Click below to access all the Broadway grosses from all the shows for the week ending 9/17/2017 in BroadwayWorld'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.
Looks like the advance for CHARLIE may have finally run dry and we're starting to see the reviews/word of mouth impact grosses.
"Oh look at the time, three more intelligent plays just closed and THE ADDAMS FAMILY made another million dollars" -Jackie Hoffman, Broadway.com Audience Awards
I'm starting to worry about School of Rock. I know it's already recouped, and it's bound to do well over the holidays but it can't have much longer if it's only pulling in $600k+.
A little swash, a bit of buckle - you'll love it more than bread.
Beautiful, Kinky Boots and Chicago are doing pretty much what they did last year. To those predicting doom and gloom, I am betting that the three of them will be open a year from now, which may be a good thing, providing a safe haven from Margarittaville and Spongebob. (I am biased, I admit it. Even though I already have tickets for Frozen, I am really sick of jukebox shows and shows targeted to a family audience). Other than The Band's Visit and MFL, not too excited about anything announced thus far.
Back to the three above, Chicago and Kinky are way ahead of where they were at this point last year (even before Urie, Kinky was doing much better in 2017 than 2016, if not as 'out of the ball park' as during his run); Beautiful is at about 95% of 2016's grosses. Unless there is a big announcement coming as rumored re the next Jenna, I would stick with War Paint and Waitress as the next to close.
"Bandstand" going out with 101% capacity, even with allowances for 2-for-1, is a nice note, if a sad one. And I still cannot believe "Groundhog..." couldn't make it til Christmas, with this fall's musical opening less than high profile. Are tourists left with "Anastasia" and ...?
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
Well sadly that's what the tourists want. At almost $200 people don't want to see something new they might hate - like "Bandstand" - or a movie that doesn't really scream musical - like "Groundhog Day." I've seen GHD twice, albeit at lottery prices, but surprised word of mouth wasn't better. I think it's poor producing. They won the Oliver, why aren't they open in London!
It's so weird to me that Come from Away's numbers are consistently so high, and yet it's super easy to get tickets and doesn't seem to sell much too far in advance. It's like everyone wants to see it, but, unlike DEH or Hamilton, they're not in any hurry.
hork said: "It's so weird to me that Come from Away's numbers are consistently so high, and yet it's super easy to get tickets and doesn't seem to sell much too far in advance. It's like everyone wants to see it, but, unlike DEH or Hamilton, they're not in any hurry."
CFA is the new bridge-and-tunnel musical. It's found a steady audience and I don't think that's likely to change anytime soon. I'm just surprised it hasn't recouped yet. I can't imagine the weekly nut being that high, and it's been making over 1mil per week for awhile now.
If there's one thing that doesn't surprise me, it is the commercial failure of Groundhog Day. The show's target audience would be middle-aged men who remember and like the film. What was my first reaction? 'They're making Groundhog Day into a musical? Why?' I almost saw it on a Monday in April, mostly because I heard good things about Andy Karl, but we opted for another show. (It didn't help matters that my wife and daughter didn't like Matilda.)
I can't comment on the quality of the show, but it never had a chance.