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Broadway’s latest box office figures have dropped, and once again, Hamilton takes the lead. With nearly $3.6 million in earnings over the past week and attendance topping 100 percent capacity, the powerhouse musical proves its enduring appeal. Even as some productions shift or end, Broadway continues to offer a rich mix of new faces, returning stars, and emotional finales.
Hamilton still reigns
Nearly a decade after its debut, Hamilton continues to defy gravity at the Broadway box office. This past week, it brought in $3.59 million, only slightly down from the previous week’s $3.8 million. What’s even more astonishing is that it managed this number with an average ticket price of $335.14 and a fully packed house — more than 100 percent capacity, which typically reflects standing-room audiences.
Part of this momentum likely comes from Leslie Odom Jr.’s much-celebrated return as Aaron Burr, a role that earned him a Tony Award back in 2016. There’s something deeply satisfying in seeing an originator step back into a part they helped shape. For Hamilton fans old and new, it’s not just a performance — it’s a reunion.
Waiting for Godot sells out on anticipation
Waiting for Godot, the classic Beckett play often associated with existential pauses and long silences, found new life thanks to Keanu Reeves and Alex Winter. In just its second week of performances, the show pulled in $1.8 million despite only staging seven performances instead of the usual eight. To read Gwen Stefani headlines magical 2025 Disney Christmas Parade
The buzz around this production has clearly been working. Average ticket prices reached $266.96, and every seat in the Hudson Theatre was filled. The show hasn’t officially opened yet — its formal debut is scheduled for September 28 — but early signs point to a strong run.
As someone who’s seen Godot done in a half-empty house, watching it become a certified hit thanks to inspired casting is a reminder of what smart direction and good timing can do.
Groff-led musical hits new heights
Another standout this week is Just In Time, a musical about Bobby Darin with Jonathan Groff in the lead role. It posted its highest earnings yet: a solid $1.3 million. Packed houses and an average ticket price of $232.63 helped push this show to third place in terms of highest earnings per ticket.
Groff seems to have tapped into something sincere and infectious here. There’s a warmth in his performances that’s hard to fake — and clearly, audiences are responding.
A bittersweet send-off for Cabaret
Cabaret wrapped up its Broadway run this week, but not without one final push. The show earned a respectable $820,805 and played to 97 percent capacity — a noticeable uptick compared to recent weeks. Sadly, the end came a month earlier than scheduled after Billy Porter’s sudden health crisis due to sepsis. To read Toho expands into Europe with bold anime distribution moves
It’s always difficult to say goodbye to a revival that had heart, particularly one that got off to such a strong start (early in the run, it was clearing $1 million a week). Porter’s presence was a key draw, and his absence was clearly felt. Still, the production bowed out with grace, and fans showed up one last time to honor it.
Other strong performers
Beyond the headline-grabbers, a few long-running shows continued to hold their own:
- Wicked: $2 million
- The Lion King: $1.78 million
- Mamma Mia!: $1.6 million
These musicals may be familiar, but their staying power is undeniable. Sometimes, comfort and nostalgia fill just as many seats as critical buzz.
Due to the Rosh Hashanah holiday, this week’s box office data arrived later than usual — but even with the delay, it’s fascinating to see how diverse and active Broadway remains. From revolutionary rappers to existential vagabonds and beloved witches, there’s still something magnetic about live theatre in New York.
