Broadway Box Office: All Out Makes a Splash While Harry Potter Leads the Pack
All Out: Comedy About Ambition, Simon Rich’s latest Broadway venture following last year’s All In: Comedy About Love, kicked off its run at the Nederlander Theatre last week. The production features live onstage readings of short stories with a rotating lineup, including Ike Barinholtz, Jim Gaffigan, Abbi Jacobson, and Jon Stewart, with upcoming performers such as Ben Schwartz, Mike Birbiglia, and Heidi Gardner slated to join. A band from the show, Lawrence, provides musical interludes throughout the performance.
In its first two performances, All Out earned $409,041 and played to full capacity, signaling a promising start for what is anticipated to be a high-grossing Broadway engagement, much like its predecessor. The early box office indicates strong audience interest, aided by the rotating cast that keeps each performance fresh.
Meanwhile, Harry Potter and the Cursed Child continued to dominate the industry box office, increasing its weekly tally to about $2.98 million. The production, which began on Broadway in 2018, reached 100 percent capacity at the Lyric Theatre. Ticket prices averaged around $230, though the show’s grosses are subject to adjustments as producers reportedly aim to buffer losses and build financial reserves due to ongoing high running costs and prior dips in sales. Tom Felton, known for portraying Draco Malfoy in the film series, joined the stage production in November, contributing to the spike in grosses.
Rounding out the top earners, Hamilton posted $2.8 million, Wicked brought in $2.76 million, The Lion King earned $2.4 million, and Mamma Mia! grossed $1.9 million.
Chess experienced a slight decline in grosses, dipping by about $68,000 to $1.89 million amid Lea Michele’s Sunday absence. Attendance rose to 97 percent of capacity, up from 92 percent, even as the average ticket price fell from $183 to $168.
THR Newsletters
Sign up for THR news delivered to your inbox daily.
Would you like this summary to emphasize one show over another, or should I add more context about the implications of the box office trends for Broadway overall?