With Broadway in the final days of its statistically extended 2017-2018 year (53 weeks instead of 52, long story), grosses held steady for the week ending May 20, according to figures from the Broadway League.
The tally for 35 shows (down one after Lobby Hero‘s exit) reached $38,813,251, a virtual dead heat with the prior week’s $38,621,280. For the full year, receipts are at $1.658 billion, up 14.4% from 2016-17 after 52 weeks. (The extra week is added in certain years in order to make comparisons more fair.) Much of this year’s gains have come due to ticket prices as dynamic pricing continues to raise the ceiling for select shows. Attendance, the measure of how many people are actually sitting in seats, is up a more moderate 1.6% over last year. The League plans to announce full-year numbers on May 29, after the Memorial Day holiday.
Harry Potter and the Cursed Child, the top draw among new spring shows, saw its weekly take dip 6% to $1.993 million from $2.125 million. The show’s reps pointed out that Tony Awards season means performances of the play’s two parts are riddled with comps for voters.
Some other spring heavyweights, such as leading Tony Award nominees Mean Girls and Angels in America, were flat almost down to the dollar, at $1,489,149 and $924,352, respectively. SpongeBob SquarePants, which is tied with fellow musical Mean Girls for the most overall noms with 12, saw its tally rise 6% to $730,325 from $691,085 the week before.
Donna Summer crowd-pleaser Summer has been pulling in north of $1 million a week since opening last month at the Lunt-Fontanne. Last week, its gross inched up to $1.160 million from $1.125 million in the prior period.
Audiences also seemed to keep plenty of dry powder for Hamilton, which gained 11% to $3.12 million, still the best in the business by a wide margin.