📊 Broadway Box Office Report  ·  Week Ending 12 July 2026  ·  2026-27 Season Week 7

Broadway Grosses Week Ending 7/12/2026: Death of a Salesman Hits Its Highest Gross Yet as Cats: The Jellicle Ball Announces a Shock Early Closing

Broadway bounced back hard from its Fourth of July slump this week, with grosses up more than 12 percent to $32.9 million across 32 shows. Nathan Lane and Laurie Metcalf’s Death of a Salesman hit the highest single-week gross of its entire run, Dog Day Afternoon played its final Broadway performance, and — in the week’s biggest surprise — Cats: The Jellicle Ball abruptly announced it will close August 8, cutting short a previously extended run that was meant to continue into 2027. With four more closings confirmed in the four weeks ahead and the next new arrival waiting in the wings, this is a genuine hinge-point week for the 2026-27 season.

Published: 15 July 2026  ·  Week Ending: Sunday 12 July 2026  ·  2026-27 Season, Week 7  ·  Sources: The Broadway League, BroadwayWorld, Playbill, Broadway News, The Hollywood Reporter, Broadway.com, Time Out, New York Theatre Guide

$32.9M Total Weekly Gross

↑ 12.17% vs Prior Week

32 Productions Running

↑ 5.44% Attendance Change

5 Closings in Next 4 Weeks

+0.27% vs Same Week Last Season

Week 7 of 2026-27: Broadway Bounces Back

The week ending 12 July 2026 is Week 7 of the 2026-27 Broadway season, and it delivered exactly the rebound the industry needed after the Fourth of July holiday dip. With 32 productions running — unchanged from the week prior — Broadway grossed $32,901,607, a 12.17 percent increase from the previous week’s $29,331,200. Attendance rose 5.44 percent to 272,464, and the average ticket price climbed $7.25 to $120.76. Overall capacity utilization reached 89.08 percent, with 272,464 of 305,857 available seats filled — Broadway’s healthiest capacity reading in several weeks.

Against the same week last season, the market finished essentially level, up a modest 0.27 percent from $32,813,389 — the closest the 2026-27 season has come to matching its record-breaking predecessor on a week-for-week basis since the Tony Awards bump began to fade. Attendance was up a healthier 4.58 percent year-over-year, even as the average ticket price of $120.76 landed $5.19 below the same week in 2025, suggesting this week’s growth was driven more by fuller houses than by pricing power.

The week’s recovery also came with a welcome piece of labor news: on 8 July, the 32BJ SEIU union — representing Broadway’s theatre cleaners — reached a tentative four-year contract with The Broadway League, averting what would have been the union’s first strike in nearly two decades after members unanimously authorized one just over a week earlier. The deal secures $5-an-hour wage increases over its term (roughly a 21 percent raise), improved pensions, and preserved employer-paid family health insurance for 250 workers across 30 theatres — removing a genuine operational threat just as the industry was finding its summer footing again.

Top Grossers — Week Ending 12 July 2026

Hamilton retained the top spot, but the real headline belonged to third-place Death of a Salesman, which posted the single highest weekly gross of its entire Broadway run.

#	Show	Theatre	Weekly Gross	vs Prior Wk	Capacity	Notes
1	Hamilton	Richard Rodgers	$2,152,267	↑ $42,006	101.2%	$200.83 avg ticket
2	Death of a Salesman	Winter Garden	$2,086,007	↑ $228,908	101.6%	Highest gross of its entire run; closes Aug 9
3	MJ The Musical	Neil Simon	$1,727,011	↑	—	+27.5% YoY
4	Harry Potter and the Cursed Child	Lyric	$1,579,690	↑ $140,937	—	+37.1% YoY — Broadway’s biggest year-over-year gain
—	The Lion King	Minskoff	~$1.84M	↓ 1.5% cap	—	One of the week’s few capacity decliners
—	Oh, Mary!	Lyceum	~$1.51M	↓ 1.6% cap	Meg Stalter’s first full week in the role
—	Dog Day Afternoon — FINAL WEEK	August Wilson	$861,712	↑ $359,190	89.3%	Closing-week surge; closed Jul 12
—	Hadestown	Walter Kerr	$807,025	↑ $112,672	99.4%	+16.6% YoY
—	Cats: The Jellicle Ball	Broadhurst	$766,808	↑	↓ 4.6% cap	Shock early closing announced Jul 13; now closes Aug 8
—	& Juliet	Stephen Sondheim	$758,699	↑ $253,207	88.4%	Capacity up nearly 19 points on the week
—	Buena Vista Social Club	Schoenfeld	$650,979	↑ $42,385	85.3%	—
—	Aladdin	New Amsterdam	$1,107,530	↑ $65,253	89.2%	—
—	Chicago	Ambassador	$610,679	↑ $182,209	71.6%	Capacity up nearly 20 points — one of the week’s biggest movers
LOWEST WOW	Every Brilliant Thing	Hudson	$485,981	↓ $635,890	90.7%	Cast-transition dip after Hargitay’s farewell; closes Aug 9

