📊 Broadway Box Office Report  ·  Week Ending 6 July 2026  ·  2026-27 Season Week 6

Broadway Grosses Week Ending 7/06/2026: Oh, Mary! Hits the Top Five as Maya Rudolph and Mariska Hargitay Take Their Final Bows

Broadway’s Independence Day week brought the expected summer slowdown — a 32-show market grossing $29.3 million, down 20 percent from the previous week’s post-closing surge — but the real story of Week 6 was on stage, not in the numbers. SNL favorite Maya Rudolph played her final performance as Mary Todd Lincoln in Oh, Mary! on 5 July, capping a run that pushed the show’s average ticket price to a Broadway-wide record. The very same day, Emmy winner Mariska Hargitay took her final bow in Every Brilliant Thing at the Hudson Theatre. No shows played their absolute final Broadway performance this week, but two of the summer’s most talked-about limited engagements came to a close within hours of each other.

Published: 8 July 2026  ·  Week Ending: Monday 6 July 2026  ·  2026-27 Season, Week 6  ·  Sources: The Broadway League, BroadwayWorld, Playbill, Broadway.com, New York Theatre Guide

Week 6 of 2026-27: A Holiday Dip, Right on Schedule

The week ending 6 July 2026 is Week 6 of the 2026-27 Broadway season, and it landed exactly where the calendar said it would: the Fourth of July holiday fell inside this reporting window, just as it did in Week 6 of the prior season. With 32 productions running — three fewer than the previous week, entirely accounted for by the trio of closings at the end of June — the industry grossed $29,331,200, a steep 20.08 percent decrease from the prior week’s $36,698,946. Attendance fell 11.45 percent to 258,418, and the average ticket price dropped $12.25 to $113.50. Overall capacity utilization landed at 84.96 percent, with 258,418 of 304,181 available seats filled.

Three productions — Death of a Salesman, Every Brilliant Thing, and Just in Time — played a full seven-performance week rather than the usual eight, which flattens their weekly totals relative to shows running a standard schedule. Against the same week last year, the market is down a comparatively modest 3.92 percent in gross and just 1.29 percent in attendance — a far tighter gap than the double-digit deficits seen earlier in the summer, suggesting the 2026-27 season is gradually closing the distance with the record-setting 2025-26 campaign.

Every single one of Broadway’s 32 running shows saw its gross fall compared to the week prior — an unusually uniform decline that reflects the holiday-week pattern rather than any single show’s struggles. The smallest declines belonged to Maybe Happy Ending (down just $10,764), Oh, Mary! (down $43,746 in Maya Rudolph’s farewell week), Aladdin, Moulin Rouge! The Musical, and Hamilton. The steepest drops came at The Rocky Horror Show (down $279,564, cooling off after the previous week’s all-time Studio 54 house record), The Lost Boys (down $268,670), Just in Time, Every Brilliant Thing, and Schmigadoon!

Top Grossers — Week Ending 6 July 2026

Hamilton held the top spot for a fourth straight week despite a slight dip, while Oh, Mary! climbed into Broadway’s coveted top five for Maya Rudolph’s send-off — a rare feat for a show playing the Lyceum’s relatively modest-capacity house, achieved purely on the strength of its record-breaking ticket prices.

Sources: The Broadway League data as reported by BroadwayWorld. Some individual-show change figures reflect BroadwayWorld’s published week-over-week deltas.

Two Broadway Stars Take Their Final Bows

Rather than a show closing outright, this week’s headline story was a pair of star departures that landed on the very same day — Sunday, 5 July — closing out two of the summer’s most closely watched limited engagements.

