Broadway Box Office: Hamilton Holds the Lead as Star - Studded Revivals Shake Up the Rankings
Broadway’s autumn season gathered momentum in the week ending Sunday 4 October, with a combination of established musical blockbusters and high-profile new productions lifting total box-office revenue to $27.74 million. The 15.1 per cent increase on the previous week marked a welcome recovery following a quieter September, while attendance climbed to 226,390 across 28 productions. The average ticket price reached $122.51, illustrating the continuing importance of premium seating and celebrity casting in New York’s commercial theatre market.
The week’s most significant development was the arrival of two star-driven productions, Other Desert Cities and Billy Crystal’s autobiographical solo play 860. Both entered previews to considerable interest, with Other Desert Cities immediately becoming Broadway’s second-highest-grossing production. Nevertheless, Hamilton retained its commanding position at the top, generating more than $2.7 million in a single week. The results underline the continuing financial strength of established musicals, but also demonstrate how the right cast can transform the commercial prospects of a serious drama.
Although receipts increased substantially from the previous week, the broader comparison remains less encouraging. Broadway’s weekly grosses were approximately 11.8 per cent below the equivalent period in 2025, suggesting that the industry’s autumn recovery is taking place against a more challenging annual backdrop.
1. Hamilton | $2.70 million
Richard Rodgers Theatre | Musical | Running time: 2 hours 40 minutes
Lin-Manuel Miranda’s revolutionary musical continues to dominate Broadway’s commercial landscape, earning $2,704,838 during the reporting week, an increase of approximately 3.7 per cent. More than a decade after its Broadway premiere, Hamilton remains a remarkable demonstration of the enduring appeal of an intelligently constructed musical that combines history, contemporary music and compelling theatrical storytelling.
The production follows the life of Alexander Hamilton, from his arrival in America as an ambitious immigrant to his involvement in the Revolutionary War, his influence on the country’s political foundations and the personal rivalries that ultimately shape his fate. Hip-hop, R&B and traditional musical theatre provide the musical vocabulary for a story concerned with ambition, loyalty, political power and historical legacy.
Marcus John currently leads the Broadway company as Alexander Hamilton, with Donald Webber Jr. as Aaron Burr, Lauren Mariasoosay as Eliza Hamilton and Lencia Kebede as Angelica Schuyler. Christopher Jackson has also returned to the role of George Washington, which he originated in the Broadway production, giving audiences another compelling reason to revisit one of contemporary musical theatre’s defining works.
2. Other Desert Cities | $1.88 million
Hudson Theatre | Play | Running time: approximately 2 hours 30 minutes
The most extraordinary commercial arrival of the week was the Broadway revival of Jon Robin Baitz’s Other Desert Cities, which earned $1,879,441 during its first seven preview performances. Playing to approximately 100 per cent capacity, the production demonstrated the box-office attraction of an exceptional ensemble of established television, film and stage performers.
Julia Louis-Dreyfus makes her Broadway debut alongside Ed Harris, Allison Janney, Joe Keery and Lily Rabe in this revival directed by John Benjamin Hickey. Set during a Christmas gathering in Palm Springs, the play centres on a wealthy, politically connected American family whose carefully maintained relationships are threatened when a daughter returns home intending to publish a memoir exposing long-buried family secrets.
Rabe plays Brooke, the writer whose revelations threaten to reopen old wounds, while Louis-Dreyfus and Harris portray her parents, Polly and Lyman. Janney appears as Silda and Keery as Trip. Beneath its apparently comfortable domestic setting, the play explores the ownership of family history, the compromises demanded by loyalty and the personal consequences of political conviction. With its official opening scheduled for 18 October, this was unquestionably the week’s most important new commercial development.
