'All My Sons,' 'Seagull' are in the black
Despite persistent fears of recession fallout, a couple of legit offerings have proved it’s possible to recoup on Broadway this season — at least for star-driven play revivals.
According to producers, “All My Sons” and “The Seagull” have made back their capitalization costs. “All My Sons” came in at $3.25 million while “Seagull” was capitalized at $2.55 million.
Both shows, along with “Speed-the-Plow” and “Equus,” are part of a recent spate of play revivals that have pulled in largely healthy sales since their fall openings.
Box office has been particularly robust for “Sons.” With Katie Holmes in the cast, the production has several times landed in the top ten, its weekly tally hitting as high as $740,000.
Although reviews for the show — which also stars John Lithgow, Dianne Wiest and Patrick Wilson — were mixed, auds have turned out thanks in part to the star power of the cast and the following among theatergoers cultivated by helmer Simon McBurney (“Mnemonic”).
Since it began perfs Sept. 18, the revival of Arthur Miller’s 1947 play has so far logged a cume of about $7.85 million.
Sales for “Seagull” have not climbed as high as those for “Sons,” but the show still has logged notably solid numbers. With weekly tallies hitting as much as $550,000, total cume for the play, which began perfs Sept. 16, stands at $5.5 million so far.
Buoyed by favorable notices in the press, the Broadway staging of the 1895 Anton Chekhov play is a transfer of a London hit helmed by Ian Rickson and starring Kristin Scott Thomas. Peter Sarsgaard co-stars in the Stateside incarnation.
Running through Jan. 11, “Sons” is produced by a team led by Eric Falkenstein. Ending its run Dec. 21, “Seagull” is produced by Sonia Friedman Prods., among others.