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 7/13/2014

This week’s notable movements on Broadway are:

The Biggest Winner Was the Biggest Loser

Wicked is generally in the top two highest grossing shows of any given week, neck in neck with Disney’s The Lion King.  This week was no different.  It was the second highest earning show of the week ending July 13, 2014, grossing a total of $1,936,778, which was 115.21% of its gross potential.  The gravity defying musical was only beaten by one, as expected: The Lion King, which grossed $2,151,409, coming out to 95.72% of its gross potential.  However, interestingly, Wicked was not only one of the biggest winners this past week in terms of overall weekly gross, but it was also the biggest loser: in terms of gross differential from the week before.  In a week when a majority of the shows increased in comparison to last week (which is more a matter of poor sales last week), Wicked went down by the highest amount, losing $51,314 in comparison to the week prior.  The Lion King, on the other hand, increased by $85,240 from the week before.  This goes to show that even the highest earning musicals can vastly fluctuate from week to week.  Although $1,936,778 is no chump change, it is still significantly less than Wicked earned in the previous week.

Plays Picking Up As They Near Closing

The Cripple of Inishmaan starring Daniel Radcliffe has not done exceedingly well at the box office over the course of its run.  In fact, it has announced that it will close in one week on July 20, 2014.  In anticipation of its closing, audiences are taking notice.  This past week, the show grossed $596,630, which was an increase of $129,241 from the previous week.  In fact, it was the show’s second highest grossing week to date.  Time will tell whether sales continue to increase in its final week of performances.  Similarly, Of Mice and Men had sales significantly pick up in anticipation of its closing on July 27, 2014.  Last week, it grossed $862,862, which was an increase of $107,506 from the previous week.  Unlike with The Cripple of Inishmaan, however, this weekly gross is not an extraordinary increase, so it may just be part of its normal cycle of fluctuations.  In the final two weeks, we will be able to analyze whether this is in fact due to anticipation of closing.

The following are the Broadway ticket sales numbers for the week ending July 13, 2014:


Show GrossGross TotalAttn  %Cap AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $901,681 7,298 100.58% $123.55
ALADDIN $1,517,996 13,783 99.99% $110.14
BEAUTIFUL $1,253,526 8,254 100.56% $151.87
BULLETS OVER BROADWAY $626,679 7,920 60.74% $79.13
CABARET $809,887 6,701 93.80% $120.89
CHICAGO $514,101 6,461 74.78% $79.57
CINDERELLA $654,306 9,203 65.70% $71.10
HEDWIG AND THE ANGRY INCH $1,072,311 7,213 102.33% $148.66
HOLLER IF YA HEAR ME $154,948 4,031 45.35% $38.44
IF/THEN $800,648 8,879 84.66% $90.17
JERSEY BOYS $857,349 8,544 86.97% $100.35
KINKY BOOTS $1,206,479 10,311 90.51% $117.01
LADY DAY AT EMERSON’S BAR & GRILL $549,125 4,596 96.27% $119.48
LES MISÉRABLES $982,762 9,972 88.47% $98.55
MAMMA MIA! $698,652 8,297 88.95% $84.21
MATILDA $1,101,510 11,501 100.39% $95.78
MOTOWN THE MUSICAL $866,511 9,224 76.51% $93.94
NEWSIES $745,988 9,273 97.82% $80.45
OF MICE AND MEN $862,862 8,488 98.88% $101.66
ONCE $420,569 5,699 67.27% $73.80
PIPPIN $536,051 5,946 75.08% $90.15
ROCK OF AGES $284,152 3,674 78.77% $77.34
ROCKY $626,984 7,693 63.43% $81.50
THE BOOK OF MORMON $1,621,274 8,752 102.63% $185.25
THE CRIPPLE OF INISHMAAN $596,630 7,300 85.04% $81.73
THE LION KING $2,151,409 13,384 98.41% $160.74
THE PHANTOM OF THE OPERA $977,007 11,500 89.56% $84.96
VIOLET $306,668 4,426 75.37% $69.29
WICKED $1,936,778 15,014 97.34% $129.00
Totals: $25,634,839 243,337 85.73% $101.33

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

“All The Way” Concludes Its Run, Breaking Box Office Records

Bill Rauch’s Oregon Shakespeare Festival

It all started in a small Shakespeare-themed town called Ashland, Oregon.  Bill Rauch, the artistic director of the Oregon Shakespeare Festival, is as prolific as he is revolutionary.  Since taking on this position in 2007, Rauch has contributed a great deal to this already extraordinary year-round festival, which takes place in three beautiful theatres with one company of actors performing a dozen shows in repertory.  One of his initiatives was to incorporate more historical themed shows, beyond Shakespeare’s history plays.  And thus began his working relationship with Robert Schenkkan, the playwright who would go on to write the historical drama All The Way, which would go on to take Broadway by storm, directed by Bill Rauch.  It is the story of United States president Lyndon B. Johnson, during the period of Civil Rights unrest in the 1960s, and Martin Luther King, Jr. is also a prominent character.

