Jason Alexander Replaces Larry David in “Fish in the Dark”

Box Office Takes Major Dip With David’s Departure

jason alexander larry davidFish in the Dark has been one of this season’s major hits. Written by and starring Larry David, the creator of Seinfeld and creator / star of Curb Your Enthusiasm, this play marked the household name’s Broadway debt. The theatre going audience was riveted by this new face on the big stage, as the box office receipts were immediately excellent right out of the gate, and stayed that way until Larry David’s final performance on June 7, 2015. This was the same day as the Tony Awards. Although Fish in the Dark was not honored with any awards or nominations, there was a nod to the stardom of Larry David as he was given the honor of presenting the most coveted award and the final award of the evening: that for Best Musical. He presented this award to Fun Home. Despite this lack of accolades, Fish in the Dark was an undeniable box office success. It announced recoupment of its initial capitalization on May 20, 2015. It brought in over one million dollars every week, with rising weekly grosses as the run went one, from the first full week of performances ending February 15, 2015 until Larry David’s final week ending June 7, 2015. However, the moment Jason Alexander stepped in on June 9, 2015, the box office took a major dip. In his first week, the week ending June 14, 2015, the show saw a decrease in ticket sales of $403,563 from the week before. Though Jason Alexander is also a major star, he is also a much more prevalent face on Broadway, and fans were just not as excited to pay top dollar to see him.

Three Weeks of Piddling Grossesjason alexander larry david

In the three weeks of full performances since Alexander took over, the weekly grosses have remained fairly constant. Following the week ending June 14, 2015 with the weekly gross of $842,633, there was the week ending June 21, 2015 with a gross of $849,330, and then this past week ending June 28, 2015 had a weekly gross of $848,378. In this past week, the average paid admission was $107.66, which is still higher than many plays on Broadway, but it is a sharp decrease from the average paid admission in David’s final week, which was $142.98. Whereas David was regularly filling up the audience to an average capacity of 101.5%, the weekly average audience capacity since Jason Alexander took over have averaged about 90%. Finally, while the average percentage reached of gross potential during David’s run was about 114%, the percentage reached of gross potential since Alexander took over has been about 81%.

Keeping It in the “Seinfeld” Family

When Jason Alexander played George Costanza on Seinfeld for many years, he was reportedly written to be a character based on Larry David himself. It is therefore appropriate that he should replace David in the role he wrote and played himself in his Broadway debut. Alexander is a common name on Broadway. He was in the second cast of The Producers opposite Martin Short, when Matthew Broderick and Nathan Lane departed the production. He has also appeared in Accomplice, Jerome Robbins’ Broadway, Broadway Bound, The Rink, and Merrily We Roll Along. Most of these roles were before his Seinfeld days, so he left his established position of appearing onstage when he became a sitcom regular. At this point, however, he is returning to his stage roots, combined with the creative source that made him a household name as well. However, he just isn’t able to sell tickets the way Larry David can. Alexander continues with the show until its final performance on August 1, 2015.

Broadway Show Ticket Sales Analysis w/e 6/28/2015

This week’s notable movements on Broadway are:

“The Audience” Concludes Run with Record Highs

On Sunday, June 28, 2015, The Audience played its final performance on Broadway. Written by Peter Morgan and starring Helen Mirren as Queen Elizabeth II, the show reunited the writer and star of the Oscar winning film The Queen, also dealing with the same subject. This mass recognition of these artists and this story is partially responsible for the excellent success the show enjoyed throughout its run. In its final week of performances, The Audience earned its highest weekly gross to date, which was $1,425,523. This represented an astounding 118.49% of the show’s gross potential. Prior to this final week, the show’s highest weekly gross was $1,206,318, representing 114.11% of gross potential. Still, it was common for the show regularly to make 108% to 111% of its gross potential. In its final week, the average paid admission was also at an all time high at $163.67. The top ticket price since opening night was $323.00. One major reason the show earned so much money this final week is that it played 8 performances, whereas it had played 7 throughout every other full week of its run. Still, the increase in percentage of gross potential shows that demand grew even to exceed the added performance, with fans eager to get their final dose of Helen Mirren’s Tony Award winning performance as the Queen of England.

