Broadway Box Office Snapshot — Week Ending July 26, 2026

Broadway just posted one of its strongest weeks of the summer. The Broadway League’s official report for the week ending July 26, 2026 shows a 13% jump in gross over the prior week, capacity climbing back above 94%, and The Lion King roaring past Hamilton for the top spot on the chart. All of this comes as five productions count down their final performances and Broadway’s fall season starts to take shape in the wings.

At a Glance: Broadway grossed $34,864,840 for the week ending July 26, 2026 — up 13% from the previous week, with capacity jumping to 94.06%. The Lion King led all shows at $2.43 million on an extra performance, while five productions are set to close by the end of August, including Tony winners Death of a Salesman and Ragtime.

Broadway Box Office Snapshot — Week Ending July 26, 2026

These are the official, newly released figures from the Broadway League, representing Week 9 of the 2026-2027 season.

Total Gross $34.86M

Attendance 273,061

Capacity 94.06%

Avg. Ticket $127.68

Shows Playing 30

Compared to the prior week (ending July 19), gross was up 13%, attendance rose 7%, and average ticket price climbed 5% to $127.68. Year-over-year, against the equivalent week of the 2025-2026 season, gross was up 10% from $31,581,085, attendance was up 11%, and average ticket price was essentially flat. Show count dipped to 30 from 31 as Proof completed its run at the Booth Theatre the previous week.

The Rebound: What Drove the Jump

After a soft Week 8 that saw grosses dip alongside the FIFA World Cup’s closing days, Broadway roared back hard in Week 9. The 13% week-over-week increase is one of the largest single-week jumps of the summer, and the 7-point capacity swing — from 87.03% to 94.06% — suggests the market absorbed whatever tourist and local traffic the World Cup’s conclusion had been diverting. With the calendar now past the tournament and heading into the last full week of July, Broadway appears to have recaptured a meaningful share of visitor attention.

Nearly every show on the board posted a gain this week — a rarer occurrence than it might sound, since Broadway’s 30 productions rarely move in lockstep. Of the 30 shows reporting, only one, The Rocky Horror Show, posted a week-over-week decline in gross. That kind of broad-based lift points to a genuine demand surge rather than one or two shows skewing the average.

Top Grossing Shows

SHOW	GROSS	AVG. TICKET	CAPACITY
The Lion King	$2,428,755	$162.70	97.80%
Hamilton	$2,341,119	$217.92	101.43%
Death of a Salesman	$2,234,252	$212.79	101.97%
MJ	$1,933,319	$173.64	100.34%
Harry Potter and the Cursed Child	$1,887,297	$147.33	98.72%
Ragtime	$1,625,400	$192.95	100.00%
The Lost Boys	$1,486,528	$116.10	97.12%
Wicked	$1,426,416	$102.11	96.63%
Aladdin	$1,328,037	$102.90	93.41%
Schmigadoon!	$1,205,105	$131.09	99.32%

Source: The Broadway League, via BroadwayWorld. Figures for the week ending July 26, 2026.

Show-by-Show Highlights

The Lion King jumped to the top of the chart at $2,428,755, up more than $523,000 week-over-week — the single largest dollar increase on the board — helped by an extra performance (nine shows instead of the usual eight) at the Minskoff. Hamilton stayed close behind at $2,341,119, playing to 101.43% capacity with the highest average ticket price on the entire board at $217.92. Death of a Salesman, now in its final two weeks before an August 9 closing, posted $2,234,252 at 101.97% capacity — arguably its strongest commercial week of the entire run.

MJ continued climbing, up to $1,933,319, while Harry Potter and the Cursed Child posted one of the week’s biggest percentage jumps, up more than 20% to $1,887,297. Ragtime stayed at a full 100% capacity in the middle of its final stretch before an August 16 closing, and Cats: The Jellicle Ball surged to $1,189,431 — up 44% week-over-week and over 101% capacity — a strong send-off surge as it enters its final two weeks before an August 8 close.

