which is of course still extraordinary. The weekly gross for Constellations went up by $67,046, which is attributable to the recent opening and the ripple effect of positive word of mouth. Finally, The Last Ship went up as well, but only by $5,171, which may be due to the fact that Sting has entered the cast. Otherwise, the entire Broadway industry performed quite poorly this past week, with the remaining 24 shows decreasing in their weekly grosses.

A Dip For the Heavy Hitters

The biggest decrease was seen by It’s Only a Play, which went down from $693,963 last week to $462,008 this week. However, that is also a misleading figure as the play only had five performances this week. The next biggest decrease was seen by Wicked, often in the top two grossing shows each week. In the week ending January 25, 2015, however, Wicked brought in $1,500,725, which was a decrease of $183,939 from the week before. Still, it came in third in terms of weekly gross, behind only The Lion King and The Book of Mormon. Matilda also went down by $182,198, bringing in $805,176 which is only 63.16% of its gross potential. Aladdin, though still a top earner at $1,347,820, went down by $139,296 from the week before. Still, that brought it to earning 110.48% of its gross potential. Les Miserables also went down by $115,379, bringing it to a weekly gross of $609,270. Finally, the last show to exhibit a six figure decrease in weekly gross from the week before was The River, which went down by $106,452, bringing it to a weekly gross of $616,535.

The following are the Broadway ticket sales numbers for the week ending January 25, 2015:Broadway-Show-Ticket-Analysis-1-25-15

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A DELICATE BALANCE $562,850 4,941 77.01% $113.91
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $667,767 6,547 90.23% $102.00
ALADDIN $1,347,820 13,747 99.73% $98.04
BEAUTIFUL $1,047,501 7,637 93.04% $137.16
CABARET $911,305 7,004 98.04% $130.11
CHICAGO $427,273 5,787 66.98% $73.83
CONSTELLATIONS $499,445 5,155 99.13% $96.89
DISGRACED $360,932 4,928 67.10% $73.24
HEDWIG AND THE ANGRY INCH $609,617 5,268 87.19% $115.72
HONEYMOON IN VEGAS $425,029 6,699 71.33% $63.45
IF/THEN $635,189 7,992 76.20% $79.48
IT’S ONLY A PLAY $462,008 4,722 87.69% $97.84
JERSEY BOYS $710,588 7,798 79.38% $91.12
KINKY BOOTS $1,001,877 9,890 86.82% $101.30
LES MISÉRABLES $609,270 8,391 74.44% $72.61
MAMMA MIA! $463,090 6,563 70.36% $70.56
MATILDA $805,176 10,110 88.25% $79.64
ON THE TOWN $624,882 9,035 60.27% $69.16
THE BOOK OF MORMON $1,575,262 8,750 102.60% $180.03
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $820,145 7,890 96.88% $103.95
THE ELEPHANT MAN $1,035,819 6,304 101.81% $164.31
THE LAST SHIP $843,445 9,459 87.65% $89.17
THE LION KING $1,641,207 13,056 96.00% $125.71
THE PHANTOM OF THE OPERA $689,571 9,235 71.92% $74.67
THE RIVER $616,535 5,531 99.34% $111.47
WICKED $1,500,725 14,236 98.37% $105.42
YOU CAN’T TAKE IT WITH YOU $441,995 5,613 65.39% $78.74
Totals: $21,336,320 212,288 84.93% $99.98

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

Jimmy Fallon’s “Lip Sync Battle” Becomes Spin-Off TV Show

Jimmy Fallon and the History of the Lip Sync Battle

jimmy fallonJimmy Fallon has been the host of NBC’s The Tonight Show Starring Jimmy Fallon since he took over the post from Jay Leno in February 2014. He had earned his beloved stature through his tenure hosting Late Night with Jimmy Fallon also on NBC from March 2009, when he took over from talk show legend Conan O’Brien. Prior to that, he gained acclaim from his tenure as a cast member on Saturday Night Live, which occurred from 1999 to 2004, when he left to pursue a film career. He appeared in a quite a few movies including Fever Pitch, Almost Famous, Factory Girl, and The Year of Getting to Know Us, but ultimately his home was the talk show circuit, and he was roped back in by NBC. Since seamlessly taking over from Leno almost a year ago, Fallon has proved his insurmountable stature by remaining a huge success with fans and celebrities alike. One of his most beloved shticks in The Tonight Show has been a “Lip Sync Battle,” whereby he competes against his guests, who are often huge stars such as Emma Stone and Paul Rudd, to see who is better at lip syncing. In addition to being hilarious and entertaining, this battle is said to prove the winner in terms of charisma, talent, individuality, and guts.

