There are no dreams deferred for the producers of the Denzel Washington-led revival of A Raisin in the Sun. In its first full week since its April 3 opening, director Kenny Leon’s well-reviewed revival earned a remarkable $1.18 million, according to figures from the Broadway League covering ticket sales for the week ending April 13. That makes it the fifth highest-grossing show of the week and the only non-musical to cross the seven-figure threshold. And thanks to premium ticket prices as high as $348, Raisin actually exceeded the estimated gross potential of the Ethel Barrymore Theatre by 16 percent. READ FULL STORY
Tag: Box Office (1-10 of 13)
Broadway Box Office: 'Bronx Bombers' is striking out with audiences, while Shakespeare hits a grand slam
Broadway’s New York Yankees love-fest Bronx Bombers, starring Peter Scolari as Yogi Berra, isn’t exactly pulling major-league numbers at the box office. In the first full week since its Feb. 6 opening, the new drama took in a measly $177,559, according to figures released by The Broadway League. That’s less than a quarter of the potential gross at Circle in the Square (one of Broadway’s smallest theaters) — and does not bode well for its future.
The biggest surprise this winter has been the season’s unlikeliest but very palpable hit(s): the Mark Rylance-led productions of Twelfth Night and Richard III playing in repertory (and breaking house sales records) at the Belasco. For the week ending Feb. 16, the shows grossed a remarkable $944,755 — a tally that exceeds all of the season’s new musicals. The takings have topped the potential gross for the Broadhurst for the third straight week, suggesting that producers have been able to goose their earnings by selling ever more premium tickets at $247 a pop. READ FULL STORY
Daniel Craig has a license to kill at the Broadway box office. Teaming the James Bond star with his real-life wife, Rachel Weisz, turns out to have been a very good idea for the producers of the Harold Pinter revival Betrayal. Though the show doesn’t open until Oct. 27, the Mike Nichols-directed drama has broken records at the Barrymore Theatre for its first two weeks of previews. For the week ending Oct. 13, it took in $1.11 million for seven performances, according to figures from the Broadway League. That tops the weekly earnings of the Philip Seymour Hoffman-topped revival of Death of a Salesman last year.
Broadway’s other big hit this fall is another starry revival. The Glass Menagerie, starring Zachary Quinto, has steadily increased its box office since opening late last month to rave reviews. Last week, it pulled in $724,363, a remarkable 91 percent of the potential gross for the modestly sized Booth Theatre. But seldom was there a tale of more woe than the box office for Romeo and Juliet. The new production starring Orlando Bloom and Condola Rashad earned $470,744 last week, or roughly 38 percent of its potential earnings.
Surprisingly, the nonmusical revivals Betrayal and Menagerie are both outperforming most of the season’s new tuners. Sales for the megabudget Big Fish leapt 33 percent from the previous week to $856,110, or 62 percent of its possible gross. A Night With Janis Joplin, which opened last Thursday, earned $353,070, or 57 percent of its potential take. First Date hooked up with $448,331, a mere 52 percent of its potential, while Soul Doctor, which closed Sunday, pulled in a paltry $128,256 — that’s just 18 percent of what the venue could have earned.
In addition to Betrayal, the other seven-figure earners last week were the usual suspects: The Lion King ($1.88 million), Wicked ($1.87 million), The Book of Mormon ($1.84 million), Kinky Boots ($1.81 million), Motown: The Musical ($1.49 million), Matilda ($1.43 million), and The Phantom of the Opera ($1.02 million).
Brad Pitt should feel triumphant today. He produced and starred in World War Z, a blockbuster zombie epic that spent the better part of its production cycle drowning in bad buzz. But after a salvage rewrite/reshoot and a full-scale publicity offensive, the film opened big over the weekend with $66 million.
That’s the biggest opening that Pitt’s ever had, and the studio is already making noise about fast-tracking a sequel. However, according to General Sentiment — a leading social analytics firm that analyzes more than 60 million sources of digital content every day — Pitt’s overall popularity may have actually taken a tumble over the last couple of years. READ FULL STORY
EW’s box-office prognosticator Grady Smith is on vacation. Fortunately, your grandparents just sent you an email, and they made their own predictions about the weekend box office. Read on!
Your grandmother and I sure are excited about all the movies coming out this winter. Wait, it’s summer? I must have switched up my pills again. Anyhow, you forgot about Mother’s Day. Grandmothers are still mothers!
