Grosses Analysis: Tony-Winning Oslo Concludes With Triumphant Final Week

Grosses   Grosses Analysis: Tony-Winning Oslo Concludes With Triumphant Final Week
The 2017 Best Play winner earned a box office high with its last string of performances.
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Daniel Oreskes, Michael Aronov, and Anthony Azizi (foreground) with Daniel Jenkins and Jeb Kreager (background) T. Charles Erickson
Okieriete Onaodowan Joseph Marzullo/WENN

The Lincoln Center Theater production of Oslo ended its extended limited engagement on a box office high. In its final week, the Tony-winning play grossed $898,525—82 percent of its potential and its highest figure since beginning at the Vivian Beaumont Theater in March.

Take an in-depth look at Broadway grosses from the week ending July 16.

This was the second time the politically-driven play landed north of $800,000 (the first being the week after winning the Tony for Best Play). In its last eight performances, the play was two points away from reaching 100 percent capacity, and saw a boost of $229,054 from the week before.

Meanwhile, casting shakeups in two musicals from this past season instigated shifts in the box office tallies. After a two-week hiatus, Tony winner Bette Midler returned to the spotlight in Hello, Dolly!, bringing the revival’s totals back into the millions with $2,232,162.

Natasha, Pierre, and the Great Comet of 1812 continued to face a dip following Josh Groban’s departure, but in replacement Okieriete Onaodown’s first week, the show made a considerable $939,748 (86.11 percent of its potential) and was up nearly $50,000 from the week before.


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