The Pilot Will Be Shot This Month; Premieres On TV April 2nd, 2015

While Fallon continues on as the successful host of The Tonight Show, he will also serve as a producer of a new spin-off show on Spike TV. Two other producers include John Krasinski and Stephen Merchant, who were the creators of this segment on Fallon’s show, along with Krasinski’s wife Emily Blunt. Krasinski and Merchant are also sometime performers in the lip sync battles. Memorable episodes include performances by Emma Stone and Paul Rudd, as well as a three-way battle between Jimmy Fallon, Stephen Merchant, and Joseph Gordon-Levitt. Now, this new pilot will be shot in January in front of a live studio audience. It is set to premiere on Spike TV on April 2, 2015. It is unclear how this mini-segment will be able to expand into an entire episode, not to mention a 10 episode series. Still, the show has a lot to work with, given the allure for celebrity guests. Thus time can inevitably be spent in celebrity banter if not interviews, although the set-up will ultimately need to differentiate itself from the usual talk show format and focus in on the lip sync battle first and foremost.

LL Cool J Announced to Serve as the Show’s Host ll cool j

The rapper-musician LL Cool J has signed on to host this new show on Spike TV, as announced this month. He will also join as a producer on the show. He has expressed great excitement about being involved with the show. This will be his second recurring gig on television, in addition to his role as a regular cast member on the hit show NCIS: Los Angeles. He announced that this show was going to bring the concept of the lip sync battle to a whole new level – as it must in order to fill in the longer timeslot. Still, hopes are high that the combination of a winning battle concept, celebrity guests, and LL Cool J as host will allow the new show to thrive on Spike TV.

Click here for Tickets to the show Lip Sync Battle Tickets

“The Nightly Show with Larry Wilmore” Premieres on Comedy Central

“Daily Show” Spin-Off Replaces “Colbert Report”

Larry WilmoreOn January 19, 2015, The Nightly Show with Larry Wilmore premiered on Comedy Central. Larry Wilmore has led a long and successful career in television comedy, and most recently received acclaim for his recurring role on The Daily Show as the “Senior Black Correspondent” since 2006. He published a political humor book called I’d Rather We Got Casinos: And Other Black Thoughts in 2009. Earlier in his career, he served as a producer and writer on shows including Sister, Sister, The Fresh Prince of Bel Air, and The Jamie Foxx Show. He co-created Eddie Murphy’s show The PJs and served as executive producer for the duration of its run. He collaborated with Whoopi Goldberg on her show Whoopi, which he created and produced. He was also a consulting producer on The Office from 2005 to 2007, and once made a cameo on that show as a “diversity consultant.” Needless to say, Larry Wilmore is a tried and true comedian, show runner, and spokesman of the black community, and The Nightly Show with Larry Wilmore will solidify his position as television royalty.

Critical Praise for the Premierewilmore

Top industry press such as The New York Times, Variety, and Entertainment Weekly all praised The Nightly Show with Larry Wilmore. Alessandra Stanley in The New York Times confidently declared that everyone will want to know what Larry Wilmore has to say in his next show of the nightly series. She was pleased that unlike other talk show hosts, he is not white, male, and insecure about that fact. Rather, she was relieved how he can address racial topics head-on without feeling the need to be politically correct. He even made a daring joke about the Eric Garner case and unapologetically asked the audience if it was too soon. Brian Lowry in Variety was less bowled over, but acknowledged that the show demonstrated great potential. However, he said, it would be premature to give the show an unqualified rave, because it only revealed a small part of what it will ultimately offer. Jeff Jensen in Entertainment Weekly also gave it a restrained rave, saying that he will keep watching as long as the show can remain consistent. In reference to the show he replaced, The Colbert Report, Jensen calls this much more conventional. This 30-minute add-on to The Daily Show is also produced by Jon Stewart, and fills the slot the Stephen Colbert vacated to replaced David Letterman.

