With just one week to go in the current season, Broadway B.O. responded as it usually does in the penultimate session. Total receipts for 33 shows were up $1,034,830 — or 7.44% — for a final count of $14,943,583. Those figures are slightly ahead of last year, which saw $14.4 million, and slightly behind the $15.1 million of 2000. Last week’s attendance of 247,413, however, did not measure up. It’s off about 10,000 from a year ago and nearly 30,000 behind mid-May 2000.

Except for the mini-dips of “Mamma Mia!” and “Oklahoma!,” box office was up across the board. Hard hit the previous week, “The Full Monty” and “Rent” jumped $102,237 and $78,525, respectively, to produce final cumes of $421,869 and $329,895.

Those veteran plays “Proof” (up $55,480) and “Tale of the Allergist’s Wife” (up $45,049) also experienced something of a rebirth. B.O. came to $235,819 and $256,543, respectively, with Valerie Harper and company ready to depart the latter.

Up somewhat less, long-running tuners “Cabaret” ($420,613), “Chicago” ($407,404) and “Contact” ($285,720) rebounded.

As for the new shows, biggest gains were seen at “Elaine Stritch at Liberty” (up $75,359 as she readies to leave Broadway) and “Thoroughly Modern Millie” (up $79,764) for respective totals of $368,232 and $691,426. Doing 91.3% cap, “Urinetown” rose $33,701 to finish with $301,287 — up nearly six figures from just one month ago. Up $38,698, “Sweet Smell of Success” played to 58.9% capacity and grossed $426,263.

Elsewhere, the upticks were less dramatic but notable. For the second week in a row, “The Goat” managed yet another $20,153 bounce to end with $160,913. Low five-figure blips gave “Metamorphoses” a $232,662 tally and brought “Fortune’s Fool” to $220,718. “Topdog/Underdog,” the fourth Tony-nominated best play, basically marked time but still managed the highest cume of this illustrious company: $330,014.

Up $17,733, “The Elephant Man” reversed its downward trajectory to bring in $159,741. The many other revivals remained several dollars ahead: “Private Lives,” the highest-grossing play redux now on the boards, rose the most ($34,724) to end with $468,614. Somewhat less robust increases embellished the final counts for “The Crucible” ($402,620), “The Man Who Had All the Luck” ($244,817), “Morning’s at Seven” ($213,782) and “Noises Off” ($262,706), as well as the new revival of the fairy-tale tuner “Into the Woods” ($460,070).