×
You will be redirected back to your article in seconds

B’way tuners beat heat and sell seats

Attendance, receipts outpace '99

Summer 2000 continues to significantly outpace last year’s biz on Broadway. The second week in August saw a tally of $12,692,763, handily beating the year-earlier week’s $10,346,518.

And you can’t credit inflation. Attendance jumped to 222,418 from 200,604 a year ago.

The reason could be bigger musicals and no tiny tuners, such as 1999’s low-grossing “Kat and the Kings,” “It Ain’t Nothing but the Blues” and, late in its extremely long run, “Smokey Joe’s Cafe.” Or is the upturn due to Gotham’s currently mild, city-friendly weather?

For the week of Aug. 7-13, B.O. improved from the previous session, rising $336,753, or 2.7%. Box office for “Beauty and the Beast” said it all: The musical’s total dropped a mere $12,641, Broadway’s biggest decline last week. Other shows in the minus zone — “Aida,” “Dirty Blonde,” “Jesus Christ Superstar” and “Les Miserables” — registered small three- or four-figure declines.

The other 19 productions on the boards improved.

Closing sales

If there’s something negative to say about August B.O., it’s that closing notices were the most effective marketing tool. With only five weeks to go in its run, “Cats” produced another $51,585 to close at $643,905, performing at 97.62% cap. Closing Dec. 31, “Miss Saigon” also saw a marked improvement, rising $47,667 for a $493,595 final. Capacity was at 76.49%.

In its very last week of performances, “The Real Thing” jumped $68,509 to capture its best week ever: $372,794 on a gross potential of $494,138. Producers of the Tom Stoppard revival report that the show has recouped its original investment.

“Aida” and “The Lion King” sold out, with “Contact” and “Kiss Me, Kate” at 99%-plus capacity. Nearly as fabulous were the cap figures for “Cabaret” (95.53%), “The Man Who Came to Dinner” (96.64%) and “Rent” (97.75%).

More Legit

  • Hamilton West End Production.

    'Hamilton' Panic Over Mistaken Reports of Gunfire Injures Three in San Francisco

    Three people were injured after mistaken reports of an active shooter at a San Francisco production of “Hamilton” caused attendees to flee the theater. CNN reported that a woman experienced a medical emergency — later determined to be a heart attack — during a scene in Lin-Manuel Miranda’s play wherein Founding Father Alexander Hamilton is shot on [...]

  • The American Clock review

    London Theater Review: 'The American Clock'

    Time is money. Money is time. Both come unstuck in “The American Clock.” Arthur Miller’s kaleidoscopic account of the Great Depression, part autobiography, part social history, crawls through the decade after the Wall Street crash, dishing up snapshots of daily life. In the Old Vic’s classy revival, director Rachel Chavkin (“Hadestown”) tunes into the play’s [...]

  • Jake Gyllenhaal

    Off Broadway Review: Jake Gyllenhaal in 'Sea Wall/A Life'

    Comfy? Okay, let’s talk Death: sudden death, painful death, lingering death, accidental death, and whatever other kinds of death happen to come into the receptive minds of playwrights Simon Stephens (“Sea Wall”) and Nick Payne (“A Life”). The writing in these separate monologues — playing together on a double bill at the Public Theater — [...]

  • Michael Jackson Estate Cancels Musical Test-Run

    Michael Jackson Estate Cancels Musical Test-Run

    With an HBO documentary that places strong allegations of abuse against Michael Jackson premiering in two weeks, the late singer’s estate announced Thursday that it’s canceling a scheduled Chicago test run of a jukebox musical about him. The estate and its producing partner in the musical, Columbia Live Stage, said that they’re setting their sights on going [...]

  • All About Eve review

    West End Review: Gillian Anderson and Lily James in 'All About Eve'

    To adapt a crass old adage: it’s “All About Eve,” not “All About Steve.” Stripping Joseph L. Mankiewicz’s sharp-witted screenplay about a waning theater star of its period trappings, Ivo van Hove’s stage adaptation fine-tunes its feminism for our own sexist age — image-obsessed, anti-aging, the time of Time’s Up. Rather than blaming Lily James’ [...]

  • Adam Shankman

    Listen: Why Adam Shankman Directs Every Movie Like It's a Musical

    Director Adam Shankman’s latest movie, the Taraji P. Henson comedy “What Men Want,” isn’t a musical. But as one of Hollywood’s top director-choreographers of musicals and musical sequences, he approaches even non-musicals with a sense of tempo. Listen to this week’s podcast below: “When I read a script, it processes in my head like a [...]

  • Matthew Bourne's 'Cinderella' Review

    L.A. Theater Review: Matthew Bourne's 'Cinderella'

    How much can you change “Cinderella” before it is no longer “Cinderella”? In the case of choreography maestro Matthew Bourne — who, it should be said, first unveiled his spin on the classic folk tale some 22 years ago — the music is most certainly “Cinderella” (Prokofiev’s 1945 score, to be exact), but the plot [...]

More From Our Brands

Access exclusive content