A Wide Range of Subjects

In the premiere episode, Wilmore touched on a range of topics. He discussed Selma and its Oscar snubs, as well as the protestors at Ferguson. He mentioned that he would never hesitate to bring up race, and he seemed both proud and mischievous about that. He said he would address Bill Cosby’s sexual scandal the following evening. His guests included Senator Cory Booker, and his panelists featured Shenaz Treasury and Bill Burr. Jensen in Entertainment Weekly criticized these guests and panelists for being on the bland side, expressing his wish that Wilmore learn to take over the microphone more and smoothly intercept the long running talk of his less interesting guests. In any case, the show is, as its name implies, nightly, and thus there will be many more opportunities in which to determine whether Wilmore is living up to his timeslot.

Broadway Show Ticket Sales Analysis w/e 1/18/2015

This week’s notable movements on Broadway are:

Motown Rises to the Occasion of its Final Week

In the week ending January 18, 2015, Motown was one of the highest grossing Broadway shows, beat only by the regular top earners The Lion King, Wicked, The Book of Mormon, and Aladdin. It brought in $1,299,340, which was an increase of $213,298 from the previous week. The reason behind this upswing is that Motown played the final performance of its present run on that date: January 18, 2015. After a financially and critically successful run of 738 performances (and 37 preview performances), Motown the Musical decided to shutter its doors. However, in an unusual move, the producers announced that this closing would not be permanent, and that the show would take an 18-month hiatus and return in July 2016. In the meantime, a run will open in London, for which they will use the Broadway costumes and sets, thus saving some money. Also, a U.S. national tour which began in April 2014 is still running. Thus, Motown is not saying goodbye for long; it’s just using some innovative reasoning to take a break from Broadway. Nevertheless, in this past week, it demonstrated that fans still love the show, as the show managed its highest weekly gross in over a year, and the last month of performances have all been financially healthy as well.

Productions Showing a Drop in Sales

This past week, The Elephant Man starring Bradley Cooper, which has been performing very well at the box office, saw a decrease in box office of $315,940, bringing in only $678,450. However, this decrease was due merely to the fact that the production played only 5 performances this past week, likely due to actor conflicts. In that light, the show still made 111.75% of its gross potential, and it’s therefore still doing very well. For the most part, the other shows that demonstrated a decrease in ticket sales from the week prior are the top-earning musicals that could afford a decline. After The Elephant Man, the biggest decrease was seen by The Lion King, which went down by $118,853. Still, in the scheme of things, this is not a big drop, as the mega-musical still brought in a weekly gross of $1,721,611, which was the top earning show this past week. Next, decreases were seen by Mamma Mia! (went down by $74,423 to a gross of $476,709), The Phantom of the Opera (went down by $66,507 to a gross of $747,735), Chicago (went down by $43,494 to a gross of $437,317), Jersey Boys (went down by $41,140 to a gross of $742,891), Les Misérables (went down by $35,041 to a gross of $724,649), and Beautiful (went down by $9,734 to a gross of $1,062,857). For the most part, these shows could handle the minors losses, and they are all still holding up on Broadway.

The following are the Broadway ticket sales numbers for the week ending January 18, 2015:
Broadway Show Ticket Analysis w/e 1/18/15