“Amazing Grace” Begins Previews With Low Numbers

In addition, the week ending June 28, 2015 saw the start of previews for Amazing Grace, a new musical with music and lyrics by Christopher Smith, and a book by Christopher Smith and Arthur Giron. This show deals with the origination of the famous gospel song, “Amazing Grace.” In choosing to begin previews in the height of summer, following the hubbub of the Tony Awards when the world has its eye on the theatre industry, Amazing Grace was taking a big risk that it would fall between the cracks in the distraction of summer vacation. In this first week of five performances, the show brought in $200,392, which represents only 29.21% of its gross potential. With a top ticket price of $197.00, the average paid admission was $57.57. The show stars Erin Mackey, Josh Young, Stanley Bahorek, and Chuck Cooper, who have had success in the world of theatre but are by no means A-list marquee names that can sell tickets for the show. The show will open on July 16, 2015, at which point the reviews may or may not be able to save the show by spurring positive word of mouth. In any case, the box office figures out of the gate are not very encouraging, but perhaps amazing grace, how sweet the sound, will save this show once word of mouth catches on.

The following are the Broadway ticket sales numbers for the week ending June 28, 2015:Broadway-Show-Ticket-Analysis-06-28-15-1

 

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $605,865 6,782 93.47% $89.33
ALADDIN $1,644,688 13,787 100.02% $119.29
AMAZING GRACE $200,392 3,481 59.91% $57.57
AN ACT OF GOD $955,566 7,581 94.20% $126.05
AN AMERICAN IN PARIS $1,433,433 13,288 98.93% $107.87
BEAUTIFUL $1,054,036 8,005 97.53% $131.67
CHICAGO $597,661 7,524 87.08% $79.43
FINDING NEVERLAND $1,222,133 11,996 99.70% $101.88
FISH IN THE DARK $848,378 7,880 91.80% $107.66
FUN HOME $752,342 6,130 103.55% $122.73
HAND TO GOD $400,070 4,879 79.00% $82.00
HEDWIG AND THE ANGRY INCH $538,365 5,594 79.36% $96.24
IT SHOULDA BEEN YOU $415,180 6,079 75.09% $68.30
JERSEY BOYS $744,540 7,527 76.62% $98.92
KINKY BOOTS $969,479 9,579 84.09% $101.21
LES MISÉRABLES $747,267 9,426 83.62% $79.28
MAMMA MIA! $856,775 9,167 98.27% $93.46
MATILDA $1,117,587 11,495 100.34% $97.22
ON THE TOWN $637,010 10,483 69.92% $60.77
ON THE TWENTIETH CENTURY $594,786 5,693 98.56% $104.48
SOMETHING ROTTEN! $1,230,619 12,624 94.66% $97.48
THE AUDIENCE $1,425,523 8,710 101.85% $163.67
THE BOOK OF MORMON $1,524,996 8,752 102.63% $174.25
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $973,337 8,042 98.75% $121.03
THE KING AND I $1,174,105 8,378 100.02% $140.14
THE LION KING $2,120,670 13,603 100.02% $155.90
THE PHANTOM OF THE OPERA $986,653 11,372 88.57% $86.76
WICKED $2,047,143 15,175 98.49% $134.90
WOLF HALL PARTS ONE & TWO $515,472 5,500 49.71% $93.72
Totals $28,334,069 258,532 89.85% $106.66

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

Fall Gears Up for Slew of New NYC TV Shows

Neil Patrick Harris’ “Best Time Ever” Premieres Sept 15th on NBC

neil patrick harris best time everIn fall 2015, a lot of changes are afoot on network television. Neil Patrick Harris, the beloved star of stage and screen from such shows as Broadway’s Hedwig and the Angry Inch and CBS’ How I Met Your Mother, has a new variety show coming to NBC. The name of this show has been announced: Best Time Ever. The variety show will be based off of the British program on ITV called Ant & Dec’s Saturday Night Takeaway. A teaser was shown during this year’s Super Bowl, which thoroughly excited Harris’ huge fan base, but the name and premiere date were only announced recently. This past week, NBC set its fall premiere dates and Best Time Ever is set to begin a week before the rest of the shows. Best Time Ever will launch on Tuesday, September 15th at 10:00pm, after the finale of America’s Got Talent. For the majority of its run, however, it will be at the 8:00pm slot on Tuesdays. The variety show includes a mixture of comedy, musical numbers, performances, sketches, and celebrity guests, and therefore is suitable for an early evening demographic. The rest of the NBC new programming will start the following week.

