Broadway Show Ticket Sales Analysis w/e 8/16/2015

This week’s notable movements on Broadway are:

“Hamilton” Continues to Reap It In

In the week ending August 16, 2015, Hamilton was the fourth highest grossing show on Broadway, only coming in behind The Lion King, Wicked, and Aladdin. This week, it brought in nearly its highest gross yet at $1,459,314, which represents 109.32% of its gross potential. This was the fifth full week of performances. The record for their weekly gross so far took place two weeks prior, the week ending August 2, 2015, when it brought in $1,490,816. That represented 111.67% of the show’s gross potential. In addition, for the first two weeks of only seven performances as opposed to the usual eight, the show brought in a lower overall gross but a higher percentage of gross potential, at 110.30% and 111.51% of the show’s gross potential for the first two weeks of the run, respectively. Still, this past week demonstrated that Hamilton is a bona fide hit, as sales continue to be strong after the show’s opening night, when it received a round of rave reviews from critics far and wide. This past week, the top ticket price was $275.00, and the average paid admission was $136.31, which is a big jump from last week’s average ticket price of $117.99. It continues to be very tough to score a ticket to this hot show, and the box office figures are demonstrating this fact.

Otherwise a Slower Week on Broadway

Other than Hamilton’s continued financial success, this past week demonstrated a decrease in overall ticket sales for the 25 shows that were running. Of these 25 shows, only four demonstrated an increase in ticket sales from the week before: Hamilton went up by $204,151, Amazing Grace went up by $26,511, Mamma Mia! went up by $15,995, and Hedwig and the Angry Inch went up by $3,687. Other than Hamilton, all of these increases are fairly negligible. Overall, the entire industry saw a decrease in ticket sales of $1,317,989, which is a decrease of 5.36% from the week before. The biggest decreases were seen by Aladdin which went down by $299,545 but still grossed the impressive figure of $1,778,618, Penn & Teller on Broadway which went down by $268,702 in its final week of performances, and The Lion King which went down by $168,470 but still brought in the highest weekly gross of any show of $2,165,067. Furthermore, six figure decreases were seen by The Book of Mormon and Matilda. Therefore, though the overall industry saw a relative downturn, it is mainly the high grossing shows that went down in ticket sales, rather than the low grossing shows reaching a point of desperation. As the summer is coming to a close, the high tourist season will also be wrapping up in the next few weeks. As the fall shows begin to open, we will see a switch towards more New Yorkers attending the theatre, and an increased interest in straight plays rather than just the high grossing musicals.

The following are the Broadway ticket sales numbers for the week ending August 16, 2015:Broadway show ticket analysis 8-16-15

Show Name GrossGross TotalAttn  %Capacity  AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $517,799 6,390 88.07% $81.03
ALADDIN $1,778,618 13,822 100.04% $128.68
AMAZING GRACE $298,798 5,218 56.13% $57.26
AN AMERICAN IN PARIS $1,286,907 11,856 88.27% $108.54
BEAUTIFUL $945,696 7,764 94.59% $121.81
CHICAGO $570,965 7,317 84.69% $78.03
FINDING NEVERLAND $987,966 10,557 87.74% $93.58
FUN HOME $761,867 5,994 101.25% $127.10
HAMILTON $1,459,314 10,706 101.31% $136.31
HAND TO GOD $273,184 3,921 63.49% $69.67
HEDWIG AND THE ANGRY INCH $400,061 5,303 75.23% $75.44
JERSEY BOYS $599,028 6,524 66.41% $91.82
KINKY BOOTS $882,154 9,103 79.91% $96.91
LES MISÉRABLES $787,374 9,631 85.44% $81.75
MAMMA MIA! $983,331 9,400 100.43% $104.61
MATILDA $1,002,243 11,077 96.69% $90.48
ON THE TOWN $435,180 8,127 54.21% $53.55
PENN & TELLER ON BROADWAY $1,555,706 9,399 71.90% $122.71
SOMETHING ROTTEN! $1,005,030 10,995 82.45% $91.41
THE BOOK OF MORMON $1,448,473 8,689 101.89% $166.70
THE KING AND I $1,074,119 7,904 94.36% $135.90
THE LION KING $2,165,067 13,128 96.76% $164.92
THE PHANTOM OF THE OPERA $1,015,752 11,191 87.16% $90.77
WICKED $1,913,037 14,845 97.10% $128.87
Totals $25,006,928 226,453 85.95% $104.44