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A DELICATE BALANCE $641,797 5,349 83.37% $119.98
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $749,039 6,926 95.45% $108.15
ALADDIN $1,487,116 13,785 100.01% $107.88
BEAUTIFUL $1,062,857 7,630 92.96% $139.30
CABARET $914,904 7,013 98.17% $130.46
CHICAGO $437,317 5,771 66.79% $75.78
CONSTELLATIONS $432,399 5,828 99.62% $74.19
DISGRACED $404,998 5,238 71.32% $77.32
HEDWIG AND THE ANGRY INCH $692,620 6,633 94.10% $104.42
HONEYMOON IN VEGAS $440,476 7,659 81.55% $57.51
IF/THEN $651,330 8,377 79.87% $77.75
IT’S ONLY A PLAY $693,963 7,340 85.83% $94.55
JERSEY BOYS $742,891 8,032 81.76% $92.49
KINKY BOOTS $1,051,429 9,658 84.78% $108.87
LES MISÉRABLES $724,649 8,990 79.76% $80.61
MAMMA MIA! $476,709 6,333 67.89% $75.27
MATILDA $987,374 11,041 96.38% $89.43
MOTOWN THE MUSICAL $1,299,340 12,196 89.92% $106.54
ON THE TOWN $649,289 9,863 65.79% $65.83
ROCK OF AGES $492,533 4,542 97.38% $108.44
THE BOOK OF MORMON $1,659,010 8,752 102.63% $189.56
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $883,489 8,101 99.47% $109.06
THE ELEPHANT MAN $678,450 3,978 102.79% $170.55
THE LAST SHIP $838,274 9,017 83.55% $92.97
THE LION KING $1,721,611 13,200 97.06% $130.43
THE PHANTOM OF THE OPERA $747,735 9,402 73.22% $79.53
THE RIVER $722,987 5,698 102.33% $126.88
WICKED $1,684,664 14,310 98.88% $117.73
YOU CAN’T TAKE IT WITH YOU $445,041 5,883 68.53% $75.65
Totals $24,414,288 236,545 87.63% $103.00

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

“Rock of Ages” Concludes Its Run

A Runaway Hit with an 80s Jukebox Score

Rock of Ages Broadway Musical celebrates RocktoberfestOn March 17, 2009, a show called Rock of Ages opened at the Helen Hayes Theatre on Broadway, having transferred from its Off-Broadway run at New World Stages, which followed its Los Angeles premiere in 2005 at a club on Hollywood Boulevard. This jukebox musical featured a book by Chris D’Arienzo along with a rocking score of 80s hits. Unlike other jukebox musicals that focus on one artist (The Four Seasons, Carole King, Abba, Queen, the list goes on), this musical decided to embrace an entire decade (the 80s) and the lifestyle that went with it: head-banging punk style, giant hopes and dreams, and a timeless love story. Though it was certainly not a surefire success, the show defied expectations and managed to run for almost six years and well over 2000 performances. In this time, it managed to gross over $125 million, well exceeding its capitalization and earning a huge amount of profit. Furthermore, a high budget film adaptation starring Tom Cruise, Catherine Zeta-Jones, and Alec Baldwin was released in 2012. Nevertheless, the show has finally wore out its welcome, as it has announced it will close on January 18, 2015.

Now Second Stage Can Purchase the Helen Hayes

Several Off-Broadway theatre companies have immortalized their presence in New York City while substantiating a higher profit margin by purchasing and producing in one or more Broadway venues (such as Roundabout and Manhattan Theater Club). Second Stage Theatre, which has held a prominent place in the Off-Broadway scene for many years from its central location at West 43rd Street and 8th Avenue, announced in 2008 that it planned to purchase the Helen Hayes Theatre, a desire Broadway venue due to its size, atmosphere, and location. Because Rock of Ages held on for so much longer than expected, this transaction was unable to take place. However, now that Rock of Ages is finally leaving town, Second Stage will be able to proceed with its plan. This will hopefully allow the company to thrive and contribute to the type of fare that manages to bridge the commercial with the quality-driven, an approach that not-for-profit theatre companies can more easily take than can commercial producers.

The Global Brand of “Rock of Ages” Will ContinueRock of Ages Broadway Show

Though the Broadway show will close, it has delighted countless audience members and has opened productions all over the world, many of which are still running. Versions of the show are still in operation in Mexico City, Las Vegas, and also on the Norwegian Cruise Line Breakaway. The show had its Asian English language premiere in Manila, the Philippines, where it presented the show in 2012, 2013, and 2014. The musical also played in Australia (Melbourne and Brisbane), as well as Toronto from 2010-11. In addition, two different U.S. National tours played, one in 2010-11, and a second tour (non-Equity) from 2011-14. This of course is in addition to the feature film, which was not a financial success; its budget was $75 million, but it only brought in $59.4 million in box office grosses. Still, with digital streaming, the movie will continue to bring in revenue, and the global brand of Rock of Ages will live on, long after the Broadway show closes.