“All The Way” Begins Its Ascent To Vast Success

Bryan Cranston in all the way on broadwayWhen All The Way transferred from Ashland, Oregon to New York, New York, it got an entirely new cast with one exception: the role of Walter Jenkins, the top aide to Lyndon Johnson, was still played by Oregon Shakespeare Festival company member Christopher Liam Moore, who is also the life partner of Bill Rauch.  Most notably, for the Broadway production, the lead role of Lyndon B. Johnson was given to Bryan Cranston, who has built a lengthy career as a screen actor, and who has recently taken the world by storm in portraying Walter White on the television show Breaking Bad.  With this beloved and relevant actor leading the cast, the excellent play was able to perform excellently at the box office.  In the beginning of its run, the play was grossing a weekly average of $700,000 to $900,000, which is not shabby for a straight play on Broadway.  However, once the Tony Awards nominations were on the horizon, the play broke through the million dollar mark, and the achievements continued from there.

Making Broadway History

All The Way won the Tony Award for Best Play, as well as the Drama Desk Award for Outstanding Play.  Furthermore, Bryan bryan cranston on broadway as Lyndon B Johnson in all the wayCranston won the Tony Award for Best Performance by a Leading Actor in a Play.  In the week immediately following the Tony Awards, the play’s box office performance soared to a weekly gross of $1,229,459.  The following week, it grossed an outstanding $1,425,001, setting a new all-time sales record for a straight play on Broadway.  But that was not all.  In the week ending June 29, 2014, which was its final week of performances, All The Way grossed a phenomenal $1,623,495, once again breaking that record for the highest grossing straight play of all time on Broadway.  One can only guess how well the show would have continued to do had it stayed open for more weeks, but unfortunately scheduling did not allow that hypothetical scenario to play out.  In that last week, though, it already earned 118.66% of its gross potential, due to its sale of premium tickets.  The average ticket price was a marvelous $141.62, and the top ticket price was $225.00.  Somehow, of the total seats over 8 performances of 11,376, the show sold 11,464.

“The Great Society” – The Sequel To “All The Way”

This was a case where a straight play that began its run as a questionable bet became a slam dunk.  Even with a star actor with equivalent fame to Bryan Cranston, many other plays have performed much less well.  For All The Way, all the stars aligned, and the show went on to make Broadway history.  Now, in this upcoming season at the Oregon Shakespeare Festival, Bill Rauch will direct Robert Schenkkan’s follow-up to All The Way, which is a play called The Great Society.  Beginning performances July 27, 2014, this sequel spans the years 1965 to 1968, wherein Lyndon Johnson struggles to fight the war on poverty, while also reckoning with the war in Vietnam.  Time will tell whether The Great Society will also transfer to Broadway, and whether Cranston might reprise his role, but with the outstanding success of All The Way, there is a high chance that it will.

Broadway Show Ticket Sales Analysis w/e 7/06/2014

This week’s notable movements on Broadway are:

A Summer of Musicals

In the week ending July 6, 2014, only 4 out of the 30 shows playing on Broadway are considered to be straight plays, and one of those – Lady Day at Emerson’s Bar & Grill – is really a play with music.  Based on the box office figures, this seems to be for good reason, as the plays grossed far less than the musicals over the course of the week.  While many plays were on Broadway in the months leading up to the Tony Awards, most of them have closed by this point in the summer.  Though Lady Day has just announced an extension until September 21, 2014, the rest of the plays are not slated to be on for much longer.  The Cripple of Inishmaan starring Daniel Radcliffe, which only brought in $467,389 this past week, will close on July 20, 2014, and Of Mice and Men starring James Franco, which grossed $755,356 last week, will close on July 27, 2014.  The last of these plays, The Realistic Joneses, played its final performance this past week on July 6, 2014, finishing with a modest weekly gross of $420,300, which was only 58.65% of its gross potential.

On the other hand, the grosses for musicals were quite healthy last week.  The frontrunners were, as expected, The Lion King with a gross of $2,066,169, and Wicked with a gross of $1,988,092.  Just behind those two megahits was The Book of Mormon with a gross of $1,578,566, followed by a new lead contender Aladdin with a gross of $1,498,146.  This goes to show that summer on Broadway is truly a season of musicals, as theatergoers tend to be tourists who flock to the musical fare.  Local New Yorkers, on the other hand, tend to get out of the city over the hot summer season, and instead prefer to attend the theatre during the fall and spring, when straight plays do much better at the box office.

