Disney’s duo of The Lion King and Aladdin rang up respective sales of $2.2 million and $1.6 million in Week 30 of the Broadway season, which ended Sunday. Wicked ($2 million) and The Book Of Mormon ($1.9 million) completed the winning quartet, with Mormon again topping the charts with a per-ticket average of $212.95.

Also per usual, It’s Only A Play was the top non-musical ducat, with a per-ticket average of $168 as theatergoers clamor to get in before Nathan Lane’s post-New Year’s departure (when he’s replaced by Martin Short). Close on its heels was the Bradley Cooper-starring revival of The Elephant Man, which again broke the house record at the Booth Theatre, toting up $973K, an average per-ticket price of $159.81. That show also announced an extension of its limited run through February 22.

CabaretTwo shows got infusions of star power, with split results: Emma Stone won rapturous notices as Sally Bowles in the Alan Cumming-led revived revival of Cabaret, spiking the Studio 54 box office by $127K to $936K and full houses. The Last Ship, however, saw a small fall-off of $38K at the Neil Simon Theatre despite Sting’s appearance in the cast. (That could change with positive notices for the singer coming out today.)

In a week that saw the overall Broadway box office jump 4% to $31.3 million, according to figures compiled by the trade group Broadway League, shows that went into the stand wobbly continued to wobble despite the infusion of holiday tourist dollars. Jason Robert Brown’s Honeymoon In Vegas, with Tony Danza starring, continues its long slide in previews, taking in a disastrous $322K, less than 29% of its $1.1 million gross potential and off $75K from the previous week. That suggests the people who are going aren’t leaving the Nederlander Theatre inspired to tell their friends it’s a must-see.

Fans of Idina Menzel might be thinning too, as If/Then lingers in the 40%-of-gross-potential arena, along with Pulitzer winner Disgraced, wonderfully received On The Town and the similarly lauded Michael Cera-led This Is Our Youth, reinforcing the truism that you can’t make people see a show that, for whatever reason, they don’t want to see.