Heterosexual Males Prove To Be An Elusive Audience For Broadway Producers

For many years, a Broadway show producers lament has been “What’s more difficult than making a straight play on Broadway financially successful?  Making a straight man buy tickets to a Broadway show.”

Traditionally, heterosexual adult males have been an elusive demographic for Broadway. In the Broadway League’s newly released survey of the 2012-2013 season, it was found that 68 percent of audience members were female, which reflects a trend that has existed for decades.  Though little research has been done into the sexual orientation of Broadway audiences, it is clear from phenomenological observation that gay male theatre-goers are not hard to come by.

Mad Men In The Movie Theatre

Mad Men Photo Courtesy AMC Inc.

Straight men, however, are a rarer sight – according to a recent survey, 82 percent of heterosexual males who saw Broadway shows ended up going either because their partner made them or because someone else had bought the tickets.

Nevertheless, producers Fran Kirmser and Tony Ponturo have taken up this challenge three times in the past four years.  In mounting three plays by Eric Simonson that deal directly with sports-related content, they have aimed to woo straight men to the theatre.  Lombardi, a story about the eponymous football player, played at the Circle in the Square Theatre from 2010-2011; this show completed a successful run of 244 performances and is now being adapted into a film by Legendary Pictures.  However, their last two attempts with Simonson sports plays (Magic/Bird in 2012 and Bronx Bombers in 2014) both incurred major financial losses.  Bronx Bombers, which just announced its premature closing last week, recouped only 24 percent of its $3 million capitalization and averaged only 63 percent capacity throughout its short run.

Bronx Bombers

Sports is not the only subject that producers have undertaken in order to attract straight men to the audience.  Politics is another male-dominated topic.  This upcoming Broadway season includes one promising political play – Robert Schenkkan’s All The Way, which tells the behind-the-scenes story of Lyndon B. Johnson’s presidency during the passing of the Civil Rights Act of 1964.  In addition to its manly themes of power and justice, the Broadway production stars Bryan Cranston, who is well-known for his role in AMC’s Breaking Bad – a record-breaking hit television show and a favorite with men in particular.  Box office wraps for this play were strong enough to land it in the top 10 last week, though it is still in previews.  Other recent Broadway favorites on political themes include Frost/Nixon in 2007 and Gore Vidal’s The Best Man in 2012, both of which succeeded in recouping their investments.

Still, the playing field is open for wildcard topics to draw in the straight male audience.  For instance, Rock of Ages, with its head-banging 80′s rock score, has proved successful with this demographic.  Furthermore, both Monty Python’s Spamalot, which grossed more than $175 million over 1,500 performances between 2005 and 2009, and The Book of Mormon, running at full capacity with top box office grosses since 2011, provide an irreverent brand of comedy that appeals to the heterosexual male population.  Despite these successes, however, it still remains a challenge for producers to attract straight men to their theatres.

Dodger Theatricals’ Matilda Offers Discount Tickets At The TKTS Booth, But Nowhere Else

Matilda  on BroadwayMatilda the Musical, which has been playing on Broadway since spring 2013, is well on its way to establishing itself as a long-running hit musical.  After being nominated for thirteen Tony Awards and winning five, Matilda’s sales remained at full audience capacity for the majority of the summer, and the production has grossed well over a million dollars every single week since last April – until two weeks ago, when Matilda fell below the million-dollar mark.  Still, between the inclement weather and traditionally slower sales season of January to February, this is not necessarily a warning sign.  For instance, this past week it was the third highest show in terms of increase in gross from the previous week (up $220,225).

Matilda is one of the Broadway shows that is least frequently represented at TDF’s discount booth in Times Square. Dodger Theatricals, who partnered with the Royal Shakespeare Company to bring the musical over from London to Broadway, initially chose to discount at the booth for only a handful of performances in these past two weeks. The discount was only in the range of 30 to 40 percent (other shows often discount 50 percent). But recently they have started discounting the maximum allowed at the booth, which is the full 50 percent. Oddly, they opted to offer discounts only at the Times Square booth, not online or at the other TDF stations at South Street Seaport and Brooklyn.  This bespeaks a hit show, with an odd twist – only a hit show has the luxury of declining the opportunity to discount, as ticket-buyers will be more willing to purchase at full price.  It makes sense that producers tend to minimize their discounts in order to maximize their gross potential and recoup their investments as quickly as possible, but show some desperation in going to the maximum discount allowed.

matilda broadway discount

Still, this raises the question of when and why producers should choose to discount.

