Broadway’s latest box office statistics have provided insights into a vibrant yet fluctuating theatrical landscape. The week ending November 17 showcased both shining stars and dimming lights among the 37 productions currently running. Although some shows celebrated triumphs, the overall numbers indicated a slight downturn, reflecting the ever-changing dynamics of live theater as we approach the holiday season.
The aggregate gross for all productions amounted to $35,104,796, representing a modest decline of approximately 4% compared to the previous week. Attendance figures saw a slight dip as well, dropping to 304,368, a decrease of less than one percentage point. However, amidst this general trend, standout productions like “Sunset Blvd.” and the recently debuted “Maybe Happy Ending” demonstrated resilience and potential for further growth.
“Sunset Blvd.” emerged as a remarkable performer, raking in $1,902,072 and surpassing its previous week’s earnings by over $44,000. This resurgence comes after a controversial social media episode involving Nicole Scherzinger, which seemed to have little lasting impact on the show’s popularity. Audience turnout reflected this revival, with the St. James Theatre drawing an impressive 95% capacity.
Equally noteworthy, “Maybe Happy Ending,” featuring the talents of Darren Criss and Helen J. Shen, recorded a significant gross of $458,827—a 54% increase from the prior week—and filled 89% of its seats. The show, receiving widespread acclaim, may possess the charm and momentum necessary to capture a broader audience in the weekends to follow.
“A Wonderful World: The Louis Armstrong Musical” also opened with promising figures, bringing in $661,380 at Studio 54, achieving 92% of its seating capacity. The strong reviews of this production could suggest that audiences are eager for engaging narratives that celebrate iconic figures in music.
Despite the successes, not all newcomers found favor in the crowded Broadway marketplace. “Tammy Faye,” after its premiere, struggled significantly, posting a mere 63% of attendance at the Palace Theatre, grossing only $374,371 across its first week. Critics were not kind, which may hinder the show’s ability to captivate audiences in the crucial weeks ahead.
Meanwhile, “Elf,” based on the beloved holiday film, performed decently with a gross of $510,047 and 90% of seats filled. However, high overheads from press events and opening night comps cast a shadow on its overall earnings, illustrating the precarious global situation for limited engagements.
Shows like “Swept Away,” which debuted to less than favorable numbers with only 81% of seats filled and a gross of $426,788, exemplify the challenges that contemporary productions face amidst heightened competition for audience attention.
On the other hand, “Death Becomes Her” appears positioned as a critic-proof phenomenon, grossing an impressive $1,121,395 in its pre-opening week and filling 96% of seats. Such figures reflect a strong anticipation and a devoted fan base, signaling a potential long run for this adaptation.
The revival of “Harry Potter and the Cursed Child” introduced a new format that seems to have resonated positively with the engagement of 89% of seats filled, along with a noteworthy gross of $900,528.
While some productions continue to thrive, several shows experienced difficulties, with five productions reporting attendance below 70%, including “Back to the Future” at 68% and “Chicago” at a dismal 62%.
Overall, the 2024-25 Broadway season is experiencing a modest upward trajectory, with year-to-date gross figures reaching $823,044,626—a notable 12% increase from the previous year. Attendance has seen an upswing of roughly 11%, totaling 6,727,317.
As we navigate the logistical challenges posed by evolving public sentiment and theatrical preferences, the competitive nature of Broadway is increasingly evident. The figures presented reflect both the vibrant opportunities and precarious uncertainties that characterize the mission of live theater today. Future weeks will be pivotal as shows vie for audiences’ affection during this bustling holiday season.