Here’s what a potential blockbuster looks like just out of the gate: In its first seven previews at the Shubert Theater (1,463 seats), the Monty Python-derived “Spamalot” grossed $719,424.
Almost four years ago to the date, “The Producers” did $825,335 in its first seven at the considerably larger St. James (1,706 seats). Back then, “The Producers” charged $90 top, which upon opening rose to Broadway’s current $100 high.
Receipts for 24 productions during Week 38 (Feb. 14-20) hit $14,239,737, up $2,242,243 –or 18.69% — from the previous session. Despite the awesome uptick, last year’s mid-February session continues to hold the $15.06 million record for this time frame. Paid attendance then came to 233,364, which dwarfs last week’s 204,813.
Unlike Broadway’s 23 other current shows, “Brooklyn” ($237,713) didn’t see an increase in its numbers — for good reason. Receipts there fell $15,648 due to a reduced seven-perf sked. Both Ramona Keller and her understudy, Haneefah Wood, became ill Feb. 19, resulting in cancellation of the matinee. Romelda T. Benjamin, Keller’s sub from the show’s Denver production, performed the two remaining weekend perfs.
Up $170,893, “Movin’ Out” ($671,303) scored the biggest gain.
The 19 musicals grossed $12,299,932 for 86.4% of the Broadway total, with attendance of 178,294 at 87.6% of capacity.
The five plays grossed $1,939,805 for 13.6% of the Broadway total, with attendance of 28,519 at 81.9% of capacity.
Average ticket prices were $69.77 for musicals, $68.02 for plays and $69.53 for all shows.