You are using an older browser version. Please use a supported version for the best MSN experience.

Broadway Box Office, Part 2: ‘Waitress’ Soars With Sara Bareilles; Plays Struggle

Deadline logo Deadline 5/23/2017 Jeremy Gerard
© Provided by Deadline

Sara Bareilles’ stint in the title role of Waitress continues to pay dividends for the holdover from last season, which brought her a Tony nomination for the score. Last week the show sold $1.3 million worth of tickets at the Nederlander Organization’s Brooks Atkinson Theatre, almost 30 per cent above its gross potential, at an average price of $156.29.

The final week of the 2016-2017 season (look here for season wrap-up) continued the months-long trend of good news for the big musicals and hand-wringing for plays. Anastasia, at the Shubert Organization’s Broadhurst, rang up $1.12 million in sales, exceeding its gross potential by a hair, with full houses paying n average of $120.90 per. Charlie and the Chocolate Factory, at the Nederlanders’ Lunt-Fontanne, continued to thumb its nose at the critics, tallying $1.1 million and near-full houses. Tony best musical contender Natasha, Pierre and the Great Comet of 1812 sold $1.2 million in tickets, 91 per cent of potential and SRO, at the Shuberts’ Imperial.

Of the other best musical contenders, Dear Evan Hansen, at the Shuberts’ Music Box, sold $1.2 million worth of tickets, 6 per cent above potential at an average price of $156.49 and above-capacity crowds. Come From Away rang up $1.1 million in ticket sales at the Shuberts’ Schoenfeld and was playing to overfull houses; Groundhog Day, at Jujamcyn Theatres’ August Wilson, delivered 70 per cent of potential, $906.7K, and 90 per cent of capacity.

Bette Midler continued to wow the crowds in Hello, Dolly! at the Shubert, bringing in $1.9 million – 18 per cent above potential, at an average price of $188.25, the second highest, behind Hamilton‘s $291.36. Disney’s The Lion King, at the Nederlanders’ Minskoff, was the second-highest grosser, at $1.97 million, edging out Dolly but short of Ham‘s $3.1 million.

The picture was far bleaker for the non-musicals, including the best play field. Oslo, at Lincoln Center Theater’s Beaumont, is doing best and scarfing up awards (New York Drama Critics Circle, Obies); the political drama scored $667K in sales, 61 per cent of potential, at an average price of $90.94. Pulitzer winner Sweat, at Roundabout Theatre Company’s Studio 54, sold $301.5K in tickets, 46 per cent of potential, and played to 80 per cent full houses. A Doll’s House, Part 2, at the Shuberts’ Golden, comped one performance and sold $325K, playing to 94 per cent full houses. Indecent, at the Shuberts’ Cort, sold $291K in tickets, just one-third of its potential.

Among the play revivals, the Kevin Kline-led Present Laughter, at Jujamcyn’s St. James, led the pack with $832.2K in sales , 63 per cent of potential, at an average price of $98. Six Degrees of Separation, at the Shuberts’ Barrymore, was struggling at $341.4K, also a third of its potential. The Little Foxes, at Manhattan Theatre Club’s Friedman, sold $487K worth of tickets and played to near-full houses, at a average ticket price of $95.30.

The sole newcomer, 1984 at the Ambassador Theatre Group’s Hudson, played four previews, taking in $212.6K, just shy of half its potential.

Week 52 of the season totaled $34.4 million in sales across 36 shows, according to the trade group Broadway League. That was a bump of 2 per cet over the previous week’s sales.


More from Deadline

image beaconimage beaconimage beacon