“The Realistic Joneses” Was An Underappreciated Play This Season

Playing its last performance at the end of last week, The Realistic Joneses did not go out with much fanfare.  It only grossed $420,300, which was actually a decrease of $7,856 from the week before.  Generally, even for shows that have not done particularly well over the course of their runs, the final week shows an upswing.  However, The Realistic Joneses did not even manage to woo large audiences in their last week of performances.  Not only did this show do fairly poorly at the box office, it was completely snubbed for the Tony Awards, failing to receive a single nomination.  This most likely contributed to the poor box office performance at the end of the run.  Since it began performances on March 13, 2014, the highest weekly gross was $619,507.  Despite these unimpressive financials, the show received very positive reviews, was selected as a New York Times critics pick, and is considered by many theatre aficionados to have broken new ground in terms of structure and content for a play on Broadway.  This is further evidence that quality does not necessitate financial success in the world of theatre.

The following are the Broadway ticket sales numbers for the week ending July 6, 2014:



Show GrossGross TotalAttn %Cap AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $886,839 7,295 100.54% $121.57
ALADDIN $1,498,146 13,785 100.01% $108.68
BEAUTIFUL $1,180,965 8,256 100.58% $143.04
BULLETS OVER BROADWAY $492,009 6,682 51.24% $73.63
CABARET $684,807 6,311 88.34% $108.51
CHICAGO $526,548 6,502 75.25% $80.98
CINDERELLA $658,070 9,307 66.44% $70.71
HEDWIG AND THE ANGRY INCH $1,023,210 7,214 102.34% $141.84
HOLLER IF YA HEAR ME $144,773 4,726 53.17% $30.63
IF/THEN $801,037 8,921 85.06% $89.79
JERSEY BOYS $822,944 8,787 89.44% $93.65
KINKY BOOTS $1,237,182 10,788 94.70% $114.68
LADY DAY AT EMERSON’S BAR & GRILL $471,917 4,296 89.99% $109.85
LES MISÉRABLES $988,962 10,383 92.11% $95.25
MAMMA MIA! $644,803 8,209 88.00% $78.55
MATILDA $1,089,356 11,446 99.91% $95.17
MOTOWN THE MUSICAL $833,702 9,092 75.41% $91.70
NEWSIES $699,637 8,711 91.89% $80.32
OF MICE AND MEN $755,356 8,117 94.56% $93.06
ONCE $428,194 7,404 87.39% $57.83
PIPPIN $550,166 6,569 82.94% $83.75
ROCK OF AGES $303,796 4,049 86.81% $75.03
ROCKY $625,635 9,015 74.33% $69.40
THE BOOK OF MORMON $1,578,566 8,752 102.63% $180.37
THE CRIPPLE OF INISHMAAN $467,389 5,815 67.74% $80.38
THE LION KING $2,066,169 13,601 100.01% $151.91
THE PHANTOM OF THE OPERA $1,001,126 11,666 90.86% $85.82
THE REALISTIC JONESES $420,300 5,792 83.03% $72.57
VIOLET $247,921 3,971 77.29% $62.43
WICKED $1,988,092 15,387 99.76% $129.21
Totals: $25,117,615 250,849 86.39% $95.68

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

Broadway Show Ticket Sales Analysis w/e 6/29/2014

This week’s notable movements on Broadway are:

“All The Way” Goes Out With A Bang

The Robert Schenkkan penned Lyndon B. Johnson bioplay All The Way closed at the end of this past week on June 29, 2014, and not without fanfare.  Starring Bryan Cranston in the presidential leading role, this play deals with the Civil Rights period of U.S. history, and Martin Luther King, Jr. is also a major character.  Though it had been off to a moderate start at the box office, this show picked up in awards season, winning the Tony Award for Best Play among a slew of other honors.  In its second to last week, the show broke the box office record for a new play on Broadway with a weekly gross of $1,425,001.  However, in its final week of performances, the play attracted an extremely impressive rise of $198,494 on top of its previous week’s record-setting numbers, grossing a new record-setting total of $1,623,495.  This made it the fourth highest grossing show on Broadway that week, with only the megahit musicals Wicked, The Lion King, and The Book of Mormon ahead of it.  For a straight play on Broadway, that is a major coup.

“Bullets Over Broadway” May Be On Its Last Legs

Based on the Woody Allen feature film of the same name, the musical Bullets Over Broadway had a lot of hype going into production.  However, since it has been running, very little attention has been paid to it.  Most notably, it failed to receive a Tony Award nomination for Best Musical, and its box office numbers are now showing the brunt of this inattention.  In this past week, the show grossed only $602,629, which was a decrease of $153,930 from the previous week.  Perhaps its biggest star attraction is Zach Braff, who was out for a single performance in that eight performance week.  Still, this drop in numbers may be an indication that this show is about to enter a period of decline, and may not hold up past the summer.

“Aladdin” Reaches New Heights

This past week, the Disney stage production of Aladdin grossed $1,502,696, which is its highest weekly earnings to date.  In the week prior, the show brought in $1,325,987, which was still impressive.  In this past week, its high gross made it the fifth highest grossing show on Broadway, after Wicked, The Lion King, The Book of Mormon, and All The Way.  This bodes well for the musical entering the summer season, and will most likely mean that it continues to bring in high sales throughout this traditionally tourist-driven season.