Broadway Show Ticket Sales Analysis w/e 1/11/2015

This week’s notable movements on Broadway are:

An Entirely Declining Week

In the week ending January 11, 2015, every single show saw a decrease in sales. The easiest way to account for this is the winter season. As the New Years and Christmas holidays are officially over, tourists have returned to their hometowns and New Yorkers are staying cozy inside whenever possible. As a result, every single one of the 29 shows currently running saw a decrease in sales from the week before. The greatest decrease was seen by Wicked, which grossed $1,147,418 from the week before, resulting in a weekly gross of $1,593,224. Although this is still an impressive 94.77% of the show’s gross potential, it is an incredible decline. The Phantom of the Opera also saw a large decrease of $834,864, resulting in a weekly gross of $814,242. Six figure decreases were in fact seen by almost all of the shows, with the lowest decrease seen by Disgraced, which only went down by $3,898.

Struggling Shows

In the winter season, quite a few shows are showing signs of having difficulty staying afloat. The lowest percentage of gross potential was reached by On the Town, the musical revival occupying the gigantic Lyric Theatre. With a potential weekly gross of $1,790,076, On the Town only earned $626,999, which was decrease of $341,360 from the week before. The represents only 35.03% of its gross potential. Following shortly thereafter is Honeymoon in Vegas, which only reached 35.44% of its gross potential with a weekly gross of $399,588. You Can’t Take It With You only brought in $392,715, which represents 39.83% of its gross potential. In addition, the Idina Menzel musical If / Then brought in $557,954, which represents only 43.25% of its gross potential. On the other hand, some shows still reached over 100% of their gross potential, including The Book of Mormon, Aladdin, The Elephant Man, and The Lion King.

The following are the Broadway ticket sales numbers for the week ending January 11, 2015:Broadway Show Ticket Analysis week ending 1-11-15

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A DELICATE BALANCE $582,284 4,706 73.35% $123.73
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $689,857 6,461 89.04% $106.77
ALADDIN $1,388,395 13,784 100.00% $100.73
BEAUTIFUL $1,072,591 7,101 86.51% $151.05
CABARET $805,093 6,223 99.55% $129.37
CHICAGO $480,811 6,269 72.56% $76.70
CONSTELLATIONS $336,203 4,474 98.33% $75.15
DISGRACED $382,854 5,146 70.07% $74.40
HEDWIG AND THE ANGRY INCH $626,117 6,322 89.69% $99.04
HONEYMOON IN VEGAS $399,588 7,269 78.53% $54.97
IF/THEN $557,954 8,288 79.02% $67.32
IT’S ONLY A PLAY $690,904 7,767 90.82% $88.95
JERSEY BOYS $784,031 8,653 88.08% $90.61
KINKY BOOTS $1,006,029 9,557 83.89% $105.27
LES MISÉRABLES $759,690 9,657 85.67% $78.67
MAMMA MIA! $551,132 7,478 80.17% $73.70
MATILDA $879,385 10,640 92.88% $82.65
MOTOWN THE MUSICAL $1,086,042 10,376 86.07% $104.67
ON THE TOWN $626,999 8,703 58.05% $72.04
ROCK OF AGES $444,828 4,528 97.08% $98.24
THE BOOK OF MORMON $1,609,728 8,751 102.61% $183.95
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $860,928 7,940 97.50% $108.43
THE ELEPHANT MAN $994,390 6,265 101.18% $158.72
THE LAST SHIP $840,468 8,230 76.26% $102.12
THE LION KING $1,840,464 13,337 98.07% $138.00
THE PHANTOM OF THE OPERA $814,242 10,531 82.02% $77.32
THE RIVER $668,724 5,387 96.75% $124.14
WICKED $1,593,224 13,591 93.91% $117.23
YOU CAN’T TAKE IT WITH YOU $392,715 5,262 61.30% $74.63
Totals $23,765,668 232,696 86.52% $101.33

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 1/04/2015

This week’s notable movements on Broadway are:

 

The following are the Broadway ticket sales numbers for the week ending January 4, 2015:

Broadway Show Ticket Analysis week 1/4/15

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A DELICATE BALANCE $648,646 5,456 85.04% $118.89
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $1,011,822 7,379 101.03% $137.12
ALADDIN $1,842,291 13,787 100.02% $133.63
BEAUTIFUL $1,264,728 7,995 97.40% $158.19
CABARET $1,051,850 7,176 100.45% $146.58
CHICAGO $950,544 8,407 97.30% $113.07
CINDERELLA $1,873,246 15,710 99.69% $119.24
CONSTELLATIONS $478,445 5,040 96.92% $94.93
DISGRACED $386,752 5,737 78.12% $67.41
HEDWIG AND THE ANGRY INCH $777,340 6,717 95.29% $115.73
HONEYMOON IN VEGAS $409,674 7,657 82.72% $53.50
IF/THEN $898,321 9,396 89.59% $95.61
IT’S ONLY A PLAY $1,455,818 8,480 99.16% $171.68
JERSEY BOYS $1,091,460 9,265 94.31% $117.80
KINKY BOOTS $1,572,870 12,921 100.82% $121.73
LES MISÉRABLES $1,425,137 12,671 99.92% $112.47
MAMMA MIA! $1,002,625 9,102 97.58% $110.15
MATILDA $1,502,817 11,543 100.76% $130.19
MOTOWN THE MUSICAL $1,215,495 10,613 88.03% $114.53
ON THE TOWN $968,359 11,207 74.75% $86.41
ONCE $967,968 8,608 101.61% $112.45
PIPPIN $907,253 7,897 99.71% $114.89
ROCK OF AGES $583,527 4,550 97.56% $128.25
SIDE SHOW $810,486 10,327 99.07% $78.48
THE BOOK OF MORMON $2,224,280 9,846 102.63% $225.91
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $1,089,779 8,125 99.77% $134.13
THE ELEPHANT MAN $1,069,102 6,364 102.78% $167.99
THE ILLUSIONISTS – WITNESS THE IMPOSSIBLE $2,217,405 18,683 97.49% $118.69
THE LAST SHIP $953,165 8,985 83.26% $106.08
THE LION KING $2,514,994 13,605 100.04% $184.86
THE PHANTOM OF THE OPERA $1,649,106 13,704 94.87% $120.34
THE REAL THING $462,361 5,181 100.02% $89.24
THE RIVER $756,740 5,679 101.99% $133.25
THE TEMPTATIONS AND THE FOUR TOPS ON BROADWAY $819,461 8,780 74.70% $93.33
THIS IS OUR YOUTH $569,187 8,236 86.25% $69.11
WICKED $2,740,642 15,403 99.86% $177.93
YOU CAN’T TAKE IT WITH YOU $610,186 6,681 77.83% $91.33
Totals: $42,773,882 346,913 94.55% $120.68

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 12/28/2014

This week’s notable movements on Broadway are:

The following are the Broadway ticket sales numbers for the week ending December 28, 2014:Broadway-Show-Ticket-Analysis-12-28-14

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A DELICATE BALANCE $640,592 5,025 78.32% $127.48
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $1,062,731 7,338 100.47% $144.83
ALADDIN $1,986,322 15,508 100.01% $128.08
BEAUTIFUL $1,546,950 8,845 95.79% $174.90
CABARET $1,013,897 7,170 100.36% $141.41
CHICAGO $872,913 8,091 93.65% $107.89
CINDERELLA $1,336,544 11,622 94.82% $115.00
CONSTELLATIONS $384,388 4,133 90.84% $93.00
DISGRACED $393,371 4,809 65.48% $81.80
HEDWIG AND THE ANGRY INCH $733,393 6,502 92.24% $112.79
HONEYMOON IN VEGAS $399,311 6,973 75.33% $57.27
IF/THEN $835,798 8,807 83.97% $94.90
IT’S ONLY A PLAY $1,431,961 8,452 98.83% $169.42
JERSEY BOYS $1,239,004 9,418 95.87% $131.56
KINKY BOOTS $1,532,084 11,219 98.48% $136.56
LES MISÉRABLES $1,286,276 11,148 98.90% $115.38
MAMMA MIA! $964,706 8,762 93.93% $110.10
MATILDA $1,637,071 11,541 100.74% $141.85
MOTOWN THE MUSICAL $1,285,105 11,063 91.76% $116.16
ON THE TOWN $1,068,470 10,446 69.68% $102.29
ONCE $893,494 8,520 100.57% $104.87
PIPPIN $778,718 6,572 82.98% $118.49
ROCK OF AGES $544,368 4,544 97.43% $119.80
SIDE SHOW $588,059 8,115 77.85% $72.47
THE BOOK OF MORMON $2,085,228 8,752 102.63% $238.26
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $1,090,216 8,136 99.90% $134.00
THE ELEPHANT MAN $1,058,547 6,320 102.07% $167.49
THE ILLUSIONISTS – WITNESS THE IMPOSSIBLE $1,811,228 15,114 94.64% $119.84
THE LAST SHIP $864,004 7,836 72.61% $110.26
THE LION KING $2,885,371 15,306 100.04% $188.51
THE PHANTOM OF THE OPERA $1,641,020 12,955 100.90% $126.67
THE REAL THING $434,148 5,530 93.41% $78.51
THE RIVER $771,849 5,570 100.04% $138.57
THIS IS OUR YOUTH $343,256 5,449 73.37% $62.99
WICKED $2,903,309 16,257 99.85% $178.59
YOU CAN’T TAKE IT WITH YOU $650,249 6,873 80.07% $94.61
Totals: $40,993,950 318,721 91.61% $123.79