Matilda has been hovering around 90 percent capacity for the past few weeks, and yet it did not always choose to discount – instead preferring to leave tickets unsold to create a manipulated ticket market by having less inventory.  It is a tricky balance – and one of the greatest challenges of shepherding a show as producer throughout its run – to choose when to discount, and when to hold out for full-price sales and risk leaving seats empty.  Broadway general managers devote countless man-hours to calculating the precise percentages and platforms on which to offer discounts in order to maximize gross potential.  But this decision-making isn’t all quantitative, there is also the qualitative concern of a show’s brand image.

Producers generally believe that when a show appears at the booth, ticket buyers will consider it to be less of a hit.  For instance The Book of Mormon, widely known to be a tough ticket, never appears at the booth.  Though Matilda sold over $12 million in tickets while it was still in previews, it hasn’t yet announced recoupment on its $16 million capitalization.  Once a show is in profits, producers can breathe a little more easily, but at this stage Dodger Theatricals may still be treading carefully.  Brand image is especially important in light of the fact that Matilda announced its US National Tour two weeks ago; the tour will kick off at Los Angeles’ Ahmanson Theatre in May 2015.  It is important for out-of-town visitors to feel that Matilda is such a hot show that even if they don’t manage to snag a ticket during their trip to the city, they will be very excited to attend when the musical visits their hometown.  Therefore, even if selling the remaining 10 percent of seats at a discount may lead to a higher gross in the short term, such a choice could harm the show’s brand image over time.

Matilda The Musical

If producers do not discount anywhere else, they may choose to offer the show at the TDF booth because it is an easy last-minute option.  Unlike discounts offered through NYTix or telecharge e-blasts, which require the advertising agency to design a flyer and the general managers to advise on timing well in advance, producers can turn to the booth in a pinch if they notice one particular performance is particularly low in ticket sales.  Furthermore, booth discounts are not widely advertised; unlike direct mail discounts that arrive at homes around the country or ticket blasts that are sent to a slew of inboxes, the booth is a fairly private way to advertise discounts to tourists or New Yorkers who happen to show up that day and are rewarded with a whopping 50% discount on tickets to Matilda, something you cannot find anywhere else.  TDF’s website only shows discounts from the past weel, and then they disappear from record, which also protects the brand from dilution.

Still, in offering discounts only at the Times Square TKTS booth and not on the internet or in-the-mail offers, are the Matilda producers favoring tourists and isolating locals from the lower priced tickets? Even Dodger Theatricals choice of the Times Square TKTS over the South Street Seaport and Brooklyn TKTS booths seems to yell at New Yorkers to stay away. Its true that locals can access the Times Square booth if they so choose, although it  tends to be considered by most as a dire tourist destination, avoided by locals in almost all circumstances. Also, If it wasn’t bad enough already, the huge pedestrian construction in Times Square right now is a further impediment to locals venturing there in search of those discount tickets. Therefore, Dodgers Matilda discount ticket strategy effectively prevents locals who cannot, or choose not to, pay full price from seeing the show.  In contrast, local New Yorkers actually keep the Broadway industry alive during the soft months, but Dodger Theatricals tendency to prefer the booth over online discounts or other forms of direct response,  may very well be ostracizing the regular ticket buying market, the very life blood of Broadway ticket sales.  Every Broadway show, however, eventually wears out its unattainability, and it can be expected that in the next year or two, New Yorkers will have easier access to affordable Matilda tickets as Matilda ticket sales are not showing anywhere the same steep sales yield curve as The Book Of Mormon did at the very beginning of their run. A show cannot survive on discounting at the TKTS booth alone, unless Dodgers are in fact out to prove that it can. It wouldn’t be the first time that the Dodgers have flown in the face of conventional wisdom.

Next month sees Disney’s Aladdin open and Matilda will soon face some stiff competition from Disney, who are the masters in this genre. The Dodgers do have a success on their hands in Matilda, just not the runaway success they had hoped for.

Super Bowl XLVIII Negatively Impacts Broadway Ticket Sales, Despite Positive Expectations

superbowl 48 trophyOn Sunday, February 2, 2014, the Seattle Seahawks crushed the Denver Broncos, 43-8, winning the National Football League championship at the Super Bowl XLVIII. The game was held just over the Hudson River from New York City at MetLife Stadium in East Rutherford, New Jersey.