We’ve been to the movies quite a bit lately. It’s hard to put on 3-D glasses on top of bifocals. But we were so excited about Bash Lerman’s The Great Gatsby, which reminded us of the good old days. It would have been lovely if it had been a silent film and also if it had been much shorter. READ FULL STORY
Tony, Schmony. Bette Midler may have been snubbed by Tony nominators for her one-woman comedy I’ll Eat You Last, but she’s having the last laugh at the box office. According to figures from the Broadway League, ticket sales for the Divine Miss M’s first Broadway show in 30 years jumped 17 percent for the week ending May 5, to $753,217. That’s a record for the relatively tiny Booth Theatre and comes despite the fact that Midler performed only seven shows (most Broadway productions schedule eight performances per week). Her producers took advantage of premium pricing and stellar reviews, but the Tony snub also allowed them to deny Tony voters free tickets before the June 9 ceremony and re-sell those prime seats at full price.
So what’s a Tony nomination worth these days? For the musical revival Pippin and the star-studded comedy Vanya and Sonia and Masha and Spike, the first week since the Tony noms boosted ticket sales by a healthy 10 percent. Pippin, which earned 10 nods (including Best Musical Revival), took in $785,386 for the week ending May 5 — an impressive 85 percent of the potential gross for the Music Box Theatre. Vanya, which earned 6 Tony noms, including Best Play, generated $449,073 at the Golden Theatre — roughly 60 percent of that 804-seat house’s maximum earnings. READ FULL STORY
With Iron Man 3‘s $175 million opening weekend, the summer box office race has officially begun. From now until Labor Day, expect a huge turnout at the theaters for the tentpole releases this season.
EW staffers Grady Smith, Darren Franich, Mike Bruno, Jeff Labrecque and Denise Warner each give their expert* picks for the top 10 movies at the box office this summer. See them below, and then use our ranking tool to predict your own top 5! READ FULL STORY
The Easter Bunny brought a special treat to Broadway last week, with overall grosses up 24 percent for the week ending March 31, according to figures from the Broadway League. With a deluge of tourists in New York City for the springtime holiday season, virtually every show saw a sizable bunny-hop in sales (and far less discounting than usual). Wicked and The Lion King both topped $2 million in grosses for the week, while 11 other shows crossed the $1 million threshold.
Among the week’s Million Dollar Club were three new-this-season productions: Rodgers + Hammerstein’s Cinderella ($1.4 million), the Tom Hanks-led drama Lucky Guy ($1.25 million), and Motown: the Musical ($1.16 million). That’s the third consecutive $1 million-plus week for Motown since it began previews, a record for a brand-new show opening cold on Broadway (without a previous production Off Broadway or out of town). READ FULL STORY
There are a small handful of proven box office draws on Broadway: Hugh Jackman, Al Pacino, green-faced witches. Now we can add a new name: Tom Hanks. The two-time Oscar winner’s Broadway debut, Lucky Guy, raked in an astonishing $1.1 million for its first full week of previews ending March 10, according to figures from the Broadway League. It’s rare for a nonmusical to top $1 million in weekly grosses, but the late Nora Ephron’s play (starring Hanks as another departed New York legend, tabloid columnist Mike McAlary) managed to earn 112 percent of the potential gross for the Broadhurst Theatre. Thanks to demand-driven premium pricing, the average ticket climbed to $134.41 — second only to Broadway’s priciest get, The Book of Mormon (average price: $188.57). Lucky Guy, which may become an even hotter ticket after its official opening April 1, is currently selling tickets for performances through June 16. READ FULL STORY
Broadway box office: Jessica Chastain lights a way to profitability for 'The Heiress' in its final week
Heading into its final week on Broadway, The Heiress is emerging as a surprising box office hit. Producers of the drama revival starring Jessica Chastain and Dan Stevens announced that the show should recoup its investment before the final performance this Saturday. Ever since Chastain won the Golden Globe last month for Zero Dark Thirty, ticket sales have spiked. According to the Broadway League, the show had its best-ever grosses for the week ending Feb. 3: $673,973, a 11 percent gain from the previous week and 71 percent of the potential earnings for the Walter Kerr Theatre. (Perhaps Chastain should have her three-legged dog, Chaplin, make more impromptu cameos in the production to boost sales even more.)
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