Broadway Grosses: Week Ending 12/29/19

[Rob]

Click below to access all the Broadway grosses from all the shows for the week ending 12/29/2019 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.

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Up for the week by attendance was: CHICAGO (26.6%), THE LIGHTNING THIEF (24%), TOOTSIE (22.9%), THE PHANTOM OF THE OPERA (15.3%), DERREN BROWN: SECRET (13.4%), SLAVA'S SNOWSHOW (12.6%), OKLAHOMA! (9.8%), JAGGED LITTLE PILL (6.6%), THE SOUND INSIDE (6.5%), HARRY CONNICK, JR. - A CELEBRATION OF COLE PORTER (5.7%), THE LION KING (4.9%), BEETLEJUICE (4.1%), AIN'T TOO PROUD (4%), SLAVE PLAY (3.9%), THE BOOK OF MORMON (3.7%), MEAN GIRLS (3.4%), WAITRESS (3.1%), FREESTYLE LOVE SUPREME (2.8%), ALADDIN (2.1%), THE INHERITANCE (1.4%), FROZEN (1.1%), COME FROM AWAY (0.9%), TO KILL A MOCKINGBIRD (0.7%), AMERICAN UTOPIA (0.5%), MOULIN ROUGE! (0.2%), TINA - THE TINA TURNER MUSICAL (0.2%), HADESTOWN (0.1%), DEAR EVAN HANSEN (0.1%),

Down for the week by attendance was: A CHRISTMAS CAROL (-9.5%), THE ILLUSIONISTS - MAGIC OF THE HOLIDAYS (-5.3%),

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Sponsored By: The Book of Mormon - The New York Times calls The Book of Mormon "the best musical of this century." The Washington Post says, "It is the kind of evening that restores your faith in musicals." And Entertainment Weekly says, "Grade A: the funniest musical of all time." Jimmy Fallon of The Tonight Show calls it "Genius. Brilliant. Phenomenal." The Book of Mormon, the nine-time Tony Award®-winning Best Musical.

[Miles2Go2]

With so many shows doing very well over Christmas week, the shows that are struggling stand out even more. Most notably The Inheritance. I’m glad I’m seeing both parts on Sunday because I don’t see how it can sustain much longer with those abysmal revenues and seat capacity percentages. I know the investors are likely propping it up in hopes it’ll do well at the Tony Awards if it’s still open, but that seems futile now too given mixed buzz/reviews. Still looking forward to Sunday though.

Also, the different trajectories for Beetlejuice and Tootsie have never been more apparent. I know Beetlejuice box office will likely settle down in January, but if it continues to do solid box office, one would think they’ll looking at moving to another theater if it’s feasible. 

I’m seeing The Sound Inside on Friday as first show of my trip. I know serious plays are a hard sale this time of year, but I do wish it was doing better. 

[LuPita2]

Holy SH*T Beetlejuice!

[a-mad]

A great week all around, as expected.  Nice to see Frozen have such a huge increase.  Yes, it was expected, but I'm wondering if the sequel is helping drive some ticket sales.  It will be interesting to see what develops this Spring. 

[Patti LuPone FANatic]

Fantastic grosses for "Chicago"!!

[ACL2006]

MERRY CHRISTMAS!! Happy to see so many shows do well this time of year. Take note in the grosses as most shows did 9 performances this week.

[Wick3]

I know Christmas Carol broke the house record at the Lyceum yet again which is great but I actually think the gross and attendance numbers would be higher had they put the added shows on or before Dec 25th (Wednesday) rather than after Christmas. Just a thought since I noticed the show’s attendance numbers decreased by 9% compared to the week before.

Given this past week is the highest weekly gross Moulin Rouge ever had, I’d think that would be a house record at Al Hirschfeld.

Yes I agree on Inheritance. Even Lightning Thief had a higher gross than Inheritance. :/

It’s simply amazing how long running shows like Phantom, Lion King, and Wicked are doing extremely well.

[SweetLips22]

Holy-be-Jesus--there are a lot of $s flying around Broadway, for now.

As mentioned--Chicago--WOW--we have an excellent production--same same--here now in Australia doing buffo box office so the everlasting LOVE for this show seems to be unstoppable.

I hope WSS continues to build and build and just let the changes develop and find a new life, attract new audiences and hopefully 2020 might find a forgiveness for one apparently very talented 'idiot' in that cast.

[GreasedLightning]

Simply incredible, is all I can really say. Wow.

[ucjrdude902]

To be fair alot of these shows did well because they added a 9th show.

[Miles2Go2]

ucjrdude902 said: "To be fair alot of these shows did well because they added a 9th show."

They’re overall box office gross is higher for sure in large part because of their 9th show, but their high percentage of gross potential is not unless I’m missing something.

 

[IdinaBellFoster]

Even without the 9th show, that BEETLEJUICE number is insane.

The pricing structure for THE INHERITANCE is so frustrating. I’ve been holding off buying tickets because of it, and then to see this grosses it’s even more annoying.

[AEA AGMA SM]

Miles2Go2 said: "ucjrdude902 said: "To be fair alot of these shows did well because they added a 9th show."

They’re overall box office gross is higher for sure in large part because of their 9th show, but their high percentage of gross potential is not unless I’m missing something."

You're correct, Miles, in that this is a week where looking at the percentage of the gross potential does help to tell the story. Many of the shows with the crazy high numbers had those because of a combination of a 9th show plus surpassing their gross potential by pretty large margins. The marketing teams for those shows, such as Beetlejuice, did some impressive work in convincing people that those premium seats (which is what pushes the gross potential above 100%) were worth shelling out for. 

I admit that I didn't personally care all that much for Beetlejuice (it was entertaining while I was there, but left very little lasting impression on me), but I'm pretty impressed by the way they were able to get their name and product out there. I fully expected them to follow the same trajectory as Tootsie (continually slowing sales with a January closing), and am surprised that they managed to pull out of that path and turn things around. It will certainly be interesting watching the continuing saga of their uncertain future play out over the next six months to see if sales remain strong enough to make a move (provided an appropriate theatre becomes available).

[quizking101]

TINA has to be breaking some kind of box office record for a jukebox bio-musical. Those numbers are nuts!

I continue to be upset with THE INHERITANCE because I feel (and continue to insist) that the performance schedule and pricing structure are effing terrible. It a great play that deserves an audience, but somewhere along the line, the producers threw out the rule book about what makes other two-partners viable, if not successful.
- Uneven performance schedule (5/3 instead of 4/4)
- Inability to buy tickets as a pair for one seat (which saves A LOT of headache)
- The initial prices were obscene. I remember the whole orchestra starting in the $140-$150 range and the last of the mezzanine was $99 because they thought they truly had the buzz from London to back it up and they wanted to fleece the rich society gays first and pray word of mouth would build - and now they are dropping ticket prices to a desperate level I’ve only ever seen with HEAD OVER HEELS and THE LIGHTNING THIEF.

With all these factors in play, the show will most certainly not make it to the Tony Awards (releasing a new block of tickets means nothing - as we have learned with shows gone by), let alone the end of January. I can’t see Tony Goldwyn making things better either