Broadway ticket sales raw data are provided courtesy of The Broadway League All other data, text, opinion, charts and commentary are copyright © 2015

“Penn & Teller” Completes Its Limited Engagement

Magic Show Recouped In Its Penultimate Week

penn and teller posterOn Sunday August 16, 2015, Penn & Teller on Broadway played its last performance at the Marquis Theatre. The famous magician duo came to Broadway for a strictly limited engagement of 6 weeks, including one partial week of previews which began on July 7, 2015. The official opening night took place on July 12, 2015. Throughout this short run, the show sold very well. There was a huge gross potential in the large Marquis Theatre, and the show never brought in more than 82.52% of this potential in any given week. Still, with more than a week to go in their six-week run, the producers announced that Penn & Teller on Broadway was a financial hit, having recouped its initial capitalization of $2.85 million. This amount is quite low for a Broadway show, but six weeks is extraordinarily low for the duration of a run on Broadway. Therefore, it is no small feat that this magic show managed to enter profits during its run. The best-selling week took place in the week ending August 9, 2015, when 12,145 people paid to see the show across the eight performances. The only other shows to bring in as many audience members were the best-selling musicals Wicked, Aladdin, The Lion King, and the newer show An American in Paris.

Overall Excellent Sales but a Downturn in the Final Weekpenn and teller

Over the course of the six-week run, Penn & Teller on Broadway made a steady climb in ticket sales. However, in the final week of the run, the week ending August 16, 2015, the show took a dip in sales. This is unusual, as most other shows manage to attract more audience members in their final week due to the last chance opportunity to see the show. However, everything about this show was unusual, from the short six-week duration of the show, to the fact that it is not a traditional play or musical, but instead a magic spectacle straight from Las Vegas. In the final week of sales, the show still brought in the impressive gross of $1,153,386, but this is a decrease of $268,702 from the week before, a 21.0% drop. People did pay more per ticket (the average paid admission went up from $117.09 the previous week to $122.71 in the final week), and yet the number of audience members went down (from the peak number of 12,145 to the lowest number of the run, 9,399 people). It is unclear why the final week demonstrated a decrease in interest to see the show. Perhaps the number of individuals interested in paying top dollar for a show in New York that is more suited for Las Vegas was saturated after just over 5 weeks. If this is the case, then the producers made the right choice in scheduling the show for a 6-week engagement.

Mixed Reviews that Did Not Sway Ticket Buyers’ Interest

After the show opened, there were mixed reviews from critics. Some were critical of the fact that the show was made up of seemingly simple tricks, such as the classic of pulling a rabbit out of a hat. However, this was clearly a crowd pleaser, and audiences did not shy away from rushing to the Marquis Theatre. Immediately after this run, the duo plans to return to Las Vegas where they have been performing together for 40 years. The six-week run was the longest break they could finagle from their producers at the Rio Hotel and Casino. Still, as demonstrated by the downturn in the last week of ticket sales, this may have also been the right move from a financial perspective.

“American Psycho” Added to Broadway Spring Line-Up

Based Off the 1991 Bret Easton Ellis Novel

american psychoIn February 2016, a musical adaptation of the famous novel American Psycho will begin previews at a Shubert Theatre to be announced on Broadway. The opening will then follow in March 2016. This musical has been gestating for several years, with private industry readings having taken place in New York for several years. The music and lyrics are written by Duncan Sheik, who also composed the music for Spring Awakening, for which he won a Tony Award for Best Original Score, and which is being revived on Broadway this upcoming season in a Deaf West production with both hearing and non-hearing actors. American Psycho has a book written by Roberto Aguirre-Sacasa, who has been a co-producer and writer of Glee, a script doctor for the musical Spiderman: Turn Off the Dark, and the Chief Creative Officer of Archie Comics. The novel American Psycho was published in 1991 to wide acclaim and controversy, due to the dark and violent nature of the subject matter. It was then adapted into a feature film in 2000 starring Christian Bale in the title role of Patrick Bateman; that film premiered at the Sundance Film Festival and was widely touted as the next Fight Club. Though it polarized audiences, the film was a financial and critical success and is now considered a cult classic.