Elsewhere, Every Brilliant Thing climbed to $454,088, its highest gross in recent weeks, as Tracee Ellis Ross’s solo run heads toward its own August 9 finale. Operation Mincemeat: A New Musical jumped 27% to $684,196, and SIX: The Musical rose 27% as well to $623,906, though its capacity remains one of the lower marks on the board at 78.04%. The Great Gatsby and Chicago both posted double-digit percentage gains, up to $935,023 and $759,355 respectively.

The lone decliner of the week was The Rocky Horror Show, down 21.8% to $817,231 as capacity slipped to 88.33% from 91.78% — a rare dip in a week when almost everything else on the chart moved upward. Titanique and Buena Vista Social Club posted more modest gains, each up single-digit percentages, while Two Strangers (Carry a Cake Across New York) jumped nearly 15% to $608,134, still the second-lowest capacity on the board at 78.57%.

Musicals vs. Plays: A Season of Star-Driven Straight Plays

Straight plays continue to punch above their weight this season. Death of a Salesman, Harry Potter and the Cursed Child, Joe Turner’s Come and Gone, Oh, Mary!, and Stranger Things: The First Shadow all posted average ticket prices and capacity numbers that rival or exceed most of the season’s musicals — a continuation of a pattern that took hold during the record-breaking 2025-2026 season, when star-driven plays became some of Broadway’s most reliable earners per available seat.

Death of a Salesman is again the clearest example: at $212.79 average ticket and nearly 102% capacity in its second-to-last week, the Tony-sweeping revival is closing at its commercial peak rather than fading out. Joe Turner’s Come and Gone, playing its own limited run at the Ethel Barrymore, climbed to 99.13% capacity with a $148,064 week-over-week gain. Oh, Mary! posted a similarly strong week, up over 14% to $1,078,641 at nearly 100% capacity.

Musicals, meanwhile, remain the volume engine of the market — The Lion King, Hamilton, MJ, Wicked, and Aladdin collectively account for a substantial share of total weekly attendance. That split, plays commanding premium per-ticket pricing on smaller houses while musicals drive overall attendance across Broadway’s largest theatres, continues to define the shape of the 2026-2027 season’s box office.

Broadway’s Closing Watch: Five Shows Taking Final Bows This Summer

The next six weeks bring a wave of closings that will meaningfully reshape the Broadway landscape heading into fall. Here’s what’s wrapping up and when:

SHOW	THEATRE	CLOSING DATE
Cats: The Jellicle Ball	Broadhurst Theatre	August 8, 2026
Every Brilliant Thing	Hudson Theatre	August 9, 2026
Arthur Miller’s Death of a Salesman	Winter Garden Theatre	August 9, 2026
Ragtime	Vivian Beaumont Theater	August 16, 2026
Moulin Rouge! The Musical	Al Hirschfeld Theatre	August 30, 2026

Closing dates as announced; subject to further extension or change.

The Cats: The Jellicle Ball closing was announced earlier this summer as a surprise early exit for Andrew Lloyd Webber’s reimagined ballroom take on the classic musical, despite winning the 2026 Tony for Best Direction of a Musical and, as this week’s grosses show, genuinely strong momentum right up to the end. Every Brilliant Thing wraps Tracee Ellis Ross’s Broadway debut, a one-woman solo show that has been building toward a strong finish at the Hudson. Death of a Salesman, this season’s most decorated production with its sweep of the Tony play categories, closes at the Winter Garden after a run that just posted its best commercial week yet.

Ragtime‘s closing at the Vivian Beaumont has already been pushed back once, extended after the production picked up four 2026 Tony Awards including Best Revival of a Musical, Leading Actor and Actress in a Musical for Joshua Henry and Caissie Levy, and Sound Design for Kai Harada. And Moulin Rouge! The Musical will end its historic run at the Al Hirschfeld Theatre on August 30 after more than six years on Broadway, one of the longest-running jukebox musicals of its era — and, notably, one of this week’s stronger risers, up over 30% to $1,069,438.

