Jagged Little Pill, the Alanis Morissette musical that’s not about Alanis Morissette, joined the Million Dollar Club in its first full week on the Broadway grosses chart, taking in $1,107,845 for eight previews for the week ending Nov. 10.
The Jagged take no doubt helped Broadway’s overall total, which jumped about 14% from last week to $35,399,366. In all, Broadway’s 35 productions drew 291,419 ticket-buyers, an 8% over the previous week.
Based on the themes of Morissette’s 1995 album, Jagged tells the story of a suburban family dealing with some turbulence in their lives, rather than being an Morissette bio-musical like Tina, also doing big biz. Jagged filled about 95% of seats at the Broadhurst, and earned about 89% of box office potential (expect that figure to rise when last week’s average ticket price of $129 to rise).
As for Tina – The Tina Turner Musical, critics crowned a new toast of the town in Adrienne Warren, who...
The Jagged take no doubt helped Broadway’s overall total, which jumped about 14% from last week to $35,399,366. In all, Broadway’s 35 productions drew 291,419 ticket-buyers, an 8% over the previous week.
Based on the themes of Morissette’s 1995 album, Jagged tells the story of a suburban family dealing with some turbulence in their lives, rather than being an Morissette bio-musical like Tina, also doing big biz. Jagged filled about 95% of seats at the Broadhurst, and earned about 89% of box office potential (expect that figure to rise when last week’s average ticket price of $129 to rise).
As for Tina – The Tina Turner Musical, critics crowned a new toast of the town in Adrienne Warren, who...
- 11/11/2019
- by Greg Evans
- Deadline Film + TV
Hadestown, the Tony-Winning Best New Musical, has become the first musical of the 2018-2019 Broadway season to recoup its initial investment of $11.5M, producers said today.
The announcement was made by producers Mara Isaacs, Dale Franzen, Hunter Arnold, and Tom Kirdahy.
The musical, written by Anaïs Mitchell and directed by Rachel Chavkin, is one of the few productions from last season that continues to fill all of its seats, week after week. Hadestown is the highest-grossing musical in the history of Broadway’s Walter Kerr Theatre.
Lead producer Mara Isaacs said in a statement, “Hadestown is a testament to the power of live theater to connect us all. It started in 2006 as an indie theater project, traveling around New England in a silver-painted school bus and has grown to something that has touched millions of people. As this show has developed, we have welcomed a wonderful group of artists, friends,...
The announcement was made by producers Mara Isaacs, Dale Franzen, Hunter Arnold, and Tom Kirdahy.
The musical, written by Anaïs Mitchell and directed by Rachel Chavkin, is one of the few productions from last season that continues to fill all of its seats, week after week. Hadestown is the highest-grossing musical in the history of Broadway’s Walter Kerr Theatre.
Lead producer Mara Isaacs said in a statement, “Hadestown is a testament to the power of live theater to connect us all. It started in 2006 as an indie theater project, traveling around New England in a silver-painted school bus and has grown to something that has touched millions of people. As this show has developed, we have welcomed a wonderful group of artists, friends,...
- 11/11/2019
- by Greg Evans
- Deadline Film + TV
With Broadway’s fall wave of new productions mostly still finding their seats last week, several of the more established – recently established, but established – smashes kept doing what they do, selling out and breaking records. To Kill a Mockingbird, Moulin Rouge! and Hadestown raked it in, helping Broadway’s overall box office during the week ending Oct. 13 jumped 17% over the previous week.
In all, box office for Broadway’s 34 productions totaled $35,212,990, a fraction below June’s post-Tony season high, with last week’s attendance up 8% from the previous week to 282,646.
Contributing to the fall’s strongest week yet was To Kill A Mockingbird, the Aaron Sorkin adaption of Harper Lee’s novel, now 49 weeks into its run and posting a best-ever $2,244,415, breaking its own house record at the Shubert Theatre for the ninth time and, with total gross sales surpassing $100M, secure in its spot as the highest grossing American play in Broadway history.
In all, box office for Broadway’s 34 productions totaled $35,212,990, a fraction below June’s post-Tony season high, with last week’s attendance up 8% from the previous week to 282,646.