A Sold-Out London Run at the Almeida TheatreAmerican_Psycho_Musical

On December 3, 2013, American Psycho the Musical had its world premiere in London at the Off West End venue, the Almeida Theatre. The official opening night was December 12, 2013. The show was originally scheduled to run just until January 25, 2014, but it was extended until February 1, 2014. That production was directed by Rupert Goold, choreographed by Lynne Page, and starred Matt Smith as Patrick Bateman. Although the run was relatively short, it was sold out and received great critical acclaim. The Guardian admitted that it sounded strange to make a musical about a serial killer, but that the show worked superbly, confirming the mythic power of Bret Easton Ellis’ novel while also succeeding in being brilliantly entertaining. The Daily Mail called the show undoubtedly a theatrical event, and praised Duncan Sheik’s catchy score. The Independent called the production diabolically slick, praising the terrific attack of the singing and dancing ensemble and the ability to avoid sentimentality in the second act. The Telegraph was less enthralled, giving the show two stars out of five and calling the lead performance expressionless and boring. Variety flew out over the Atlantic to review the production, and reported back that the serial killer story lacked drama, which is a serious problem with this subject matter.

Benjamin Walker Stars in the Broadway Production

benjamin walkerIn the Broadway production, Rupert Goold will return to direct, and Lynne Page will also return to choreograph. However, the cast will be revamped for the New York production. In the lead role of Patrick Bateman, Benjamin Walker stars. Walker has been seen on Broadway in the title role of Bloody Bloody Andrew Jackson, as Brick in the 2013 revival of Cat on a Hot Tin Roof, as Le Chevalier Danceny in Les Liaisons Dangereuses, and as Bertram Cates in Inherit the Wind. Though the rest of the cast has not yet been announced, developmental readings have included actors such as Zosia Mamet (“Girls”), Jennifer Damiano (Next to Normal), Isabel Keating (The Boy from Oz), and Wesley Taylor (“Smash”). The story deals with a 26 year-old man named Patrick Bateman who is sophisticated, handsome, and dirty rich. He works on Wall Street and can get any girl he wants. However, there is a lot more going on in this man’s head than it first appears, and he commits a lot of murder anything starts to go wrong.

Broadway Show Ticket Sales Analysis w/e 8/09/2015

This week’s notable movements on Broadway are:

A Slight Downturn in Ticket Sales This Week

In the week ending August 9, 2015, the entire Broadway industry stayed fairly consistent from the week before, with only a slight downturn in ticket sales. Of the 26 shows that were running last week, 12 saw an increase in sales however slight, and 14 saw a decrease in sales. The overall industry saw a collective decrease of $456,403, which is very slight in context of all the shows running. With an overall gross of $26,873,035, this accounts for an average of $1,033,578 across all the shows. This is a decrease of 1.73% from the week before, which brought in a collective gross of $26,416,632, accounting for an average of $1,016,024 for each show. The highest increase was seen by Aladdin, which went up by $223,756 to reach the weekly gross of $2,078,163. This was matched by the biggest decrease in The Lion King, which went down by $290,751 from the week before to bring in the still substantial weekly gross of $2,333,537. Likewise, Hamilton went down by $235,653, bringing this buzzy newly opened show to a weekly gross of $1,255,163, which represents 94.02% of its gross potential. A big reason why Hamilton saw this decrease is because that week included its opening night performance, in which almost the entire theatre was given away for free for guests of the production. Meanwhile, The Book of Mormon went up by $130,840 to reach a weekly gross of $1,605,195, representing 103.65% of its gross potential, and Penn & Teller on Broadway went up by $117,428 to reach a weekly gross of $1,422,088, which is 82.52% of its gross potential.

“It Shoulda Been You” Showed Slight Upturn in Final Week

On August 9, 2015, It Shoulda Been You played its final performance on Broadway. This fun-loving wedding musical comedy with a modern-day twist was directed by David Hyde Pierce, and starred Tyne Daly, Sierra Boggess, Harriet Harris, and Lisa Howard. In its final week of performances, the show brought in $494,033, which is an increase of $61,823 from the week before. Though this was the highest gross the show brought in throughout its Broadway run, it still only represented 49.85% of its gross potential across the eight performances. This is a 7.4% increase from the weekly gross in the previous week. With a top ticket price of $197.00, the average paid ticket was $71.85. Still, with this amount of discounting and the buzz surrounding the news that this was the final week of performances, the show filled up its audience capacity to an average of 84.9%, which is an increase from last week’s average audience capacity of 77.5%. Therefore, It Shoulda Been You may have never made it into hit status on Broadway, but it welcomed a slight increase in sales in its final week of performances.

