“An Act of God” Begins Previews

Jim Parsons Stars in this Satirical Play

an act of godOn May 7, 2015, An Act of God began previews at Studio 54, produced by the Roundabout Theatre Company. In choosing to opening after the late April cut-off for Tony consideration, Roundabout was not positioning this show to succeed on the renown achieved by awards. Though it will be eligible for next year’s awards, it is generally the case that shows which have long ago shuttered before Tony consideration are often neglected or slighted. For example, Jez Butterworth’s highly commended play The River, which starred Hugh Jackman, broke box office records, and closed this fall after a limited engagement, did not receive any Tony nominations for this year’s awards. In any case, the show is sure to be an exciting one among audience members, if only for its lead actor, the beloved comedic star Jim Parsons. Parsons first came to fame from his television roles such as on “The Big Bang Theory,” and has since warmed many hearts on Broadway in Harvey and The Normal Heart. Though this play is not exactly a one-man show, as two other actors are billed in the cast, it is principally a showcase for Parsons’ comedic talents, as he plays none other than God. The play is written by David Javerbaum, based on his book The Last Testament: A Memoir by God. Javerbaum is also well known for being head writer and executive producer of The Daily Show with Jon Stewart, and soon to be the same on The Late Late Show with James Corden.

The Mysteries of Existence and Other Laughsan act of god

An Act of God professes to be a means for God to communicate his answers to the great questions such as the mysteries of existence. Satirical in nature, Jim Parsons speaks in a formalized godly voice to shed light on these profundities regarding existence and life on earth. The show is directed by Joe Mantello, who worked with Jim Parson as an actor in The Normal Heart, and who has directed many Broadway shows including Airline Highway, The Last Ship, and Casa Valentina. The two other roles are Michael, played by Christopher Fitzgerald (The Merchant of Venice, Chicago), and Gabriel, played by Tim Kazurinksy (“Saturday Night Live,” Police Academy films). The scenic design is by Scott Pask, the costumes are by David Zinn, the lighting design is by Hugh Vanstone, sound design is by Fitz Patton, and projection design is by Peter Nigrini. When David Javerbaum launched his book, he also coined the twitter handle @TheTweetOfGod. Now on Broadway, this twitter campaign is adapted for the stage show, making comments from the mouth of God in reference to the Broadway play.

A Divine Box Office Launch

In the first partial week of performances, in which An Act of God had four shows, the play brought in $477,703 at the box office, which represents 93.01% of its gross potential. This is an excellent feat for a new play with a small cast, especially amidst all the Tony excitement for other nominated shows. The following week, when the show had a full week of eight performances, it brought in $738,682, which is a slight decrease in percentage reached of gross potential, amounting to 73.3%. Still, the average paid ticket was $113.84, demonstrating that people are interested in paying top dollar for this hilarious and unusual show on Broadway. The show opens on May 28, 2015, and is currently scheduled to close on August 2, 2015.

Four Newly Opened Shows Vie for Best Musical

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

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

Post-Opening Critical Responsesomething rotten

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

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

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

Broadway Show Ticket Sales Analysis w/e 5/17/2015

This week’s notable movements on Broadway are:

An Overall Excellent Week on Broadway

In the week ending May 17, 2015, the entire Broadway box office saw an increase of $2,179,880 from the week before. With 33 shows running, that is an average increase of $66,056.97 across the entire industry. Of these 33 shows, 30 of them saw an increase in sales this week, and only three saw a decrease in sales in comparison to the previous week. The largest increase was seen by the musical On the Town, which increased by $412,136 from the week before; this is due partly to the fact that the show had four performances the week prior, but also this is an increase in comparison to two weeks before, when the show had brought in $501,640. After On the Town, the next biggest increase was seen by The Lion King, which went up by $264,769 to reach its weekly gross of $1,966,567. The third biggest increase was seen by a show that has newly begun previews, An Act of God, which went up by $260,979 to reach its weekly gross of $738,682. In addition, Wicked went up by $132,403, and Wolf Hall Parts One and Two went up by $103,691 to reach its weekly gross of $734,344.