As it turns out, the Broncos were not the only ones who could have used a better defense.  Though Broadway shows across the board adjusted performance schedules and made promotional efforts to engage the influx of sports fans flocking to the city, theatre ticket sales were at a disappointing low, with weekly box office grosses dropping $2.4 million and with 15,000 fewer tickets sold compared to the previous 7-day period.

Total ticket sales were only $16,714,694 in the week leading up to the Super Bowl, though they reached $19,122,428 in the preceding week.  The only shows to reach full audience capacity were The Book of Mormon and the double-bill Mark Rylance-led Shakespeare productions of Twelfth Night and Richard III.  Even long-running hits such as The Lion King saw a big drop in sales, decreasing 10 percent since the week before.  Although the total weekly gross for all productions was comparable to the total gross in Super Bowl week last year, there are presently four more shows running than this time last year.

In recent history, Broadway producers have seen non-weather related ticket sales slumps, the most recent during the Republican National Convention in 2004, when ticket sales dropped 22%. This time the slump was so severe, that the New York City Mayor may rethink efforts to bring other events to the area, like the Olympics, the World Cup or even the Stanley Cup. It may increase hotel receipts, but do little for the rest of the NYC economy.

superbowl-tobaggan-run

In honor of the football event, New York City and the Super Bowl Host Committee joined forces to carry out an unprecedented shutdown of 13 blocks in Midtown Manhattan.  As a result, traffic was restricted in the heart of Times Square on Broadway between 34th Street and 47th Street for the four days leading up to the game.  The officially dubbed “Super Bowl Boulevard” hosted a slew of events ranging from a toboggan run to an outdoor stage featuring performances by, among others, the Broadway casts of Rock of Ages and Jersey Boys.  Other shows – including Rocky, Pippin, Motown, Chicago, Mamma Mia! and Newsies – gave special performances in nearby Bryant Park.  Still, it appears the excitement of the game overpowered the convenience of the theatre district welcoming the flood of visitors with open arms. The “Super Bowl Boulevard” festivities felt crushed in the small space on Broadway, especially given that the Javits Center, on the West Side of Manhattan was the original location earmarked , but another event grabbed the booking.

Broadway producers, anticipating the conflict, made significant efforts to take advantage of the tourist traffic.  Broadway Week, an annual 2-for-1 ticket promotion, happened to coincide with the shutdowns, and every running production (with the exception of the confident hit The Book of Mormon) participated in the discount program – most likely aiming to attract Super Bowl theatregoers.  Furthermore, the Broadway League (calling themselves “the theatrical equivalent of the NFL”) released a press statement welcoming Super Bowl XLVIII to Times Square, providing a user-friendly map for pedestrians to navigate their way to the theatres, and announcing alternate curtain times to accommodate football aficionados.

Rock of Ages

One show, Rock of Ages, made multiple efforts to attract football fans.  The 1980s rock jukebox musical has traditionally done very well with the adult male demographic, which is unusual for Broadway musicals.  It therefore makes sense that they would take this opportunity to gain added exposure among sports fans.  In addition to performing a half hour set onstage at Super Bowl Boulevard on Thursday afternoon prior to the game, the cast made the journey to MetLife Stadium on game day, performing two sets outside the gates prior to kickoff.  In an even greater feat, the producers convinced three NFL stars to join the cast onstage at Broadway’s Helen Hayes Theatre, playing bartenders in four brief scenes for a temporary stint.  However, Rock of Ages was no exception in terms of poor box office performance; their gross was $60,000 less than the previous week.

Overall, despite positive expectations that the event might help rally the crowds to Broadway, the performance week was disappointingly low.  Presumably, the grosses might have been even worse had it not been for the Broadway League’s efforts to woo the scant few Super Bowl fans that actually did go to a show.  It is likely that the Super Bowl fans also booked all the hotel rooms in New York City, which meant that the normal tourists didn’t have anywhere to stay. Super Bowl Boulevard also served to distract the remaining tourists from going to the theatre, merely adding to the multitude of entertainment options available in Times Square.  Still, some of these marketing efforts may prove fruitful in the long run, having possibly increased national awareness of the current Broadway slate.