The following are the Broadway ticket sales numbers for the week ending August 9, 2015:Broadway show ticket analysis w/e 8-9-15

Show Name GrossGross TotalAttn  %Capacity  AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $524,248 6,442 88.78% $72.56
ALADDIN $2,078,163 15,543 100.00% $155.43
AMAZING GRACE $272,287 5,051 54.34% $92.96
AN AMERICAN IN PARIS $1,356,715 12,398 92.30% $134.32
BEAUTIFUL $956,186 7,774 94.71% $82.08
CHICAGO $602,761 7,567 87.58% $86.40
FINDING NEVERLAND $1,058,371 11,149 92.66% $120.32
FUN HOME $775,680 6,097 102.99% $59.20
HAMILTON $1,255,163 10,638 100.66% $105.68
HAND TO GOD $288,012 4,328 70.08% $61.76
HEDWIG AND THE ANGRY INCH $396,374 5,118 72.61% $70.49
IT SHOULDA BEEN YOU $494,033 6,876 84.93% $80.96
JERSEY BOYS $615,641 6,629 67.48% $98.24
KINKY BOOTS $905,672 9,376 82.30% $113.92
LES MISÉRABLES $811,144 9,959 88.35% $112.72
MAMMA MIA! $967,336 9,436 100.81% $93.60
MATILDA $1,109,694 11,444 99.90% $114.56
ON THE TOWN $460,190 8,683 57.92% $149.92
PENN & TELLER ON BROADWAY $1,422,088 12,145 92.91% $130.72
SOMETHING ROTTEN! $1,055,303 11,520 86.38% $133.36
THE BOOK OF MORMON $1,605,195 9,837 102.53% $95.94
THE KING AND I $1,121,660 8,322 99.36% $83.76
THE LION KING $2,333,537 13,569 100.01% $135.68
THE PHANTOM OF THE OPERA $1,068,693 11,766 91.64% $128.40
WICKED $1,980,056 15,071 97.81% $154.08
Totals $26,416,631 244,693 88.72% $101.80

Broadway ticket sales raw data are provided courtesy of The Broadway League All other data, text, opinion, charts and commentary are copyright © 2015

“It Shoulda Been You” Closes on Broadway

Final Performance Sunday, August 9th at the Brooks Atkinson Theatre

it shoulda been youOn March 17, 2015, It Shoulda Been You began previews at the Brooks Atkinson Theatre. The official opening night took place on April 14, 2015, in time for consideration for the 2015 Tony Awards. However, the show received no Tony Awards nominations. Although they did receive the chance to perform a number from the musical at the awards ceremony, word of mouth never picked up to an adequate degree following this exposure, and ticket sales remained mediocre throughout the run. Therefore, at the end of June, it was announced that the final performance for this wedding musical with a twist would be Sunday, August 9, 2015. The show is conceived by Barbara Anselmi, with a book and lyrics by Brian Hargrove, and a musical score by Barbara Anselmi. Furthermore, the show was directed by David Hyde Pierce, who happens to be the husband of Brian Hargrove. Though he did not appear onstage, David Hyde Pierce was by far the biggest name involved with the production, as he is renowned for his acting roles in such television shows as Frasier, such films as Wet Hot American Summer and The Fisher King, and such Broadway productions as Vanya and Sonia and Masha and Spike, Curtains, and La Bête. Nevertheless, having this name behind the scenes did not boost ticket sales for the show as much as if he had been onstage.

Mixed Reviews for a Fun-Loving Wedding Comedyit shoulda been you

When It Shoulda Been You opened on April 14, 2015, it received mixed reviews. Ben Brantley of The New York Times commenced his review with the single word, “Oy.” This musical comedy set at a Jewish wedding did not win over this prestigious critic, who concluded his review by stating that the latter day twist (of the gay element) did not make this cocktail of clichés any less flat. The New York Post likewise stated that the show “lacks laughs” in the headline, finding the songs disposable and the plot twist improbable. The New York Daily News gave the show two stars out of five, calling it a harmless diversion that “shoulda” been better. Marilyn Stasio in Variety found it awfully funny, but admitted that nothing was particularly clever about the show. Vulture found the show not quite dead of laughs, but rather on life support. Entertainment Weekly gave it a B-, admitting that the grande dames of this show – Tyne Daly and Harriet Harris – deserve some applause. In any case, the overwhelming sentiment of these reviews is one of disappointment, and that did not allow this show to stick around for long enough to make its money back.

