I am back with Broadway Grosses. But this time I have something different to say inspired by Jim Mcarthy from Goldstar. You will note an extra column below titled 'Revenue per seat'. This week, the list is sorted in descending order from the RPS column. RPS is the amount of money generated by each available seat in the theater for the week. It is different from Avg Paid Admission, which on its own is an OK measure of success. However when you look at the difference between APA and RPS you can see why some shows cannot survive on Broadway and others are profitable.
Example: A new musical comes to Broadway and has a running cost of $625,000 per week (including minimum royalties.) It is in a theater that has 1060 seats with a weekly capacity of 8500. What does the show need to make per seat to break even? $73.52 (Divide the weekly cost by the number of seats to derive this number) So anything above that number would be profit for the production that week. Let's say the show does 80% capacity one week (which would put it in the top 12 of this past week in % capacity) at an average ticket price of $90. Seems like they would be making money that week right? Unfortunately the show would have a loss that week of $13,000. So APA is not always a good way to measure your success on a weekly basis. More important is to know what your RPS at various % levels is and find a way to make those numbers.
From this chart, which shows do you think are making money and which are losing?
| Show Name | GrossGross | %Cap | Avg Paid Admission | Revenue per seat |
| THE MERCHANT OF VENICE | $1,085,310 | 102.50% | $131.30 | $134.59 |
| JERSEY BOYS | $1,237,955 | 95.42% | $132.06 | $126.01 |
| THE LION KING | $1,529,019 | 95.64% | $119.17 | $113.97 |
| DRIVING MISS DAISY | $699,239 | 88.77% | $122.46 | $108.71 |
| WICKED | $1,566,919 | 94.47% | $114.62 | $108.27 |
| ELF | $1,175,130 | 84.57% | $121.98 | $103.15 |
| SPIDER-MAN TURN OFF THE DARK | $919,457 | 98.22% | $97.11 | $95.38 |
| BILLY ELLIOT: THE MUSICAL | $1,037,838 | 91.78% | $99.47 | $91.29 |
| PROMISES, PROMISES | $1,154,614 | 81.12% | $101.84 | $82.61 |
| MEMPHIS | $936,362 | 83.55% | $95.29 | $79.62 |
| THE ADDAMS FAMILY | $937,133 | 69.40% | $111.11 | $77.12 |
| THE PEE-WEE HERMAN SHOW | $572,951 | 66.43% | $102.18 | $67.89 |
| MAMMA MIA! | $777,759 | 74.17% | $87.50 | $64.90 |
| MARY POPPINS | $911,483 | 74.87% | $84.68 | $63.40 |
| A LITTLE NIGHT MUSIC | $468,108 | 68.30% | $92.02 | $62.85 |
| LA CAGE AUX FOLLES | $530,382 | 67.86% | $92.43 | $62.72 |
| FELA! | $506,223 | 80.84% | $76.00 | $61.43 |
| MILLION DOLLAR QUARTET | $582,367 | 65.16% | $92.03 | $59.96 |
| ROCK OF AGES | $476,229 | 64.09% | $93.16 | $59.71 |
| THE PHANTOM OF THE OPERA | $690,663 | 65.30% | $81.86 | $53.46 |
| CHICAGO | $457,936 | 65.38% | $81.06 | $53.00 |
| RAIN: A TRIBUTE TO THE BEATLES ON BROADWAY | $598,381 | 60.05% | $86.02 | $51.66 |
| WEST SIDE STORY | $697,675 | 63.21% | $81.30 | $51.39 |
| WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN | $390,465 | 65.21% | $77.17 | $50.32 |
| BRIEF ENCOUNTER | $378,764 | 76.46% | $61.80 | $47.25 |
| IN THE HEIGHTS | $496,380 | 67.22% | $68.68 | $46.17 |
| LOMBARDI | $273,956 | 66.74% | $64.95 | $43.35 |
| TIME STANDS STILL | $339,572 | 49.79% | $79.01 | $39.34 |
| THE SCOTTSBORO BOYS | $282,465 | 77.79% | $50.43 | $39.23 |
| BLOODY BLOODY ANDREW JACKSON | $315,796 | 58.80% | $65.18 | $38.32 |
| NEXT TO NORMAL | $234,199 | 67.26% | $56.38 | $37.92 |
| A FREE MAN OF COLOR | $261,283 | 51.97% | $60.26 | $31.31 |
| AMERICAN IDIOT | $424,812 | 43.31% | $71.73 | $31.07 |
| THE PITMEN PAINTERS | $154,367 | 65.08% | $45.62 | $29.69 |
| COLIN QUINN: LONG STORY SHORT | $128,644 | 47.15% | $58.10 | $27.39 |
| LA BETE | $216,038 | 40.38% | $66.41 | $26.82 |
No wonder many directors are rich.
Posted by: dui lawyer in arizona | March 31, 2011 at 12:07 AM
That is too cool! thanks.*
Posted by: Air Jordans | December 08, 2010 at 08:29 PM