Broadway held its ground this week. The Broadway League’s official report for the week ending Sunday, October 25, 2026 (the figures our 10/26 headline refers to) shows 32 productions grossing $33,966,016, a gain of just $2,200 on the week before. That flat top line hides a lot of movement underneath it: two new shows began previews, 860 and The Imaginary Invalid settled in after opening, Tom Felton returned to Harry Potter and the Cursed Child, and Hamilton gave back some of its recent lead without losing the top spot.

Broadway Box Office Snapshot: Week 22

These are the headline numbers for Week 22 of the 2026-2027 season, compiled from the Broadway League’s weekly report as published by Playbill, BroadwayWorld and Broadway News.

Against the previous week’s $33,963,816, the industry total barely moved, but it did so with two more shows on the board. Attendance rose about 1.5% from 259,164 to 262,928, which means the average ticket price slipped from $131.05 to $129.18, a decline of roughly 1.4%. Weighting each show’s reported capacity by its attendance, the industry filled roughly 92.8% of available seats, and Broadway News reports capacity softened by about 2% on the week.

The picture against last year is less flattering on the dollars and better on the seats. Week 22 of 2025-2026 grossed $36,970,592, so this week’s total is 8.1% lower, and attendance is down 5.2%. Capacity, however, is up 3.3% on last year, and the show count is identical at 32. In plain terms, Broadway is selling a similar number of seats per available seat, at a lower average price, than it did at the same point of last season’s record-setting run.

Full Grosses Table: Every Show, Ranked by Gross

Here is the full breakdown for all 32 productions, ranked by gross for the week. The change column compares each show with its own previous week, so the two shows that began previews on October 22 show no comparison.

Source: Broadway League weekly grosses as published by Playbill, cross-checked against BroadwayWorld and Broadway News. Capacity is the percentage of available seats filled; figures above 100% reflect standing room and added seating.

Hamilton Holds the Crown While Giving Back Some Ground

Hamilton led Broadway for the week with $2,524,951 at the Richard Rodgers Theatre, a figure that represents 7.4% of the entire industry’s gross from a single production. That was down $252,389, or about 9.1%, from the $2,777,340 it took the week before, which had itself been a leading number. It still sold at 101.19% of capacity with an average ticket of $235.58 and a top ticket of $599, and it is one of only two shows to cross the $2 million line this week.

The other is a newcomer. The ten highest-grossing shows accounted for just over half of everything Broadway earned (about 50.2%), and 15 of the 32 productions grossed at least $1 million. Behind Hamilton, Other Desert Cities, Harry Potter and the Cursed Child, The Lion King ($1,869,464) and MJ the Musical ($1,736,241) rounded out the top five, followed by Oh, Mary! ($1,523,740), A Few Good Men ($1,371,447), The Lost Boys ($1,292,930), Wicked ($1,252,155) and 860 ($1,212,055).

Harry Potter and the Cursed Child: The Felton Effect, Again

The biggest dollar gain on the board belonged to Harry Potter and the Cursed Child, which climbed $763,913 (about 62%) to $1,990,388 at the Lyric Theatre. The explanation is straightforward and by now familiar. Tom Felton, who plays Draco Malfoy, was scheduled to be away from October 12 through 18, and the production’s gross fell accordingly the week before. His return restored the week’s numbers: average ticket price came in at $154.27 on 99.43% capacity, and the show sold 12,902 tickets.

The pattern has repeated all season. Earlier absences in August and September produced the same shape, a sharp drop followed by an equally sharp recovery, which makes Cursed Child one of the cleanest case studies on Broadway of what a screen-famous cast member does for a long-running play. Felton’s run has been extended through January 3, 2027, and a one-day absence is listed for November 2. His departure after that date will be the next real test of how much of this demand belongs to the show and how much to the star.

Other Desert Cities Posts a Strong First Full Week After Opening

If Hamilton is the established leader, Other Desert Cities is the week’s most impressive newcomer. Jon Robin Baitz’s drama, revived at the Hudson Theatre in a 16-week limited engagement, grossed $2,262,442, up $444,858 (about 24.5%) from the week before. It played to exactly 100% capacity, and its average ticket of $290.35 was the highest on Broadway by a wide margin. The top ticket reached $799.

The post-opening bump is a recognizable pattern for limited-run star vehicles: reviews land, the date of closing becomes a deadline, and premium pricing follows demand. Playbill’s grosses analysis made the same point about the show’s boost, and with only a 16-week window the production has every incentive to keep that premium intact. Even at that price it sold out, which is the more telling number.

Openings Week: 860, A Few Good Men and The Imaginary Invalid

Three productions opened between October 21 and October 29, and each is in a different position on the board.