Mediocre Box Office Throughout the Run

In the final week of ticket sales, the week ending August 9, 2015, It Shoulda Been You made its highest weekly gross of the run. With a gross of $494,033, the show brought in 49.85% of its gross potential, and filled up an average of 84.9% of the audience. With a top ticket price of $197.00, the average paid admission was $71.85. However, at the low point of the run, the show only brought in $272,693, which represents 27.51% of its gross potential. All in all, the show never appeared to have the makings of a box office hit. However, the show’s capitalization was fairly low compared to most shows, and though the Broadway run will not make profits, the future market for licensing this show is optimistic. With a low cost to run and a fun-loving family sentiment, It Shoulda Been You may be a top pick for regional and amateur theatre licensing, allowing the investors to make back a bit more of their money.

“Hamilton” Opens at the Richard Rodgers Theatre

A Round Of Rave Reviews for Lin-Manuel Miranda’s Masterpiece

hamiltonOn August 6, 2015, Hamilton played its opening night performance at the Richard Rodgers Theatre. It had been running in previews on Broadway since its first performance on July 13, 2015. Prior to this, Hamilton had an extremely successful run at Off-Broadway at the Public Theater from January 20, 2015 to May 3, 2015. After receiving universal acclaim in the smaller venue, buzz abounded and headlines soared about this new musical with book, lyrics, and music by Lin-Manuel Miranda, which also stars him in the title role. Along with producers Jeffrey Seller, Sander Jacobs, and Jill Furman, the Public Theater brought the show to Broadway. Like the Public run, this production is directed by Thomas Kail (Magic/Bird, Lombardi, In the Heights), and choreographed by Andy Blankenbuehler. The show is praised for its reimagining of the period in history in which our founding fathers began this country. Rather than focusing on the traditional hero George Washington, who also appears in the show, the heart of this tale is on Alexander Hamilton, our nation’s first Secretary of the Treasury. Furthermore, instead of cast with traditional white males, this show features black and Latino performers singing musical styles ranging from rap to hip hop to R&B, as well as traditional musical theatre.

Strong Praise for the Production and the PerformersHAMILTON

Ben Brantley of The New York Times began his rave review with a single line: “Yes, it really is that good.” Admitting that he was among the critics to give the show universal praise in its previous incarnation, he said he had begun to wonder if the hype was really a match for the quality of the production. However, after seeing the enhanced version in the Broadway theatre, Brantley continued his praise and gave the show his blessing. At one point he even suggested that people should mortgage their houses in order to afford a ticket to this show, if only to reassure themselves that the American musical is still alive and well. The other major critics were no less appreciative. David Cote from Time Out New York called this show the greatest American musical in decades, proclaiming his love for this show in both simple and extravagant terms. Jeremy Gerard in Deadline called the show electrifying, stating that it is destined for the record books, and comparing it to both Rent and A Chorus Line from previous eras. Jesse Green from Vulture remarked on the incredible number of songs in the show – 34 – and concluded that the ambition and the scope of this show are a major breakthrough in the art form. Joe Dziemianowicz of the New York Daily News said that Hamilton made Broadway officially the coolest place on the planet.

Bull’s Eye Box Office, and Somehow Increasing

In the last reported week of box office figures, the week ending August 2, 2015, Hamilton brought in $1,490,816. This represents 111.67% of the show’s gross potential across the eight performances. This was the third full week of the run, although the first two weeks had just seven performances each. Still, with each progressive week, Hamilton has managed to increase its overall box office gross as well as the percentage reached of its gross potential. Granted, this past week the percentage of gross potential increased from 111.51% to 111.67%, which is a small increase, and yet it continues to show that people will pay top dollar and see this show however they can. Presently, the top ticket price is $275.00, but perhaps as the show continues to be a hot ticket, the producers may choose to practice dynamic pricing and also to raise the cost of premium tickets. This will enable to show to break even more quickly, entering profits so that the investors can make back more of their money sooner. For the ticketbuyer, this means that Hamilton will continue to be a very tough show to see. In order to see it, one must be resourceful – both in terms of finding a way to get a ticket, and in terms of affording one.