Greater than 100% of Gross Potential

This past week, three shows demonstrated such high demand that their weekly box office grosses reached over 100% of the gross potential. This is due to the fact that on top of selling out of full price tickets, the show managed to sell enough premium price tickets to push the shows over 100% of their potential. Interestingly, only one of these is a musical – The Book of Mormon – but two are plays: The Audience and Fish in the Dark. All three of these shows have been major hits since they began their runs. The Book of Mormon has been running for several years, generally with remarkable financial success. This past week, it brought in $1,534,408, which represents 110.31% of its gross potential. With a top ticket price of $477.00, the show’s average paid admission was $175.50, which is greater than the top ticket price for some shows. The Audience and Fish in the Dark are both new shows this season with limited runs. Whereas The Audience received good reviews and several Tony nominations, Fish in the Dark received mixed reviews and zero Tony nominations, instead relying on the star power of its writer and lead actor Larry David to account for the financial prowess. This past week, The Audience brought in $1,194,528, which represents 113.00% of its gross potential. With a top ticket price of $323.00, the average paid admission was $157.67. As for Fish in the Dark, it brought in $1,208,230, which represents 116.09% of its gross potential. With a top ticket price of $497.00, the average paid admission was $138.57.

The following are the Broadway ticket sales numbers for the week ending May 17, 2015:Broadway-Show-Ticket-Analysis-05-17-15-1

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $577,859 6,143 84.66% $94.07
AIRLINE HIGHWAY $180,476 3,591 71.59% $50.26
ALADDIN $1,467,090 13,788 100.03% $106.40
AN ACT OF GOD $738,682 6,489 80.63% $113.84
AN AMERICAN IN PARIS $1,280,111 13,417 99.89% $95.41
BEAUTIFUL $1,124,463 7,979 97.21% $140.93
CHICAGO $667,974 8,184 94.72% $81.62
FINDING NEVERLAND $1,067,924 10,846 90.14% $98.46
FISH IN THE DARK $1,208,230 8,719 101.57% $138.57
FUN HOME $587,716 5,985 102.48% $98.20
GIGI $493,858 7,301 65.94% $67.64
HAND TO GOD $427,117 5,533 88.44% $77.19
HEDWIG AND THE ANGRY INCH $448,280 5,207 73.87% $86.09
IT SHOULDA BEEN YOU $418,416 6,231 76.96% $67.15
IT’S ONLY A PLAY $639,751 6,545 75.96% $97.75
JERSEY BOYS $686,201 6,998 71.23% $98.06
KINKY BOOTS $1,017,917 9,947 87.32% $102.33
LES MISÉRABLES $675,325 8,800 78.07% $76.74
MAMMA MIA! $730,105 8,317 89.16% $87.78
MATILDA $846,868 10,693 93.34% $79.20
ON THE TOWN $614,881 9,756 65.07% $63.03
ON THE TWENTIETH CENTURY $582,568 5,794 100.31% $100.55
SKYLIGHT $775,421 6,392 99.63% $121.31
SOMETHING ROTTEN! $950,418 12,436 93.25% $76.42
THE AUDIENCE $1,194,528 7,576 101.24% $157.67
THE BOOK OF MORMON $1,534,408 8,743 102.52% $175.50
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $766,673 7,641 93.82% $100.34
THE KING AND I $1,001,947 8,376 100.00% $119.62
THE LION KING $1,966,567 13,508 99.32% $145.59
THE PHANTOM OF THE OPERA $883,247 10,859 84.57% $81.34
THE VISIT $211,430 3,981 55.23% $53.11
WICKED $1,601,725 13,959 96.56% $114.74
WOLF HALL PARTS ONE & TWO $734,344 6,711 60.66% $109.42
Total $28,102,518 276,445 87.13% $99.28