Sources: The Broadway League data as reported by BroadwayWorld and Broadway News. Figures marked ~ are estimated from published capacity or percentage-change data.

Dog Day Afternoon Takes Its Final Bow

Jon Bernthal and Ebon Moss-Bachrach’s Dog Day Afternoon played its final Broadway performance on Sunday, 12 July, at the August Wilson Theatre, closing after a run that began previews 10 March and opened 30 March. Stephen Adly Guirgis’s stage adaptation of the 1975 Sidney Lumet/Al Pacino film never quite found sustained commercial traction, closing this week at Broadway’s lowest average ticket price of $67.54 across most of its run — but true to closing-week form, its final week jumped $359,190 over the week prior, a 71 percent increase, as last-minute audiences rushed for a final look at Bernthal and Moss-Bachrach’s The Bear reunion on stage. The August Wilson Theatre now sits dark for exactly one month before its next tenant, Paranormal Activity: A New Story, begins previews.

Shows Closing in the Next Four Weeks

Beyond this week’s Dog Day Afternoon closing, Broadway has four further final performances confirmed between now and 9 August — an unusually concentrated wave of closings for a single month, even by the standards of a typically quiet late-summer stretch.

Cats: The Jellicle Ball‘s closing is easily the week’s biggest surprise. The ballroom-scene reimagining of Andrew Lloyd Webber’s musical — capitalized for up to $18 million and never having announced recoupment — earned some of the best reviews of the entire Broadway season and took home three Tony Awards in June, including a historic win for costume designer Qween Jean, the first openly trans woman to win in her category. But its roughly $700,000-to-$1 million weekly grosses simply couldn’t outpace the running costs of a large-scale musical revival, and producers confirmed the show will end its run on 8 August after 143 regular performances — closing four months earlier than a previously announced extension had promised. The production will be preserved by the Theatre on Film and Tape Archive at the New York Public Library before it closes.

On the Horizon: The Next New Arrival

While no new show opens within the four weeks covered by this report, Broadway’s next arrival is already close behind: Paranormal Activity: A New Story, an immersive stage adaptation of the horror film franchise directed by Felix Barrett, begins previews 14 August at the August Wilson Theatre — the very venue Dog Day Afternoon vacated this week — with an opening night set for 25 August and a run through 3 January 2027. Starring Cher Álvarez, Travis A. Knight, Shannon Cochran, and Andrea Syglowski, the production previously played Chicago and London before its Broadway transfer. Beyond that, the fall pipeline is already stacked: School Girls; Or, the African Mean Girls Play opens 28 September, followed by a genuinely packed October and November slate including Other Desert Cities (Julia Louis-Dreyfus), Billy Crystal’s 860, a revival of A Few Good Men, the new musical Wanted, Broadway’s first-ever production of The Fantasticks, and Jamie Lloyd’s Much Ado About Nothing starring Tom Hiddleston and Hayley Atwell.

Movers and Shakers: This Week’s Biggest Swings

Beyond the closing-week bumps at Dog Day Afternoon and the general holiday-recovery lift, several individual shows posted notable moves. Chicago jumped nearly 20 capacity points and $182,209 in gross, one of the week’s largest percentage swings, while & Juliet climbed almost 19 capacity points and $253,207 — both consistent with the broader post-holiday rebound across the market. Every Brilliant Thing, by contrast, posted the week’s steepest decline, down $635,890 and more than 9 capacity points, as the production settled into its post-Hargitay run with Tracee Ellis Ross rather than riding the farewell-week wave that inflated the prior week’s numbers. Buena Vista Social Club and Cats: The Jellicle Ball also posted capacity declines even as their dollar grosses rose, a reminder that gross and capacity don’t always move in lockstep week to week.

