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Can Cirque du Soleil sell on Broadway? Looks like it, at least judging from the one preview that new Cirque show “Paramour” has performed so far.

“Paramour” — the first outing from the Cirque du Soleil Theatrical division, and incorporating the troupe’s nouveau-circus spectacle into the structure of a more traditional musical-theater project — raked in $190,774 at the Broadway box office for the single show it played last week. Multiply that by an eight-show performance schedule, and that’s a weekly gross of $1.5 million.

It remains to be seen, of course, whether ticketbuyer interest will stay as strong throughout the preview period on the way to its June 2 opening, and besides, first previews can sometimes be artificially heightened by theater avids and other fans who want to be the first to see a new production. Even so, that initial number for “Paramour” looks like a promising start.

Producers of previewing musical “Waitress” ($937,590) also have reason to be optimistic, with the show continuing to gain momentum and placing at No. 8 in the week’s Top 10. Ditto the backers of starry “Shuffle Along” ($872,205), which also reported best-yet numbers in its first week of eight previews.

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Broadway overall remained essentially steady, in a pause before an expected uptick in traffic when New York City’s public schools have spring break (over the week of April 25). The cumulative Broadway box office clicked up, very slightly, to $27.2 million for 37 shows on the boards, and the 277,214 reported in overall attendance was just a bit higher than the prior week’s tally.

One of the biggest dips of the week was logged at “Hamilton” ($1,678,620) — but don’t go worrying that the ultrahot ticket (and freshly crowned winner of the Pulitzer Prize for Drama) is cooling down. Last week the production played the first of its series of student matinees for which tickets are sold to NYC public school students for $10 a pop.

Otherwise it was largely business as usual along Broadway, with “School of Rock” ($1,022,302) joining “Hamilton” and “Waitress” as the third of this season’s shows to claim a spot in the Top 10, otherwise populated by the usual suspects including “The Lion King” ($1,939,509), “Wicked” ($1,612,361) and “Aladdin” ($1,451,714). Individual shows reported a mixed bag of gains and losses, but none looked terribly dire.

In the coming week , “American Psycho” ($505,917 for seven) moves toward its April 21 opening, and could use a boost from the critics. “Waitress” is also gearing up to bow this week, with its opening set for April 24.

The following week, then, will see the final round of openings before the Tony Awards eligibility cut-off, with plays “Fully Committed” ($387,494) and “Long Day’s Journey Into Night” ($375,709) debuting along with “Tuck Everlasting” ($339,031) — another show that could use some good press to draw attention to it — and “Shuffle Along.”