Broadway Show Ticket Sales Analysis w/e 8/02/2015

This week’s notable movements on Broadway are:

A Steady Week With A Slight Upturn

In the week ending August 2, 2015, Broadway is still going strong with summer ticket sales. Overall, the entire industry of 28 currently running shows saw a relatively minor increase of $736,227 from the week before. The biggest increase was seen by mega-hit The Lion King, which brought in $215,787 from the week before, bringing it to a total weekly gross of $2,624,288. Remarkably, this huge number represents just 98.47% of the production’s gross potential in the massive Minskoff Theatre, whereas this and other shows have at times broken the 100% mark, or even the 110% mark of gross potential. With a top ticket price of $225.00, the average paid admission was the impressive $173.37. The only other show that came close in terms of average ticket price is The Book of Mormon, which brought in $1,474,355 last week, representing 107.10% of its gross potential in the comparably smaller Eugene O’Neill Theatre. With a top ticket price of the extremely inflated $475.00 per premium ticket, the average paid admission trailed just behind that of The Lion King at $168.48. The highest percentage of gross potential was reached by new hit musical Hamilton, which hasn’t even opened yet but is bringing in 111.67% of its gross potential. Overall, of the 28 shows running, 16 showed an increase from the week before, and 8 saw a decrease. The greatest decrease was seen by Kinky Boots at the relatively minor dip of $60,641.

“Hamilton” Well On Its Way to Top Musical of the Season

Hamilton the Musical opens in 2 days, but it brought in the highest gross potential of any show this past week while still in previews. This is the first week that they played eight performances, as opposed to two weeks of seven performances each. In this way, the show reached not only its maximum weekly gross so far at $1,490,816, but also the highest percentage of its gross potential, out of any week yet. Their audience capacity was filled up to an average of 100.5% across the eight performances, and the top ticket price has thus far held steady at $275.00. It remains to be seen whether the producers will choose to adopt a dynamic pricing strategy, whereby they raise the premium ticket prices and fluctuate the ticket pricing based on predicted demand, sometimes even across individual performances. The reviews will come out this week, but the show has already earned raves and great buzz from its recent Off-Broadway run at the Public Theatre, which was also the birthplace of the 2015 Tony Award winning best musical, Fun Home. At this point, it seems clear that Hamilton will be well remembered one year from now in time for the 2016 Tony Awards consideration. With a year’s appetite filled for this culturally imaginative, alternative political bio-drama, the show will surely be a contender for the Best Musical award, as well as many others. Still, an entire year remains for other shows to come out of the woodwork in contention for that great honor.

The following are the Broadway ticket sales numbers for the week ending August 2, 2015:Broadway-Show-Ticket-Analysis-08-02-15

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $549,228 6,711 92.49% $81.84
ALADDIN $1,854,407 13,817 100.01% $134.21
AMAZING GRACE $308,313 4,947 53.22% $62.32
AN ACT OF GOD $1,074,778 7,883 97.95% $136.34
AN AMERICAN IN PARIS $1,388,952 12,518 93.20% $110.96
BEAUTIFUL $946,124 7,653 93.24% $123.63
CHICAGO $748,452 8,241 95.38% $90.82
FINDING NEVERLAND $1,200,295 11,851 98.50% $101.28
FISH IN THE DARK $841,809 8,354 97.32% $100.77
FUN HOME $782,634 5,976 100.95% $130.96
HAMILTON $1,490,816 10,619 100.48% $140.39
HAND TO GOD $285,603 4,186 67.78% $68.23
HEDWIG AND THE ANGRY INCH $390,829 5,286 74.99% $73.94
IT SHOULDA BEEN YOU $432,210 6,278 77.54% $68.85
JERSEY BOYS $651,437 7,053 71.79% $92.36
KINKY BOOTS $890,611 9,205 80.80% $96.75
LES MISÉRABLES $766,999 9,856 87.44% $77.82
MAMMA MIA! $939,807 9,415 100.93% $99.82
MATILDA $1,108,854 11,480 100.21% $96.59
ON THE TOWN $475,889 7,664 51.12% $62.09
PENN & TELLER ON BROADWAY $1,304,660 11,426 87.41% $114.18
SOMETHING ROTTEN! $1,073,132 11,791 88.41% $91.01
THE BOOK OF MORMON $1,474,355 8,751 102.61% $168.48
THE KING AND I $1,134,145 8,264 98.66% $137.24
THE LION KING $2,624,288 15,137 99.17% $173.37
THE PHANTOM OF THE OPERA $1,090,526 11,852 92.31% $92.01
WICKED $2,118,401 16,175 93.95% $130.97
Total $28,789,618 259,904 88.93% $106.05

Broadway ticket sales raw data are provided courtesy of The Broadway League All other data, text, opinion, charts and commentary are copyright © 2015

