Grosses Analysis: Examining the Box Office Boosts of Tony-Nominated Productions

Grosses   Grosses Analysis: Examining the Box Office Boosts of Tony-Nominated Productions Six shows up for big awards had their highest-grossing weeks to date.
Ben Platt
Ben Platt Joan Marcus

As nominations for the 2017 Tony Awards were announced May 2, several shows celebrated with multiple nods—and subsequently, a boost in their box office figures. Take a look below as Playbill breaks down which shows saw upticks in the week ending May 7.

Three of the four shows to receive Tony Award nominations for Best Musical had their highest-grossing weeks to date. Dear Evan Hansen ($1,296,755), Groundhog Day ($823,512), and Come From Away ($1,098,080) celebrated box office boosts.

Get a full look at the grosses for the week ending May 7 here.

The fourth production up for Best Musical, Natasha, Pierre & The Great Comet of 1812, was down by gross but up by capacity, indicating a lower average ticket price than the previous week. This was likely due to the absence of headliner Josh Groban beginning May 4; Dave Malloy, the show’s Tony-nominated composer, steps into the role of Pierre for select performances through June.

Similarly, three of the Best Play Tony nominees that opened this spring took in their largest gross of their runs so far: Oslo ($692,653), Indecent ($254,338), and A Doll’s House, Part 2 ($276,160). The fourth nominated play, Sweat, increased over $22,000 from last week, taking in $314,734. Its highest-grossing weeks, however, were the weeks ending April 16 and April 23—the two weeks after it won the Pulitzer Prize.

2017 TONY NOMINATIONS: THE GREAT COMET AND HELLO, DOLLY LEAD THE PACK

Meanwhile, Hamilton dominated the boards once again at $3,141,642, marking the tenth time the musical has surpassed the $3 million mark.

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