Contributing to the fall’s strongest week yet was To Kill A Mockingbird, the Aaron Sorkin adaption of Harper Lee’s novel, now 49 weeks into its run and posting a best-ever $2,244,415, breaking its own house record at the Shubert Theatre for the ninth time and, with total gross sales surpassing $100M, secure in its spot as the highest grossing American play in Broadway history.
- 10/15/2019
- by Greg Evans
- Deadline Film + TV
Broadway box office was down nearly 10% from the previous week’s Labor Day holiday tourist bulge, with the 25 productions grossing a total $25,965,471. Attendance of 224,402 was steady with the prior week, though should have been better: The roster count was up by two over the previous week’s 23 shows.
Just about every production on the roster, though, reported a box office slip from the week before, not surprising given the back-to-earth post-holiday frame (figures reflect the week ending Sept. 8).
A few newcomers helped a tad, though opener Betrayal, the gloriously reviewed Harold Pinter revival starring Tom Hiddleston, Zawe Ashton and Charlie Cox, reported a modest dip due to the Sept. 5 opening night comps and the week’s press seats. The production took in $623,475, a negligible .5% slip, with attendance at the Bernard B. Jacobs Theatre at 7,718, a strong 93% of capacity.
Beginning previews was the much-anticipated The Great Society, Pulitzer Prize-winning playwright Robert Schenkkan...
Just about every production on the roster, though, reported a box office slip from the week before, not surprising given the back-to-earth post-holiday frame (figures reflect the week ending Sept. 8).
A few newcomers helped a tad, though opener Betrayal, the gloriously reviewed Harold Pinter revival starring Tom Hiddleston, Zawe Ashton and Charlie Cox, reported a modest dip due to the Sept. 5 opening night comps and the week’s press seats. The production took in $623,475, a negligible .5% slip, with attendance at the Bernard B. Jacobs Theatre at 7,718, a strong 93% of capacity.
Beginning previews was the much-anticipated The Great Society, Pulitzer Prize-winning playwright Robert Schenkkan...
- 9/9/2019
- by Greg Evans
- Deadline Film + TV
A power outage affected a vast portion of Manhattan Saturday night, causing nearly all of the evening’s Broadway shows to cancel their performances. However, the cast of some of the musicals ensured theatergoers’ plans weren’t completely ruined by the blackout by providing impromptu street performances outside their respective theaters.
The casts of the Tony Award for Best Musical-winning Hadestown, Waitress and Come From Away were among those to greet the dispersing audiences on the Great White Way and perform stripped-down renditions of their musical’s songs.
When the...
The casts of the Tony Award for Best Musical-winning Hadestown, Waitress and Come From Away were among those to greet the dispersing audiences on the Great White Way and perform stripped-down renditions of their musical’s songs.
When the...
- 7/14/2019
- by Daniel Kreps
- Rollingstone.com
In the Tony Awards homestretch, Broadway productions slipped only a tad in the post-Memorial Day holiday week, with total box office for the 38 productions sliding a negligible 4% to $34,573,185. Attendance for the first week of the new Broadway season – the week ending June 2 – was off only 3% from the holiday take, with 306,164 ticket-buyers in seats.
Two productions opened during Week 1, with Terrence McNally’s well-reviewed Frankie And Johnny In The Clair De Lune, starring Audra McDonald and Michael Shannon at the Broadhurst, grossing $274,391, a small 23% of potential, attributable at least in part to opening night comps and press seats. Attendance was about 52% of capacity. Next week’s figures might better suggest whether those good reviews will translate at the b.o. Frankie And Johnny, which opened after the close of the Tony nomination period, has been left out of the awards hubbub.
The other opener was musician Yanni, playing a five-performance week...
Two productions opened during Week 1, with Terrence McNally’s well-reviewed Frankie And Johnny In The Clair De Lune, starring Audra McDonald and Michael Shannon at the Broadhurst, grossing $274,391, a small 23% of potential, attributable at least in part to opening night comps and press seats. Attendance was about 52% of capacity. Next week’s figures might better suggest whether those good reviews will translate at the b.o. Frankie And Johnny, which opened after the close of the Tony nomination period, has been left out of the awards hubbub.
The other opener was musician Yanni, playing a five-performance week...
- 6/3/2019
- by Greg Evans
- Deadline Film + TV
The set of Hadestown, the Broadway musical up for 14 Tony Awards on June 9th, features a set with wildly swinging lamps and a trap door that hurls people into the underworld. But as the show’s auteur, Anaïs Mitchell, demonstrates, the show wasn’t always so hi-tech. Putting down the iced beverage she’s sipping in a coffee shop in Times Square, a few streets south of the theater hosting Hadestown, Mitchell remembers the way the earliest version of the show tackled a scene in which one of the leading...