On the Horizon: Confirmed Closings Through Mid-August

While no production played its absolute final Broadway performance this particular week, several notable closing dates are now locked in for the weeks immediately ahead. Dog Day Afternoon, Stephen Adly Guirgis’s gritty new play starring Jon Bernthal and Ebon Moss-Bachrach, closes at the August Wilson Theatre on 12 July — this week’s gross of $502,522 at a $67.54 average ticket, Broadway’s lowest, reflects the production’s consistently challenging commercial position throughout its run. Proof, David Auburn’s Pulitzer Prize- and Tony Award-winning drama starring Ayo Edebiri and Don Cheadle in their Broadway debuts, plays its final performance at the Booth Theatre on 19 July.

Looking slightly further out, Every Brilliant Thing and the Tony-winning Death of a Salesman both close on 9 August, while Lincoln Center Theater’s Tony-winning revival of Ragtime has just unveiled a final extension, pushing its closing date to 16 August at the Vivian Beaumont — good news for anyone who hadn’t yet caught Joshua Henry and Caissie Levy’s Tony-winning performances. Ragtime’s win for Best Revival of a Musical was one of four total Tony Awards the production picked up on 7 June, tying it with The Lost Boys and Schmigadoon! as the season’s most-awarded musicals.

Ticket Price and Capacity Leaders

With Maya Rudolph’s farewell driving demand, Oh, Mary! once again commanded Broadway’s highest average ticket price at $214.44, ahead of Hamilton ($198.26), Death of a Salesman ($178.81), Ragtime ($167.71), and Every Brilliant Thing ($162.66) — the last of these also inflated by Mariska Hargitay’s own send-off demand. At the other end of the market, Dog Day Afternoon held Broadway’s lowest average ticket price at $67.54, followed by Titaníque ($72.64), Stranger Things: The First Shadow ($76.40), Buena Vista Social Club ($80.14), and Wicked ($80.68).

On capacity, Death of a Salesman led the way at 100.9 percent of house, followed by Hamilton (100.5%), Ragtime (100%), and both Every Brilliant Thing and Oh, Mary! tying at 99.9 percent — a striking cluster of near-total sellouts concentrated among this week’s star-driven farewell shows and Tony winners. At the bottom of the capacity table, Chicago filled just 51.8 percent of the Ambassador Theatre, followed by SIX: The Musical (57.4%), Two Strangers (Carry a Cake Across New York) (62.3%), The Great Gatsby (64%), and & Juliet (69.5%).

Year-Over-Year Standouts

Five shows posted gains against the same week in 2025, led decisively by Oh, Mary!, up an extraordinary 63.3 percent year-over-year ($1,533,238 versus $938,942 last July) — by far the largest year-over-year swing on Broadway this week, and clear evidence of just how much value the show’s rotating-celebrity casting strategy has added since last summer. MJ The Musical followed at +27.5 percent ($1,571,371 versus $1,232,435), and Harry Potter and the Cursed Child posted +23.3 percent ($1,438,754 versus $1,167,145), continuing its strong momentum from Tom Felton’s earlier cast return. Hadestown was essentially flat at +0.1 percent, and even Hamilton — Broadway’s overall gross leader — came in almost precisely level with last year at −0.0 percent, a reminder that the eleven-year-old show’s commercial ceiling is less about growth than about remarkably consistent, self-sustaining demand.

Show-by-Show Spotlight: The Stories Behind the Numbers

Harry Potter and the Cursed Child — Broadway’s Biggest Attendance Gainer

Harry Potter and the Cursed Child posted Broadway’s largest attendance increase of the week, up 4.4 percent in percentage-of-capacity terms, extending a run of strong numbers that began with Tom Felton’s earlier return to the production as Draco Malfoy. Now in its eighth year at the Lyric Theatre, the play remains the rare Broadway production to have run continuously since 2018, and its 23.3 percent year-over-year gross gain suggests the show’s audience appetite is, if anything, still growing.

The Rocky Horror Show — Coming Back to Earth

A week after breaking the all-time box office house record at Studio 54, The Rocky Horror Show posted the steepest single-show decline of the week, down $279,564 to $935,662. That’s an entirely predictable pattern — a record-setting week is, almost by definition, a hard one to follow — and the production’s 87.1 percent capacity remains healthy for a cult title built on sustained audience loyalty rather than opening-week hype.

