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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. % |
|
& JULIET (STEPHEN SONDHEIM) |
$858,775 | $858,775 | $117 $378 |
7,319 | 8,208 | 8 | 89.20% |
|
A WONDERFUL WORLD: THE LOUIS ARMSTRONG MUSICAL (STUDIO 54) |
$516,874 | $516,874 | $86 $257 |
5,998 | 7,976 | 8 | 75.20% |
|
ALADDIN (NEW AMSTERDAM) |
$1,207,176 | $1,207,176 | $93 $190 |
13,000 | 13,816 | 8 | 94.10% |
|
BACK TO THE FUTURE: THE MUSICAL (WINTER GARDEN) |
$789,812 | $789,812 | $83 $223 |
9,476 | 11,824 | 8 | 80.10% |
|
CABARET AT THE KIT KAT CLUB (AUGUST WILSON) |
$901,176 | $901,176 | $122 $594 |
7,395 | 8,560 | 8 | 86.40% |
|
CHICAGO (AMBASSADOR) |
$589,515 | $589,515 | $101 $267 |
5,811 | 8,640 | 8 | 67.30% |
|
DEATH BECOMES HER (LUNT-FONTANNE) |
$1,073,018 | $1,073,018 | $105 $299 |
10,225 | 10,437 | 7 | 98.00% |
|
HADESTOWN (WALTER KERR) |
$634,347 | $634,347 | $95 $274 |
6,685 | 7,344 | 8 | 91.00% |
|
HAMILTON (RICHARD RODGERS) |
$1,717,782 | $1,717,782 | $169 $299 |
10,164 | 10,592 | 8 | 96.00% |
|
HARRY POTTER AND THE CURSED CHILD (LYRIC) |
$981,034 | $981,034 | $88 $249 |
11,117 | 12,976 | 8 | 85.70% |
|
HELL'S KITCHEN (SHUBERT) |
$1,275,137 | $1,275,137 | $116 $323 |
11,019 | 11,656 | 8 | 94.50% |
|
LEFT ON TENTH (JAMES EARL JONES) |
$528,693 | $528,693 | $108 $267 |
4,906 | 8,520 | 8 | 57.60% |
|
MAYBE HAPPY ENDING (BELASCO) |
$294,871 | $294,871 | $48 $297 |
6,177 | 7,904 | 8 | 78.20% |
|
MCNEAL (VIVIAN BEAUMONT) |
$1,375,336 | $1,375,336 | $179 $349 |
7,665 | 7,665 | 7 | 100.00% |
| SHOW | Total Gross | Avg. Gross | Avg / Top Ticket | Seats Sold |
Total Seats |
Perf. | Avg. % |
|
MJ THE MUSICAL (NEIL SIMON) |
$1,500,746 | $1,500,746 | $145 $329 |
10,329 | 11,096 | 8 | 93.10% |
|
MOULIN ROUGE! THE MUSICAL (AL HIRSCHFELD) |
$970,387 | $970,387 | $101 $329 |
9,631 | 10,400 | 8 | 92.60% |
|
OH, MARY! (LYCEUM) |
$1,176,687 | $1,176,687 | $164 $348 |
7,160 | 7,160 | 8 | 100.00% |
|
ONCE UPON A MATTRESS (HUDSON) |
$693,141 | $693,141 | $107 $299 |
6,468 | 7,744 | 8 | 83.50% |
|
OUR TOWN (ETHEL BARRYMORE) |
$693,356 | $693,356 | $117 $297 |
5,922 | 8,480 | 8 | 69.80% |
|
ROMEO + JULIET (CIRCLE IN THE SQUARE) |
$1,016,266 | $1,016,266 | $156 $575 |
6,504 | 6,352 | 8 | 102.40% |
|
SIX (LENA HORNE) |
$653,815 | $653,815 | $104 $269 |
6,303 | 8,248 | 8 | 76.40% |
|
STEREOPHONIC (GOLDEN) |
$712,233 | $712,233 | $122 $348 |
5,857 | 6,224 | 8 | 94.10% |
|
SUFFS (MUSIC BOX) |
$773,314 | $773,314 | $106 $278 |
7,329 | 7,784 | 8 | 94.20% |
|
SUNSET BLVD. (ST. JAMES) |
$1,723,064 | $1,723,064 | $142 $499 |
12,154 | 12,848 | 8 | 94.60% |
|
SWEPT AWAY (LONGACRE) |
$357,470 | $357,470 | $86 $248 |
4,177 | 5,090 | 5 | 82.10% |
|
TAMMY FAYE (PALACE) |
$319,918 | $319,918 | $64 $299 |
5,034 | 7,836 | 6 | 64.20% |
|
THE BOOK OF MORMON (EUGENE O'NEILL) |
$832,759 | $832,759 | $107 $250 |
7,752 | 8,528 | 8 | 90.90% |
|
THE GREAT GATSBY (BROADWAY) |
$961,276 | $961,276 | $101 $277 |
9,562 | 11,880 | 8 | 80.50% |
|
THE HILLS OF CALIFORNIA (BROADHURST) |
$405,751 | $405,751 | $75 $327 |
5,412 | 9,400 | 8 | 57.60% |
| SHOW | Total Gross | Avg. Gross | Avg / Top Ticket | Seats Sold |
Total Seats |
Perf. | Avg. % |
|
THE LION KING (MINSKOFF) |
$1,961,980 | $1,961,980 | $147 $227 |
13,303 | 13,568 | 8 | 98.00% |
|
THE NOTEBOOK (SCHOENFELD) |
$516,445 | $516,445 | $85 $247 |
6,086 | 8,136 | 8 | 74.80% |
|
THE OUTSIDERS (JACOBS) |
$1,331,594 | $1,331,594 | $161 $423 |
8,265 | 8,192 | 8 | 100.90% |
|
THE ROOMMATE (BOOTH) |
$420,212 | $420,212 | $85 $297 |
4,923 | 6,176 | 8 | 79.70% |
|
WATER FOR ELEPHANTS (IMPERIAL) |
$587,646 | $587,646 | $86 $278 |
6,847 | 11,080 | 8 | 61.80% |
|
WICKED (GERSHWIN) |
$2,279,448 | $2,279,448 | $148 $275 |
15,378 | 15,408 | 8 | 99.80% |
|
YELLOW FACE (TODD HAIMES) |
$308,714 | $308,714 | $69 $327 |
4,448 | 5,824 | 8 | 76.40% |
| TOTAL | $32,939,767 | $914,994 | $115.25 $314.19 |
285,801 | 333,572 | 281 | 85.68% |
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
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