- 6/1/2019
- by David Browne
- Rollingstone.com
Box office for the 2018-19 Broadway season hit a big $1.829 billion, easily besting the second closest recent year-end tally (last year’s tally for an unusual 53-week season of $1.697 billion). Total attendance for the just-concluded 52-week season was 14,77 million, about 7% greater than last year’s 53-week tally of 13,79 million.
“The trend is clear: Broadway has never been more appealing to so many different people, ranging from kids to grandparents and everyone in between,” Broadway League president Charlotte St. Martin said in a statement. “This substantial growth in attendance clearly reflects the large variety of offerings including long-running shows, new hit productions and stories relevant to our society today. This coupled with the fact that over 50% of tickets are priced below $101, the industry is achieving its goal of being more accessible to everyone.”
The new season has been heavy on the big hitters, from To Kill a Mockingbird and Network to...
“The trend is clear: Broadway has never been more appealing to so many different people, ranging from kids to grandparents and everyone in between,” Broadway League president Charlotte St. Martin said in a statement. “This substantial growth in attendance clearly reflects the large variety of offerings including long-running shows, new hit productions and stories relevant to our society today. This coupled with the fact that over 50% of tickets are priced below $101, the industry is achieving its goal of being more accessible to everyone.”
The new season has been heavy on the big hitters, from To Kill a Mockingbird and Network to...
- 5/28/2019
- by Greg Evans
- Deadline Film + TV
Broadway settled into its pre-Tony wait-and-see groove last week, with box office for most shows hovering just above, below or on par with the previous week. In all, the 37 productions took in $35.1 million for the 2018-19 season’s Week 51, a small 5% dip from the previous week. Total attendance was 310,574, a 2% drop.
The previous week, not so incidentally, had one additional production on the boards – Morrissey’s $1.9 million seven-night residency at the Lunt-Fontanne – which certainly accounts for a hefty chunk of last week’s $1.8 million drop in overall box office.
Also contributing to the week’s slip: Burn This, starring Keri Russell and Adam Driver, played only six performances (two fewer than usual) to accommodate Driver’s trip to the Cannes Film Festival to promote his upcoming film The Dead Don’t Die. The play grossed $177,919 less than the previous week, coming in at $676,047. The Hudson Theatre was 96% full for those six shows,...
The previous week, not so incidentally, had one additional production on the boards – Morrissey’s $1.9 million seven-night residency at the Lunt-Fontanne – which certainly accounts for a hefty chunk of last week’s $1.8 million drop in overall box office.
Also contributing to the week’s slip: Burn This, starring Keri Russell and Adam Driver, played only six performances (two fewer than usual) to accommodate Driver’s trip to the Cannes Film Festival to promote his upcoming film The Dead Don’t Die. The play grossed $177,919 less than the previous week, coming in at $676,047. The Hudson Theatre was 96% full for those six shows,...
- 5/20/2019
- by Greg Evans
- Deadline Film + TV
Tony nominees Hadestown, The Ferryman and Bryan Cranston for his performance in Network took top honors at the 85th annual Drama League Awards, which were unveiled at a gala luncheon Friday at the Marriott Marquis Times Square. The awards, the nation’s oldest theatrical honors, recognize the year’s best distinguished productions and performances along with career achievements.
Hadestown, which leads all nominees for this year’s Tony Awards with 14, won the Drama League awards for Outstanding Production of a Musical, with The Ferryman, with nine Tony noms, winning for Outstanding Production of a Play. Revival honors went to Kiss Me Kate for musical and The Waverly Gallery for play.
Cranston, up for a Best Actor in Play Tony for his portrayal of news anchor Howard Beale, was given the Drama League’s Distinguished Performance Award. Other winners included Kiss Me Kate‘s Kelli O’Hara; Beetlejuice director Alex Timbers; and Taylor Mac,...
Hadestown, which leads all nominees for this year’s Tony Awards with 14, won the Drama League awards for Outstanding Production of a Musical, with The Ferryman, with nine Tony noms, winning for Outstanding Production of a Play. Revival honors went to Kiss Me Kate for musical and The Waverly Gallery for play.