Billy Crystal’s 860 at the Imperial Theatre

Billy Crystal’s new one-man play opened on October 21 and grossed $1,212,055 in its first week as an opened show, a decline of $56,278 from its final preview week. Capacity was 98.08% with an average ticket of $137.87. Broadway News led its own analysis with the show’s strong opening, and the numbers back that up: the Imperial seats more than 1,200 people, yet the show sold nearly 8,800 tickets across the week. The production is scheduled to run through February 14, 2027.

A Few Good Men at the Vivian Beaumont

Lincoln Center Theater’s first Broadway revival of Aaron Sorkin’s courtroom drama, directed by Michael Arden and starring Bradley Whitford and Tom Blyth, held its opening night on Thursday, October 29, after a preview period that began October 8. In the week ending October 25 it was still in previews and still sold out: $1,371,447, up $125,146, at 100% capacity with an average ticket of $155.42 and a top ticket of $399. Reviews arrived after the reporting period, so the first post-opening figures will appear in next week’s report.

The Imaginary Invalid at the Todd Haimes Theatre

Roundabout’s revival of Molière’s comedy, with Bill Irwin and Rachel Bloom, opened October 22 and grossed $419,673, down $8,421, at 82.02% capacity. The $87.14 average ticket and the 8% drop in capacity make it one of the softer performers on the board. Early audience reaction has been mixed to positive, so watch whether word of mouth lifts the numbers in the weeks ahead.

New in Previews: Wanted, Downstate and The Fantasticks

Three more productions are in previews and show up in this week’s table. Wanted, the musical Western about the Clarke sisters, started previews on October 15 at the James Earl Jones Theatre and grossed $624,088 in its first full preview week, up $173,074 on the partial week before. Its average ticket of $79.60 is among the lowest in town, which is typical of a new musical building an audience, and it played at 93.42% capacity. It opens on November 8 with Solea Pfeiffer, Liisi LaFontaine and Ledisi.

Downstate, Bruce Norris’s play, began previews at the Booth Theatre on October 22 after its start was pushed back more than once because of illness. It played six preview performances, grossing $264,437 at 94.83% capacity with the lowest average ticket on Broadway at $61.64. Opening night is listed for November 15, and the engagement is a 12-week limited run.

The Fantasticks also began previews on October 22 at the Helen Hayes Theatre. The long-running musical has been reimagined as a contemporary gay love story, directed by Christopher Gattelli. Four preview performances produced $254,610 at 100% capacity and a $109.94 average ticket, a respectable start for a small house. It opens on November 16.

Biggest Risers and Fallers of the Week

Because the top line was flat, the story of the week lies in the movers. Five shows gained the most and six lost the most, shown here in dollars and percent.

The single largest fall belonged to Just in Time, which dropped $351,765, or about 34%, to $683,992 at the Circle in the Square Theatre. It played at 92.59% capacity, and its top ticket of $774.50 suggests a premium-priced run whose numbers depend heavily on how many of those seats sell. The League data does not explain the swing, so this one is worth watching. Wicked fell $173,168 (about 12%) to $1,252,155 at 90.47% capacity, and SIX: The Musical dropped $160,987 (about 20%) to $629,131, with capacity of only 72.89%, down 12.59 points.

Elsewhere, Chicago slipped $155,005, The Rocky Horror Show $152,691 and The Lion King $148,409, while Aladdin lost $127,922 to $1,067,484. Stranger Things: The First Shadow was down $122,308 to $641,367 and played to just 70.35% of capacity, the lowest figure on Broadway. Offsetting some of those losses, Paranormal Activity edged up $23,113 to $1,072,921 and & Juliet rose $15,889 to $934,066, both at or near 95% or better.

Capacity and Ticket Prices: Where the Seats Are Full

Four productions sold at or above 100% of capacity: Hamilton (101.19%), Other Desert Cities, A Few Good Men and The Fantasticks. Close behind were Hadestown (99.71%), Oh, Mary! (99.46%), Harry Potter and the Cursed Child (99.43%), MJ the Musical (99.30%), Chicago (98.66%), Paranormal Activity (98.41%) and 860 (98.08%).

At the other end, three shows sold less than 75% of their seats this week: SIX (72.89%), Stranger Things: The First Shadow (70.35%) and Two Strangers (Carry a Cake Across New York) (74.67%), which closes November 29. Aladdin (89.42%), Wicked (90.47%) and Schmigadoon! (90.33%) hover around 90%, which for large theatres is still tens of thousands of tickets.

On price, Other Desert Cities ($290.35), Hamilton ($235.58) and Oh, Mary! ($213.98) are the only productions averaging above $200. MJ the Musical ($157.58), A Few Good Men ($155.42) and Harry Potter and the Cursed Child ($154.27) form the next tier. The cheapest tickets belong to Downstate ($61.64), Stranger Things ($78.89), Wanted ($79.60) and School Girls ($83.70). Weighted across the whole market, the average is $129.18.