The following are the Broadway ticket sales numbers for the week ending June 29, 2014:


Show GrossGross Total Attn %Cap AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $927,487 7,288 100.44% $127.26
AFTER MIDNIGHT $767,964 8,183 98.73% $93.85
ALADDIN $1,502,696 13,784 100.00% $109.02
ALL THE WAY $1,623,495 11,464 100.77% $141.62
BEAUTIFUL $1,235,339 8,257 100.60% $149.61
BULLETS OVER BROADWAY $602,629 6,974 53.48% $86.41
CABARET $729,731 6,671 93.38% $109.39
CASA VALENTINA $235,016 4,404 85.48% $53.36
CHICAGO $516,636 6,492 75.14% $79.58
CINDERELLA $926,669 11,785 84.13% $78.63
HEDWIG AND THE ANGRY INCH $1,069,004 7,212 102.31% $148.23
HOLLER IF YA HEAR ME $159,571 3,549 39.93% $44.96
IF/THEN $887,879 9,265 88.34% $95.83
JERSEY BOYS $909,478 8,960 91.21% $101.50
KINKY BOOTS $1,382,680 11,060 97.09% $125.02
LADY DAY AT EMERSON’S BAR & GRILL $537,507 4,485 93.95% $119.85
LES MISÉRABLES $1,059,346 10,169 90.21% $104.17
MAMMA MIA! $695,608 8,113 86.97% $85.74
MATILDA $1,176,510 11,504 100.42% $102.27
MOTOWN THE MUSICAL $992,536 10,261 85.11% $96.73
NEWSIES $793,740 9,209 97.14% $86.19
OF MICE AND MEN $840,010 8,329 97.03% $100.85
ONCE $479,509 6,080 71.77% $78.87
PIPPIN $627,679 7,106 89.72% $88.33
ROCK OF AGES $319,029 3,950 84.69% $80.77
ROCKY $711,332 8,244 67.97% $86.28
THE BOOK OF MORMON $1,658,638 8,752 102.63% $189.52
THE CRIPPLE OF INISHMAAN $531,521 6,094 70.99% $87.22
THE LION KING $2,044,928 13,601 100.01% $150.35
THE PHANTOM OF THE OPERA $954,357 11,147 86.81% $85.62
THE REALISTIC JONESES $428,155 5,050 72.39% $84.78
VIOLET $340,374 4,340 73.91% $78.43
WICKED $2,107,598 15,354 99.55% $137.27
Totals: $29,774,659 277,136 87.34% $102.65

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

“Holler if Ya Hear Me” Opens on Broadway

“Holler if Ya Hear Me” Negative Reviews Will Not Help Low Box Office Figures

The Tupac Shakur inspired musical Holler if Ya Hear Me had its official opening on June 19, 2014 at the Palace Theatre, after running for 17 preview performances.  In the weeks approaching the opening night, upon which the critical response would be publicized to the masses, ticket sales were abominably low.  With an average weekly ticket price ranging between $24.10 and $32.84, the show only managed to bring in at the most $170,652 a week in its first three weeks of running.  These numbers were so dire, in fact, that one of the producers was quoted as saying that the musical would close just over a week after opening if the reviews were poor.  The reviews are in, and they are well below positive.  However, the production has made no official announcement of closing in the timeframe that they had supposedly specified.  Still, it is doubtful if the show will be able to stay afloat for much longer with these low numbers, coupled with the negative reviews.

holler if ya hear meVeteran Director Kenny Leon Did Not Save This Show

Holler if Ya Hear Me is written by Todd Kreidler and directed by Kenny Leon, with lyrics by Tupac Shakur, and the music arranged and orchestrated by Daryl Waters.  Leon is also behind the acclaimed and Tony Award winning revival of A Raisin in the Sun that just concluded performances this season.  However, Holler if Ya Hear Me was much less well received.  Charles Isherwood of The New York Times gave it a fairly negative review, criticizing the show for being relentless and heavy-handed in driving home its tragic themes.  The Hollywood Reporter called the show well-intentioned but toothless, and Time Out New York, NBC, and Associated Press were all on the fence but certainly not singing the praises of this tuner.  In general, critics were appreciative of the performances, especially the star Saul Williams making his Broadway debut.  They also enjoyed the beats and the music, but reviewers were less in favor of the uneven narrative storytelling and the ramshackle method of re-appropriating Tupac’s songs for the stage.