Cranston, up for a Best Actor in Play Tony for his portrayal of news anchor Howard Beale, was given the Drama League’s Distinguished Performance Award. Other winners included Kiss Me Kate‘s Kelli O’Hara; Beetlejuice director Alex Timbers; and Taylor Mac,...
- 5/17/2019
- by Patrick Hipes
- Deadline Film + TV
No moping for Morrissey’s Broadway box office: The former Smith’s frontman grossed $1.9M for his seven-night residence at the Lunt-Fontanne Theatre, playing to near-capacity crowds.
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.
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.
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.
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.
- 5/13/2019
- by Greg Evans
- Deadline Film + TV
This year’s Tony Award nominations did not favor Network or To Kill a Mockingbird in the Best Play race, but lead actors Bryan Cranston and Jeff Daniels are both expressing their gratitude for their Best Actor in a Play nominations.
“It has been an honor to play Atticus Finch on Broadway,” Daniels said in a statement. “And now this. Thank you, American Theatre Wing.”
Cranston, nominated for his turn as Howard Beale, said, “It’s hard to stay Mad as Hell when you’re nominated for a Tony! Thank you to the members of the American Theater Wing & the Broadway League for this recognition.”
The revival of Lanford Wilson’s Burn This is up for Best Revival of a Play and star Adam Driver earned a nomination for Best Actor for his high-energy interpretation of Pale, a role originated by John Malkovich.
“It’s hard to articulate the honor it is to be nominated,...
“It has been an honor to play Atticus Finch on Broadway,” Daniels said in a statement. “And now this. Thank you, American Theatre Wing.”
Cranston, nominated for his turn as Howard Beale, said, “It’s hard to stay Mad as Hell when you’re nominated for a Tony! Thank you to the members of the American Theater Wing & the Broadway League for this recognition.”
The revival of Lanford Wilson’s Burn This is up for Best Revival of a Play and star Adam Driver earned a nomination for Best Actor for his high-energy interpretation of Pale, a role originated by John Malkovich.
“It’s hard to articulate the honor it is to be nominated,...
- 4/30/2019
- by Dade Hayes and Greg Evans
- Deadline Film + TV
Broadway settled back a bit last week, slipping about 5% to $38,151,116 from the previous week’s Easter-bumped receipts. Total attendance for the 36 shows during Week 48 was down a small 3% to 316,868.
The week was a busy one (especially for critics), with the opening nights of the final four Tony-eligible productions of the 2018/19 season. In chronological order (and keeping in mind all those press previews and opening night comps):
All My Sons, starring Annette Bening, Tracy Letts and Benjamin Walker at the nonprofit Roundabout’s subscription-heavy American Airlines Theatre, opened April 22 to near-full houses. Box office was $447,448; Tootsie opened to strong reviews at the Marquis on April 23, with 91% of seats filled for seven performances, heavily comped. Receipts of $959,001 reflected about 64% of potential; Ink, opened April 24 at the nonprofit subscription-heavy Manhattan Theatre Club’s Samuel J. Friedman Theatre, and took in $327,495, 90% of seats filled; Beetlejuice opened at the Winter Garden...
The week was a busy one (especially for critics), with the opening nights of the final four Tony-eligible productions of the 2018/19 season. In chronological order (and keeping in mind all those press previews and opening night comps):
All My Sons, starring Annette Bening, Tracy Letts and Benjamin Walker at the nonprofit Roundabout’s subscription-heavy American Airlines Theatre, opened April 22 to near-full houses. Box office was $447,448; Tootsie opened to strong reviews at the Marquis on April 23, with 91% of seats filled for seven performances, heavily comped. Receipts of $959,001 reflected about 64% of potential; Ink, opened April 24 at the nonprofit subscription-heavy Manhattan Theatre Club’s Samuel J. Friedman Theatre, and took in $327,495, 90% of seats filled; Beetlejuice opened at the Winter Garden...
- 4/29/2019
- by Greg Evans
- Deadline Film + TV
The Ferryman, Network, To Kill A Mockingbird and What The Constitution Means To Me are among the Broadway and Off Broadway productions taking nominations in this year’s New York Drama League Awards.
