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Tony noms give B.O. a bit of boost

Top kudo contender 'Millie,' 'Urinetown' see revs rise

What do Tony nominations mean to a show’s B.O.?

Dramatic revivals and new plays saw small bounces, while a few tuners took much bigger jumps. Overall box office for 34 shows came to $13,908,753, up $262,582 or 1.92% from the previous week. In May 2001, the Tony noms brought 37 shows to a total cum of $14.1 million.

“Thoroughly Modern Millie” got the most noms (11) and the most kick, up $101,741 for a $611,662 finish. “Millie” producers reported a $1 million wrap last week.

The $52,852 uptick for dark tuner “Urinetown” actually repped a larger percentage of its final gross than the six-figure bonanza for sunny “Millie.” Playing to 82.3% capacity, “Urinetown” came in at $267,586.

With less room to grow, “Mamma Mia!” rose $15,526 for a final $1,000,617.

The fourth nominated musical, “Sweet Smell of Success,” tumbled $82,957, which put its cume at $387,565.

As for the two nominated musical revivals, “Into the Woods” increased $52,510 for a final gross of $431,713. Already playing to 92.2% capacity, “Oklahoma!” was up a mere $3,604 to close at $859,555.

The four nominated play revivals saw varied B.O. action, with the $47,850 jump for “The Crucible” the most dramatic. The Arthur Miller play grossed $375,188, which put it under the $433,890 for “Private Lives.” The Noel Coward work rose $24,467 from the previous week. Up $7,560, “Noises Off” brought in $321,144, while the nine noms for “Morning’s at Seven” translated into just $193,341, up a tiny $307.

Best-play attention gave low-five-figure increases to “Fortune’s Fool” ($201,414), “The Goat, or Who Is Sylvia?” ($140,760) and “Metamorphoses” ($215,372). “Topdog/Underdog” did better by the Tonys. Up $32,913, the Pulitzer Prize winner had its best session to date, grossing $324,431.

Did theatergoers ignore the fact that “The Graduate” failed to snag even one nomination? Its box office increased $16,465 to keep it Broadway’s top-grossing play: $500,424. “The Man Who Had All the Luck” didn’t do much better with the Tony people; it garnered just one nom, for featured actor Sam Robards. Nonetheless, the Roundabout revival jumped $42,054 at the box office; final tally came to $219,008.

Acting noms for Billy Crudup and Kate Burton meant nada for “The Elephant Man,” which continued to slide, down $20,669 for a final $142,008.

Elsewhere, Tony talk provided some long-running Broadway shows with modest increases from the B.O. abyss of April. The gainers included “Chicago” ($370,700), “Contact” ($267,077), “Les Miserables” ($342,791), “Proof” ($180,339) and “The Tale of the Allergist’s Wife” ($211,494).

Notable exceptions were “Rent” and “The Full Monty,” both of which slipped to final numbers of $251,370 and $319,632, respectively.

Broadway’s only soldout show, “The Lion King” went from nine to eight perfs, fell $145,270 and still managed to do 101.2% capacity.