“Late Show with Stephen Colbert” and “Daily Show with Trevor Noah”late show stephen colbert

As for late night television, two programs are launching their new hosts this fall. Stephen Colbert, who has been on leave from late night since wrapping up The Colbert Report on Comedy Central, will premiere his new part as host of the Late Show on September 8, 2015 on CBS. This also marks a summer break for Late Show, as David Letterman hosted his final episode of Late Show with David Letterman on May 20, 2015. Over the summer, the network opted to air reruns of sitcoms rather than reruns of Late Show, so that fans will be eager for the new host after having been without any episodes for the summer. Colbert’s first hosts have not yet been disclosed, but he has launched a podcast and website while his writing team is busy conceiving the new show, as well as the Colbert demeanor without the faux daily show with trevor noahconservative Colbert character from The Colbert Report. In addition, the Daily Show on Comedy Central will be undergoing a shift in leadership. Jon Stewart steps down with his final episode airing August 6, 2015. After a short break, Trevor Noah will step into his shoes, with the first show airing September 28, 2015. Trevor Noah was a controversial choice for the Daily Show replacement, as he is a 31 year-old relatively inexperienced comedian from South Africa. After the announcement was made, there was a bit of a backlash on social media with some fans declaring him a racist and anti-Semite. However, this is likely a resistance to anyone replacing the beloved Jon Stewart, and Comedy Central stands behind their choice of Trevor Noah as a new face on their network.

Dr. Phil to Launch New TV Show in Fall 2016dr phil

Looking ahead to the following fall, Dr. Phil McGraw, best known just as Dr. Phil, has partnered with DailyMail.com to launch a new syndicated television show. Like much of the content currently on the site, this show will focus on celebrity news. It is not yet clear whether Dr. Phil will be a regular on-camera presence on the show, only that he will appear if the Daily Mail wants to run interviews he has done for his own show, Dr. Phil. The producers of this new show will be Dr. Phil, his son Jay, and Carla Pennington, who is the executive producer of Dr. Phil. The show will most likely be based in New York, although there are plans to have studios in New York, Los Angeles, London, and Sydney. The new DailyMail show will be distributed by CBS, which also distributes Dr. Phil. Dr. Phil declared that he saw an opportunity to create something utterly unique, unlike anything else on TV. Further details are yet to come to describe exactly what this will be.

“The Visit” Closes on Broadway

The Last Collaboration Between John Kander and Fred Ebb

Visit-Broadway-Musical-Chita-Rivera-Tickets-176-012818On March 26, 2015, The Visit began previews at the Lyceum Theatre. This was the last collaboration by John Kander and Fred Ebb, who were also the creators of Chicago, Cabaret, and The Scottsboro Boys. Upon its official opening night on April 23, 2015, it received firmly mixed reviews, with some critics praising the musical but others being more on the fence. Like most musicals, the show began with an open-ended run, but it has now officially closed as of June 14, 2015. The musical was one of only four shows nominated for the Tony Award for Best Musical, along with the victorious Fun Home as well as An American in Paris and Something Rotten! However, nobody really expected The Visit to win that award, as the box office grosses were dire from the beginning, never reaching beyond $250,000 in a given week. The show was also nominated for the award for Best Performance by an Actress in a Leading Role in a Musical, honoring the 82 year-old Chita Rivera for her starring role. However, that award went to Kelli O’Hara for The King and I. Having won no Tony Awards, and performing poorly at the box office, the producers had no choice but to close this show, which had been on its last legs for a long time.

Struggles at the Box Officechita rivera roger rees

In the final week of its run, The Visit made its highest weekly gross of $274,465, which still only represented 35.99% of its gross potential. Its lowest week took place in the week ending May 31, 2015, when the show brought in only $149,032, representing 19.54% of its gross potential. With a top ticket price of $225.00, the average paid admission each week fluctuated between $34.45 and $59.50. Therefore, even in its best week there was a heavy amount of discounting to fill seats so that those audience members who had paid full price, or anything at all, for their tickets would feel that they were getting a fuller experience. The highest percentage of audience capacity was reached in the show’s first partial week of five performances, when the audience was filled up to an average of 79.5%. Still, on most weeks the audience was only 50% to 60% full. All productions have an agreement with the theatre landlord called a “stop clause,” whereby the landlord has a right to evict the production if its weekly gross is below a certain specified amount for a certain number of weeks in a row. With such low numbers, it is possible that The Visit was dangerously close to, if not in violation of, its stop clause, and perhaps the Shubert Organization allowed the show to remain in reverence to Fred Ebb, John Kander, and Chita Rivera, awaiting the Tony Award results. However, when the show received no awards, there was nothing left to hope for.