3. Harry Potter and the Cursed Child | $1.67 million
Lyric Theatre | Play | Running time: 2 hours 55 minutes
Harry Potter and the Cursed Child retained its position among Broadway’s strongest attractions, collecting $1,671,543, approximately 6.2 per cent above the previous week’s total. Its continuing success demonstrates the considerable international appeal of J.K. Rowling’s fictional universe, particularly when combined with the production’s ambitious stagecraft and elaborate theatrical illusions.
Set almost two decades after the events of the original Harry Potter novels, the play follows Harry’s son Albus as he develops an unexpected friendship with Scorpius Malfoy, son of Harry’s former school rival Draco. Their attempts to navigate inherited reputations and troubled family relationships lead to an adventure involving time travel, alternative realities and potentially disastrous consequences.
John Skelley leads the company as Harry Potter, with Emmet Smith as Albus and Aidan Close as Scorpius. Tom Felton, internationally recognised for playing Draco Malfoy in the film series, has returned to the character on Broadway, while Rachel Christopher and Trish Lindstrom are among the principal cast. Felton’s involvement remains a particular attraction for audiences who grew up with the films, although his scheduled absences include 12 to 18 October.
4. MJ The Musical | $1.59 million
Neil Simon Theatre | Musical | Running time: 2 hours 30 minutes
MJ The Musical remained one of Broadway’s most commercially successful biographical productions, generating $1,588,467, a 2.8 per cent increase on the preceding week. Built around Michael Jackson’s extraordinary musical career, the production combines some of the most recognisable songs in popular music with a behind-the-scenes portrait of an artist whose perfectionism helped redefine live entertainment.
Rather than attempting a conventional cradle-to-grave biography, the musical concentrates on preparations for Jackson’s 1992 Dangerous World Tour. Through rehearsals, conversations and flashbacks, the audience encounters the creative pressures, relationships and formative experiences that influenced his music and performance style.
Ilario Grant currently takes the central role, supported by a company that includes Rebecca Faulkenberry, Gabriel Ruiz and Brandon Lee Harris. Christopher Wheeldon’s choreography and direction remain integral to the show’s appeal, transforming a familiar collection of songs into an energetic theatrical experience that places movement, musical precision and visual spectacle at its centre.
5. The Lion King | $1.50 million
Minskoff Theatre | Musical | Running time: 2 hours 30 minutes
Disney’s The Lion King generated $1,498,471, a decline of approximately 11.9 per cent from the previous week. The fall should be viewed in context, however, as the production presented seven performances rather than its usual eight following the cancellation of a Saturday matinee. Attendance remained strong, with approximately 94 per cent of available seats occupied.
Julie Taymor’s celebrated stage adaptation tells the story of Simba, a young lion destined to inherit his father’s kingdom. Following the death of King Mufasa and the machinations of his uncle Scar, Simba retreats from his responsibilities before eventually confronting his past and embracing his place within the natural order.
The current Broadway company includes Fred Berman, Ben Jeffrey, Pearl Khwezi, Gavin Lee, Mduduzi Madela and L. Steven Taylor. Elton John and Tim Rice’s music, combined with Taymor’s inventive puppetry, masks and visual storytelling, continues to make the production one of the world’s most recognisable theatrical attractions. Its longevity is particularly significant because the show remains commercially competitive almost three decades after its Broadway opening in 1997.
6. Oh, Mary! | $1.22 million
Lyceum Theatre | Play | Running time: 80 minutes
Cole Escola’s wildly unconventional comedy Oh, Mary! collected $1,216,930, representing a decline of approximately 16.5 per cent. Despite the reduction, the production continued to achieve an impressive commercial result for a comparatively short, small-cast play, illustrating the financial potential of a distinctive theatrical concept with strong celebrity appeal.
The play presents an absurdist interpretation of Mary Todd Lincoln during the weeks preceding Abraham Lincoln’s assassination. Historical accuracy is deliberately abandoned in favour of a chaotic examination of frustrated ambition, personal dissatisfaction, romantic longing and the desire to escape an increasingly intolerable domestic existence.
