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Note: Click on a Column Head to Sort/Graph by Column. Complete Statistical Data Not Available for Shows Prior to 1996.
| SHOW | Total Gross | Avg. Gross | Avg / Top Ticket | Seats Sold |
Total Seats |
Perf. | Avg. % |
|
A GENTLEMAN'S GUIDE TO LOVE AND MURDER (WALTER KERR) |
$617,753 | $617,753 | $95 $327 |
6,475 | 7,256 | 8 | 89.20% |
|
AIRLINE HIGHWAY (FRIEDMAN) |
$90,799 | $90,799 | $35 $0 |
2,619 | 3,762 | 6 | 69.60% |
|
ALADDIN (NEW AMSTERDAM) |
$2,024,667 | $2,024,667 | $131 $228 |
15,508 | 15,507 | 9 | 100.00% |
|
AN AMERICAN IN PARIS (PALACE) |
$967,151 | $967,151 | $80 $223 |
12,114 | 13,128 | 8 | 92.30% |
|
BEAUTIFUL (STEPHEN SONDHEIM) |
$835,957 | $835,957 | $114 $299 |
7,312 | 8,208 | 8 | 89.10% |
|
CHICAGO (AMBASSADOR) |
$669,411 | $669,411 | $90 $186 |
7,463 | 8,640 | 8 | 86.40% |
|
DOCTOR ZHIVAGO (BROADWAY) |
$368,018 | $368,018 | $49 $247 |
7,480 | 10,346 | 7 | 72.30% |
|
FINDING NEVERLAND (LUNT-FONTANNE) |
$1,153,212 | $1,153,212 | $98 $225 |
11,804 | 11,832 | 8 | 99.80% |
|
FISH IN THE DARK (CORT) |
$1,196,788 | $1,196,788 | $137 $497 |
8,720 | 8,584 | 8 | 101.60% |
|
FUN HOME (CIRCLE IN THE SQUARE) |
$310,222 | $310,222 | $73 $200 |
4,221 | 4,662 | 7 | 90.50% |
|
GIGI (NEIL SIMON) |
$585,448 | $585,448 | $68 $198 |
8,619 | 9,492 | 7 | 90.80% |
|
HAND TO GOD (BOOTH) |
$213,302 | $213,302 | $44 $223 |
4,848 | 6,256 | 8 | 77.50% |
|
HEDWIG AND THE ANGRY INCH (BELASCO) |
$493,136 | $493,136 | $90 $248 |
5,454 | 7,049 | 7 | 77.40% |
|
HONEYMOON IN VEGAS (NEDERLANDER) |
$368,966 | $368,966 | $69 $223 |
5,371 | 9,200 | 8 | 58.40% |
| SHOW | Total Gross | Avg. Gross | Avg / Top Ticket | Seats Sold |
Total Seats |
Perf. | Avg. % |
|
IT SHOULDA BEEN YOU (BROOKS ATKINSON) |
$310,872 | $310,872 | $57 $197 |
5,473 | 7,824 | 8 | 70.00% |
|
IT'S ONLY A PLAY (JACOBS) |
$514,337 | $514,337 | $84 $225 |
6,093 | 8,616 | 8 | 70.70% |
|
JERSEY BOYS (AUGUST WILSON) |
$710,080 | $710,080 | $95 $199 |
7,466 | 9,824 | 8 | 76.00% |
|
KINKY BOOTS (AL HIRSCHFELD) |
$937,627 | $937,627 | $102 $299 |
9,165 | 11,392 | 8 | 80.50% |
|
LES MISÉRABLES (IMPERIAL) |
$981,252 | $981,252 | $90 $273 |
10,848 | 11,272 | 8 | 96.20% |
|
LIVING ON LOVE (LONGACRE) |
$126,172 | $126,172 | $32 $275 |
3,977 | 5,365 | 5 | 74.10% |
|
MAMMA MIA! (BROADHURST) |
$813,160 | $813,160 | $92 $225 |
8,884 | 9,328 | 8 | 95.20% |
|
MATILDA (SHUBERT) |
$1,416,637 | $1,416,637 | $123 $250 |
11,493 | 11,456 | 8 | 100.30% |
|
ON THE TOWN (LYRIC) |
$563,746 | $563,746 | $60 $247 |
9,468 | 14,992 | 8 | 63.20% |
|
ON THE TWENTIETH CENTURY (AMERICAN AIRLINES) |
$509,348 | $509,348 | $94 $229 |
5,398 | 5,776 | 8 | 93.50% |
|
SKYLIGHT (GOLDEN) |
$625,494 | $625,494 | $101 $248 |
6,201 | 6,416 | 8 | 96.60% |
|
SOMETHING ROTTEN! (ST. JAMES) |
$507,102 | $507,102 | $49 $197 |
10,257 | 10,760 | 8 | 95.30% |
|
THE AUDIENCE (SCHOENFELD) |
$1,142,590 | $1,142,590 | $152 $323 |
7,505 | 7,483 | 7 | 100.30% |
|
THE BOOK OF MORMON (EUGENE O'NEILL) |
$1,517,640 | $1,517,640 | $173 $477 |
8,751 | 8,528 | 8 | 102.60% |
|
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME (ETHEL BARRYMORE) |
$749,788 | $749,788 | $101 $195 |
7,412 | 8,144 | 8 | 91.00% |
| SHOW | Total Gross | Avg. Gross | Avg / Top Ticket | Seats Sold |
Total Seats |
Perf. | Avg. % |
|
THE HEIDI CHRONICLES (MUSIC BOX) |
$275,393 | $275,393 | $69 $223 |
3,994 | 8,008 | 8 | 49.90% |
|
THE KING AND I (VIVIAN BEAUMONT) |
$828,367 | $828,367 | $99 $0 |
8,376 | 8,376 | 8 | 100.00% |
|
THE LION KING (MINSKOFF) |
$2,633,531 | $2,633,531 | $172 $198 |
15,295 | 15,300 | 9 | 100.00% |
|
THE PHANTOM OF THE OPERA (MAJESTIC) |
$1,230,960 | $1,230,960 | $110 $200 |
11,142 | 12,840 | 8 | 86.80% |
|
THE VISIT (LYCEUM) |
$214,803 | $214,803 | $42 $225 |
5,155 | 7,208 | 8 | 71.50% |
|
WICKED (GERSHWIN) |
$2,358,372 | $2,358,372 | $149 $225 |
15,857 | 17,334 | 9 | 91.50% |
|
WOLF HALL PARTS ONE & TWO (WINTER GARDEN) |
$689,541 | $689,541 | $85 $294 |
8,127 | 11,064 | 8 | 73.50% |
| TOTAL | $29,551,642 | $820,879 | $100.40 $237.39 |
294,345 | 341,228 | 281 | 86.26% |
Note: All data presented for informational purposes only. BroadwayWorld.com makes no guarantees as to the accuracy of the data, or the matter in which it's presented. Source: The Broadway
League..
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