A Future Beyond Broadway

Nevertheless, a Kander and Ebb musical is still a valuable property to own the rights to, even if the Broadway run was a disappointment. As memory fades, diehard theatre fans will continue to remember the piece, and the show will likely receive productions all over the country on a range of levels. Furthermore, the music will be used for theatre auditions and the scores will be sold in published form. There is still a way for the producers to continue to make some money on their investment. Still, it only made $1,963,656 throughout the entire run, which is certainly nowhere near its entire capitalization, especially when running costs are added to the mix. Therefore, the show will certainly go down in history as a financial loss, but not a complete failure due to its Tony Award nomination for Best Musical.

Howard Stern to Leave “America’s Got Talent”

Announcement Made Wednesday on His Radio Show

AMERICA'S GOT TALENT -- Pictured: Howard SternThe extremely successful radio personality and actor Howard Stern has been on the judging panel of America’s Got Talent since 2011, when he took over the position from Piers Morgan in the show’s seventh season. He has continued to sit on the judge’s panel for the eighth, ninth, and tenth season. Presently, he judges alongside Mel B from the Spice Girls, Heidi Klum from Project Runway, and Howie Mandel from Deal or No Deal. Stern is best known for hosting his own radio show on Sirius XM radio since 2006, before which he hosted his show since 1986 on national syndication. He is also well known for the film Private Parts and his television show The Howard Stern Show. He has made mutterings before about wanting to depart from America’s Got Talent due to his overcommitted schedule, but this time he seems serious. He is also known as an extremely well compensated television star; he appeared in Forbes magazine alongside America’s Got Talent executive producer Simon Cowell as first place on the list of America’s highest paid television personalities. The article stated that Stern earned $95 million between June 2012 and June 2013. Nevertheless, there comes a point when money doesn’t mean much anymore, and Stern has announced that he is reassessing his career priorities, and that this is his last season.

The Impact on “America’s Got Talent”AMERICA'S GOT TALENT -- Pictured: Howard Stern

America’s Got Talent had made some sacrifices to accommodate Stern’s busy schedule, in light of his strong pull with a wide range of market demographics. Specifically, the show relocated from Los Angeles to New York City’s Radio Music Hall, so that Stern could be across the street from his radio studio where he records his Sirius XM show. With Stern gone, the show may very choose to relocate back to Los Angeles. As for who might replace him, Stern was quick to suggest his best option: Simon Cowell. He said that Simon wants the job, anyway. However, as much as Stern is known as a man who tells it like it is, he did not reveal that an agreement had officially been made with the network. He said that he was too f—ing busy, and that he is undergoing his own career evaluation. It was reported that Stern was given until July 4th to decide if he will be renewing his contract. Every year so far, he has ultimately decided to re-up his season to season contract, persuaded by the large paycheck he is being offered. He claimed he really did struggle with the decision to sign on this year. Nevertheless, the press has interpreted Stern’s recent comment on his radio show as sounding more serious than ever before. We may therefore see a different face at the judge’s table next season.

America’s Got Talent

America’s Got Talent has been running on NBC since 2006. The show is executive produced by Simon Cowell, the man behind many other reality shows including Britain’s Got Talent, Pop Idol, The X Factor, and American Idol. America’s Got Talent differs from some of these other shows as the contestants can perform a range of activities, not just singing. In addition to vocal performance, the huge range of acts includes dancers, comedians, magicians, ventriloquists, technology-based performance, and anything that demonstrates a unique and magnficient talent.

“Skylight” Completes Run on a High Note

Tony Award Winning Best Revival Concludes Run

skylight posterOn June 21, 2015, Skylight played its final performance of its Tony Award winning run. It had been running since it began previews on March 13, 2015, and opening night took place on April 2, 2015. Skylight is a play by David Hare (The Year of Magical Thinking, The Vertical Hour) the premiered in the West End in 1995, followed by a Broadway premiere in 1996. The 2015 revival at the John Golden Theatre is likewise a transfer from the West End, where Stephen Daldry’s production ran in 2014. Stephen Daldry is the extremely prolific theatre director whose credits this season alone also include the highly acclaimed Broadway production of The Audience, as well as earlier productions on Broadway of Billy Elliot: The Musical, An Inspector Calls, and Via Dolorosa, the last of which was also written by David Hare. This revival of Skylight was nominated for seven Tony Awards, taking home only one but a prestigious one: the award for Best Revival of a Play. Of the three actors in the play – Carey Mulligan, Bill Nighy, and Matthew Beard – all received nominations for their performances, which were, respectively, Best Performance by an Actress in a Leading Role in a Play, Best Performance by an Actor in a Leading Role in a Play, and Best Performance by an Actor in a Featured Role in a Play. Stephen Daldry received a nomination for his direction, and the scenic designer and lighting designer were also honored with nominations.