Bowen Yang currently plays Mary, with Phillip James Brannon and Barrett Foa among the supporting cast. The production’s combination of irreverent humour, theatrical exaggeration and an unexpectedly sympathetic portrait of a deeply unhappy woman has helped turn a relatively modest comedy into one of Broadway’s most discussed recent successes.
7. Wicked | $1.11 million
Gershwin Theatre | Musical | Running time: 2 hours 45 minutes
Wicked continued its remarkable theatrical run with weekly receipts of $1,113,235, approximately 10 per cent above the previous week’s figure. The musical has benefited from renewed international attention following its recent film adaptations, but its commercial success remains rooted in a story and score that have consistently attracted audiences since its Broadway premiere in 2003.
Based on Gregory Maguire’s novel, Wicked revisits the world of The Wizard of Oz through the unlikely friendship between Elphaba, a gifted young woman whose green skin makes her an outsider, and Glinda, a socially confident and ambitious student. Their contrasting personalities develop into a complicated relationship shaped by love, prejudice, political manipulation and the gradual realisation that public reputations rarely tell the whole story.
Keri René Fuller currently plays Elphaba opposite Emma Flynn as Glinda, with Carl Man appearing as Fiyero. Stephen Schwartz’s score, including the celebrated Defying Gravity, remains central to the musical’s continuing appeal, while the production’s themes of friendship, discrimination and political power have given the story a resonance extending well beyond its fantasy setting.
8. The Lost Boys | $1.10 million
Palace Theatre | Musical | Running time: 2 hours 30 minutes
The Broadway musical adaptation of the cult 1987 film The Lost Boys recorded receipts of $1,099,451, increasing approximately 4.5 per cent. The production represents an increasingly familiar strategy in commercial musical theatre: developing established film properties for audiences attracted by nostalgia while introducing the material to a new generation.
The story follows brothers Michael and Sam, who relocate with their mother Lucy to the California coastal town of Santa Carla. Michael becomes fascinated by a mysterious group of young outsiders led by the charismatic David, but his search for independence and belonging soon exposes him to a sinister world of vampires and dangerous loyalties.
The company includes LJ Benet, Ali Louis Bourzgui, Benjamin Pajak, Maria Wirries and Shoshana Bean. Directed by Michael Arden, the musical features music and lyrics by The Rescues and builds on the film’s mixture of teenage rebellion, horror and dark humour. Its consistent million-dollar weekly performance suggests that this adaptation has found a substantial audience beyond the film’s original following.
9. Chicago | $1.03 million
Ambassador Theatre | Musical | Running time: 2 hours 30 minutes
Broadway’s long-running revival of Chicago crossed the million-dollar threshold during the reporting week, taking $1,030,366, an increase of approximately 5.1 per cent. Nearly 98 per cent of available seats were occupied, reflecting the production’s remarkable ability to maintain audience interest through a combination of celebrated choreography, familiar songs and changing principal performers.
Set in the criminal underworld of 1920s Chicago, the musical follows Roxie Hart and Velma Kelly, two women whose involvement in sensational murder cases propels them towards an unexpected form of celebrity. With the assistance of opportunistic lawyer Billy Flynn, both attempt to manipulate the public, the press and the legal system in pursuit of fame and freedom.
Reece Weaver currently plays Roxie, with Lissa deGuzman as Velma and Max von Essen as Billy Flynn. NaTasha Yvette Williams also appears as Matron Mama Morton. The production’s enduring appeal lies in the sharp satire of celebrity culture created by John Kander, Fred Ebb and Bob Fosse, themes that remain strikingly relevant almost fifty years after the musical’s original premiere.
10. Aladdin | $971,088
New Amsterdam Theatre | Musical | Running time: 2 hours 30 minutes
Disney’s Aladdin earned $971,088, marginally below its previous weekly total. Nevertheless, attendance of more than 12,000 demonstrated the show’s continuing strength as a family attraction and an important component of Broadway’s tourism market.