Casting Announced for “She Loves Me” on Broadway

Roundabout Theatre Company Revives This Musical in Spring 2016

she loves meShe Loves Me first premiered on Broadway in 1963, when it was nominated for the Tony Award for Best Musical and took home the Tony Award for Best Performance by a Featured Actor in a Musical. It was since revived on Broadway twice, if you include a one-night benefit performance on December 5, 2011. Its first major revival took place in June 1993, when it ran for one year, first at the Criterion Center Stage Right, and then at the Brooks Atkinson Theatre. This upcoming spring season, She Loves Me will shine on Broadway once more. The source material for this musical is a Hungarian play called Parfumerie by Miklos Laszlo, which has also served as the source material for the 1940 film The Shop around the Corner, the 1949 musical In the Good Old Summertime, and more recently, the 1998 film You’ve Got Mail starring Meg Ryan and Tom Hanks. Nevertheless, the musical She Loves Me remains one of the lasting successes of this story, and the Roundabout Theatre Company is producing it at Studio 54 with previews beginning February 5, 2016, and an opening night scheduled for March 3, 2016. It is then scheduled to run until May 22, 2016, when Studio 54 will be vacated for the arrival of a new production.

Laura Benanti and Josh Radnor Are Joined By Stellar Supporting Castjosh radnor laura benanti

This past week, the full cast for the musical revival was announced. It had previously been disclosed that the lead part of Amalia Balash would be played by Laura Benanti (Women on the Verge of a Nervous Breakdown, In the Next Room, Gypsy), and that the role opposite her, Georg Nowack, would be played by Josh Radnor (“How I Met Your Mother,” Disgraced, The Graduate). Now, it has been revealed that Jane Krakowski will join the duo in the role of Ilona Ritter; Jane is best known for her role on “30 Rock” and has also been seen on Broadway in Nine, Once Upon a Mattress, and Tartuffe among other roles. Furthermore, the role of Steven Kodaly will be played by Gavin Creel, who is presently playing Elder Cunningham in The Book of Mormon, and who has been nominated for two Tony Awards for his roles in Hair and Thoroughly Modern Millie. If that wasn’t enough, the cast has also been revealed to include Rene Auberjonois (Sly Fox, Dance of the Vampires) as Mr. Maraczek, Nicholas Barasch (The Mystery of Edwin Drood, West Side Story) as Arpad Laszlo, Michael McGrath (Tony Award winner for Nice Work if You Can Get It, On the Twentieth Century) as Sipos, and Peter Bartlett (Something Rotten!, Rodgers + Hammerstein’s Cinderella) as the Headwaiter.

Creative Team Will Make This An Unmissable Production

She Loves Me has a book by Joe Masteroff, music by Jerry Bock, and lyrics by Sheldon Harnick. The show will be directed by Scott Ellis, the Roundabout Theatre Company associate artistic director who has helmed many shows in recent seasons, including On the Twentieth Century, The Elephant Man, You Can’t Take It With You, and The Mystery of Edwin Drood. Furthermore, the choreographer is the highly acclaimed Warren Carlyle, whose recent credits include On the Twentieth Century, After Midnight, A Christmas Story The Musical, and Follies, and he also directed and choreographed Chaplin and Hugh Jackman: Back on Broadway. With scenic design by David Rockwell, costume design by Jeff Mahshie, lighting design by Don Holder, and sound design by Jon Weston, this production will surely be impeccable from a production standpoint. Now what rests to be told is whether audiences take to this classic romantic musical from 1963, or whether it gets buried in the otherwise exciting spring season.

“Tuck Everlasting” Finds Broadway Theatre for Spring Season

Musical Will Begins Previews March 23, 2016 After Long Delay

tuck everlastingThis musical based off of Natalie Babbitt’s well known young adult novel has been gestating for a long time. The first announcement of a pre-Broadway run specified that the show would have trial production in Boston in the summer of 2013. However, allegedly due to the scarcity of an available theatre to transfer the show to after the Boston run, that production was postponed. It is also possible that the show was not ready creatively at that point. In any case, the world premiere of Tuck Everlasting finally took place at the Alliance Theatre in Georgia in early 2015. The show is directed by Casey Nicholaw, who is also the director behind such hits as The Book of Mormon, Aladdin, and Something Rotten! Finally, it has now been announced that the Broadway production will indeed take place this upcoming spring 2016 season. With previews beginning on March 23, 2016, the musical is scheduled to open on April 17, 2016, just in time for Tony Awards consideration for next year.