Recoupment and Escalating Box Officecarey mulligan bill nighy skylight

On May 31, 2015, Skylight announced that it had recouped its initial capitalization, which is suspected to be in the realm of $3 million. Its highest weekly gross was achieved in the final week of performances, when the show brought in $927,539, representing 108.09% of its gross potential. The penultimate week was also an excellent one for Skylight’s box office, bringing in $865,346, which represents 100.85% of its gross potential. Though it took the final two weeks to reach the heights of 100% or higher of gross potential, the box office throughout the run was really not bad. With only two minor exceptions, every single week showed an increase in box office from the week before. In the first full week of eight performances, the week ending March 29, 2015, the weekly gross was $618,692, representing 76.54% of its gross potential. The only two occasions where the box office took a dip from the week before were the week ending May 10, 2015, and the week ending May 31, 2015, which were the insignificant decreases of $12,606 and $16,475, respectively. Therefore, ticket buyers became more interested in Skylight as the run went on, due likely to positive word of mouth, reviews, and then the announcement of Tony nominations and wins.

Another Coup for Scott Rudin

The lead producers of Skylight were Robert Fox and Scott Rudin. Rudin is known for his excellent productions of both new plays and revivals, generally starring a major Hollywood name. This season alone, Rudin was also responsible for the already recouped Fish in the Dark, the highly acclaimed A Delicate Balance, and the excellent revival of This Is Our Youth. He also had a hand in The Audience, The River, The Curious Incident of the Dog in the Night-time. In previous seasons, he has mounted such hits as The Book of Mormon, Death of a Salesman starring Philip Seymour Hoffman, Motherf**ker with the Hat, and countless others. Therefore, an investment with Rudin is generally a good bet, as is buying a ticket to a show that he has produced.

Broadway Show Ticket Sales Analysis w/e 6/21/2015

This week’s notable movements on Broadway are:

“Gigi” and “Skylight” See Rise in Final Week

In the week ending June 21, 2015, both Gigi and Skylight played their final week of performances. Gigi was nominated for no Tony Awards and received mixed to negative reviews, and therefore its closing was on somewhat of a disappointing note. Still, in its last week, Gigi saw an upturn of sales with the last chance fans rushing to catch Vanessa Hudgens in the title role, and Victoria Clark in the acclaimed supporting role of Mamita. This past week, Gigi brought in $619,008, which is an increase of $110,365 from the week before. In the previous week, its penultimate week of performances, sales also went up, that time by $106,697. However, in the previous three weeks before that, sales decreased on a weekly basis, so it was only in the last two weeks that sales saw an upsurge due to scarcity of remaining performances. This past week, the show brought in 46.01% of its gross potential, which is the almost the highest potential reached of any week. With a top ticket price of $198.00, the average paid admission in Gigi’s final week was $75.98. Skylight is a completely different story. Skylight was nominated for several Tony Awards and took home the award for Best Revival of a Play. It received excellent reviews, and performed very well throughout its run. Still, like with Gigi, in its final two weeks sales went even higher. In the week ending July 21, 2015, Skylight brought in $927,539, which was 108.09% of its gross potential, by far the highest gross of the run. The previous week, the gross was $865,346, which was 100.85% of the gross potential. Therefore, Skylight went out on a high note, averaging $144.57 for paid admission and filling up 100.0% of the audience capacity.

An Overall Static Week on Broadway

This past week, the entire Broadway industry saw an increase of only $349,473. With 30 shows running that week, that averages to be an increase of $11,649 per show. In actuality, 11 shows saw a decrease in sales, and 19 shows saw an increase in sales. From a macro perspective, the industry stayed relatively static from the week before. The greatest increase was seen by Gigi, and the second greatest by Skylight, as discussed in the previous paragraph. The biggest decrease was seen by Wolf Hall Parts One and Two, which brought in $467,890, a decrease of $114,082 from the week before. While the show received a lot of recognition from the Tony Awards, it seems to have nearly saturated its demand prior to its closing in early July. In addition, It Shoulda Been You saw a decrease of $58,885, bringing in a weekly gross of $344,196, which represents only 34.73% of its gross potential. Still, overall the Broadway industry stayed fairly constant this week, without too much extreme fluctuation.