Based on Disney’s animated film and the traditional tale of Aladdin and the magic lamp, the musical follows a resourceful young man from the streets of Agrabah who dreams of a different life. His encounter with a mysterious lamp and its extraordinary Genie creates an opportunity to win the affection of Princess Jasmine, but also brings him into conflict with the ambitious and manipulative Jafar.
Rodney Ingram currently plays Aladdin, with Sonya Balsara as Jasmine and Caleb A. Barnett as the Genie during the reporting period. Dennis Stowe appears as Jafar, while Don Darryl Rivera plays Iago. Alan Menken’s score, Casey Nicholaw’s choreography and a production filled with elaborate costumes and stage illusions ensure that Aladdin remains a dependable choice for international visitors and family audiences.
11. Schmigadoon! | $969,823
Nederlander Theatre | Musical | Running time: 2 hours 30 minutes
The stage adaptation of Schmigadoon! enjoyed a particularly encouraging week, earning $969,823, an increase of approximately 11.2 per cent. Adapted from the Apple television series, the musical combines affectionate parody of Broadway’s Golden Age with a contemporary romantic comedy.
The story follows New York doctors Josh and Melissa, whose relationship has become increasingly strained. During a countryside retreat, they unexpectedly find themselves trapped in a mysterious town where daily life follows the conventions of an old-fashioned musical. The inhabitants communicate through elaborate songs and dances, and the couple discover that escaping will require them to understand the true nature of love.
Alex Brightman and Sara Chase lead the Broadway cast, supported by performers including Jennifer Simard, Ann Harada, Max Clayton, McKenzie Kurtz and Brad Oscar. With a book and score by Cinco Paul, the musical offers an entertaining examination of the conventions that have shaped American musical theatre while providing an accessible story for audiences who may be unfamiliar with the genre’s history.
12. Paranormal Activity | $910,556
August Wilson Theatre | Play | Running time: 2 hours 10 minutes
The theatrical adaptation inspired by the Paranormal Activity film franchise continued its successful Broadway engagement, collecting $910,556, approximately 4.5 per cent above the previous week. Playing to nearly 98 per cent capacity, the production demonstrates that horror can be a commercially viable genre for mainstream theatre when presented through imaginative staging and convincing performances.
Written by Levi Holloway and directed by Felix Barrett, the play introduces James and Lou, a couple who move from Chicago to London hoping to escape their troubled past. Their apparent opportunity for a fresh beginning soon gives way to growing unease as Lou becomes convinced that an unsettling presence has followed them into their new home.
Cher Álvarez plays Lou opposite Travis A. Knight as James, with Shannon Cochran as Carolanne and Eva Kaminsky as Etheline Cotgrave. The production uses theatrical illusion, sound and carefully controlled tension to recreate the psychological uncertainty that made the film series successful, while telling a new story specifically designed for the stage.
13. The Great Gatsby | $884,544
Broadway Theatre | Musical | Running time: 2 hours 30 minutes
The Great Gatsby earned $884,544, a weekly increase of approximately 5.2 per cent. Adapted from F. Scott Fitzgerald’s celebrated novel, the production offers a visually lavish interpretation of American wealth, romantic obsession and the darker consequences of the pursuit of success.
Set in the extravagant world of 1920s New York, the story centres on the mysterious millionaire Jay Gatsby, whose elaborate parties conceal an obsessive desire to recover his relationship with Daisy Buchanan. Through the observations of narrator Nick Carraway, the audience gradually discovers the contradictions between Gatsby’s carefully constructed identity and the emotional reality behind his extraordinary wealth.