New Arrivals: What’s Opening Next

As the summer closings clear theatres, Broadway’s fall season begins to take shape. The first major new arrival lands in late August, with more on the horizon into the fall:

SHOW	THEATRE	PREVIEWS / OPENS
Paranormal Activity: A New Story	August Wilson Theatre	Aug 14 / Aug 25, 2026
School Girls; Or, The African Mean Girls Play	Samuel J. Friedman Theatre	Sept 8 / Sept 28, 2026

Paranormal Activity: A New Story becomes Broadway’s first major fall opening, moving into the August Wilson Theatre with previews beginning August 14 ahead of an August 25 opening night. The immersive stage adaptation of the horror film franchise, directed by Felix Barrett and featuring a story from Levi Holloway, has already played engagements in Chicago and London before this Broadway transfer, and stars Cher Álvarez, Travis A. Knight, Shannon Cochran, and Andrea Syglowski.

Just past the six-week window but worth watching: School Girls; Or, The African Mean Girls Play, Jocelyn Bioh’s comedy about Ghanaian teenagers navigating a beauty pageant, begins previews at the Samuel J. Friedman Theatre on September 8 ahead of a September 28 opening — its first Broadway run nearly a decade after its Off-Broadway premiere, directed by Whitney White with a cast led by Denée Benton and Patina Miller.

Further out, the fall and winter calendar is already filling in: Billy Crystal returns in the solo show 860 at Lincoln Center in October, Julia Louis-Dreyfus and Ed Harris headline a revival of Other Desert Cities, and Bill Irwin brings The Imaginary Invalid to the Todd Haimes Theatre. Expect a fuller preview of the 2026-2027 fall season as opening dates firm up in the coming weeks.

Capacity Deep Dive: Who’s Selling Out and Who Isn’t

With overall capacity at 94.06%, this was one of the fullest weeks Broadway has posted all summer. Eight productions played at or above 100% capacity: Hamilton (101.43%), Death of a Salesman (101.97%), Cats: The Jellicle Ball (101.28%), The Outsiders (100.32%), Ragtime (100.00%), MJ (100.34%), Oh, Mary! (99.86%), and Schmigadoon! (99.32%) — a mix of long-running hits, Tony winners in their final weeks, and productions clearly benefiting from the broader demand surge.

At the other end of the spectrum, SIX: The Musical (78.04%), Two Strangers (Carry a Cake Across New York) (78.57%), and Titanique (86.67%) posted the lowest capacity marks on the board, even though all three saw gross increases week-over-week. That combination — rising gross alongside comparatively soft capacity — usually signals a show leaning on premium and group pricing to grow revenue rather than filling every seat, which is worth watching over the coming weeks as summer tourist traffic patterns shift.

Season to Date: Where 2026-2027 Stands

Nine weeks into the 2026-2027 season, the box office picture has been genuinely uneven: a slower-than-expected start post-Memorial Day, a mid-June surge around The Book of Mormon’s 15th anniversary, a steep Fourth of July dip, a partial Week 7 recovery, a Week 8 pullback tied to the World Cup’s conclusion, and now a strong Week 9 rebound. That volatility makes any single week a risky basis for drawing conclusions about the season as a whole, but the broader trend — five closings clearing the decks just as a rebound takes hold — sets up an interesting test case for whether Broadway can sustain momentum through a period of real turnover.

Historically, late July and August tend to be some of the calendar’s softer stretches, sandwiched between the post-Tony bump and the fall rush of new openings. This week’s numbers complicate that pattern somewhat — a 13% week-over-week gain and a 10% year-over-year gain are both stronger than what the “typical summer lull” narrative would predict, suggesting either an unusually strong tourist season or a genuine bounce-back from the disruptions of the preceding several weeks. Either way, next week’s report will be an important data point for figuring out which explanation holds.

The Bigger Picture

Broadway enters this stretch fresh off a record-breaking 2025-2026 season that brought in $1.91 billion in total revenue, the highest in the industry’s history, with over 14.6 million total attendees marking the first time since 2019 that attendance surpassed pre-pandemic levels. This week’s 10% year-over-year gross increase is a meaningfully better comparison than the prior week’s 8.4% year-over-year decline, suggesting the summer’s earlier softness — driven by June’s closings, the Fourth of July calendar shift, and the World Cup — may have been a temporary drag rather than a structural one.

