With less than a month to go in the official Broadway season, total grosses for the week ending April 22 came in at $37,506,237, according to the Broadway League. That’s about $260,000 shy of last week’s tally, meaning essentially flat.
The total did rise 5% over the same week in 2017, from 36 shows compared with 38 a year ago, but it reflected a somewhat mixed bag of individual show results. Newer entries such as Carousel and Mean Girls ticked up, with the former spiking 22% to $1.28 million and the latter rising 6% to $1.47 million. Harry Potter and the Cursed Child, while already well-established commercial force of nature, slowed 25% from last week’s heady pace. The downturn was largely due to the prevalence of comp tickets for press and Tony voters, but it didn’t help the overall cause.
Many shows held almost exactly steady week to week, including Angels in America, Frozen and the long-reigning weekly box office champ, Hamilton.
Despite the stagnation, the Broadway community has its cautiously optimistic eye on the year-to-date total. After Week 48, which ended Sunday, overall receipts stand at a bit better than $1.5 billion — a remarkable 14.6% improvement from 2017 as of this point. Actual attendance, skeptics would be hasty to note, has inched up a far more modest 1.5%, meaning the box office gains are due to a boom in pricing.
Harry Potter, which officially opened on April 22, collected $1.27 million, down from $1.7 million the week before. Backers of the expensive production are hardly fretting, though, considering the nearly unanimous rapture from critics, whose blurbs would make even the hardest-bitten publicist weep.
This week will see several high-profile openings as the Tony window gradually closes. Summer: The Donna Summer Musical opens tonight, followed by Travesties on Tuesday, Saint Joan on Wednesday and The Iceman Cometh on Thursday.
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