The Broadhurst Theatre Will Be The Musical’s New Hometuck everlasting

Presently, Mamma Mia! is playing at the Broadhurst Theatre, and it is scheduled to wrap up its performaces on September 12, 2015. Previously, Mamma Mia! ran at the Winter Garden Theatre for many years since 2001, but it stepped aside in November 2013 to allow for the highly anticipated musical production of Rocky, which had a surprisingly short run due to low ticket sales. Following the conclusion of Mamma Mia!, the Broadhurst will house a limited engagement of the play Misery by William Goldman, directed by Will Frears, and starring Bruce Willis and Laurie Metcalf. When that production concludes on February 14, 2016, the theatre will be available for Tuck Everlasting to step in. The Broadhurst is owned by the Shubert Organization, which is the landlord for many of the theatres on Broadway. In order to secure this theatre, the producers of Tuck Everlasting had to make an agreement with the Shuberts to occupy one of their houses, and it was just decided that the Broadhurst would be it.

A Warm Reception for the Atlanta Pre-Broadway Run

When Tuck Everlasting opened in Atlanta in February 2015, Charles Isherwood of the New York Times flew down to witness it and report back to New York. Isherwood was moved by the piece, remarking that it was refreshing to see a musical based off of dancers in dream sequences, which used to be a staple of theatre but is lesser seen in recent years. Isherwood also remarked that it is surprising to see this direction from Casey Nicholaw, as it demonstrates a softer touch than is seen in some of his shows such as The Book of Mormon and Aladdin. He found the show to be already polished, which is a compliment for a trial run where many other Broadway shows are still working out their kinks. Even though the show is kid-friendly and emotionally compelling, Isherwood did remark that perhaps the show may find it difficult to compete in the commercially cutthroat atmosphere of Broadway, as it does not rely on the element of spectacle.

“An Act of God” Wraps Up Its Run

Jim Parsons Plays Final Performance on August 2, 2015

an act of godOn May 7, 2015, An Act of God began previews at Roundabout Theatre Company’s Studio 54 theatre, although the show is not a Roundabout production. An Act of God is written by David Javerbaum, directed by Joe Mantello, and stars Jim Parsons in the role of God. The producers include Jeffrey Finn and the Shubert Organization. The official opening night then took place on May 28, 2015. The show opened just too late to be considered for Tony Awards nominations this past year, although it will be eligible for the following year’s awards. However, the Tony committee generally has a fairly short term memory, with even shows that ran in the fall season given less notice than those from the spring season. Therefore, with this show opening and closing all within the summer of 2015, it may be difficult for the Tony committee to remember it as a competitive show for the nominations in June of 2016. In any case, An Act of God was a hit, at least from a financial perspective. On July 15, 2015, it was announced that the show had recouped its initial capitalization of $2.9 million, and is now running in profits. In addition, the show received fairly positive reviews after its opening on May 28th. Therefore, from almost all perspectives, the show is a critical and commercial hit.

Excellent Box Office from Day Oneact-of-god-broadway-jim-parsons

In the first partial week of performances for An Act of God, the show brought in 93.01% of its gross potential. Those numbers dipped slightly throughout the following weeks of preview performances, but in the weeks following the show’s opening, the numbers were back up in the range of 85 to 90% of the show’s gross potential. In the last reported week of box office figures, the week ending July 26, 2015, the show finally broke through the 100% mark of its gross potential, and in addition it brought in over $1 million at the box office for the first time. That week, the weekly gross was $1,011,538, which represents 100.37% of its gross potential. With a top ticket price of $349.00, the average paid admission was $130.47, also the highest average ticket sale in any week yet. In addition, the average audience capacity reached a peak of 96.3% average across the eight performances. With just one week left of box office figures to report, chances are these numbers will continue to creep upwards as ticket buyers realize this is their last chance to see Jim Parsons live on Broadway in the estimable role of God.

Jim Parsons: A Big Box Office Name on Broadway

If An Act of God demonstrated anything about the type of show that sells well on Broadway, it can be gleaned that Jim Parsons is a big box office name. The other factors involved in the production leave nothing particularly remarkable to conclude, such as the small cast led principally by one actor (often a difficult sell on Broadway), the playwright being a well regarded name within TV circles but one whose name doesn’t mean much to most Broadway ticket buyers, and a show that opened after it would be eligible for Tony Awards consideration. Jim Parsons also had a great chance to shine in his last lead performance at Studio 54, that time in the Roundabout Theatre Company production of Harvey. His only other performance on Broadway to date was a supporting role in The Normal Heart, where the lead role was played by Joe Mantello, who is also the director of An Act of God. When Parsons played that same role in the HBO film version of The Normal Heart, he was nominated for an Emmy Award. All in all, Parsons has won the hearts of America, and we are sure to see him again on Broadway as soon as he has a break in his busy television and film schedule.