On a year-over-year basis, Harry Potter and the Cursed Child posted Broadway’s largest gain, up 37.1 percent to $1,579,690 from $1,152,545 the same week last year — the single biggest year-over-year swing on the entire Main Stem this week. MJ The Musical followed at +27.5 percent ($1,727,011 versus $1,354,423), and Hadestown posted a strong +16.6 percent gain ($807,025 versus $692,330), extending its run as one of Broadway’s most quietly durable long-runners.

Ticket Price and Capacity Leaders

With its highest gross of the run, Death of a Salesman also commanded one of Broadway’s steepest average ticket prices this week at $199.39, trailing only Hamilton at $200.83 among the market’s priciest tickets. Both shows also led on capacity, with Salesman playing to 101.6 percent of house and Hamilton to 101.2 percent — figures that can exceed 100 percent once standing-room and premium add-on seating are factored in. Hadestown rounded out the capacity leaders at 99.4 percent, extending a summer in which the durable Greek-myth musical has quietly outperformed several flashier titles around it.

At the other end of the spectrum, the productions in their final weeks unsurprisingly clustered near the bottom of the pricing table: Dog Day Afternoon closed out its run at a $95.75 average ticket, still among Broadway’s more modest price points even in its farewell week, while Chicago — despite this week’s sharp capacity rebound — remained one of the market’s lower-priced tickets at $98.70 on average. The wide gap between Broadway’s premium-priced, near-sellout tourist magnets and its more modestly priced, mid-capacity productions remained as pronounced this week as it has been for most of the summer.

Show-by-Show Spotlight

Death of a Salesman — Peaking on Its Way Out

There is a particular kind of irony in Death of a Salesman posting the single best week of its entire Broadway run in the same report that confirms its closing date. Nathan Lane and Laurie Metcalf’s Tony-winning revival — which swept the play categories at this year’s ceremony — has built momentum steadily across the summer rather than fading after its awards-season high, and its $2,086,007 gross this week puts it within striking distance of Hamilton for the overall weekly crown. Producers will have four more weeks to bank on that momentum before the show’s confirmed 9 August closing.

Cats: The Jellicle Ball — A Tony Winner’s Surprising Exit

Few closing announcements this season have landed with the force of Cats: The Jellicle Ball‘s. The ballroom-scene reimagining had been extended through January 2027 as recently as this spring, and its three Tony wins in June — including a historic Best Costume Design win for Qween Jean, the first openly trans woman to win in that category — suggested a production settling in for a long run. Instead, weekly grosses hovering around $700,000 to $1 million proved insufficient against the operating costs of a large-scale musical revival that was capitalized for up to $18 million and never announced recoupment. It’s a sharp reminder that critical acclaim and awards-season hardware, while valuable for a show’s legacy, don’t automatically translate into sustainable box office economics.

Harry Potter and the Cursed Child — Broadway’s Quiet Year-Over-Year Leader

Now well into its eighth year at the Lyric Theatre, Harry Potter and the Cursed Child continues to post some of the strongest year-over-year growth on all of Broadway, up 37.1 percent against the same week in 2025. That kind of sustained growth, this deep into a show’s run, is genuinely unusual — most long-running productions plateau or gradually decline rather than accelerate — and points to durable, ongoing demand from both first-time visitors and repeat fans of the Wizarding World franchise.

The Bigger Picture: A Season Finding Its Rhythm Before a Wave of Change

This week’s numbers capture Broadway at an unusually clear inflection point. The 2026-27 season has now essentially closed its year-over-year gap with the record-breaking 2025-26 campaign, even as the market prepares to lose five productions — including a Tony-winning triple threat in Cats: The Jellicle Ball — within a single month. That combination of strong current performance and an unusually front-loaded wave of closings is not necessarily a contradiction: with America’s 250th birthday celebrations and the 2026 FIFA World Cup both drawing visitors to New York this summer, producers of limited-run and underperforming shows have every incentive to close on a high note rather than risk a slower autumn, freeing up prime theatre real estate just as the industry’s genuinely ambitious fall season — anchored by Broadway Week’s 2-for-1 ticket promotion from 14–27 September — begins to take shape.

The week ending 12 July 2026 is best read as Broadway clearing its own decks: a strong recovery week, a labor dispute averted, one closing already completed, four more confirmed, and a genuinely starry fall season now just weeks away from its first new arrival.

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Sources: The Broadway League, BroadwayWorld, Playbill, Broadway News, The Hollywood Reporter, Broadway.com, Time Out, New York Theatre Guide, Broadway Direct.

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