Jimmy Fallon’s “The Tonight Show” Premieres On NBC To Great Fanfare

Jimmy Fallon on NBC's Tonight Show

It would have been hard for him to disappoint us.  On February 17th, 2014 Jimmy Fallon delighted audiences with an altogether successful inauguration as the new host of NBC’s The Tonight Show.  Stepping into the shoes worn by Jay Leno for 22 of the past 23 years, Fallon may not have struck a perfect balance between nervousness and humility in his first night on the job, yet he won us over with his coy charm and genuine gratitude for the opportunity to star in America’s longest running entertainment program. With Fallon’s initiation, the show has returned from Los Angeles to New York City, its original home from 1954 to 1972.  This has allowed Fallon to remain nearby his hometown of Saugerties in upstate New York – which made it relatively convenient for his parents Jim and Gloria Fallon, who sat proudly in the studio audience, to attend the premiere.  In Fallon’s opening monologue, he introduced himself as a 39 year-old man who lives in New York City with his beautiful wife Nancy and six month-old daughter Winnie, who is the best thing to have ever happened to him.  All in all, he succeeded in presenting himself as a loveable family man to whom the American public can’t help but relate.

jimmy-fallon-tonight-show

In one of the show’s more memorable bits, Fallon remarks that a buddy of his bet him $100 he would never host The Tonight Show.  Immediately, out walks an impressive procession of Hollywood stars and media icons, handing him $100: Robert DeNiro, Tina Fey, Joe Namath, Rudy Giuliani, Mariah Carey, Tracy Morgan, Joan Rivers, Kim Kardashian, Seth Rogen, Lindsay Lohan, Sarah Jessica Parker, Mike Tyson, Lady Gaga, and finally, Stephen Colbert – who opted to spill 10,000 pennies over Fallon, including in his shirt.

In addition to being a major crowd pleaser, this episode served to contextualize Fallon as not only a nice young man, but one who must be really, incredibly cool to have so many famous friends show up for the occasion.  This also helped ground the new The Tonight Show amongst the particularly New York A-list.  Other celebrity appearances included Will Smith, who danced beside Fallon to demonstrate the ‘Evolution of Hip-Hop Dancing,’ and U2, who played two songs in front of the New York skyline atop Rockefeller Center, harking back to the Beatles’ final concert on the rooftop of London’s Apple building in 1969.

Fallon’s premiere earned the third highest-ever ratings for The Tonight Show, with 11.3 million viewers tuning in.  The second highest was in May 2009 when Jay Leno stepped down as host for Conan O’Brien’s famously short-lived run, before Leno returned to the position one year later.  The highest was this past February 6th, when Leno retired for apparently the final time (14.6 million people watched).  Fallon’s debut likely benefited from its post-Winter Olympics placement, though that pushed it a half hour later than its regular 11:35pm timeslot.  In comparison to Fallon’s final episode of Late Night, which he hosted for 5 years, his The Tonight Show ratings were higher by 71 percent with an additional 6.6 million viewers.

Jimmy Fallon and Steven Colbert on The Tonight Show

These statistics do not necessarily include all the viewers of segments on YouTube, Hulu, or NBC’s own website.  One of Fallon’s best qualities is his ability to create share-worthy clips that are hilarious out of context, often which make serious people do silly things.  Still, for Fallon to stay atop his game in this new The Tonight Show job, he will need to appeal to the show’s middle-aged Middle America audience, while maintaining his viral fascination.  After all, the argument for Conan O’Brien to step down in 2010 so soon after beginning his tenure was that he had terminally narrow appeal, failing to please the older demographic.  Still, in just four years, our entire culture has become much more YouTube-centric, and perhaps Fallon’s internet-friendly strategy will be enough to keep him afloat.

 

Broadway Show Ticket Sales Analysis w/e 2/16/2014

Twelfth NightBIG LEAP IN BROADWAY SALES
New York City keeps getting pummeled with snow and cold temperatures, but the freeze seems to be thawing at Broadway box offices. Total revenue increased considerably this week, with Broadway ticket sales jumping from last week’s $17,841,889 up to $21,192,762 this week.

SHAKESPEARE DOUBLE BILL CLOSES
Despite the Bard’s enduring popularity, it’s not often that Broadway productions of Shakespearean plays are certifiable hits, but the double bill of Richard III and Twelfth Night featuring Mark Rylance earned raves from critics and big bucks from audiences. Both plays closed this weekend, and enjoyed sold out performances and average ticket prices of $110.02 for their final week on Broadway.

ROCKY ENTERS THE BROADWAY RING
The brand new musical version of the classic Sylvester Stallone flick Rocky began preview performances on Broadway this week. Though it has yet to prove itself a box office champ, the boxing-themed show is off to a promising start, selling at 84.97% capacity with an average paid admission of $95.69.