The 2019 nominees were announced today in the categories of Outstanding Production of a Play, Outstanding Revival of a Play, Outstanding Production of a Musical, Outstanding Revival of a Musical, and the Distinguished Performance Award. The roster was read this morning by the current stars of Broadway’s Waitress, Shoshana Bean and Jeremy Jordan at Sardi’s Restaurant.
The 85th Annual Drama League Awards will be held on Friday, May 17.
Here is the complete list of nominees:
Outstanding Production Of A Broadway Or Off-broadway Play
Collective Rage: A Play in Five Betties
by Jen Silverman
Directed by Mike Donahue
McC Theater
Dance Nation
Written by Clare Barron
Directed by Lee Sunday Evans
Playwrights Horizons
Fairview
Written by Jackie Sibblies...
The 2019 nominees were announced today in the categories of Outstanding Production of a Play, Outstanding Revival of a Play, Outstanding Production of a Musical, Outstanding Revival of a Musical, and the Distinguished Performance Award. The roster was read this morning by the current stars of Broadway’s Waitress, Shoshana Bean and Jeremy Jordan at Sardi’s Restaurant.
The 85th Annual Drama League Awards will be held on Friday, May 17.
Here is the complete list of nominees:
Outstanding Production Of A Broadway Or Off-broadway Play
Collective Rage: A Play in Five Betties
by Jen Silverman
Directed by Mike Donahue
McC Theater
Dance Nation
Written by Clare Barron
Directed by Lee Sunday Evans
Playwrights Horizons
Fairview
Written by Jackie Sibblies...
- 4/17/2019
- by Greg Evans
- Deadline Film + TV
With all of its new spring arrivals up and running, Broadway box office held about steady from the previous week, a good sign given that two fewer shows were on the boards during Week 46 (ending April 14). In all, the 36 productions took in $34,725,461, with attendance of 304,463 down a small 3.4% from the previous week.
A roster of eight previewing productions awaited opening nights that will unfold over the next couple of weeks. So in chronological order:
Burn This was down about 6% from the previous week, a slip that can be chalked up to five heavily comped press performances. The Lanford Wilson revival starring Keri Russell and Adam Driver at the Hudson Theatre took in $762,998. Opening night is April 16; Hadestown, the remarkable musical re-telling of the Orpheus myth, was Sro at the Walter Kerr, grossed $688,422, about 81% of potential. Opens April 17; Hillary and Clinton, starring Laurie Metcalf and John Lithgow at the Golden, also had a press-heavy week,...
A roster of eight previewing productions awaited opening nights that will unfold over the next couple of weeks. So in chronological order:
Burn This was down about 6% from the previous week, a slip that can be chalked up to five heavily comped press performances. The Lanford Wilson revival starring Keri Russell and Adam Driver at the Hudson Theatre took in $762,998. Opening night is April 16; Hadestown, the remarkable musical re-telling of the Orpheus myth, was Sro at the Walter Kerr, grossed $688,422, about 81% of potential. Opens April 17; Hillary and Clinton, starring Laurie Metcalf and John Lithgow at the Golden, also had a press-heavy week,...
- 4/15/2019
- by Greg Evans
- Deadline Film + TV
A Broadway crowded with new spring shows saw customers making tough choices last week, with a hefty slice of the 38 productions registering a slip in box office from the previous week. In all, Broadway grossed $35,291,616 during Week 45 (ending April 7), a 4% dip from the previous week.
Total attendance was 315,320, about the same as the previous week despite one more production on the roster. Average ticket price was down a bit – from $117 to $112 – with total attendance at about 90% of capacity.
Two productions – All My Sons and Ink – joined the line-up, just as two – Kinky Boots and The Band’s Visit – bid adieu. Only the latter saw a last-minute bump, with receipts climbing by $90,453 to $756,099. Kinky Boots held steady, taking in $1,009,005, about 78% of potential for its farewell week.
All My Sons, the Arthur Miller revival starring Annette Bening, Tracy Letts and Benjamin Walker, filled about 92% of seats at the American Airlines Theatre, grossing...
Total attendance was 315,320, about the same as the previous week despite one more production on the roster. Average ticket price was down a bit – from $117 to $112 – with total attendance at about 90% of capacity.
Two productions – All My Sons and Ink – joined the line-up, just as two – Kinky Boots and The Band’s Visit – bid adieu. Only the latter saw a last-minute bump, with receipts climbing by $90,453 to $756,099. Kinky Boots held steady, taking in $1,009,005, about 78% of potential for its farewell week.