Broadway ticket sales raw data are provided courtesy of The Broadway League All other data, text, opinion, charts and commentary are copyright © 2014 nytix.com

Broadway Show Ticket Sales Analysis w/e 12/21/2014

This week’s notable movements on Broadway are:

New Show: “Constellations”

On December 16, 2014, Constellations began previews at the Samuel J. Friedman Theatre in a Manhattan Theatre Club production. This production transfers to New York from London, where it premiered at the Royal Court Theatre Upstairs and then transferred to the West End, where it won the Evening Standard Award for Best Play and was nominated for the Olivier Award for the same honor. The play is written by Nick Payne, directed by Michael Longhurst, and the Broadway production stars Jake Gyllenhaal and Ruth Wilson, both making their Broadway debuts. In the week ending December 21, 2014, the play had seven performances and brought in $325,875, which represents 47.95% of its gross potential. The average paid admission was $82.44, which represents a substantial but not huge amount of discounting. This is a slightly unusual time for a show to open, so it may take a few weeks for the show to gain traction and for word of mouth to spread. It will open on January 13, 2015.

“The Lion King” and “Wicked” Still Tourist Favorites

In the week before Christmas, many tourists are in town and they are still showing the same tastes demonstrated in the summer tourist season. In the week ending December 21, 2014, The Lion King brought in $2,200,409, which was an increase of $275,346 from the week before. With an average paid admission of $170.47, that represented 95.32% of the show’s gross capacity. The next biggest earner was Wicked, another proven tourist favorite. This past week, it brought in $1,986,719, an increase of $240,682 from the week before. With an average paid admission of $139.09, it brought in 118.18% of its gross potential. The third highest earner was The Book of Mormon, which brought in $1,862,009, an increase of $122,342, which represents 133.86% of its gross potential. Finally, Aladdin has solidified itself as a top tourist treat, having brought in $1,607,102, which is an increase of $77,814, representing 111.91% of its gross potential.

 

The following are the Broadway ticket sales numbers for the week ending December 21, 2014:

Broadway-Show-Ticket-Analysis chart small 12-21-14

 