A Summer Hip Hop Musical Was A Long Shot All Along

The show was already a long-shot for success on Broadway for a number of reasons, and these reviews will certainly not help attract audiences to the struggling production.  For one, it opened in the summer after the Tony Awards, when no other shows are opening.  There is a reason for this, and it is because most summer tourists tend to choose a long-running musical, or a recent Tony Award winning hit, rather than a new show they have barely heard about.  Furthermore, its demographic is a tough one for Broadway.  According to Michael Riedel of The New York Post, a veteran producer was quoted as saying that the show would fail because the average theatre ticket buyers are middle-aged women, who are generally not familiar with the music of Tupac.  In general, he said, it would be tough for a rap musical to make it on Broadway, especially when there is not a Hollywood star leading the cast.

holler if ya hear me cast

This is unfortunate, as hip hop has been mainstream for quite a while, and it is a shame that Broadway has not reached the point where it can be representative of the nation as a whole.  Perhaps this is because Broadway prices out many of the individuals who would have enjoyed a show about Tupac, or maybe it is because the attempt to bridge these two art forms was misguided in the first place.  In any case, the show will most likely not be open for much longer, even if it is still hanging on a week after opening.

“The View” Fires Co-Hosts Sherri Shepherd and Jenny McCarthy

Whoopi Goldberg Remains As Sole Co-Host For Now

When Barbara Walters retired from her onscreen position on ABC’s The View on May 16, 2014, questions were circulating about who would replace her among the four co-hosts.  Just over one month later, two more co-hosts have left the show, but this time not of their own choice.  Sherri Shepherd and Jenny McCarthy will be leaving the daytime talk show at the end of Season 17, which runs through the first complete week in August.  Whereas Shepherd has been on the show for seven seasons, McCarthy is a newer addition, having joined this past September upon the departure of Joy Behar and Elisabeth Hasslebeck.  At this point, the only remaining co-host of The View is Whoopi Goldberg.  As The View has always been defined by its four powerful female co-hosts, this puts the entire show’s existence into question.

jenny mccarthy sherri shepherdMixed Justifications By ABC For The Firings

According to a TMZ exclusive story, ABC network executives had a meeting last Thursday afternoon, during which it was decided that Shepherd and McCarthy would not be returning to the show.  The reason for these firings is not quite clear.  As for Shepherd, some sources believe that the beginning of the end was when she disagreed with Barbara Walters for supporting Woody Allen in light of his daughter Dylan Farrow’s accusations of sexual assault.  According to People Magazine, however, the decision was made following a failure by Shepherd and her representatives to reach an agreement on a new deal with ABC.  As for McCarthy, TMZ claims that The View has been in turmoil ever since she joined the show, and many fans comments expressed gratitude for the announcement of her departure, proving she was not a very popular member of the team.  The official report, according to People Magazine, is that McCarthy is being let go due to a decision to take the show in a new creative direction.

Shepherd and McCarthy Told The World Through Their Twitter Feeds

On Thursday, Shepherd made her own public announcement via twitter, stating that the number 7 is God’s number, and therefore she is leaving the show after 7 seasons.  She also expressed gratitude to everyone for their support, and in particular to Barbara Walters for pushing her beyond her comfort zone.  McCarthy followed up with her own tweet, saying that if Sherri goes, then she goes too, including the hashtag “sisters.”  TMZ also reported that Bill Geddie, the show’s co-executive producer along with Barbara Walters, will be leaving the show.  (Walters has remained on as executive producer even after concluding her onscreen responsibilities.)

the view only whoopi left

Future Co-Hosts Are Still Uncertain

The future of The View is presently uncertain.  It is very possible that the show will not be able to withstand this many departures at once, but as of now there are still plans to continue with Season 18 in mid-September.  With only Whoopi remaining in a present co-host position, rumors are circulating about who the replacements will be to join her.  TMZ reported that Rosie O’Donnell might very well be returning to the show, and that producers are also interested in Laila Ali.  Other names in the mix are Ross Matthews and Jesse Palmer.  In any case, ABC executives are still presenting an appearance of confidence regarding the future direction of the show, and more information about its new creative direction should surface soon.

“Newsies” on Broadway Announces Closing in August 2014

Newsies: An Unexpected Closing Decision

Disney Theatricals’ production of Newsies has been running at Broadway’s Nederlander Theatre since March 15, 2015, with its official opening night on March 29, 2014.  For the 2012 Tony Awards, it was nominated for eight awards, winning two: Best Choreography for Christopher Gattelli, and Best Original Score for Alan Menken and Jack Feldman.  With a book by Harvey Fierstein and directed by Jeff Calhoun, this musical was the break-out role for its star Jeremy Jordan, who has gone on to star in the Broadway production of Bonnie & Clyde as well as the film version of The Last 5 Years and the television show SmashNewsies has been performing consistently well at the box office; with a modest budget of $5 million, it has gone on to gross over $100 million for Disney Theatricals.  In recent months, it has been holding up if not knocking it out of the park at the box office, which is why it comes as somewhat of a surprise that the show has just announced its closing date: August 24, 2014.