The following are the Broadway ticket sales numbers for the week ending June 21, 2015:Broadway-Show-Ticket-Analysis-06-21-15

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $587,784 6,465 89.10% $90.92
ALADDIN $1,625,997 13,792 100.06% $117.89
AN ACT OF GOD $890,098 7,156 88.92% $124.38
AN AMERICAN IN PARIS $1,440,627 13,391 99.69% $107.58
BEAUTIFUL $993,120 7,734 94.23% $128.41
CHICAGO $718,511 8,533 98.76% $84.20
FINDING NEVERLAND $1,132,133 11,703 97.27% $96.74
FISH IN THE DARK $849,330 7,770 90.52% $109.31
FUN HOME $744,646 6,129 103.53% $121.50
GIGI $619,008 8,147 73.58% $75.98
HAND TO GOD $415,154 4,784 77.46% $86.78
HEDWIG AND THE ANGRY INCH $479,292 5,024 71.27% $95.40
IT SHOULDA BEEN YOU $344,196 5,350 66.08% $64.34
JERSEY BOYS $680,486 7,058 71.84% $96.41
KINKY BOOTS $867,192 8,458 74.25% $102.53
LES MISÉRABLES $659,355 8,550 75.85% $77.12
MAMMA MIA! $782,060 8,624 92.45% $90.68
MATILDA $1,044,453 11,375 99.29% $91.82
ON THE TOWN $558,807 9,118 60.82% $61.29
ON THE TWENTIETH CENTURY $582,490 5,620 97.30% $103.65
SKYLIGHT $927,539 6,416 100.00% $144.57
SOMETHING ROTTEN! $1,169,433 12,241 91.79% $95.53
THE AUDIENCE $1,206,318 7,612 101.72% $158.48
THE BOOK OF MORMON $1,517,932 8,752 102.63% $173.44
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $919,935 7,914 97.18% $116.24
THE KING AND I $1,154,506 8,264 98.66% $139.70
THE LION KING $2,154,719 13,600 100.00% $158.44
THE PHANTOM OF THE OPERA $982,442 11,419 88.93% $86.04
WICKED $1,947,674 15,331 99.50% $127.04
WOLF HALL PARTS ONE & TWO $467,890 4,923 44.50% $95.04
Total $28,463,126 261,253 88.24% $107.38

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

“Gigi” Concludes Its Run on Broadway

Negative Reviews, No Tony Love, and Inadequate Sales

gigi vanessa hudgensWhen Gigi began previews on March 19, 2015 at the Neil Simon Theatre, the first-time Broadway producer Jenna Segal had high hopes. She had shepherded this revival through substantial revisions to make it more suitable for modern day sensibilities, and she had found a bonafide star to play the title role: Vanessa Hudgens, making her Broadway debut no less. However, the community was fairly unwelcoming to this novice stage producer, which was demonstrating by the revival’s failure to receive any Tony nominations or awards. When the show opened on April 8, 2015, the reviews were mixed to negative, with most critics disliking the show for its bland attempts at political correctness and its overly bubbly efforts to dazzle without substance. Though Hudgens’ performance was praised, as was that of Victoria Clark who played Mamita, this was not enough to make the overall impression a positive one for reviewers. The musical did have a chance to perform at the Tonys, with Hudgens singing “The Night They Invented Champagne” along with the ensemble cast, but the highly theatrically and admittedly corny number did not sit well with broadcast audiences, and sales continued to be disappointing.

Unable to Achieve Even Half of Its Gross Potentialgigi-broadway-vanessa-hudgens

Since the show began performances, the highest weekly gross was $635,256, which occurred in the week ending April 12, 2015, shortly after the reviews came out. However, that response was very short lived, and probably was mostly made up of fans of Vanessa Hudgens who hadn’t yet heard she was on Broadway. However, a tween star has a limited marketing potential for Broadway audiences, who usually tend to average around age 55 and female. Therefore, other than that one week, the highest weekly gross was $585,448, which represents 49.44% of the show’s gross potential. The lowest gross earned thus far was $401,946, taking place in the week ending June 7, 2015, the week leading up to the Tony Awards. The following week, the show did see a jump to $508,643, which represents 37.81% of the show’s gross potential. However, that is not enough to allow this musical to persist on Broadway, as it has announced the closing date will be at the end of this week: June 21, 2015. The top ticket price is not abominably high at $198.00, and yet the average paid admission ranged from $65 to $80, demonstrating a heavy amount of discounting. Therefore, despite all the producers’ greatest efforts at marketing, much of which was done over social media, this show just couldn’t take off.

