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Broadway Grosses by Year - 2002


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Note: Click on a Column Head to Sort/Graph by Column. Complete Statistical Data Not Available for Shows Prior to 1996.

SHOW Total Gross Avg. Gross Avg / Top Ticket Seats
Sold
Total
Seats
Perf. Avg. %
42ND STREET
(FORD CENTER)
$37,961,068 $730,021 $63
$101
596,909 750,582 414 79.51%
45 SECONDS FROM BROADWAY
(RICHARD RODGERS)
$462,744 $231,372 $36
$70
12,864 20,700 15 61.45%
AIDA
(PALACE)
$35,983,384 $691,988 $62
$180
575,183 705,120 416 81.57%
AMOUR
(MUSIC BOX)
$1,338,399 $191,200 $46
$86
29,103 46,128 48 62.89%
AN ALMOST HOLY PICTURE
(AMERICAN AIRLINES)
$2,534,937 $230,449 $45
$65
56,198 65,120 88 86.31%
BARBARA COOK: MOSTLY SONDHEIM
(VIVIAN BEAUMONT)
$1,163,086 $68,417 $43
$60
27,164 32,010 30 85.14%
BEA ARTHUR ON BROADWAY
(BOOTH)
$1,715,877 $155,989 $46
$66
37,143 68,728 88 54.03%
BEAUTY AND THE BEAST
(LUNT-FONTANNE)
$30,744,525 $591,241 $57
$95
538,386 627,744 416 85.76%
CABARET
(STUDIO 54)
$20,510,644 $394,435 $59
$180
345,464 382,720 416 90.27%
CHICAGO
(SHUBERT)
$22,945,785 $441,265 $55
$180
418,047 607,360 416 68.83%
CONTACT
(VIVIAN BEAUMONT)
$10,983,003 $313,800 $56
$90
198,744 298,760 280 66.52%
DANCE OF DEATH
(BROADHURST)
$562,798 $281,399 $47
$71
11,984 18,912 16 63.35%
DANCE OF THE VAMPIRES
(MINSKOFF)
$7,548,464 $686,224 $63
$240
121,746 144,222 86 84.92%
DEF POETRY JAM
(LONGACRE)
$1,211,388 $134,599 $33
$66
35,405 77,674 71 45.30%
SHOW Total Gross Avg. Gross Avg / Top Ticket Seats
Sold
Total
Seats
Perf. Avg. %
DINNER AT EIGHT
(VIVIAN BEAUMONT)
$1,254,439 $209,073 $40
$70
32,176 44,649 41 70.22%
ELAINE STRITCH AT LIBERTY
(NEIL SIMON)
$5,000,248 $312,516 $59
$85
84,481 106,240 80 79.51%
FLOWER DRUM SONG
(VIRGINIA)
$7,658,554 $547,040 $71
$240
108,488 133,540 110 81.35%
FORTUNE'S FOOL
(MUSIC BOX)
$4,318,899 $215,945 $44
$76
98,735 155,635 155 63.43%
FRANKIE AND JOHNNY IN THE CLAIRE DE LUNE
(BELASCO)
$9,805,175 $426,312 $62
$86
156,733 187,000 180 83.43%
HAIRSPRAY
(NEIL SIMON)
$21,069,886 $877,912 $79
$360
263,659 266,916 188 98.72%
HEDDA GABLER 2001-2002
(AMBASSADOR)
$420,741 $210,370 $39
$71
10,710 16,215 15 65.35%
HOLLYWOOD ARMS
(CORT)
$1,944,911 $162,076 $44
$86
44,646 102,816 96 43.42%
I'M NOT RAPPAPORT
(BOOTH)
$793,377 $88,153 $37
$76
21,365 53,652 68 39.62%
IMAGINARY FRIENDS
(BARRYMORE)
$1,340,529 $268,106 $62
$91
21,517 42,464 40 50.68%
INTO THE WOODS
(BROADHURST)
$14,731,618 $387,674 $63
$100
233,472 337,095 297 68.87%
LA BOHÈME
(BROADWAY)
$3,468,348 $693,670 $69
$101
49,887 63,045 37 78.60%
LES MISÉRABLES - ORIGINAL
(IMPERIAL)
$21,217,866 $408,036 $50
$100
418,996 589,472 416 71.09%
MAMMA MIA!
(CADILLAC WINTER G)
$52,546,493 $1,010,509 $85
$125
620,519 623,168 416 99.57%
MAN OF LA MANCHA
(MARTIN BECK)
$4,086,420 $681,070 $74
$240
54,608 63,990 45 85.50%
SHOW Total Gross Avg. Gross Avg / Top Ticket Seats
Sold
Total
Seats
Perf. Avg. %
MEDEA
(BROOKS ATKINSON)
$526,865 $131,716 $32
$80
16,372 27,196 26 61.03%
METAMORPHOSES
(CIRCLE)
$9,071,128 $201,581 $53
$75
170,548 232,050 357 73.58%
MORNING'S AT SEVEN
(LYCEUM)
$2,766,340 $153,686 $36
$71
75,829 128,004 139 58.41%
MOVIN' OUT