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A DELICATE BALANCE $706,174 5,109 79.63% $138.22
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $841,587 7,046 96.47% $119.44
ALADDIN $1,607,102 13,732 99.62% $117.03
BEAUTIFUL $1,235,710 7,675 93.51% $161.00
CABARET $935,919 7,160 100.22% $130.71
CHICAGO $479,248 5,946 68.82% $80.60
CINDERELLA $990,052 12,307 87.86% $80.45
CONSTELLATIONS $325,875 3,953 86.88% $82.44
DISGRACED $332,589 3,873 52.74% $85.87
HEDWIG AND THE ANGRY INCH $592,551 6,013 85.30% $98.55
HONEYMOON IN VEGAS $321,524 6,343 68.53% $50.69
IF/THEN $525,214 6,477 61.76% $81.09
IT’S ONLY A PLAY $1,408,914 8,345 97.58% $168.83
JERSEY BOYS $837,362 7,255 73.85% $115.42
KINKY BOOTS $1,126,354 9,512 83.50% $118.41
LES MISÉRABLES $858,645 9,027 80.08% $95.12
MAMMA MIA! $527,353 6,155 65.98% $85.68
MATILDA $1,078,021 10,313 90.02% $104.53
MOTOWN THE MUSICAL $889,590 8,366 69.39% $106.33
ON THE TOWN $713,291 8,581 57.24% $83.12
ONCE $666,416 7,186 84.82% $92.74
PIPPIN $512,514 6,327 79.89% $81.00
ROCK OF AGES $400,950 4,358 93.44% $92.00
SIDE SHOW $513,912 7,512 72.06% $68.41
THE BOOK OF MORMON $1,862,009 8,744 102.53% $212.95
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $867,003 7,281 89.40% $119.08
THE ELEPHANT MAN $973,202 6,128 98.97% $158.81
THE ILLUSIONISTS – WITNESS THE IMPOSSIBLE $1,213,927 12,221 85.03% $99.33
THE LAST SHIP $779,799 8,152 75.54% $95.66
THE LION KING $2,200,409 12,908 94.91% $170.47
THE PHANTOM OF THE OPERA $928,596 10,200 79.44% $91.04
THE REAL THING $445,978 5,395 91.13% $82.67
THE RIVER $785,131 5,536 99.43% $141.82
THIS IS OUR YOUTH $322,733 6,123 72.14% $52.71
WICKED $1,986,719 14,284 98.70% $139.09
YOU CAN’T TAKE IT WITH YOU $486,341 5,386 62.74% $90.30
Totals: $31,278,712 280,929 82.75% $108.10

Broadway ticket sales raw data are provided courtesy of The Broadway League All other data, text, opinion, charts and commentary are copyright © 2014 nytix.com

 

Broadway’s “Love Letters” Closes Early

This Rotating Star Vehicle Never Gained Traction

love letters posterA.R. Gurney’s Love Letters is a two-hander play that was just revived at the Brooks Atkinson Theatre, running for a total of 101 performances since September 13, 2014 before closing suddenly on December 14, 2014. Producers Nelle Nugent, Barbara Broccoli, Frederick Zollo, and Olympus Theatricals wooed a series of hot stars who seemed to be perfectly suited to the demographic of the Broadway ticketbuying audience, including Brian Dennehy, Mia Farrow, Carol Burnett, Candice Bergen, and Alan Alda, and the cast was also slated to include Stacy Keach, Diana Rigg, Anjelica Huston, and Martin Sheen – the latter bunch had fortunately not yet entered rehearsals, as they will not get to perform. This is the second time this method of rotating stars in Love Letters was attempted on Broadway; the first took place in 1989, and was apparently successful enough to warrant a revival. However, this time the recipe failed; perhaps because the marketing strategy was ill-conceived, perhaps because the stars chosen were not exciting enough to ticketbuyers, or perhaps because the play itself is tired.

A Financial Failure, Despite Promising Buzz

With so many stars entering the cast, the show’s producers must have taken for granted that enough seats would be sold to get mia farrow brian dennehy love lettersthrough the rotating casts. However, the show never brought in more than $483,280 in a given week, which represents only 61.89% of its gross potential. The lowest achievement took place in the week ending September 28, 2014, when the show only brought in $178,812, representing only 20.15% of the gross potential. What was even more alarming is that week occurred shortly after the opening night, in which reviewers everywhere were providing free press coverage by reviewing the show. If that didn’t cause ticketbuying to pick up, then there was little hope that anything they could spend their dollars on to promote the show would have any substantial effect. The only hope would be that the later names would prove surprisingly more interesting to theatregoers than the early actors such as Mia Farrow, who apparently holds little interest for Broadway attendees. They were all waiting for Carol Burnett, Candice Bergen, or Anjelica Huston.

Hope Remains for the Touring Production

The National tour will launch in the fall of 2015, giving the production another three quarters to prepare, set tour dates, solidify casting, and partner with regional theatres. As this production was never particularly metropolitan, it should do quite well on the regional circuit, where the starry names (if they manage to get any for the tour after this Broadway fiasco) will have a great impact, perhaps greater than in New York, and where the play’s simple construct will be a draw for subscription theatres looking to fill a slot with a reliable, inexpensive play. Though it will be difficult to make back the loss incurred by the presumably completely lost Broadway capitalization, it is possible that the tour will contribute to getting the show a little less in the red, if not fully in the black. Still, this production will never prove to be the hit-and-run best case scenario they may have been hoping for.