Tag Archives: Leo Tolstoy

Tuesday, August 1, 2017

Broadway Box Office Tips Up For Blockbusters As Star-Based Shows Slip

Deadline Hollywood Broadway Box Office Tips Up For Blockbusters As Star-Based Shows Slip by Jeremy Gerard July 31, 2017 1:55pm 2017-07-27_3-00-36 Broadway receipts were up slightly last week even as an old lesson held true: A hit that doesn’t hitch its wagon to a star is a better long-term bet than a star-driven vehicle. That was certainly the case for a couple of newsworthy shows, notably Natasha, Pierre & The Great Comet of 1812, which continued to slip following the departure of the musical’s Pierre, Josh Groban. The show whiplashed last week from one announcement – that Mandy Patinkin had agreed to a 3-week late summer run as Pierre in an effort to boost sales going into the fall – with another announcing that Patinkin had pulled out in the wake of  protests that the move was disrespectful of Okierete “Oak” Onaodowan, the actor who had replaced Groban. The $12-million production, at the Shubert Organization’s Imperial Theatre, slipped $18K to $905.5K, a 25 per cent drop since Groban’s run, which averaged $1.2 million per week. A steeper plunge was felt at Tony contender A Doll’s House, Part 2, at the Shuberts’ Golden. Although the show has struggled at the box office despite great reviews and a lauded cast led by Laurie Metcalf, the show rang up $647K in sales during the original cast’s final week. Last week, sales dropped to $284.7K, just shy of 40 per cent of its gross potential. Although the Lucas Hnath dramedy has officially extended through the end of the year, it will depend on re-reviews (coming next week) and great word of mouth to sustain the run. Looking at the situation from the other end of the telescope, when Hello, Dolly! star Bette Midler missed one of her seven scheduled performances the week before last (the show’s eighth performance is played each week by Donna Murphy), sales fell $80K as customers lined up for refunds. Last week, with things back to normal, the show made up that amount and more, jumping $97K at the Shubert Theatre to $2.25M, with an average ticket price of $191.98. And four of the top-six grossing shows – Hamilton, The Lion King,Wicked and Aladdin – showed no signs of wavering as the titles themselves are the brand customers trust. Michael Moore began his limited-run show The Terms Of My Surrender, ringing up a good-looking $199K in sales for two performances at the Shuberts’ 1,008-seat Belasco. The 5 top-grossing shows were:

• Hamilton ($3.01 million at the Nederlander Organization’s Richard Rodgers; $280.78 average ticket) • The Lion King ($2.6 million at the Nederlanders’ Minskoff; $169.81) • Hello, Dolly! ($2 million at the Shubert; $191.98) • Wicked ($1.95 million at the Nederlanders’ Gershwin; $129.67) • Dear Evan Hansen ($1.7 million at the Shuberts’ Music Box; $214.04) ...  Read More

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Tuesday, July 18, 2017

Broadway Box Office: Bette Midler Brings $1.5 Million Back to ‘Hello, Dolly!’

Variety Broadway Box Office: Bette Midler Brings $1.5 Million Back to ‘Hello, Dolly!’ By Gordon Cox JULY 17, 2017 2016-09-17_11-20-38 Bette Midler returned to “Hello, Dolly!” last week, and she brought $1.5 million with her to the Broadway box office. “Hello, Dolly!” ($2,232,162) had seen its sales sapped over the previous two weeks with Midler on vacation; her replacement, Donna Murphy, is much admired among Broadway fans (and has earned high praise from critics as Dolly), but she’s not the same kind of box office draw that Midler is. With Bette back in the show, “Hello, Dolly!” leapt back up to the third spot in the Top 10, right behind “Hamilton” ($3,019,947) and “The Lion King” ($2,511,628 for nine). “Lion King” and “The Book of Mormon” ($1,336,479 for nine) each played one extra performance last week, an increasingly common tactic that big-name shows can use to capitalize on tourism high-tides during the summer or over the holidays. And the overall week did see a rise in attendance, up more than 12,000 to 268,850, or 90% of overall capacity — which helped push grosses up $2.8 million to $31.9 million for 30 shows on the boards. The majority of individual productions posted gains last week, with one of the biggest registered at Tony-winning “Oslo” ($898,524), climbing almost 35% in its final week on the boards. It was easily the top-grossing play of the week, ahead of competition that includes still-rising “A Doll’s House, Part 2” ($557,757), posting its best week so far, as well as “Indecent” ($389,688) and “1984” ($382,755). One show which posted a major decline last week, “Natasha, Pierre and the Great Comet of 1812” ($939,748), upticked, and seems on relatively solid ground in the wake of Josh Groban’s sales-driving run in the show. It didn’t quite make the Top 10 this week, but a trio of other new musicals from last season did, including “Come From Away” ($1,268,952), “Charlie and the Chocolate Factory” ($1,093,433) and, of course, “Dear Evan Hansen” ($1,664,265), fresh off news of its recoupment.
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Thursday, July 6, 2017