(RICHARD RODGERS)
$9,512,771 $731,752 $75
$240
126,941 138,810 105 91.36%
NOISES OFF
(BROOKS ATKINSON)
$10,288,032 $293,944 $48
$75
211,568 293,229 279 72.22%
OKLAHOMA! 2002/2003
(GERSHWIN)
$31,645,701 $703,238 $66
$95
481,446 583,179 349 83.08%
ONE MO' TIME
(LONGACRE)
$514,302 $102,860 $39
$76
13,080 40,515 37 32.20%
OUR TOWN
(BOOTH)
$2,073,926 $345,654 $65
$76
31,652 33,295 43 95.10%
PRIVATE LIVES 2002
(RICHARD RODGERS)
$7,083,941 $354,197 $54
$75
132,104 181,424 136 72.87%
PROOF
(WALTER KERR)
$11,567,176 $222,446 $49
$76
234,984 383,460 415 61.31%
PRUNE DANISH
(ROYALE)
$2,080,448 $260,056 $59
$76
35,323 58,353 53 60.96%
QED
(VIVIAN BEAUMONT)
$1,491,340 $82,852 $50
$60
29,549 32,010 30 92.45%
RENT
(NEDERLANDER)
$19,612,280 $377,159 $51
$180
385,160 491,296 416 78.40%
SAY GOODNIGHT GRACIE
(HELEN HAYES)
$2,076,414 $138,428 $47
$66
44,605 70,567 119 63.35%
Sexaholix 2001-2002
(ROYALE)
$1,929,311 $321,552 $50
$81
39,007 41,886 39 93.70%
SHOW Total Gross Avg. Gross Avg / Top Ticket Seats
Sold
Total
Seats
Perf. Avg. %
SWEET SMELL OF SUCCESS
(MARTIN BECK)
$7,860,322 $462,372 $66
$96
119,972 180,594 127 66.49%
TARTUFFE
(AMERICAN AIRLINES)
$705,801 $176,450 $41
$66
17,282 21,460 29 80.52%
THE BOYS FROM SYRACUSE
(AMERICAN AIRLINES)
$3,286,075 $252,775 $48
$90
68,115 74,256 102 91.76%
THE CRUCIBLE
(VIRGINIA)
$7,657,715 $450,454 $67
$240
115,021 150,712 120 77.34%
THE ELEPHANT MAN
(ROYALE)
$1,574,221 $157,422 $35
$76
44,594 86,240 80 51.70%
THE GOAT OR WHO IS SYLVIA?
(Golden)
$7,932,478 $184,476 $44
$76
179,887 266,928 332 67.96%
THE GRADUATE
(PLYMOUTH)
$15,723,522 $374,370 $56
$354
278,532 356,920 332 78.17%
THE LION KING
(NEW AMSTERDAM)
$56,306,634 $1,082,820 $75
$240
751,983 747,681 417 100.57%
THE MAN WHO HAD ALL THE LUCK
(AMERICAN AIRLINES)
$2,610,518 $237,320 $45
$65
57,457 62,900 85 91.10%
THE MYSTERY OF CHARLES DICKENS
(BELASCO)
$253,992 $63,498 $33
$66
7,526 27,486 27 26.08%
THE PHANTOM OF THE OPERA
(MAJESTIC)
$28,932,348 $556,391 $55
$100
526,069 668,512 416 78.70%
THE PRODUCERS
(ST. JAMES)
$59,967,404 $1,153,219 $86
$480
696,924 709,696 416 98.20%
THE ROCKY HORROR SHOW
(CIRCLE)
$285,946 $285,946 $50
$85
5,719 5,504 8 103.90%
THE SMELL OF THE KILL
(HELEN HAYES)
$533,380 $66,672 $30
$70
17,858 35,820 60 50.87%
THE TALE OF THE ALLERGIST'S WIFE
(ETHEL BARRYMORE)
$9,141,320 $247,063 $47
$75
195,321 309,616 296 63.09%
SHOW Total Gross Avg. Gross Avg / Top Ticket Seats
Sold
Total
Seats
Perf. Avg. %
THE WOMEN
(AMERICAN AIRLINES)
$710,380 $355,190 $58
$70
12,172 11,840 16 102.80%
THOROUGHLY MODERN MILLIE
(MARQUIS)
$30,874,888 $753,046 $66
$240
462,718 511,272 324 90.49%
THOU SHALT NOT
(PLYMOUTH)
$179,459 $179,459 $42
$86
4,233 8,264 8 51.20%
TOPDOG / UNDERDOG
(AMBASSADOR)
$5,405,007 $245,682 $43
$76
121,725 194,075 175 62.66%
URINETOWN
(HENRY MILLER)
$15,521,900 $298,498 $71
$85
219,104 260,603 413 84.15%
TOTAL $693,026,891 $369,455 $62.13
$118.77
11,154,712 14,057,330 11310 79.35%


Note: All data presented for informational purposes only. BroadwayWorld.com makes no guarantees as to the accuracy of the data, or the matter in which it's presented. Source:
The Broadway League..

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