You will be redirected back to your article in seconds

‘Proof’ that a star boosts B’way B.O.

Overall grosses decline

Broadway grosses continued a gradual decline last week. The total take of $13,225,927 repped a small falloff of 1.6% for the week. Attendance slid by a slightly smaller margin, dipping 3.4% to 227,523.

Just as it led the losers the previous week, “Proof” was at the head of the winner’s circle this week as grosses reflected the return of star Mary-Louise Parker. B.O. shot up by $100,991 to $406,909. Jennifer Jason Leigh takes over the role from Parker on Sept. 11; grosses should continue to inch toward the potential of $427,309 during Parker’s last weeks.

Other shows making significant gains included “Annie Get Your Gun,” which continues to show healthy B.O. week to week despite the exit of acclaimed star Reba McEntire. Last week, B.O. notched a gain of $37,137 to $533,151.

There were significant falloffs at “Riverdance” (down $51,189), “The Rocky Horror Show” (off $47,858) and “The Tale of the Allergist’s Wife,” which fell by a significant but not cataclysmic $39,661 during Valerie Harper’s first week of performances. The show took $295,707 of a potential $492,315.

There were 26 shows on the boards, one fewer than last week as “One Flew Over the Cuckoo’s Nest” dropped off.

More Legit

  • 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 [...]

  • 'Pinter Seven' Review: Martin Freeman Stars

    West End Review: 'Pinter Seven' Starring Martin Freeman

    “Pinter at the Pinter” has been an education — a crash course in Britain’s greatest post-war playwright. Director-producer Jamie Lloyd’s star-studded, six-month sprint through Harold Pinter’s short plays and sketches has been exquisitely curated and consistently revelatory. Not only has Lloyd tuned audiences into the writer’s technique, his unconventional groupings have exposed a load of [...]

More From Our Brands

Access exclusive content