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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. % |
|
ALADDIN (NEW AMSTERDAM) |
$1,494,139 | $1,494,139 | $111 $228 |
13,507 | 13,816 | 8 | 97.80% |
|
AMERICAN PSYCHO (SCHOENFELD) |
$472,563 | $472,563 | $69 $248 |
6,841 | 7,217 | 7 | 94.80% |
|
AN AMERICAN IN PARIS (PALACE) |
$900,006 | $900,006 | $88 $223 |
10,212 | 13,432 | 8 | 76.00% |
|
BEAUTIFUL (STEPHEN SONDHEIM) |
$882,474 | $882,474 | $123 $299 |
7,203 | 8,208 | 8 | 87.80% |
|
BLACKBIRD (BELASCO) |
$433,038 | $433,038 | $80 $248 |
5,443 | 8,112 | 8 | 67.10% |
|
BRIGHT STAR (CORT) |
$391,861 | $391,861 | $70 $248 |
5,600 | 8,384 | 8 | 66.80% |
|
CHICAGO (AMBASSADOR) |
$494,896 | $494,896 | $80 $186 |
6,189 | 8,640 | 8 | 71.60% |
|
DISASTER! (NEDERLANDER) |
$291,351 | $291,351 | $66 $197 |
4,420 | 9,584 | 8 | 46.10% |
|
ECLIPSED (GOLDEN) |
$281,599 | $281,599 | $71 $198 |
3,954 | 6,416 | 8 | 61.60% |
|
FIDDLER ON THE ROOF (BROADWAY) |
$770,572 | $770,572 | $90 $225 |
8,606 | 13,656 | 8 | 63.00% |
|
FINDING NEVERLAND (LUNT-FONTANNE) |
$610,077 | $610,077 | $78 $225 |
7,790 | 12,032 | 8 | 64.70% |
|
FULLY COMMITTED (LYCEUM) |
$386,498 | $386,498 | $72 $250 |
5,372 | 7,312 | 8 | 73.50% |
|
FUN HOME (CIRCLE IN THE SQUARE) |
$418,140 | $418,140 | $82 $220 |
5,102 | 5,920 | 8 | 86.20% |
|
HAMILTON (RICHARD RODGERS) |
$1,813,655 | $1,813,655 | $169 $475 |
10,754 | 10,568 | 8 | 101.80% |
| SHOW | Total Gross | Avg. Gross | Avg / Top Ticket | Seats Sold |
Total Seats |
Perf. | Avg. % |
|
JERSEY BOYS (AUGUST WILSON) |
$495,098 | $495,098 | $87 $199 |
5,712 | 9,824 | 8 | 58.10% |
|
KINKY BOOTS (AL HIRSCHFELD) |
$626,626 | $626,626 | $93 $299 |
6,744 | 11,392 | 8 | 59.20% |
|
LES MISÉRABLES (IMPERIAL) |
$689,608 | $689,608 | $80 $225 |
8,589 | 11,272 | 8 | 76.20% |
|
LONG DAY'S JOURNEY INTO NIGHT (AMERICAN AIRLINES) |
$356,646 | $356,646 | $78 $252 |
4,573 | 5,180 | 7 | 88.30% |
|
MATILDA (SHUBERT) |
$807,649 | $807,649 | $82 $250 |
9,796 | 11,456 | 8 | 85.50% |
|
ON YOUR FEET! (MARQUIS) |
$864,813 | $864,813 | $101 $199 |
8,577 | 13,008 | 8 | 65.90% |
|
SCHOOL OF ROCK (WINTER GARDEN) |
$993,584 | $993,584 | $98 $248 |
10,165 | 11,960 | 8 | 85.00% |
|
SHE LOVES ME (STUDIO 54) |
$492,102 | $492,102 | $81 $252 |
6,094 | 8,064 | 8 | 75.60% |
|
SHUFFLE ALONG, OR, THE MAKING OF THE MUSICAL SENSATION OF 1921 AND ALL THAT (MUSIC BOX) |
$766,912 | $766,912 | $114 $373 |
6,719 | 6,741 | 7 | 99.70% |
|
SOMETHING ROTTEN! (ST. JAMES) |
$688,616 | $688,616 | $84 $277 |
8,247 | 12,032 | 8 | 68.50% |
|
THE BOOK OF MORMON (EUGENE O'NEILL) |
$1,322,498 | $1,322,498 | $152 $477 |
8,728 | 8,528 | 8 | 102.30% |
|
THE COLOR PURPLE (JACOBS) |
$694,145 | $694,145 | $102 $193 |
6,832 | 8,408 | 8 | 81.30% |
|
THE CRUCIBLE (WALTER KERR) |
$688,299 | $688,299 | $102 $327 |
6,760 | 7,600 | 8 | 88.90% |
|
THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME (ETHEL BARRYMORE) |
$425,606 | $425,606 | $76 $233 |
5,616 | 8,144 | 8 | 69.00% |
|
THE FATHER (FRIEDMAN) |
$243,636 | $243,636 | $53 $150 |
4,596 | 5,200 | 8 | 88.40% |
| SHOW | Total Gross | Avg. Gross | Avg / Top Ticket | Seats Sold |
Total Seats |
Perf. | Avg. % |
|
THE HUMANS (HELEN HAYES) |
$390,555 | $390,555 | $91 $248 |
4,271 | 4,608 | 8 | 92.70% |
|
THE KING AND I (VIVIAN BEAUMONT) |
$918,970 | $918,970 | $120 $297 |
7,687 | 8,376 | 8 | 91.80% |
|
THE LION KING (MINSKOFF) |
$1,996,041 | $1,996,041 | $148 $225 |
13,452 | 13,568 | 8 | 99.10% |
|
THE PHANTOM OF THE OPERA (MAJESTIC) |
$910,453 | $910,453 | $83 $200 |
10,912 | 12,840 | 8 | 85.00% |
|
TUCK EVERLASTING (BROADHURST) |
$324,493 | $324,493 | $48 $223 |
6,726 | 8,127 | 7 | 82.80% |
|
WAITRESS (BROOKS ATKINSON) |
$880,303 | $880,303 | $105 $270 |
8,356 | 8,360 | 8 | 100.00% |
|
WICKED (GERSHWIN) |
$1,676,579 | $1,676,579 | $119 $240 |
14,143 | 14,456 | 8 | 97.80% |
| TOTAL | $26,894,101 | $747,058 | $98.05 $253.51 |
274,288 | 342,441 | 284 | 80.10% |
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
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