Tony noms yield mixed B.O. result

Attendence on the rise since honors announced

The Tony nominations pumped up most but not all shows’ B.O. tallies, while some shows that were shut out of the noms increased their receipts regardless.

Thirty-six shows brought in $17,709,673, up $481,562, or 2.8%, from the previous frame. More significant, paid attendance rose to 261,896. Both numbers show marked improvement from 2004’s ($15.1 million; 232,345) and 2003’s ($13.9 million; 215,809) for the early May session.

Overall, there was no major B.O. movement in either direction. “Sweet Charity” ($511,179) came off its heavily comped preem week with another $88,418, performing at 71.5% capacity. Up $85,693, “Dirty Rotten Scoundrels” ($790,416) had the room to benefit from its 11 Tony mentions.

Other nominated shows also improved: “Glengarry Glen Ross” ($440,134), up $39,389; “La Cage aux Folles” ($412,331), up $45,016; “The Light in the Piazza” ($388,720), up $59,492; “The 25th Annual Putnam County Spelling Bee” ($377,355), up $63,863; and “Twelve Angry Men” ($271,507), up $47,215 in its final week.

None of those shows, however, had the disadvantage of being previously sold out, which explains the $27,578 decline at “Spamalot” ($849,035), which got hit with all those comped road presenters and Tony voters. “On Golden Pond” ($218,918) ended its direct-mail campaign, which contributed to a $49,312 decline despite noms for play revival and James Earl Jones. Doing seven shows instead of eight last week, “Who’s Afraid of Virginia Woolf?” ($255,697) was off $30,347 on its reduced-perf sked.

Tony-cited or not, “Julius Caesar” ($635,161), “Doubt” ($447,964) and “The Pillowman” ($405,046) set house records at, respectively, the Belasco, the Walter Kerr and the Booth. The Martin McDonagh drama improved the most, up $24,571. All three played between 90% and 95% capacity.

Going without

Snubbed by the Tonys, “All Shook Up” ($494,033), “Steel Magnolias” ($226,152) and “The Glass Menagerie” ($223,961) all managed to improve, with the Tennessee Williams play increasing its receipts the most, up $27,650. But “Brooklyn” ($169,541), another Tony shutout, continued its slide, down $18,085.

With one nom each, “A Streetcar Named Desire” ($258,203) fell $20,697, while “Little Women” ($281,982) grew $6,244.

Elsewhere under the top 10, there wasn’t much movement for Broadway’s long-running shows. Up a bit were “Fiddler on the Roof” ($467,086), “Movin’ Out” ($465,156) and “Chicago” ($452,799). Down some were “Beauty and the Beast” ($545,195), “Avenue Q” ($459,604) and “Rent” ($282,623).

Off $2,086, “After the Night and the Music” ($158,504) continued in previews at the Biltmore.

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