Disney Musical Newsies Broadway ShowNewsies is based on a 1992 film inspired by the true story of the Newsboys Strike of 1899 in New York City.  That film was much less of a success than this musical has proven to be, as it only earned less than $3 million, with a budget of $15 million.  This film flop therefore ranks as one of Disney’s lowest-earning live action movies of all time.  This goes to show that different elements make for different degrees of success on the stage and on the screen.  With a compelling storyline, this show is renowned for its thrilling choreography, embracing the theatricality of the musical medium.  Furthermore, Harvey Fierstein is not only an industry favorite but a very talented musical book writer, and he did a wonderful job of adapting the story for the stage.

The Disney Theatricals Slate

Though Disney did not disclose its decision-making process, the organization likely felt that the show had been a great enough success to go out with a bang, rather than continue to have it run on sales that could only begin to taper off as time went on.  Whereas the show once regularly earned over a million dollars weekly, its numbers have been significantly lower in recent months.  Furthermore, Disney has several enormous Broadway hits already, the most notable being The Lion King which has been running for 16 years at the top of the gross charts, and the now-closed Beauty and the Beast which ran for 13 years.  Furthermore, the organization has just opened its new show Aladdin this season, and it will soon premiere its stage adaption in London of Shakespeare in Love (a co-production with Sonia Friedman Productions), as well as a revised stage adaptation of The Hunchback of Notre Dame in California’s La Jolla Playhouse this upcoming fall.  Still, not all of Disney’s stage shows have been successes, with notable flops including Tarzan and The Little Mermaid.

newsies choreography

A National Tour, and An Available Nederlander Theatre

Not only does Disney have other shows to focus on, but it never planned for Newsies to run for as long as it did.  The production had its first try-out run at the Paper Mill Playhouse in New Jersey, with the intention of focusing the property on licensing, regional, and amateur productions, similar to its High School Musical franchise.  However, when the reception proved to be a success, especially from notable New York theatre critics, the decision was made to transfer to the Nederlander Theatre, but again only for a limited engagement of three months.  Now that the show has played for well over two years, it has far exceeded its original expectations.  Plans are now underway for a national tour to begin in October 2014.  This will now open up the Nederlander Theater for musicals that are vying for a venue, as there are remarkably few available theatres on Broadway for new musicals, though there are many in development.

Broadway Show Ticket Sales Analysis w/e 6/22/2014

This week’s notable movements on Broadway are:

Ticket Sales Have Risen Along With The Temperature

As we are officially in the summer season, and the weather is consistently lovely, the Broadway industry is seeing a healthy season of sales.  In the week ending June 22, 2014, the collective total of Broadway shows saw an increase of $1,513,333 from the week before.  Of the 34 shows presently running, only seven earned less money this week than the week prior, with the rest seeing an increase in ticket sales.  The biggest increase was seen by All the Way, which won the Tony Award for Best Play (along with a slew of other honors this season), and which is playing a strictly limited engagement; it will be forced to close in August due to the schedule of its cast.  It earned $195,542 more this week from the previous week, when it had already seen a healthy increase.  The biggest loser this week is Casa Valentina, which earned $73,413 less than the previous week, only bringing in a total weekly gross of $182,859.  That play will also be closing this summer, but it has done much less well in terms of both box office and awards this season.

Summer Blockbuster Musicals

Also with the summer season officially underway, it is becoming clear which shows will be the big summer blockbusters.  Unsurprisingly, the biggest earners this week were the megahit musicals The Lion King and Wicked, which brought in $2,098,868 and $2,027,347 respectively.  Playing in a much smaller theatre, but performing equally well in terms of gross potential, was The Book of Mormon, which brought in $1,641,677 this past week.  Not far behind is All the Way with $1,425,001, which is an immense accomplishment to be the fourth highest earner as a straight play, when musicals have a greater earning potential as well as a bigger precedent for attracting the big bucks at the box office.  In order, the next biggest grosses were achieved by Kinky Boots, Aladdin, Beautiful, Matilda, Les Misérables, Hedwig and the Angry Inch, Motown the Musical, and The Phantom of the Opera.  All of those titles were in the million dollar club this past week.  Trailing not too far behind were A Gentleman’s Guide to Love and Murder, which won the 2014 Tony Award for Best Musical, as well as Jersey Boys, a long-running hit whose movie adaptation is just hitting the theaters.

