Broadway Takes $34M In Week 3; ‘To Kill A Mockingbird’ Re-Breaks House Record, ‘Ain’t Too Proud’ Gets Next To One

To Kill A Mockingbird
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While Gary and Hillary announced their Broadway leave-taking amidst the post-Tonys fallout, a greater number of productions saw their fortunes burnished in the afterglow of the nationwide trophy fest. To Kill a Mockingbird — notably not up for Best Play but grabbing some fine Tony airtime with Celia Keenan-Bolger’s charming acceptance speech (she’s Scout) — broke its own house record¬†at the Shubert Theatre¬†yet again.

To the penny, or the dollar anyway, Mockingbird contributed $1,950,347 to Broadway’s overall $34,493,610 for Week 3 of the season (ending June 16). That total, for 35 productions, was a hold-steady figure from the previous week, despite there being two fewer production on the boards (Network and King Lear were no more.)

Total attendance for the third week of the Broadway season was 292,380, a slight 5% dip from the previous week.

Another mega-performer of the week was Ain’t Too Proud, grossing $1,604,639 – that’s 109% of its potential at the SRO Imperial. Standing between the Temps and the Imperial Theatre house record is Billy Elliot, which grossed $1,663,895 for the holiday week ending January 3, 2010.

Be More Chill — the Joe Iconis musical that received only one nomination (original score), nary a win and no official Tony night performance — nonetheless saw a 7% bump in box office receipts (to $416,560). Maybe that James Corden “Michael in the Bathroom” parody (and the subsequent social media credit-giving) worked some magic? Nice thought, but hard to say: Attendance at the Lyceum actually slipped a notch in the week after the Tonys.

Some of the shows with clearer-cut boosts from Tony’s flash were Beetlejuice, enjoying a bump of more than $100,000, to $923,837; Hadestown, the big winner for Best Musical, was up by nearly $60G, but with a gross of $1.3M and attendance at 101% of capacity, the boost seems like so much lily-gilding; and Oklahoma!, the Best Musical Revival at Circle in the Square, was SRO as usual, with receipts climbing more than $50G to $638,014. Best Play The Ferryman also saw a nice bump, increasing by more than $150G to $770,194.

Nathan Lane Julieta Cervantes

Signing off for good was Gary: A Sequel to Titus Andronicus, closing earlier than anticipated after leaving the Tonys empty-handed; final weekly gross at the Booth for Taylor Mac’s exceptional comedy was $273,013, a tiny 32% of potential; RIP to this brave, brilliant production. (Next to go is Hillary and Clinton, which announced its closing today; these two plays likely won’t be the last of the Tony shakeouts).

On pleasanter notes, the roster of sold-out productions (or nearly so, at 98% of capacity or more) for Week 3 included Ain’t Too Proud, Aladdin, Come From Away, Dear Evan Hansen, Hadestown, Hamilton, Harry Potter and the Cursed Child, Mean Girls, Oklahoma!, The Book of Mormon, The Lion King, To Kill a Mockingbird, What the Constitution Means To Me and Wicked.

Season to date, Broadway has grossed $104,506,394, off about 10% from last year at this time. Total attendance to date is 905,405, about 1.4% more than last year at this time.

All figures courtesy of the trade group Broadway League.

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