Judging by the crowds snapping photos of themselves with giant cast posters outside the Walter Kerr Theatre, the biggest draw to the acclaimed new Broadway revival of The Heiress isn’t Oscar-nominated movie star Jessica Chastain but her British costar Dan Stevens, a.k.a. Matthew Crawley from Downton Abbey. The high-powered duo (pictured above with costar David Strathairn, center) certainly seem to be luring fans to the Great White Way. In its first full week of performances since its Nov. 1 opening, their period drama earned an impressive $583,852 for the week ending Nov. 11, according to figures from The Broadway League. That’s 68 percent of the venue’s potential gross, a particularly strong figure for a straight play.
Curiously, the fall’s biggest new hit seems to be another nonmusical: a revival of David Mamet’s Glengarry Glen Ross starring Al Pacino and Bobby Cannavale. The limited-run drama, which recently (and somewhat suspiciously) postponed its opening by nearly a month to Dec. 8, grossed a whopping $991,322 last week — nearly 98 percent of the potential gross for the Schoenfeld Theatre. Meanwhile, Steppenwolf’s revival of Who’s Afraid of Virginia Woolf? earned $324,636, roughly half the potential gross of the much smaller Booth Theatre.
You can bet your bottom dollar that at least one musical is emerging as a hit this fall. Though the highly publicized revival of Annie had to give away many top seats to critics in advance of its Nov. 8 opening, the Depression-set musical still managed to gross $872,700, about 70 percent of its potential earnings. The show looks to be have many more tomorrows in its Broadway future.
The prospects for the season’s other new shows are hazier. The big-cast musical Chaplin took in $392,298, just under 40 percent of its potential gross, while Bring It On: The Musical shook its pompoms to just $341,557, less than 30 percent of its potential haul. The four-person dramedy Grace, featuring Paul Rudd, managed $313,522, about 34 percent of its potential. And the drama revivals An Enemy of the People and Cyrano de Bergerac, both playing in nonprofit subscriber-based theaters, were well under 40 percent of their potential grosses for the week.