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

“Wolf Hall” Steady at the Box Office after Eight Tony Nominations

A Double Bill of English Historical Drama

wolf hallOn April 9, 2015, Wolf Hall: Parts One and Two opened at the Winter Garden Theater. This double bill of plays went by the names Wolf Hall and Bring Up the Bodies during its London run, as those are the names of the novels on which the plays are based. Those productions opened at the Royal Shakespeare Company and then transferred to the West End’s Aldwych Theatre, where the run wrapped up on October 4, 2014. The shows then transferred to Broadway with previews beginning March 20, 2015. The novels were also adapted into a BBC mini-series starring Mark Rylance (Jerusalem, Boeing Boeing) as Thomas Cromwell. After airing in the United Kingdom on March 8, 2013, that five part mini-series aired in the United States on PBS starting April 5, 2015, coinciding with the Broadway run of the show. The stage adaptations were written by Mike Poulton based on Hilary Mantel’s novels, with music by Stephen Warbeck. The shows are directed by Jeremy Herrin, an accomplished British director who is making his Broadway debut with these shows in repertory. On Broadway, the role of Thomas Cromwell is played by Ben Miles, who was previously seen on Broadway in the triple bill productions of The Norman Conquests, which were also transfers from London.

Generally Rave Reviews from U.S. Criticswolf hall

When the reviews came out for Wolf Hall, it was clear that most critics loved the show, though a few were on the fence. Ben Brantley of The New York Times was in the supporting camp, deeming the subject matter of British history to be extraordinarily good gossip. Though admitting it is a high brow work, he proclaims these stage plays, unlike the novels and mini-series, to be a whole lot of fun. David Cote in Time Out New York likewise enjoyed the productions, calling Ben Miles’ performance as Thomas Cromwell “cunning,” and delighting in the almost six hours of arguing between pope and crown. David Rooney in The Hollywood Reporter remarked on the low odds that this 1,000 page pair of novels would amount to popular success, but deemed the productions and acting ensemble to be first rate. Furthermore, Robert Kahn of NBC New York found the ensemble to be finely tuned, praising the productions while admitting that they demand intense focus from the audience to keep up. Linda Winer from Newsday was less in complete favor of the shows, calling Jeremy Herrin’s direction handsome but unsurprising, seemingly bored with the overabundance of material on this historical period.

Tony Nominations and Box Office Response

Wolf Hall: Parts One and Two received an incredible eight Tony Award nominations. The double bill received nominations for Best Play, Best Performance by an Actor in a Leading Role in a Play for Ben Miles, Best Performance by an Actor in a Featured Role in a Play for Nathaniel Parker, Best Performance by an Actress in a Featured Role in a Play for Lydia Leonard, Best Scenic Design of a Play, Best Costume Design of a Play, Best Lighting Design of Play, and Best Direction of a Play for Jeremy Herrin. Therefore, although critics and awards nominees alike loved the show, that response does not seem greatly to have affected the interest of audience members in buying tickets to the productions. In the last reported week of box office figures, the week ending May 10, 2015, the show brought in $630,653, which is only 51.56% of its gross potential. The highest week thus far in the run was its first full week of performances, when it reached 64.38% of its gross potential, and the lowest thus far was 42.81% of its gross potential in the week ending April 12, 2015, just after opening. Therefore, it seems that the British history diehards will buy tickets to this show independent of recognition by the Tony committee and critics, perhaps assuming the positive reviews that it inevitably received. More casual theatregoers, however, will not be persuaded to attend this show even with such praise, perhaps intimidated by the heaviness of the material or the length of the two productions.