All My Sons, the Arthur Miller revival starring Annette Bening, Tracy Letts and Benjamin Walker, filled about 92% of seats at the American Airlines Theatre, grossing...
- 4/8/2019
- by Greg Evans
- Deadline Film + TV
Has Broadway ever looked more Hollywood? Beetlejuice and Tootsie have joined a theatrical lineup that already includes Network, Pretty Woman and King Kong, to name a few of this season’s stage adaptations of Tinseltown classics — and judging by the latest arrivals’ box office performances, audiences show few signs of big-screen burnout.
Beetlejuice was a sellout in its first two previews at the Winter Garden Theatre, grossing $332,008, with an average ticket price of $123. Tootsie was comparable, grossing $354,746 for its first two previews at the Marquis, with attendance of 3,204 at 98% of capacity. Beetlejuice opens April 25 and Tootsie on April 23.
Overall, Broadway box office for Week 44, ending March 31, was up 8% from the previous week, scoring $36.8 million. Attendance for the 37 shows was 313,513, a 5% jump over the previous week.
Opening to ecstatic reviews at the Helen Hayes Theatre, Heidi Schreck’s What the Constitution Means to Me took in $276,611 for six previews and the opening-night performance,...
Beetlejuice was a sellout in its first two previews at the Winter Garden Theatre, grossing $332,008, with an average ticket price of $123. Tootsie was comparable, grossing $354,746 for its first two previews at the Marquis, with attendance of 3,204 at 98% of capacity. Beetlejuice opens April 25 and Tootsie on April 23.
Overall, Broadway box office for Week 44, ending March 31, was up 8% from the previous week, scoring $36.8 million. Attendance for the 37 shows was 313,513, a 5% jump over the previous week.
Opening to ecstatic reviews at the Helen Hayes Theatre, Heidi Schreck’s What the Constitution Means to Me took in $276,611 for six previews and the opening-night performance,...
- 4/1/2019
- by Greg Evans
- Deadline Film + TV
Broadway’s Temptations jukebox musical Ain’t Too Proud sang to the tune of $1 million-plus last week, joining the upper reaches of a generally on-key 35-show box office roster. In all, Broadway grossed $34,204,242, a 4% bump over the previous week’s take.
Attendance for the 35 productions during Week 43 (ending March 24) was up a commensurate 4% to 298,672.
Opening to mixed-to-positive reviews, the full-titled Ain’t Too Proud: The Life And Times of The Temptations grossed $1,102,218, a $152,437 increase over the previous week – and that’s with opening comps and press nights. Seats at the Imperial Theatre were 99.9% filled.
The Temps tale certainly got Broadway’s spring off to a fine start, with plenty of other hopefuls in the wings. What the Constitution Means to Me, writer-performer Heidi Schreck’s Off Broadway smash now in previews at Broadway’s Helen Hayes Theatre, played to nearly full houses — 98.2% of capacity, to be exact — and grossing $387,553, about...
Attendance for the 35 productions during Week 43 (ending March 24) was up a commensurate 4% to 298,672.
Opening to mixed-to-positive reviews, the full-titled Ain’t Too Proud: The Life And Times of The Temptations grossed $1,102,218, a $152,437 increase over the previous week – and that’s with opening comps and press nights. Seats at the Imperial Theatre were 99.9% filled.
The Temps tale certainly got Broadway’s spring off to a fine start, with plenty of other hopefuls in the wings. What the Constitution Means to Me, writer-performer Heidi Schreck’s Off Broadway smash now in previews at Broadway’s Helen Hayes Theatre, played to nearly full houses — 98.2% of capacity, to be exact — and grossing $387,553, about...
- 3/25/2019
- by Greg Evans
- Deadline Film + TV
Broadway jingled with silver, gold and holiday season tourists last week, ringing up $40M at the box office – a solid 6% jump over the previous week and a whopping 34% better than this week last year. Recent arrivals like To Kill A Mockingbird, Network and The Cher Show filled their houses, and even a specialty magic show added a million to the pot.
Not that there wasn’t room for improvement – the $40,149,570 total gross for Broadway’s Week 28 (ending Dec. 9) was just shy of 80% of potential revenue – but strong ticket prices and a healthy 38-show roster kept stockings stuffed. Total attendance of 314,249 was 87% of capacity, 5% higher than the previous week and 30% heftier than last year’s Week 28.