Bette Midler’s Absence Wallops Broadway Box Office

Forbes Bette Midler’s Absence Wallops Broadway Box Office Lee Seymour , CONTRIBUTOR JUL 6, 2017 DeBroadway went to the beach with New Jersey Gov. Chris Christie over what for many was the Independence Day weekend, as patrons stayed away in droves following the previous week’s banner stand. Ticket sales fell 9 percent over the week before, with the most dramatic plunge hitting the Bette Midler-free Hello, Dolly! With the Tony-winning star on vacation, ticket sales plummeted $1.37 million to $936,603 for eight performances despite great word-of-mouth for replacement Dolly Levi, Donna Murphy. Attendance fell as well, to 76 percent of capacity, with patrons paying on average $106.31 per ticket. (Midler returns July 12.)   2017-06-30_1-11-31   Bette Midler has spent this Broadway season shattering records left and right in the Tony-winning revival of Hello, Dolly!. It’s only fitting that she add another to her belt: causing the biggest week-to-week drop in grosses for any show in 2017. On the first of her two weeks planned vacation, Dolly’s numbers fell a whopping 60%, from $2.3 million to $936k. Though the slide seems rough, it was predicted and likely budgeted for, and simply goes to prove Bette is an unbeatable box office draw. Not that it was really in question. The show has broken the house record at the Shubert theater several times since opening in April, and has become the highest-grossing show ever in Shubert history. That certainly seems to merit a couple weeks vacay. July 4th is not traditionally a strong frame for Broadway, regardless of Bette’s presence. Grosses dropped 9.4% across the board to $31.9 million, a dip that mirrors past years. The majority of shows posted significant five-figure decreases, and the closure of another big grossing revival, Sunset Boulevard, sucked even more from the bottom line. The other big tumble was Indecent, which slid almost $300k. Sales rocketed up last week in anticipation of its closing, when it was extended at the last minute by producer Daryl Roth for another six weeks. As predicted, the spike appears to be temporary. The show is gorgeous (and a surprise Tony winner) but seems a tough rec for summer tourists. Present Laughter and The Little Foxes both closed on a high note, with the best weeks of their limited runs at $910k and $609k. The two revivals took home Tony gold, too, for performers Kevin Kline and Cynthia Nixon, and Foxes costume designer Jane Greenwood, who finally won after a record twenty-one nominations. And while Present Laughter didn’t recoup its costs, it remained the highest-grossing play on Broadway each week save one, after Oslo won Best Play and briefly dethroned it. Speaking of, Oslo is doing just fine. This week it even outgrossed Best Musical nominee Groundhog Day, taking a solid $758k. It’s rare that star-free plays of any kind outgross big musicals – Groundhog’s investors should brace themselves. Former Oslo rival A Doll’s House, Part 2 appears to have stalled after a valiant effort to unseat the eventual champ, dropping another $28k this week. Also-ran The Play That Goes Wrong is hanging in there, taking over half its potential gross, which is well above cost breakeven for a show its size. That also puts it (and Doll’s House) above bigger shows, including the ailing revivals of Cats and Miss Saigon, and newer musicals On Your Feet! and War Paint. Looking ahead, Midler’s record fall may be broken next week by Josh Groban. This marked his final frame in Natasha, Pierre & The Great Comet Of 1812, pushing coffers to their brink at $1.4 million for 106% of its listed potential. Expect a sizable drop when Groban departs – the exact size of which will likely determine whether the show remains open through the end of the year. For Best Musical winner Dear Evan Hansen, that question will not be asked for quite some time. Possibly years. The show jumped another $55k this week, breaking its own record at the Music Box theater with $1.34 million. If it hasn’t turned a profit yet, it’s about to.
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Tuesday, June 27, 2017

Grosses Analysis: Indecent Sees a Bump; Great Comet and Hello, Dolly! Continue to Ride High

Playbill Grosses Analysis: Indecent Sees a Bump; Great Comet and Hello, Dolly! Continue to Ride High BY OLIVIA CLEMENT JUN 26, 2017 ...  Read More

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