Broadway’s 26 running productions grossed a combined $24,093,388 for the week ending Sunday, September 27, 2026, according to figures released by The Broadway League. That total marks an 11% decrease from the previous week’s $27,070,361, with total attendance also falling 11% to 209,194. The dip came as New York endured a soggy Nor’easter weekend and as NYC Broadway Week’s popular two-for-one ticket promotion, which ran September 14 through September 27, came to a close, pulling down the artificially inflated attendance figures the discount had produced over the prior two weeks.

Compared to the same week last season, Broadway remains down overall: grosses were 21.7% lower than Week 18 of 2025-26, with attendance down 10.4%, though capacity held relatively steady, off by just 0.8 percentage points. Through eighteen weeks, Broadway has grossed a cumulative $565,480,589 this season, down about 7% from last year’s record-setting pace, with total attendance of 4,680,491, down 2% year-over-year.

The Big Story: Christopher Jackson Keeps Hamilton on Top

Once again, the headline of the week belongs to Hamilton. With original cast member Christopher Jackson continuing his high-profile return to the role of George Washington (through January 3), the Richard Rodgers Theatre production grossed $2,608,571 at 101.1% of capacity, easily besting runner-up The Lion King‘s $1,700,873. Hamilton also carried the week’s highest average ticket price at $243.50, with Oh, Mary! a distant second at $204.15. Jackson, who originated George Washington in the show’s 2015 Broadway premiere and departed in November 2016, has drawn some of Hamilton’s strongest sustained box office of the year since rejoining the production.

Harry Potter Rebounds as Tom Felton Returns

Not far behind was Harry Potter and the Cursed Child, which posted the week’s single largest gain. With Tom Felton back in the cast, the Lyric Theatre production grossed $1,573,469, a jump of $607,271 over the previous week and enough to lift the show into third place on the weekly gross chart, ahead of both MJ and Oh, Mary! Felton’s popularity with the show’s substantial international fan base has made his presence a reliable box-office driver whenever he rejoins the company.

Top-Grossing Shows of the Week

Hamilton topped the individual show rankings for the week at $2,608,571, followed by The Lion King ($1,700,873), Harry Potter and the Cursed Child ($1,573,469), MJ ($1,544,512), and Oh, Mary! ($1,458,262), which played to essentially full houses at 99.8% of capacity. Only Hamilton and Oh, Mary! were outright sellouts for the week, though Chicago (still riding high with Reece Weaver as Roxie Hart), Hadestown, Paranormal Activity, and The Book of Mormon all came close, each playing to 94% of capacity or better.

Full Grosses by Show, Week Ending September 27, 2026

Figures courtesy of The Broadway League and BroadwayWorld. Gross figures represent total box office receipts for the week; capacity reflects percentage of available seats sold. School Girls and The Imaginary Invalid figures reflect preview performances ahead of their official openings.

Winners and Laggards

Only three of the week’s 26 productions posted a week-over-week increase in gross: Harry Potter and the Cursed Child, Paranormal Activity (up $85,939 as the previous week’s numbers had been depressed by a largely comped gala performance), and School Girls; Or, The African Mean Girls Play in its final preview week. At the other end of the spectrum, several shows saw sharp capacity declines as Broadway Week’s discount incentive expired: Six: The Musical fell 26 percentage points in capacity to 59.41%, while Stranger Things: The First Shadow and Maybe Happy Ending also posted double-digit capacity drops.

A Closer Look at the Middle of the Pack

Beyond the week’s headline movers, several mid-tier productions offered their own storylines. Schmigadoon!, still riding the momentum of its four-Tony-Award haul earlier this year including Best Musical, held steady at $871,931 and 91.50% capacity, continuing a run that has kept the Cinco Paul musical comfortably inside Broadway’s top ten most weeks since its April opening. The Great Gatsby softened to $841,025 at 78.38% capacity, a reminder that even well-established musicals feel the pull of a slower, post-promotion week. Buena Vista Social Club dipped 5.9% to $804,150 but remained one of the week’s stronger percentage performers relative to its theatre size, continuing to build on its status as one of the surprise critical and commercial successes of the past two seasons.