“Gigi” Revival Opens on Broadway

Vanessa Hudgens and Victoria Clark Star

gigi vanessa hudgensOn April 8, 2015, Gigi opened at the Neil Simon Theatre. It had been running in previews since March 19, 2015. This musical is scheduled for an open-ended run at the moment. The show is produced by Jenna Segal, a first-time Broadway lead producer who has a background in television, and who has long loved this show and wanted to bring it to a new generation of audiences. In the lead role she found Vanessa Hudgens, the Disney star who has since ventured into more irreverent films such as Harmony Korine’s Spring Breakers, but here makes one of her life long dreams come true by appearing for the first time on Broadway. The original Broadway production premiered in 1973, based off of a novella of the same name by Colette, as well as a musical film that followed in 1958. Though the film was a hit, the original Broadway production had a disappointingly short run, although it walked away with the Tony Award for Best Score at that time. The musical has book and lyrics by Alan Jay Lerner, and a score by Frederick Loewe. Vanessa Hudgens was not recognized by the Tony Award committee for her performance, although her much more experienced co-star Victoria Clark was nominated for the award for Best Actress in a Featured Role in a Musical. This is the only nomination the production received.

Mixed Response from Criticsgigi

When the reviews hit the press, some were in love with the revival, whereas just as many found it less than appetizing. Charles Isherwood from The New York Times was on the fence, did not approve of the way this revival, in an adaptation by Heidi Thomas, was scrubbed so squeaky clean, removing it of any naughtiness as well as intrigue. Likewise, Adam Feldman in Time Out New York did not either love or hate the show, agrees that it is inoffensive to a fault, as it refuses to address head on the complicated idea of a woman grooming herself to be a courtesan. David Rooney at the Hollywood Reporter was less generous, finding the musical deficient of charm although acknowledging it was pretty at best. David Finkle of the Huffington Post was equally unmoved by the revival, found the musical to be a cheap rendition of the successful film, remarking that cheap was used figuratively as a great deal of money was spent on the production, although to ill effect. On the other hand, Robert Kahn of NBC New York was happy with the show, praising Vanessa Hudgens’ performance for her verve and vivacity, as well as Victoria Clark’s glorious performance as her grandmother.

Box Office Struggling

With only one Tony nomination and mixed reviews, this show is not being pushed upwards at the box office. Though it began previews with signs that it might start to improve its weekly grosses as word of mouth spread, that word of mouth was too negative for it to be any help. In the last reported week of box office figures, the week ending May 10, 2015, the show brought in $434,201, which represents 32.38% of its box office potential. Furthermore, that is a decrease of $116,315 from the week before. In fact, it hasn’t earned such a low weekly gross at all in its first, with the exception of the first week when it only played four performances. With so much buzz going around for all the shows that were recognized by the Tony committee, it is only natural that Gigi would get lost in the fray. Once the finite pool of Vanessa Hudgens fans dries up, this show may not be around for much longer.

“Hand to God” Opens to Rave Reviews

Irreverent Puppet Comedy Up for Best Play

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

All Around Rave Reviews for this Unlikely Broadway Showhand to god

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

Five Tony Award Nominations and Steadily Increasing Box Office

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

Broadway Show Ticket Sales Analysis w/e 5/10/2015

This week’s notable movements on Broadway are:

“An Act of God” Off to Brilliant Start

An Act of God began previews this past week on May 7, 2015 at Studio 54. Starring Jim Parsons, this not quite one-man show is written by David Javerbaum, based on his comedy book called “The Last Testament: A Memoir by God.” Jim Parsons, who plays God in this play, has proven to be almost the equivalent in terms of box office numbers. In its first partial week of four performances, the show brought in $477,703, which represents 93.01% of its gross potential. Though this isn’t the best it could possibly do, this is very good for a small size play opening at an unusual time when the rest of Broadway is hot from Tony nominations. The show is directed by Joe Mantello, who has helmed such works as Airline Highway, The Last Ship, and Casa Valentina. With a top ticket price of $349.00, the average paid admission was $129.04. At this rate, it filled up to an average audience capacity of 92.0%. Chances are that by next week, these numbers will continue to creep upwards, if this comedy proves to be as hilarious as its buzz suggests

Boosts for “It’s Only a Play,” “On the Twentieth Century,” and “Something Rotten!”