Chalk up a bulk of the year-to-year increase to more productions – 38 this year, 30 last year – but strong performances by the recent arrivals pulled their weight. The Cher Show, opening to mixed-to-decent reviews Dec. 3, was Sro at the Neil Simon,...
Not that there wasn’t room for improvement – the $40,149,570 total gross for Broadway’s Week 28 (ending Dec. 9) was just shy of 80% of potential revenue – but strong ticket prices and a healthy 38-show roster kept stockings stuffed. Total attendance of 314,249 was 87% of capacity, 5% higher than the previous week and 30% heftier than last year’s Week 28.
Chalk up a bulk of the year-to-year increase to more productions – 38 this year, 30 last year – but strong performances by the recent arrivals pulled their weight. The Cher Show, opening to mixed-to-decent reviews Dec. 3, was Sro at the Neil Simon,...
- 12/10/2018
- by Greg Evans
- Deadline Film + TV
“Springsteen on Broadway” might be the single best thing that Netflix has ever done. Which isn’t to say that it’s a better film than “Roma” or “Private Life” — or that it’s even a film, at all (it’s categorized as a “special”) — but that it epitomizes the full potential of a platform so large that it tends to crush whatever it touches. Beginning on December 16, just a few hours after Bruce Springsteen growls the final notes of his Broadway residency, Netflix subscribers around the globe will be gifted front-row seats to one of the most exclusive shows the Great White Way has ever seen.
And this is the show — nothing more, and nothing less.
Directed by longtime Springsteen videographer Thom Zimny, the streaming version of “Springsteen on Broadway” starts with the Boss arriving on stage, it ends with him leaving it, and it doesn’t appear to...
And this is the show — nothing more, and nothing less.
Directed by longtime Springsteen videographer Thom Zimny, the streaming version of “Springsteen on Broadway” starts with the Boss arriving on stage, it ends with him leaving it, and it doesn’t appear to...
- 12/7/2018
- by David Ehrlich
- Indiewire
Bruce Springsteen’s one-man show “Springsteen on Broadway” is coming to Netflix as a special to bow Dec. 15, the final night of the rock legend’s run on the Great White Way.
“We are thrilled to bring Bruce Springsteen — a master storyteller, humanitarian and voice of the everyman — to Netflix in this historic one man show,” said Netflix chief content officer Ted Sarandos.” This groundbreaking experience defies the boundaries of theater, concerts and film and will give our global audience an intimate look at one of the biggest cultural icons of our time.”
“Springsteen on Broadway” opened last October to rave reviews and sold-out crowds. Springsteen extended his run three times, and is now scheduled to finish off with 236 performances at Jujamcyn’s Walter Kerr Theatre. The two-hour show features Springsteen performing on acoustic guitar and piano and spinning yarns from his 2016 biography “Born to Run.” Springsteen’s wife, singer Patti Scialfa,...
“We are thrilled to bring Bruce Springsteen — a master storyteller, humanitarian and voice of the everyman — to Netflix in this historic one man show,” said Netflix chief content officer Ted Sarandos.” This groundbreaking experience defies the boundaries of theater, concerts and film and will give our global audience an intimate look at one of the biggest cultural icons of our time.”
“Springsteen on Broadway” opened last October to rave reviews and sold-out crowds. Springsteen extended his run three times, and is now scheduled to finish off with 236 performances at Jujamcyn’s Walter Kerr Theatre. The two-hour show features Springsteen performing on acoustic guitar and piano and spinning yarns from his 2016 biography “Born to Run.” Springsteen’s wife, singer Patti Scialfa,...
- 7/18/2018
- by Variety Staff
- Variety Film + TV
With Bruce Springsteen still on a soon-to-end hiatus, competition from fireworks and two fledgling productions still getting their footing, Broadway box office was down about 11% for the week ending July 8, the 30 shows grossing a total $33,865,380.
Paid attendance of 272,945 put Broadway houses at about 92% of capacity, with an average paid admission of $124.07. That attendance is down about 6% from last week when the Street had 33 shows running.
New(ish) to the line-up, Straight White Men played its first full week of eight previews (compared to last week’s three performances), with the Josh Charles and Armie Hammer starrer taking in $302,222, about 47% of potential. Attendance of 4,139 was closer to the mark, about 89% of the 4,648 capacity. That means average ticket price was $73.02, well below the $149 most ticket buyers could have spent.