The following are the Broadway ticket sales numbers for the week ending June 22, 2014:


Show GrossGross Total Attn %Cap AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $901,367 7,212 99.39% $124.98
AFTER MIDNIGHT $649,664 7,298 88.06% $89.02
ALADDIN $1,325,987 13,792 100.06% $96.14
ALL THE WAY $1,425,001 10,687 93.94% $133.34
BEAUTIFUL $1,196,533 8,260 100.63% $144.86
BULLETS OVER BROADWAY $756,559 8,351 64.04% $90.60
CABARET $753,329 6,957 97.38% $108.28
CASA VALENTINA $182,859 3,697 71.76% $49.46
CHICAGO $552,275 6,845 79.22% $80.68
CINDERELLA $891,861 11,621 82.96% $76.75
HEDWIG AND THE ANGRY INCH $1,069,433 7,210 102.28% $148.33
HOLLER IF YA HEAR ME $170,652 5,196 58.46% $32.84
IF/THEN $873,965 8,757 83.50% $99.80
JERSEY BOYS $901,234 8,907 90.67% $101.18
KINKY BOOTS $1,394,435 11,042 96.93% $126.28
LADY DAY AT EMERSON’S BAR & GRILL $575,156 5,045 92.47% $114.01
LES MISÉRABLES $1,075,812 10,372 92.02% $103.72
MAMMA MIA! $699,139 8,137 87.23% $85.92
MATILDA $1,139,392 11,533 100.67% $98.79
MOTHERS AND SONS $253,788 3,903 60.83% $65.02
MOTOWN THE MUSICAL $1,061,896 10,705 88.79% $99.20
NEWSIES $799,894 9,400 99.16% $85.10
OF MICE AND MEN $855,987 8,410 97.97% $101.78
ONCE $487,451 6,046 71.36% $80.62
PIPPIN $635,836 7,058 89.12% $90.09
ROCK OF AGES $341,945 4,080 87.48% $83.81
ROCKY $719,363 8,194 67.56% $87.79
THE BOOK OF MORMON $1,641,677 8,752 102.63% $187.58
THE CRIPPLE OF INISHMAAN $502,457 5,677 66.13% $88.51
THE LION KING $2,098,868 13,602 100.01% $154.31
THE PHANTOM OF THE OPERA $1,030,511 11,828 92.12% $87.12
THE REALISTIC JONESES $419,041 5,210 74.68% $80.43
VIOLET $342,877 4,295 73.14% $79.83
WICKED $2,027,347 15,424 100.00% $131.44
Totals: $29,753,590 283,503 86.84% $100.22

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

“After Midnight” To Close on June 29

Tony Nomination Not Enough To Sustain Sales

Though it was nominated for this year’s Tony Award for Best Musical, After Midnight has just announced that it will play its final performance on June 29, 2014.  This date also marks the conclusion of guest star Patti LaBelle’s run in the show.  Having begun performances on October 18, 2013, it opened on November 3, 2013.  It will close having played 18 preview performances and 271 regular performances, after only eight months.  The producers were attempting to close for only a temporary hiatus over the July 4th holiday weekend, as they already had extremely high profile guest stars lined up for upcoming slots, including Gladys Knight and Natalie Cole.  However, it turned out to be impossible for all the unions to agree on this temporary shutdown, and therefore the show was forced to terminate its Broadway run.  However, a national tour is in the works.

After Midnight Broadway MusicalWith selected text by Langston Hughes, conceived by frequent producer Jack Viertel, and directed and choreographed by Warren Carlyle, the musical starred Fantasia Barrino with guest stars including Patti LaBelle, Toni Braxton, and Vanessa Williams.  Taking place in the Jazz Age, this musical revue celebrates Duke Ellington’s years at the Cotton Club performed by a band of 17 musicians hand-picked by Wynton Marsalis.  Not only did the show receive a Tony Award nomination, but it was further honored by having its director, Warren Carlyle, choreograph Hugh Jackman’s opening number at the Awards.  However, of the seven nominations which it received, it left with only one win: that for Carlyle for Best Choreographer.  It also took home the Drama Desk Awards for Outstanding Choreography and Outstanding Revue, and it also won four 2014 Astaire Awards and the Outer Critics Circle Award for Best Choreography.

Lackluster Sales Throughout Its Run

Despite this awards recognition, its box office performance was at best mediocre.  Its highest ever weekly gross was $714,663, which was still only 71.80% of its gross potential, but it generally grossed between $500 to $650,000 each week.  The top ticket for this musical was $197.00, which is low compared to most other shows’ premium ticket prices.  Its capitalization was low for a musical of this scale, only $7 million; however, it will still close at a loss.  Though it was a major coup for the show to receive a Tony Awards nomination for Best Musical, the lackluster sales did not greatly improve in the weeks leading up to the ceremony.  Though it is impossible to know whether a win for Best Musical would have greatly increased sales or allowed the show to remain open, it is clear that losing that award was the final blow to persuade producers the run could not go on.

A National Tour Is In The Works

In any event, the show was one of the most highly reviewed shows of the 2013-2014 season, and there are likely many theatregoers from around the country who are disappointed they will not have the chance to see it on their New York vacations.  However, with a national tour almost certainly to take place, these audiences will fortunately have their chance to see the show after all.