In the week ending May 10, 2015, three shows saw their weekly grosses increase in the six figures. It’s Only a Play, which was somewhat snubbed in the Tony Award nominations with only a nod for its supporting actor Micah Stock, saw an increase in ticket sales this past week of $110,070, reaching the gross of $694,112 across the eight performances. Although this is not very good for a show that was once competing with big musicals in the millionaire dollar range, the increase shows that audiences are still interested in this Terrence McNally play with a starry cast. Furthermore, On the Twentieth Century and Something Rotten! both saw an increase in ticket sales following their Tony nomination recognition. On the Twentieth Century, which was nominated for Best Revival of a Musical among other honors, had a weekly gross this past week of $595,851, which is an increase of $106,164 from the week before. That represents 72.48% of its gross potential, by far the highest percentage reached thus far in the run. Furthermore, Something Rotten! saw an increase in ticket sales following the announcement of its nomination for Best Musical, among the other heavy hitting new shows. This past week, the weekly gross was $903,211, which represents 87.18% of its gross potential. This is an increase from last week of $102,178. In every week since this musical began performances, its box office has been on a steady incline. With the Tony buzz, chances are the show will keep on selling increasingly well.

The following are the Broadway ticket sales numbers for the week ending May 10, 2015:Broadway-Show-Ticket-Analysis-05-10-15

Show Name GrossGross TotalAttn %Cap AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $552,694 5,821 80.22% $94.95
AIRLINE HIGHWAY $175,953 3,608 71.93% $48.77
ALADDIN $1,422,347 13,766 99.87% $103.32
AN ACT OF GOD $477,703 3,702 92.00% $129.04
AN AMERICAN IN PARIS $1,298,817 13,187 98.18% $98.49
BEAUTIFUL $1,075,887 7,503 91.41% $143.39
CHICAGO $633,554 7,840 90.74% $80.81
DOCTOR ZHIVAGO $537,474 8,578 72.55% $62.66
FINDING NEVERLAND $1,041,008 10,650 88.51% $97.75
FISH IN THE DARK $1,190,948 8,701 101.36% $136.87
FUN HOME $571,496 5,918 101.34% $96.57
GIGI $434,201 6,179 55.81% $70.27
HAND TO GOD $400,886 5,061 80.90% $79.21
HEDWIG AND THE ANGRY INCH $425,224 5,147 73.02% $82.62
IT SHOULDA BEEN YOU $409,488 6,021 74.37% $68.01
IT’S ONLY A PLAY $694,112 6,949 80.65% $99.89
JERSEY BOYS $630,632 6,398 65.13% $98.57
KINKY BOOTS $929,720 9,124 80.09% $101.90
LES MISÉRABLES $583,967 7,455 66.14% $78.33
MAMMA MIA! $700,567 8,028 86.06% $87.27
MATILDA $762,461 9,709 84.75% $78.53
ON THE TOWN $202,745 4,425 59.03% $45.82
ON THE TWENTIETH CENTURY $595,851 5,719 99.01% $104.19
SKYLIGHT $763,767 6,397 99.70% $119.39
SOMETHING ROTTEN! $903,211 11,691 87.66% $77.26
THE AUDIENCE $1,167,241 7,539 100.75% $154.83
THE BOOK OF MORMON $1,446,131 8,744 102.53% $165.39
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $682,260 6,839 83.98% $99.76
THE KING AND I $951,532 8,376 100.00% $113.60
THE LION KING $1,701,798 11,480 96.47% $148.24
THE PHANTOM OF THE OPERA $788,386 9,878 76.93% $79.81
THE VISIT $208,078 3,958 54.91% $52.57
WICKED $1,469,322 13,067 90.39% $112.45
WOLF HALL PARTS ONE & TWO $630,653 5,810 52.51% $108.55
Totals $26,460,109 263,268 83.50% $97.62

