Click below to access all the grosses from all the shows for the week ending 4/19/2015 in BroadwayWorld.com's grosses section.
Also, you will find information on each show's historical grosses, cumulative grosses and other statistics on how each show stacked up this week and in the past.
why did most shows go down this week? Maybe because it was so beautiful, and hasn't been this nice in a long time, and people didn't want to be inside a dark theatre.
"Love..." is the kind of charmning stunt (singer in non-singing role) that brightens a summer venue, as it did last year, apparently (though plenty of reservations were voiced). But who wants to see this world-class opera star in an evening that doesn't employ her known gifts? Were she in, say, "She Loves Me," and a couple of years ago, she might've been lovely in that central role, just chosen as an example, I would imagine a sell-out. But this is a farce, and she's playing a diva, and unless the script is top of the line, why would anyone pay top dollar?
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
In addition to what's been mentioned, the other notable things at the margins are OTT (down against new competition) and HTG (up some, certainly to a sustainable level). In the grey area are 4 also ran new musicals that are clearly in the red and maybe dead.
I wonder why THE VISIT is not papering-giving out more free tickets while in previews as they could easily give away at least 100-200 tickets per show to bring the box office to the 80-90%+ range! The gross for this week is 70.8% that's approx. 264 seats are empty each of the 8 performance as the theater seats 901.
Just saying...
"Anything you do, let it it come from you--then it will be new."
Sunday in the Park with George
"People have their opinions and that doesn't mean that their opinions are wrong or right. I just take it with a grain of salt because opinions are like as*holes, everyone has one".
-Felicia Finley-
To be fair, I'm an Anglophile, but I don't get the intensity of the aversion to London transfers. I'm gratified to see I'm not alone, as the two plays without any stars that still averaged over $100/ticket average were CURIOUS INCIDENT and WOLF HALL. CURIOUS is already an established hit (and I'm so happy for them for that) and I'm so glad they still have such strong grosses heading into Tony season.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
"To be fair, I'm an Anglophile, but I don't get the intensity of the aversion to London transfers. I'm gratified to see I'm not alone, as the two plays without any stars that still averaged over $100/ticket average were CURIOUS INCIDENT and WOLF HALL. CURIOUS is already an established hit (and I'm so happy for them for that) and I'm so glad they still have such strong grosses heading into Tony season."
I agree, and those two plays were my two favorite productions this season.
A little swash, a bit of buckle - you'll love it more than bread.