Newer, lower-capacity titles told a more mixed story. Six: The Musical posted the week’s steepest capacity decline, falling 26 percentage points to 59.41%, the clearest sign yet of how heavily the show had leaned on Broadway Week’s discounted two-for-one tickets to fill the Lena Horne Theatre in the prior fortnight. Stranger Things: The First Shadow and Two Strangers (Carry a Cake Across New York) — the latter now in its final stretch before a November 29 closing — likewise settled into more modest capacity levels typical of a non-promotional week, at 68.87% and 62.60% respectively.

What’s Closing: The Next Six Weeks on Broadway

The closing calendar is relatively quiet through mid-November compared to the wave of farewells seen over the summer, though one notable limited engagement wraps up in the coming weeks:

Just beyond this six-week window, two further closings are already on the books: Two Strangers (Carry a Cake Across New York) will play its final performance November 29 at the Longacre Theatre after 428 performances and 21 previews, and The Imaginary Invalid, Roundabout Theatre Company’s Molière revival, is set to close November 22 at the Todd Haimes Theatre.

What’s Opening: The Next Six Weeks on Broadway

By contrast, the opening calendar is unusually stacked for mid-autumn, with a run of starry new plays, a solo show, and a new musical all launching between now and mid-November:

This run of openings is shaping up to be one of the most star-driven stretches of the season: Deadline’s own fall preview coverage flagged Julia Louis-Dreyfus, Billy Crystal, Bradley Whitford, Raúl Esparza, and Tom Hiddleston among the marquee names arriving on Broadway stages this autumn. With Wanted also launching in the same window, audiences will have a genuine mix of star-driven plays, a comedy legend’s solo show, and an ambitious new musical to choose from heading into the holiday season.

Season Context: Where Broadway Stands in Week 18

This week’s numbers land against the backdrop of Broadway’s 2025-26 season, which closed as the highest-grossing in the industry’s history at roughly $1.91 billion in total box office receipts, surpassing pre-pandemic levels for the first time since 2019. On a 52-week-adjusted basis, both attendance and per-week grosses grew last season, with growth roughly tracking broader U.S. consumer spending trends. The current 2026-27 season remains about 7% behind that record pace through eighteen weeks, though individual strong weeks, like the NYC Broadway Week-driven surge in mid-September, continue to show the underlying demand is there when the right promotional and casting conditions align.

Average ticket price for the week came in at $115.17, up modestly from the previous week’s $114.69 but down $16.62 from the same week last year’s $131.79, a reminder that Broadway Week’s two-for-one structure tends to pull down average ticket price even as it lifts attendance and capacity. Overall capacity utilization for the week stood at 87.3%, essentially flat compared to 88.1% in the same week last season.

Where to Find a Deal

With NYC Broadway Week’s two-for-one promotion now concluded, budget-conscious theatregoers can still find savings through Broadway’s usual discount channels: digital lotteries continue to price seats between roughly $30 and $60 for shows including Six, Aladdin, and The Book of Mormon, while Hamilton’s famous $10 digital lottery remains one of Broadway’s best-known bargains despite long odds. Rush tickets, typically sold the morning of performance, remain available at a number of productions, and the TKTS booths in Times Square and at Lincoln Center continue to offer 20-50% off same-day tickets for a rotating list of shows. A winter edition of NYC Broadway Week traditionally runs each January or February, giving deal-seekers another major promotional window to look forward to after the holidays.

Looking Ahead to Week 19

With Broadway Week’s discount period now behind it, next week’s report will offer a clearer read on genuine, non-promotional demand heading into October. Industry watchers will be watching closely to see whether Harry Potter and the Cursed Child can sustain its Tom Felton-driven bump, whether Christopher Jackson’s Hamilton run continues to hold above the $2.5 million mark, and how the newly opened School Girls; Or, The African Mean Girls Play performs in its first full week of paid performances following its September 28 opening night. The approach of Columbus Day weekend in mid-October has historically provided a modest lift across the roster, which could help offset any further post-promotion softening.

Frequently Asked Questions

Reporting compiled from The Broadway League, BroadwayWorld Grosses, Deadline, Broadway News, Playbill, Broadway.com, TheaterMania, New York Theatre Guide, and TheatreGold’s own reporting. Grosses figures are sourced directly from The Broadway League and are presented for informational purposes; closing and opening dates are subject to change without notice. This report will be updated next week with the latest figures for the week ending October 4, 2026.