The strong showing was typical of a generally upbeat Week 50 on Broadway (ending May 12), with 38 productions taking in $36,855,347, an 8% bump over the previous week. Total attendance was up 7%, to 316,359.
The well-reviewed Morrissey, though not officially a part of the Lunt-Fontanne’s upcoming In Residence On Broadway series, suggests producers might be on to something with the idea – at least with performers backed by a fan base as loyal as the one that’s stuck with Morrissey all these years. Attendance for the seven performances – which spanned two Broadway weeks – was 10,085, about 96% of capacity. Average ticket price was $187.
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Elsewhere in the district, the new strong just got stronger, with Tootsie settling into the $1M+ turf, grossing $1,409,488, a solid $150,000+ over the previous week, with attendance at 92% capacity at the Marquis.
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Hadestown, leading the Tony-nominated pack with 14, stayed afire at the Walter Kerr, selling out and hitting $1,097,115. Like Tootsie, Hadestown joins Ain’t Too Proud as a recent musical member of Broadway’s weekly Million Dollar Club. Other bragging rights for Hadestown: The gross is the highest in the Kerr’s history for any show not starring Bruce Springsteen.
Network, back from a brief hiatus with seven performances, grossed $950,745, 99.62% of potential. That tiny daylight between 100%? Likely the partially comped Wednesday night crowd Cranston imported from his appearance on The Late Show with Stephen Colbert.
Also on the non-musical side, To Kill A Mockingbird continued in its record-breaking fashion, grossing $1,632,527, a tiny slip from the previous week – the show played to a full house of $10-paying students for the Thursday matinee. Attendance for the week was the usual SRO.
Frankie And Johnny In The Clair De Lune, the Terrence McNally revival starring Audra McDonald and Michael Shannon, played seven previews at the Broadhurst, perhaps getting a little lost in the Tony storm (the play, which opens May 30, opened too late for eligibility this season). The production grossed $280,005 for the seven-performance week, about 27% of potential. Attendance was at 68% of capacity, with average ticket price at about $50.
Likely benefiting from the recent Tony nominations, The Prom, at the Longacre, saw an 11% bump in box office, grossing $583,781, still just about 56% of potential. Attendance was at 82% of capacity.
Be More Chill, still rightfully smarting from a couple Tony snubs of its cast, slipped by $3,820 to $407,296 at the Lyceum. That’s just 47% of potential, though attendance was a bit better at 67% of capacity.
The week’s sell-outs – or close enough, with attendance at 98% of capacity or more – were Ain’t Too Proud, Come From Away, Dear Evan Hansen, Hadestown, Hamilton, Harry Potter and the Cursed Child, Kiss Me Kate, Network, Oklahoma!, The Book of Mormon, The Lion King, To Kill a Mockingbird and What The Constitution Means To Me.
Season to date, Broadway has grossed $1,758,314,119, about 11% better year to year. Attendance of 14,143,363 was up 10% over last year at this time.
All figures courtesy of the trade group Broadway League.
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