The Year-Over-Year Trend: The Gap Is Narrowing

One reason this flat week still reads as good news is the trajectory. Fall started badly against last year, with a September gap near 17%, and it has been closing since.

Sources: Broadway League data as reported by BroadwayWorld and Broadway News. Weeks ending September 27 and October 4 are omitted here.

The week ending October 11 produced a 27% surge to $35.3 million, when Oh, Mary! set another house record at the Lyceum Theatre and Hamilton took the top spot. Since then, the weekly total has settled in a narrow band just under $34 million. If that holds into November, the comparison against 2025 will keep improving, though the holiday weeks will be the real test.

Closing Watch: What Is Leaving Broadway

Several closing dates now fall inside or just beyond the next six weeks, and the schedule keeps shifting as extensions and final notices arrive.

In the near term, School Girls; Or, The African Mean Girls Play ends its extended run on November 15 after opening on September 28. Two Strangers (Carry a Cake Across New York), which opened at the Longacre in November 2025 and earned eight Tony nominations, plays its last performance on November 29. The Rocky Horror Show has extended into 2027, and Rachel Dratch’s final performances as the Narrator come in early November, when Margaret Cho takes over in her Broadway debut. Paranormal Activity added eight weeks and now runs through February 28, 2027.

Further out, & Juliet will end after more than four years at the Sondheim Theatre with a final performance on January 3, 2027, after 1,723 regular performances. Stranger Things: The First Shadow has announced its final extension to the same date, SIX is expected to close in January 2027, and Much Ado About Nothing is a limited run ending January 10. Dates for Downstate have varied between sources, with some listing January 3 and others January 10, so check the official listing before booking.

Opening Soon: Broadway’s Next Six Weeks

The fall season keeps building, with six openings scheduled between now and early December and another show in previews beyond that.

Much Ado About Nothing is the biggest event of the group, starring Tom Hiddleston and Hayley Atwell in Jamie Lloyd’s party-fueled production that premiered in London in 2025. It began previews on October 31 at the Winter Garden Theatre and opens on November 19. Inter Alia, starring Rosamund Pike in a play by Suzie Miller, directed by Justin Martin, begins previews November 10 at the Music Box and opens December 1. Galileo, a new musical about the scientist, first played at Berkeley Rep in 2024; it stars Raúl Esparza, Joy Woods and Jeremy Kushnier, with music and lyrics by Zoe Sarnak and Michael Weiner, a book by Danny Strong and direction by Michael Mayer. It begins previews November 10 at the Shubert and opens December 6. Clifford Odets’s Awake and Sing!, with Danny Burstein, Jessica Hecht and Jeremy Shamos, starts previews at the Friedman in December.

What to Watch in the Coming Weeks

With the opening-night rush behind it, Broadway now enters the stretch where grosses typically climb toward Thanksgiving and the December holidays. Three questions will shape the next few reports. First, whether A Few Good Men keeps its sell-out pace once reviews arrive. Second, how Cursed Child performs as the end of Felton’s run approaches. Third, whether the large musicals running below 92% capacity, among them Wicked, Aladdin, The Lost Boys and The Lion King, recover as school-holiday tourists arrive.

For now, a flat $34 million is a respectable place to stand: the year-over-year gap has roughly halved since September, the show count matches last year’s 32, and the freshest titles are doing most of the lifting.

Frequently Asked Questions

What were the Broadway grosses for the week ending October 25, 2026?

The 32 running productions grossed $33,966,016, essentially flat (up 0.01%) on the previous week and 8.1% below the same week of the 2025-2026 season. Attendance totaled 262,928 and the average ticket price was $129.18.

What was the top-grossing Broadway show this week?

Hamilton led the board with $2,524,951 at the Richard Rodgers Theatre, followed by Other Desert Cities at $2,262,442 and Harry Potter and the Cursed Child at $1,990,388.

Which Broadway shows are closing in November 2026?

School Girls; Or, The African Mean Girls Play is scheduled to close on November 15, and Two Strangers (Carry a Cake Across New York) on November 29.

What Broadway shows open in November and December 2026?

Wanted (November 8), Downstate (listed for November 15), The Fantasticks (November 16), Much Ado About Nothing (November 19), Inter Alia (December 1) and Galileo (December 6).

Why did Harry Potter and the Cursed Child jump this week?

Tom Felton, who plays Draco Malfoy, was scheduled to be absent October 12–18 and returned for the week ending October 25, lifting the gross by $763,913, or about 62%.

Data note: The League’s week ended Sunday, October 25, 2026; the post title uses 10/26 to match the publication date. Figures are drawn from the Broadway League’s weekly report as published by Playbill, BroadwayWorld and Broadway News, and dates are as announced by the productions at the time of writing and may change.