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

Broadway Show Ticket Sales Analysis

Show GrossGross Total Attn %Cap AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $471,751 5,497 75.76% $85.82
AFTER MIDNIGHT $619,847 6,870 82.89% $90.23
ALL THE WAY $770,789 8,188 71.67% $94.14
BEAUTIFUL $901,903 7,497 91.34% $120.30
BRONX BOMBERS $177,559 3,844 62.57% $46.19
CHICAGO $571,596 6,380 73.84% $89.59
CINDERELLA $896,903 10,384 74.13% $86.37
JERSEY BOYS $725,805 6,499 66.15% $111.68
KINKY BOOTS $1,431,140 10,243 89.91% $139.72
MACHINAL $216,017 3,763 64.70% $57.41
MAMMA MIA! $550,858 6,908 74.06% $79.74
MATILDA $1,146,444 10,340 90.26% $110.87
MOTOWN: THE MUSICAL $1,197,720 10,977 91.05% $109.11
NEWSIES $748,187 8,910 93.99% $83.97
NO MAN’S LAND/WAITING FOR GODOT $606,324 6,544 76.23% $92.65
ONCE $665,473 6,304 74.41% $105.56
OUTSIDE MULLINGAR $362,896 4,916 94.54% $73.82
PIPPIN $717,058 6,277 79.26% $114.24
ROCK OF AGES $369,131 4,027 86.34% $91.66
ROCKY $373,672 3,905 84.97% $95.69
THE BOOK OF MORMON $1,705,114 8,752 102.63% $194.83
THE BRIDGES OF MADISON COUNTY $348,594 6,424 78.80% $54.26
THE GLASS MENAGERIE $531,602 5,520 88.69% $96.30
THE LION KING $1,570,787 13,304 97.82% $118.07
THE PHANTOM OF THE OPERA $766,994 9,164 71.37% $83.70
TWELFTH NIGHT/RICHARD III $944,755 8,587 102.13% $110.02
WICKED $1,803,846 13,810 95.43% $130.62
Totals: $21,192,762 203,834 82.78% $98.76

Broadway ticket sales raw data are provided courtesy of The Broadway League All other data, text, opinion, charts and commentary are copyright © 2013 nytix.com

Broadway Understudy Documentary Coming Soon to Theaters

The StandbysThe life of an understudy is unknown to most people, but soon that will change with the new documentary, The Standbys. The film about Broadway understudies will be released in movie theaters starting February 21.

The Standbys follows three Broadway actors: Ben Crawford (standby in Shrek the Musical and Big Fish); Merwin Foard (standby for Gomez in The Addams Family); and Alena Watters (standby for Anita in the West Side Story revival).

In addition to following those three understudies “through their ups and downs, struggles and triumphs, onstage performances and private lives,” The Standbys also includes interviews with a number of Broadway luminaries, such as David Hyde Pierce, Zachary Quinto, Bebe Neuwirth, Sutton Foster, Brian d’Arcy James, Katie Finneran, and Cheyenne Jackson.

To learn more, visit www.TheStandbys.com.

Peter Pan Musical To Be Aired Live on TV

Peter PanIn the wake of the massive ratings success of NBC’s live production of The Sound of Music starring Carrie Underwood, the network has tapped producers Neil Meron and Craig Zadan to replicate their success with another live musical event later this year.

The next event will be the live broadcast of a production of the musical adaptation of J.M. Barrie’s play Peter Pan, which has lyrics by Carolyn Leigh, Betty Comden and Adolph Green, and music by Jule Styne and Moose Charlap. Originally produced on Broadway in 1954 with Mary Martin playing Peter Pan, this version features well-known songs like “I Won’t Grow Up” and “I’m Flying”.

“We hope to create the joy that has made this musical so beloved,” stated Meron and Zadon. “We would like a whole new generation to experience Peter Pan and for families across the country to share the magic.”

Casting has not yet been announced for NBC’s live airing of Peter Pan, but the broadcast is scheduled to air on December 4, 2014.

King Kong to Take the Foxwoods Following Spider-Man’s Closure

King KongIt seems that the Foxwoods Theatre on 42nd Street can’t get enough of multi-millionaire-dollar mega-musicals. After it was announced that the infamous spectacle Spider-man: Turn Off the Dark would be closing (the superhero musical shuttered on January 4), it became known that another well-known figure — King Kong — wanted to move in.