The Young Jean Lee-penned play had some cast upheavals in recent weeks, but nothing that would impact the marquee value too much – Hammer,...
Paid attendance of 272,945 put Broadway houses at about 92% of capacity, with an average paid admission of $124.07. That attendance is down about 6% from last week when the Street had 33 shows running.
New(ish) to the line-up, Straight White Men played its first full week of eight previews (compared to last week’s three performances), with the Josh Charles and Armie Hammer starrer taking in $302,222, about 47% of potential. Attendance of 4,139 was closer to the mark, about 89% of the 4,648 capacity. That means average ticket price was $73.02, well below the $149 most ticket buyers could have spent.
The Young Jean Lee-penned play had some cast upheavals in recent weeks, but nothing that would impact the marquee value too much – Hammer,...
- 7/9/2018
- by Greg Evans
- Deadline Film + TV
Broadway box office slipped 5.3% in its 5th week of the season, grossing $38,126,489 as Bruce Springsteen went on a brief hot-weather hiatus and audiences weren’t quite head over heels just yet with the newly arrived Go-Go’s musical.
Total attendance for the week ending July 1 was 291,188 for the 33 Broadway shows, about 91% of capacity with an average ticket price of $131.
Bidding goodbye to the Street was the Jimmy Buffett jukeboxer Escape to Margaritaville, taking $656,921 in its final week of performances, up from last week’s $567,991 but well, well below its $1.7M potential.
Meanwhile, the limited engagement of The Iceman Cometh wenteth, closing July 1 and taking $911,249 for seven performances, about 76% of its $1.2M potential. Attendance for the Denzel Washington starrer was at 7,090, about 96% of capacity, with ticket-buyers paying an average $129.
Springsteen on Broadway was Sro for four performances, at $1,929,003. The Boss’ half-week kicked off a brief vacation – Springsteen resumes performances at the...
Total attendance for the week ending July 1 was 291,188 for the 33 Broadway shows, about 91% of capacity with an average ticket price of $131.
Bidding goodbye to the Street was the Jimmy Buffett jukeboxer Escape to Margaritaville, taking $656,921 in its final week of performances, up from last week’s $567,991 but well, well below its $1.7M potential.
Meanwhile, the limited engagement of The Iceman Cometh wenteth, closing July 1 and taking $911,249 for seven performances, about 76% of its $1.2M potential. Attendance for the Denzel Washington starrer was at 7,090, about 96% of capacity, with ticket-buyers paying an average $129.
Springsteen on Broadway was Sro for four performances, at $1,929,003. The Boss’ half-week kicked off a brief vacation – Springsteen resumes performances at the...
- 7/2/2018
- by Greg Evans
- Deadline Film + TV
While Broadway grosses for the week ending June 10 did not directly benefit from the Tony Awards (which were held June 10), the clear path for established titles saw many post week-to-week gains and boost overall box office receipts.
Total grosses came in at $39,211,500, up 6% from the previous week, according to figures from the Broadway League.
Bruce Springsteen, who took two bows at last night’s Tonys, accepting a special honor and then performing (after a foul-mouthed introduction by Robert De Niro), did more than his share to goose the numbers. Springsteen on Broadway, the intimate show at the Walter Kerr, took in $2.4 million, up more than 25% from last week’s tally of $1.9 million. It did have one extra performance in the week (five vs. four a week earlier), but the show also remains one of the toughest tickets going.
In another notable uptick, SpongeBob SquarePants collected $898,298, up 16% from the previous week...
Total grosses came in at $39,211,500, up 6% from the previous week, according to figures from the Broadway League.
Bruce Springsteen, who took two bows at last night’s Tonys, accepting a special honor and then performing (after a foul-mouthed introduction by Robert De Niro), did more than his share to goose the numbers. Springsteen on Broadway, the intimate show at the Walter Kerr, took in $2.4 million, up more than 25% from last week’s tally of $1.9 million. It did have one extra performance in the week (five vs. four a week earlier), but the show also remains one of the toughest tickets going.
In another notable uptick, SpongeBob SquarePants collected $898,298, up 16% from the previous week...
- 6/11/2018
- by Dade Hayes
- Deadline Film + TV
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