Broadway Show Ticket Sales Analysis w/e 6/15/2014

This week’s notable movements on Broadway are:

Broadway Show Ticket Sales Analysis w/e 6/15/2014

“All The Way” Gaining Momentum

All the Way is the Tony Award winning Best Play of 2014, and that success is showing at the box office.  It helps that the star of the show is Bryan Cranston, one of America’s most celebrated actors for such performances as his leading role as Walter White on the television show Breaking Bad.  Written by Robert Schenkkan and directed by Bill Rauch, this play has been doing excellently at the box office since it began performances on February 10, 2014.  It has been hovering over the $1 million mark, with a steady increase since the awards season has begun.  But after this play has shown well above others in several awards ceremonies, national word has spread.  In the week ending June 15, 2014, the show grossed $1,229,459, which was an increase of $288,909, the highest increase of any show this week.  With an average paid ticket of $128.90, the show reached 89.86% of its gross potential.  This is a very high number specifically for a play, putting it in competition against some of the top earning musicals.

“Holler if Ya Hear Me” Still Struggling

This Tupac Shakur inspired musical opened at an unusual time, too late for Tony Award consideration and when the summer season is beginning, when many tourists go for lighter musical fare.  Though a musical, this show deals with themes that may be traditionally less desirable in the warmer season.  Though the show will open later this week and is still in previews, it is still abnormally low that it only grossed $163,586 in a week of eight performances.  With an average paid admission of $24.35, the show only made 18.32% of its gross potential, by far the lowest of any show this past week.  The second lowest show in terms of reaching its gross potential, Mothers and Sons, just announced that it will be closing at the end of next week.  With a weekly gross of $156,116, it only grossed 20.34% of its gross potential.

Other Shows Having Difficulties

There are other shows that are earned less than half of their gross potential, many of which are produced by not for profit theatre institutions.  Casa Valentina, produced by Manhattan Theatre Club at the Samuel J. Friedman Theatre, only earned 43.73% of its gross potential, though it was nominated for the Tony Award for Best Play, which it did not win.  Furthermore, Violet, a musical produced by the Roundabout Theatre Company, only grossed 44.42% of its potential.

The following are the Broadway ticket sales numbers for the week ending June 16, 2014:


Show Name GrossGross TotalAttn %Cap AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $851,262.00 6,984 96.25% $121.89
A RAISIN IN THE SUN $1,290,437.00 8,368 100.00% $154.21
ACT ONE $370,426.00 5,162 79.37% $71.76
AFTER MIDNIGHT $567,577.50 6,624 79.92% $85.69
ALADDIN $1,332,136.50 13,788 100.03% $96.62
ALL THE WAY $1,229,459.00 9,538 83.84% $128.90
BEAUTIFUL $1,170,050.00 8,266 100.71% $141.55
BULLETS OVER BROADWAY $773,110.00 8,616 66.07% $89.73
CABARET $731,191.75 6,584 92.16% $111.06
CASA VALENTINA $256,272.00 3,837 74.48% $66.79
CHICAGO $492,950.45 6,079 70.36% $81.09
CINDERELLA $760,204.45 10,301 73.54% $73.80
HEDWIG AND THE ANGRY INCH $1,071,625.12 7,216 102.37% $148.51
HOLLER IF YA HEAR ME $163,585.50 6,719 77.19% $24.35
IF/THEN $802,082.00 8,642 82.40% $92.81
JERSEY BOYS $820,917.90 8,439 85.90% $97.28
KINKY BOOTS $1,372,011.00 10,909 95.76% $125.77
LADY DAY AT EMERSON’S BAR & GRILL $457,174.00 3,876 94.72% $117.95
LES MISÉRABLES $1,038,248.77 10,138 89.94% $102.41
MAMMA MIA! $629,849.20 7,501 80.41% $83.97
MATILDA $1,047,221.70 11,219 97.93% $93.34
MOTHERS AND SONS $156,116.00 2,818 43.92% $55.40
MOTOWN THE MUSICAL $991,943.50 9,948 82.51% $99.71
NEWSIES $770,523.70 9,067 95.64% $84.98
OF MICE AND MEN $806,630.19 8,124 94.64% $99.29
ONCE $438,505.51 5,557 65.59% $78.91
PIPPIN $565,734.00 6,487 81.91% $87.21
ROCK OF AGES $280,008.25 3,589 76.95% $78.02
ROCKY $761,451.00 8,629 71.15% $88.24
THE BOOK OF MORMON $1,604,506.92 8,752 102.63% $183.33
THE CRIPPLE OF INISHMAAN $515,389.00 5,776 67.29% $89.23
THE LION KING $2,043,643.00 13,596 99.97% $150.31
THE PHANTOM OF THE OPERA $984,108.99 11,686 91.01% $84.21
THE REALISTIC JONESES $442,301.71 5,021 71.98% $88.09
VIOLET $342,638.00 4,248 72.34% $80.66
WICKED $1,969,827.00 15,271 99.01% $128.99
Totals: $29,901,118.61 287,375 84.44% $99.61

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