Broadway Gross Rose 24%; Much Ado Reached $2.3 Million

By Grace Kim

Broadway's overall gross (ticket revenue) rose 24% last week, while attendance rose 15%, according to The Hollywood Reporter's Broadway box-office report. The publication attributed the increase to two new shows and the rebound from Halloween and marathon weekend.

Much Ado About Nothing took up to $2.3 million in its first week of eight performances, ranking third for the week. Starring Tom Hiddleston and Hayley Atwell, the show reached 100% capacity (the share of seats sold) and was set to open Nov. 19. The report said the result suggested it would become a top earner going forward.

The report put Much Ado's average ticket price at $194 after it fell back, leaving the show in the upper tier but several rungs below Other Desert Cities at $315. Much Ado's full capacity still placed its $2.3 million gross $200,000 behind Other Desert Cities' $2.5 million.

The Hollywood Reporter ranked the five leading shows this way:

• Hamilton — $2.7 million.
• Other Desert Cities — $2.5 million, starring Julia Louis-Dreyfus, Allison Janney and Joe Keery.
• Much Ado About Nothing — $2.3 million, starring Tom Hiddleston and Hayley Atwell.
• The Lion King — $1.8 million.
• Harry Potter and the Cursed Child — $1.7 million.

The figures separate gross revenue from attendance volume. Much Ado reported full capacity at a $194 average ticket, while Other Desert Cities carried a $315 average; Hamilton's $2.7 million remained $400,000 ahead of Much Ado.

The Hollywood Reporter also placed Billy Crystal’s one-man show, 860, among the top earners, with $1.5 million and a rising gross. A Few Good Men remained in the top tier at $1.44 million despite mixed reviews, while the Bowen Yang-led Oh, Mary! took $1.4 million.

The Lost Boys, which opened last season, continued to draw crowds and edged out past favorites including Wicked. The report said Wicked’s grosses had gradually declined throughout 2026. The contrast shifts attention from launch-week scale to staying power.

Wanted, a new musical, opened Nov. 8 to mixed reviews. Across a heavily comped lead-up week and a fully comped opening night, it grossed $517,134 and played to 94% capacity.

Comped means complimentary, or free, ticket distribution. That makes Wanted’s $517,134 a less clean measure of ordinary paid demand than a fully priced week's gross would be.

Several productions were in previews (performances before an official opening) last week, including Downstate and The Fanstasticks. Here There Are Blueberries began previews with 99% capacity and $669,084 across seven performances.

The holiday radio play It’s a Wonderful Life, starring Andrew Rannells, Megan Hilty, Tituss Burgess, Lisa Rinna and Harry Hamlin, played its first six performances last week. It reached 78% capacity and grossed $322,788.10. The Hollywood Reporter called the start somewhat shaky.

What does this change for new Broadway shows?

The figures split the week between established earners and provisional openings. They do not amount to a single market-wide rise in ticket prices: Much Ado averaged $194, while Other Desert Cities averaged $315, and new shows entered with comps or previews.

Much Ado has the clearest pre-opening signal: 100% capacity, $2.3 million in eight performances and a third-place weekly gross before its Nov. 19 opening. The next test is whether Wanted and It’s a Wonderful Life convert preview audiences into sustained paid business once complimentary tickets no longer shape opening-week totals.