Demonstrating the Limited Power of Social Media on Broadway

Whereas social media has proven itself to be a force to be reckoned with in many other forms of entertainment, Broadway has been slow to embrace this marketing method. Gigi was an exception, with the producers aiming to leverage Hudgens’ young fan base. However, this wasn’t enough to make the show a hit at the box office. Though there is still potential for Broadway to catch up with the world in terms of how information is spread, it appears that theatre remains in the world of “old school,” with direct mail still functioning as a more effective marketing tool than social media. It is true that email blasts and websites are a major source of ticket sales and marketing, but social media is still proving a tough nut to crack for Broadway.

“Skylight” and “Fish in the Dark” Recoup

Tony Winning Revival “Skylight” Recoups Its Investment

skylight posterAmong the shows this season that have earned enough profits to recoup their initial capitalization, Skylight managed achieved this crucial marker of success in the week before the Tony Awards. The show has been running in previews since March 13, 2015 at the John Golden Theatre, and its official opening night was on April 2, 2015, after which it earned magnificent reviews. Skylight has been regularly bringing in grosses between $700,000 and $800,000 per week since this opening, with the highest weekly gross yet achieved this past week, the week ending June 14, 2015: $865,346. For the first time, the show broke through the 100% of gross potential mark, bringing in 100.85% of its gross potential with an average paid admission of $134.87. Though it was not revealed what the initial capitalization was for this show, the producers Scott Rudin and Robert Fox have done well for themselves, as recoupment was announced on May 31, 2015. It may have helped that this week the highest paid admission was raised from $297.00 to $323.00, but it is nevertheless undeniable that audience members were keen to catch this show before its closing next week on June 21, 2015.

Tony Snubbed Play “Fish in the Dark” Also Recoupslarry david  jason alexander

Unlike Skylight, which recouped after earning rave reviews and significant recognition from the Tony committee, Fish in the Dark achieved this honor after earning none of the other accolades. Fish in the Dark, written by and starring Larry David, began previews on February 2, 2015, and opened on March 5, 2015 at the Cort Theatre. This play has more than just financial success in common with Skylight; both plays are also produced by Scott Rudin, who certainly knows how to pick them. Fish in the Dark received a mixture of negative and blasé reviews, and it was not nominated for a single Tony award. However, Larry David still had the honor of presenting the Tony Award for Best Musical at the ceremony, alongside Jason Alexander who has recently replaced him in the starring role of Fish in the Dark. Despite a lack of success in the press and awards, the play achieved success in the way that ultimately matters most to producers: financial success. Recoupment was announced on May 20, 2015. Although the producers would not specify what the capitalization was, Variety speculated that it was between $3 million and $4 million, due to the large cast and A-list talent involved. The highest gross achieved thus far by Fish in the Dark took place in the week ending June 7, 2015, the week approaching the Tony Awards, when it brought in $1,246,196, representing 119.73% of its gross potential. The top ticket price is a whomping $497.00, and the average paid admission that week was $142.98. Still, since Jason Alexander took over in the following week, grosses have significantly diminished.

Skylight’s Tony Success

Skylight was nominated for seven Tony Awards, but only won one; still this was arguably the most coveted of the awards for which it was nominated: Best Revival of a Play. The other nominations it received were Best Performance by an Actor in a Leading Role in a Play for Bill Nighy, Best Performance by an Actress in a Leading Role in a Play for Carey Mulligan, Best Performance by an Actor in a Featured Role in a Play for Matthew Beard, Best Scenic Design of a Play for Bob Crowley, Best Lighting Design of a Play for Natasha Katz, and Best Direction of a Play for Stephen Daldry. Daldry, who also directed the highly acclaimed and financially successful The Audience, was nominated just for Skylight. However, in this case the Tony voters believed that the whole was greater than the sum of its parts, for it won the Tony Award that sums them all up: Best Revival. Fish in the Dark, on the other hand, received no Tony Awards, but made an even bigger splash at the box office with weekly grosses over $1 million every week in which Larry David appeared.