The near-universal gains across the chart this week are the more encouraging signal. When 29 of 30 shows post week-over-week increases simultaneously, it points to a genuine lift in overall demand rather than one or two hits skewing the average. Hamilton, Death of a Salesman, and The Lion King are all posting average ticket prices and capacity numbers well above the market mean, a sign that demand for proven, critically respected productions remains strong even as the industry heads into a stretch of high-profile closings.

Ticket Pricing Trends to Watch

Average ticket price climbed to $127.68, up 5% from the prior week’s $121.26 and essentially flat against the equivalent week of the 2025-2026 season ($128.01). That flat year-over-year comparison, paired with a 10% gross increase and 11% attendance increase, suggests this week’s growth came primarily from selling more seats rather than raising prices — a healthier growth pattern than a season driven purely by ticket-price inflation.

The shows commanding the highest per-ticket premiums this week were almost all plays or limited engagements: Hamilton ($217.92), Death of a Salesman ($212.79), Ragtime ($192.95), and MJ ($173.64) led the board, while long-running musicals in the mid-run stretch of their commercial life — Wicked, Aladdin, and Titanique — posted some of the lowest average prices, generally in the $85 to $103 range. That spread illustrates a familiar Broadway dynamic: productions in their first or final weeks, or coming off a Tony campaign, tend to command premium pricing power that settles once a show reaches steady-state.

What Producers and Investors Are Watching

For industry insiders, the next six weeks carry real stakes. Five closings across a mix of musicals and plays will free up five Broadway houses — the Broadhurst, Hudson, Winter Garden, Vivian Beaumont, and Al Hirschfeld theatres — at a moment when the fall pipeline is still relatively thin. Paranormal Activity’s arrival at the August Wilson fills one of those slots, but several of the newly vacated houses don’t yet have publicly confirmed next tenants, which is typical for this point in the summer but still worth tracking for anyone following real estate on the Rialto.

There’s also a broader financial story underneath the week-to-week numbers. The 2025-2026 season’s $1.91 billion total was driven disproportionately by ticket price growth rather than attendance growth. This week’s numbers buck that trend somewhat, with attendance growth outpacing price growth both week-over-week and year-over-year — worth watching as a potential shift in how 2026-2027’s growth gets built, particularly heading into a fall when producers will be pricing new shows like Paranormal Activity and School Girls against a market that just showed it can grow through volume as well as price.

Off-Broadway and Beyond

While this report focuses on the Broadway League’s official grosses, it’s worth noting that Off-Broadway has its own late-July momentum building. Cat Cohen’s solo musical comedy Broad Strokes opened at the Lucille Lortel Theatre on July 27 following previews that began July 14, and The Saviors, a new play from Bubba Weiler, opened the same night at the Atlantic Theater Company’s Linda Gross Theater after previews starting July 8. Both productions add to a busy summer Off-Broadway slate that’s included Rosie O’Donnell’s Common Knowledge and other high-profile limited runs — a reminder that the broader New York theatre ecosystem doesn’t slow down even when Broadway’s own numbers move for a week.

We’ll be back next week with the latest figures, along with continued coverage of the closing wave, Paranormal Activity’s previews, and the shape of Broadway’s 2026-2027 fall season as it comes into focus.

Frequently Asked Questions

What was Broadway’s total gross for the week ending July 26, 2026?

Broadway grossed $34,864,840 across 30 running productions, with attendance of 273,061 and average capacity of 94.06% — up 13% in gross from the previous week.

Which show grossed the most this week?

The Lion King led the board at $2,428,755, helped by an extra performance, narrowly edging out Hamilton ($2,341,119) and Death of a Salesman ($2,234,252).

Which Broadway shows are closing soonest?

Cats: The Jellicle Ball closes August 8, followed by Every Brilliant Thing and Arthur Miller’s Death of a Salesman on August 9, Ragtime on August 16, and Moulin Rouge! The Musical on August 30.

What’s the next new show opening on Broadway?

Paranormal Activity: A New Story begins previews at the August Wilson Theatre on August 14, 2026, ahead of an August 25 opening night, making it the first major new Broadway arrival of the fall season.