The new musical King Kong, which had its premiere in Melbourne, Australia, will come to Broadway late this year, with an opening scheduled for December 12, 2014. Written by Craig Lucas and Marius de Vries, King Kong brings the story of a gigantic silverback who gets loose in the city to the Broadway stage.

And if Spider-man, with its high-flying theatrics, seemed like a stage spectacle, King Kong is perhaps even more epic. The show features a cast of 49, a 76-person crew, and one enormous animatronic gorilla. The Foxwoods Theatre is one of the few Broadway theaters that is actually large enough to take on this colossal production.

Broadway Show Ticket Sales Analysis w/e 2/9/2014

A Night with Janis JoplinBROADWAY TICKET SALES GO UP
Following a depressing Super Bowl Week low-point in overall Broadway revenue last week, ticket sales on the Great White Way have risen by more than a million dollars, increasing from $16,714,694 to $17,841,889. While the bump up is encouraing, New York City is still mired in the midst of a very cold, snowy winter, so it is too soon to get optimistic that Broadway sales will continue to rise.

A NIGHT WITH JANIS JOPLIN CONCLUDES BROADWAY RUN
At 74.01% theater capacity, the last night of A Night with Janis Joplin on Broadway wasn’t a standing-room only crowd, but the rollicking musical revue still went out with decent sales in its last week, bringing in $78.63 average paid admission. Though A Night with Janis Joplin is no longer on Broadway, producers have already announced their intention to find another venue for the rockin’, blues-infused musical.

The following are the Broadway ticket sales numbers for the week ending February 9, 2014:

Broadway Show Ticket Sales Analysis

Show GrossGross Total Attn %Cap AvgPdAdm
A GENTLEMAN’S GUIDE TO LOVE AND MURDER $452,612 5,498 75.77% $82.32
A NIGHT WITH JANIS JOPLIN $342,185 4,352 74.01% $78.63
AFTER MIDNIGHT $647,925 7,426 89.60% $87.25
BEAUTIFUL $832,495 7,460 90.89% $111.59
BRONX BOMBERS $134,027 4,261 69.35% $31.45
CHICAGO $394,400 5,148 59.58% $76.61
CINDERELLA $633,396 7,937 56.66% $79.80
JERSEY BOYS $618,954 6,485 66.01% $95.44
KINKY BOOTS $1,284,663 10,607 93.11% $121.11
MACHINAL $215,339 3,583 61.61% $60.10
MAMMA MIA! $419,553 5,732 61.45% $73.19
MATILDA $926,219 10,243 89.41% $90.42
MOTOWN: THE MUSICAL $1,005,080 9,864 81.82% $101.89
NEWSIES $602,699 7,697 81.19% $78.30
NO MAN’S LAND/WAITING FOR GODOT $551,720 6,284 73.21% $87.80
ONCE $587,345 6,489 76.59% $90.51
OUTSIDE MULLINGAR $331,915 4,842 93.12% $68.55
PIPPIN $624,252 6,398 80.78% $97.57
ROCK OF AGES $321,202 3,842 82.38% $83.60
THE BOOK OF MORMON $1,608,197 8,752 102.63% $183.75
THE BRIDGES OF MADISON COUNTY $377,124 5,585 68.51% $67.52
THE GLASS MENAGERIE $466,556 5,017 80.61% $92.99
THE LION KING $1,397,103 13,313 97.89% $104.94
THE PHANTOM OF THE OPERA $659,176 9,029 70.32% $73.01
TWELFTH NIGHT/RICHARD III $914,033 8,585 102.11% $106.47
WICKED $1,493,721 13,992 96.68% $106.76
Totals: $17,841,889 188,421 79.82% $89.68

*Broadway Grosses courtesy of The Broadway League

A Night with Janis Joplin Closes on Broadway

A Night with Janis JoplinThe bluesy, rockin’ musical revue A Night with Janis Joplin, starring Mary Bridget Davies in the title role, concludes its run at the Lyceum Theatre on Broadway today. However, don’t expect the bio-musical to be gone for long — there are already plans to move it to another theater.

“We are tremendously proud of this show, and excited about the many people who want to see A Night with Janis Joplin in New York. We are finalizing a wonderful option to move to another venue in New York City,” stated producers Michael Cohl, Todd Gershwin, and Daniel Chilewich. “A Night with Janis Joplin receives four standing ovations nightly and continues to play to captivated crowds on Broadway. We know that the music and the story of Janis Joplin deserve to live on.”

Both directed and written by Randy Johnson, A Night with Janis Joplin opened on Broadway on October 10.