Broadway Show Ticket Sales Analysis w/e 6/14/2015

This week’s notable movements on Broadway are:

“Fish in the Dark” Took Major Hit with Jason Alexander Replacing Larry David

In the week ending June 14, 2015, Larry David’s blandly reviewed but heretofore top-selling comedy Fish in the Dark brought in $842,633 at the box office. This is a decrease of $403,563 from the week before. In almost every single week of the show’s run so far, it has brought in over one million dollars per week, and reached over 110% of its gross potential. However this past week, it only reached 80.97% of its gross potential. The reason is too clear to be denied: Jason Alexander took over the lead role from Larry David this week. Larry David, whose last performance was on June 7, 2015, has proven himself to be a huge draw at the box office. Even though the show was reviewed by most critics as less than magnificent, David lured fans in immense numbers for every single week in which he appeared onstage. Jason Alexander played Larry David’s surrogate George Costanza on the TV show “Seinfeld” for many years, and he is also a very successful actor on both stage and screen. However, it is probably the fact that Alexander is such a usual face on Broadway that made fans less interested in seeing him in this role. On the other hand, David was making his Broadway debut, and fans were dying to see him in person, even if the overall play was less than gut wrenchingly hilarious.

Tony Awards Had Only Small Impact on Sales This Week

This week was the first full week of Broadway performances since the Tony Awards, which took place on June 7, 2015. The biggest award, that for Best Musical, was given to Fun Home. Still, in the week ending June 14, 2015, Fun Home brought in $716,631, which is an increase of only $63,701 from the week before. It is true that Fun Home is in the very small Circle in the Square Theatre, which has a low ceiling on the number of audience members it can accommodate. Still, this week Fun Home brought in 94.26% of its gross potential, where other shows bring in over 100% due to premium ticket sales. Therefore, there is still room for growth in audience interest in this Tony Award winning Best Musical. As for An American in Paris, which some thought to be Fun Home’s biggest competition for that award, it showed a similar minor increase in ticket sales. This past week, it brought in $1,399,818, which is an increase of $31,084 from the week before. It barely beat out Fun Home in terms of percentage reached of gross potential, achieving 95.14% of its potential. As for Something Rotten!, the third and only other possible contender for the Best Musical award (no one thought The Visit would win), it brought in $1,178,048 this past week, which is an increase of $144,556 from the week before. Therefore, though it only reached 92.77% of its gross potential, it still saw a greater increase than either of the other two Best Musical nominees, proving that the winners of Tony Awards saw only a minor impact in comparison to those nominees that lost, at least in this first week right after the ceremony.

The following are the Broadway ticket sales numbers for the week ending June 14, 2015:Broadway Show Ticket Gross analysis

Show Name GrossGross TotalAttn %Capacity AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $553,366 6,046 83.32% $91.53
ALADDIN $1,592,508 13,786 100.01% $115.52
AN ACT OF GOD $852,902 6,889 85.60% $123.81
AN AMERICAN IN PARIS $1,399,818 13,345 99.35% $104.89
BEAUTIFUL $993,724 7,607 92.68% $130.63
CHICAGO $702,637 8,392 97.13% $83.73
FINDING NEVERLAND $1,172,903 11,920 99.07% $98.40
FISH IN THE DARK $842,633 7,781 90.65% $108.29
FUN HOME $716,631 6,116 103.31% $117.17
GIGI $508,643 6,482 58.54% $78.47
HAND TO GOD $389,264 4,585 74.24% $84.90
HEDWIG AND THE ANGRY INCH $456,585 4,858 68.92% $93.99
IT SHOULDA BEEN YOU $403,081 6,151 75.98% $65.53
JERSEY BOYS $681,426 7,144 72.72% $95.38
KINKY BOOTS $880,700 8,462 74.28% $104.08
LES MISÉRABLES $639,481 8,160 72.39% $78.37
MAMMA MIA! $776,089 8,773 94.05% $88.46
MATILDA $1,058,673 11,446 99.91% $92.49
ON THE TOWN $559,983 8,360 55.76% $66.98
ON THE TWENTIETH CENTURY $609,744 5,717 98.98% $106.65
SKYLIGHT $865,346 6,416 100.00% $134.87
SOMETHING ROTTEN! $1,178,048 12,195 91.44% $96.60
THE AUDIENCE $1,171,220 7,577 101.26% $154.58
THE BOOK OF MORMON $1,494,196 8,748 102.58% $170.80
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME $885,114 8,015 98.42% $110.43
THE KING AND I $1,109,198 8,115 96.88% $136.68
THE LION KING $2,102,748 13,500 99.26% $155.76
THE PHANTOM OF THE OPERA $980,877 11,657 90.79% $84.14
THE VISIT $274,465 4,613 64.00% $59.50
WICKED $1,954,144 15,332 99.51% $127.46
WOLF HALL PARTS ONE & TWO $581,972 5,978 54.03% $97.35
Totals $28,388,117 264,166 86.94% $105.08

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