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

Alan Cumming and Kristin Chenoweth to Host Tony Awards

Two Tony Winners Emcee on June 7th

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

A Broadway History of Alan Cummingalan cumming

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

A Broadway History of Kristin Chenoweth

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

“Skylight” Opens on Broadway

A Lauded Revival of David Hare’s 1995 Play

skylightOn April 2, 2015, Skylight opened on Broadway at the John Golden Theatre. It had been running in previews since March 13, 2015. This revival of David Hare’s play is directed by Stephen Daldry, who is also helming the vastly successful play The Audience presently running this season. Daldry’s previous Broadway credits include Billy Elliot: The Musical, Via Dolorosa, and An Inspector Calls. This is in addition to his enormous list of British credits, including the previous incarnation of this production of Skylight, which prior to its Broadway run played in the West End’s Wyndham’s Theatre, with the same cast. This three character play stars Carey Mulligan as Kyra Hollis, Bill Nighy as Tom Sergeant, and Matthew Beard as Edward Sergeant. Bill Nighy previously played this same role in the 1997 production of Skylight, which was directed by Richard Eyre at London’s Vaudeville Theatre. Carey Mulligan is a Hollywood star whose recent film credits include The Great Gatsby, Inside Llewyn Davis, Drive, Shame, and Far from the Madding Crowd. This is her second Broadway credit, following The Seagull in 2008, for which she was nominated for a Drama Desk Award for Outstanding Featured Actress in a Play. She was also seen Off-Broadway in 2011 in the New York Theatre Workshop production of Through a Glass Darkly.

Rave Reviews and Tony Nominationsskylight

The show received all around rave reviews from the major publications. Ben Brantley in the New York Times found the dynamic between Mulligan and Nighy to be magnetic, with their performances making their relationship seem meant to be despite the enormous gulf that exists between them in the circumstances of their lives. He also calls the play possibly David Hare’s best work, and definitely his tightest. David Cote in Time Out New York dubbed the play a Critics’ Pick, calling the actors deep-diving and fearless. David Rooney in The Hollywood Reporter deemed Nighy as being in his top form, calling the first act terrific and the entire play riveting. Marilyn Stasio in Variety loved the fierce pas de deux, as she called it, relishing in the dreary portrait of human life at the very bottom of the social ladder. Robert Kahn in NBC New York also loved the play, calling it artfully performed. In addition to critical praise, the play was widely recognized by the Tony nominating committee. It received a remarkable seven Tony Award nominations, beat out by only one straight play in terms of number of nominations (Wolf Hall Parts One and Two received eight). The production was nominated for Best Revival of a Play, Bill Nighy was nominated for Best Actor in a Leading Role in a Play, Carey Mulligan was nominated for Best Actress in a Leading Role in a Play, Matthew Beard was nominated for Best Actor in a Featured Role in a Play, Stephen Daldry was nominated for his direction (and interestingly for his play but not for The Audience), Bob Crowley was nominated for his scenic design, and Natasha Katz was nominated for her lighting design.

Ever Increasing at the Box Office

For a straight play, Skylight is not doing badly at the box office. Since the Tony nominations were announced, the figures have been increasing. In the last week of reported box office figures, the week ending May 3, 2015, it brought in $776,373, which represents 90.48% of its gross potential. With a top ticket price of $297.00, the average paid admission was $121.29, and the average audience capacity was 99.8%. That weekly gross is the highest yet, and it may even get higher as word of mouth continues to spread for this gloriously reviewed production.

 

“The Heidi Chronicles” Wraps Up Its Run Early

Difficulty Catching Hold at the Box Office

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

Elisabeth Moss Nominated for a Tony Award

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

heidi chronicles elisabeth mossClosing on May 3 After 80 Performances Total

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