Ryan McCartan currently plays Gatsby opposite China Anne McClain as Daisy, with Corbin Bleu as Nick Carraway and Naturi Naughton-Lewis as Jordan Baker. The musical features a book by Kait Kerrigan, music by Jason Howland and lyrics by Nathan Tysen. Its continuing appeal lies in the combination of Fitzgerald’s familiar characters and a contemporary Broadway production designed around spectacle, romance and an accessible musical score.
14. Hadestown | $883,125
Walter Kerr Theatre | Musical | Running time: 2 hours 25 minutes
Anaïs Mitchell’s acclaimed musical Hadestown recorded receipts of $883,125, a rise of approximately 6.6 per cent. Attendance remained particularly strong, with almost 99 per cent of available seats occupied, demonstrating the production’s sustained popularity despite being a more intimate and unconventional musical than many of Broadway’s largest commercial attractions.
Drawing on ancient Greek mythology, Hadestown interweaves the stories of Orpheus and Eurydice with that of Hades and Persephone. Against a landscape of poverty, industrial exploitation and fading hope, Orpheus attempts to rescue Eurydice from the underworld through the transformative power of music and love.
The current Broadway company features Jasmin Savoy Brown, Norbert Leo Butz, Ben Davis, Amber Iman and Kayko. Mitchell’s distinctive score combines elements of folk, blues, jazz and traditional musical theatre, while Rachel Chavkin’s direction creates a theatrical world that feels simultaneously ancient and contemporary. The result remains one of Broadway’s most distinctive productions and an important example of original musical storytelling finding sustained commercial success.
15. 860 | $854,574
Imperial Theatre | Play | Running time: 100 minutes
Billy Crystal’s new autobiographical solo production 860 entered the rankings at number fifteen with receipts of $854,574 during its first five preview performances. The figures represent a substantial opening for a one-person production and underline Crystal’s continuing appeal as a performer capable of moving between comedy, film and live theatrical storytelling.
The play takes its title from the number of the Pacific Palisades home that Crystal and his family lost during the devastating California wildfires of 2025. Through memories of his life, relationships and career, Crystal reflects on the emotional significance of home and the role that humour can play in confronting grief, personal loss and unexpected change.
Written and performed by Crystal, with direction by Scott Ellis, 860 combines autobiographical recollection with the performer’s well-established gifts for comic observation. The production officially opens on 21 October and is scheduled to continue its limited Broadway engagement until 3 January 2027.
What the Week’s Results Tell Us
Broadway’s latest published figures reveal an industry increasingly dependent on a combination of established attractions, familiar intellectual property and carefully assembled star-led productions. Hamilton, The Lion King, Wicked and Chicago continue to demonstrate the enormous commercial value of musicals capable of sustaining audiences over many years, while newer productions such as The Lost Boys and Schmigadoon! show that recognisable film and television properties remain attractive starting points for producers.
Perhaps the most significant development, however, is the extraordinary arrival of Other Desert Cities. Serious contemporary drama has often faced difficult commercial conditions on Broadway, particularly when competing against large-scale musicals that appeal directly to international visitors. Yet a carefully chosen ensemble of prominent performers has propelled this revival into the upper reaches of the weekly rankings before its official opening.
The week’s results also reinforce the distinction between total box-office revenue and underlying audience demand. Celebrity-led plays can generate exceptional returns through premium ticket prices even with relatively modest theatre capacities, while larger musicals may rely on substantially greater audience volumes. Both approaches can be commercially successful, but they reflect different relationships between production costs, audience expectations and the theatre-going experience.
With additional productions preparing to open throughout October and November, Broadway’s autumn season is entering a decisive period. The coming weeks will reveal whether the enthusiasm surrounding new arrivals translates into sustained sales and whether established productions can maintain their positions as competition increases.
For audiences, the current Broadway programme offers an unusually broad selection of theatre, from intimate personal storytelling and provocative contemporary drama to supernatural thrillers, historical musicals and internationally recognised family entertainment. For the industry, the challenge remains to convert that variety into the sustained attendance and revenue needed to support a healthy commercial theatre sector.
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