Dog Day Afternoon — A Difficult Commercial Run Reaches Its End

Jon Bernthal and Ebon Moss-Bachrach’s Dog Day Afternoon closes 12 July after a run that never quite found its commercial footing, closing this week at Broadway’s lowest average ticket price of $67.54. It’s a reminder that star power from film and television doesn’t automatically translate into Broadway pricing power, particularly for a straight play without the marquee-musical infrastructure behind it.

The Bottom of the Table

Chicago at the Ambassador Theatre posted the week’s lowest gross at $428,470 and just 51.8 percent capacity, joined near the bottom by Two Strangers (Carry a Cake Across New York), SIX: The Musical, Just in Time, and Dog Day Afternoon. As with previous off-peak summer weeks, these figures reflect the widening gap between Broadway’s tourist-magnet titles and its more mid-tier, word-of-mouth-dependent productions, rather than any single production being in acute distress.

The Meg Stalter Era Begins

Meg Stalter’s first performance as Mary Todd Lincoln arrived on 6 July, technically just outside this reporting week’s data cutoff, meaning next week’s grosses report will carry Broadway’s first real read on how the Hacks breakout performs at the box office. The pattern set by her predecessors — Cole Escola, Betsy Wolfe, and now Maya Rudolph — suggests Oh, Mary! has essentially built a self-renewing marketing engine out of celebrity casting, with each transition generating its own fresh wave of press coverage, ticket demand, and, if history holds, another push toward a new house record at the Lyceum.

MJ The Musical — Broadway’s Quiet Long-Term Winner

MJ The Musical continues to be one of the more underappreciated commercial stories on Broadway, landing in the top five yet again this week and posting a 27.5 percent year-over-year gross increase — the second-largest such gain on the entire Main Stem. Unlike the star-driven limited engagements dominating headlines this week, MJ’s growth is built on sustained word-of-mouth and the enduring commercial power of Michael Jackson’s catalogue rather than any single casting stunt, making its steady climb arguably the more durable of the week’s good-news stories.

The Bigger Picture: A Holiday Week, a World Cup Summer

This week’s soft numbers arrive as New York City works through an unusually eventful summer calendar: America’s 250th birthday celebrations coincided directly with this reporting week, and industry watchers continue to flag the 2026 FIFA World Cup — with matches being played across the river in New Jersey — as a wildcard for Broadway’s summer box office. The concern is straightforward: a surge in Manhattan hotel prices during major tournament weeks could push budget-conscious tourists toward shorter stays or alternate destinations, potentially squeezing exactly the middle-income visitor segment that fills Broadway’s mid-week and matinee performances.

Against that backdrop, this week’s 3.92 percent year-over-year gross gap is arguably a reassuring sign rather than a worrying one — a far narrower deficit than the market posted in the immediate aftermath of June’s wave of closings. With Hamilton, The Lion King, Wicked, and the newly Stalter-led Oh, Mary! anchoring the market through the rest of summer, and Fall 2026 Broadway Week’s 2-for-1 ticket promotion already pencilled in for 14–27 September, the industry has both a clear bridge through the current lull and a concrete date for its next demand catalyst.

The week ending 6 July 2026 is best read as Broadway’s summer holding pattern doing exactly what it’s supposed to do: a predictable seasonal dip, softened by two genuinely emotional star send-offs, with a clear runway of confirmed closings and cast transitions carrying the market through to the genuinely ambitious fall season still to come.

Tags: Broadway grosses July 6 2026  Broadway box office July 2026  Oh Mary Meg Stalter Broadway  Maya Rudolph final performance  Mariska Hargitay final bow  Every Brilliant Thing Broadway  Hamilton Broadway gross July 2026  Broadway 2026-27 season week 6  Dog Day Afternoon closing  Broadway shows closing July 2026