Broadway’s 29 running productions grossed a combined $33,889,856 for the week ending Sunday, August 2, 2026, according to figures released by The Broadway League. That total marks a 2.8% dip from the previous week’s $34,864,840, driven partly by one fewer production in the marketplace after Joe Turner’s Come and Gone played its final performance at the end of the previous week. Attendance similarly slipped to 263,897, down 3.4% week over week, though overall capacity held strong at 93.8%.

Zoom out, though, and the picture looks considerably healthier: compared to the same week last season, Broadway is up 12.7% in gross and 11.4% in attendance, continuing a run of year-over-year growth that has defined much of the 2026-27 season so far. Through ten weeks, Broadway has grossed a cumulative $351,725,557 this season, down modestly (about 5%) from last year’s blistering pace, with total attendance of 2,863,791.

The Big Story: Ragtime’s Third House Record on Its Way Out

The headline of the week belongs to Ragtime, Lincoln Center Theater’s Tony-winning revival at the Vivian Beaumont Theater, which grossed $1,887,495 — a jump of $262,095 over the previous week and enough to set a new house record at the Beaumont for the third time during its run. The production also carried the single highest average ticket price of the week at $224.06, edging out even Hamilton. The surge comes as the production heads toward its now-confirmed final performance on August 16, 2026, following a string of extensions after the show swept four Tony Awards in June, including Best Revival of a Musical, Best Leading Actor and Actress in a Musical for Joshua Henry and Caissie Levy, and Best Sound Design. Lincoln Center Theater’s smaller Off-Broadway venue, the Mitzi E. Newhouse, also reported a house record of its own this week, with The Whoopi Monologues grossing $271,690.

Cats: The Jellicle Ball Goes Out on Top

Not far behind in the “best week yet” category was Cats: The Jellicle Ball, Andrew Lloyd Webber’s reimagined immersive revival at the Broadhurst Theatre, which grossed $1,405,709 — its best box office week of the entire run — as it played to effectively standing-room-only crowds ahead of its early closing on August 8, 2026. The show’s closing came as something of a surprise: Lloyd Webber announced last month that the production would end its Broadway life five months earlier than its previously announced extension through January 17, 2027, citing high production costs and a challenging financial climate for large-scale immersive stagings. As is often the case on Broadway, the imminent closing has only intensified demand from last-chance ticket buyers.

Top-Grossing Shows of the Week

Hamilton topped the individual show rankings for the week, grossing $2,363,268 at the Richard Rodgers Theatre, playing to 101.26% of capacity. Death of a Salesman, the record-setting, six-time Tony-winning revival starring Nathan Lane and Laurie Metcalf, was close behind at $2,222,450, carrying the second-highest average ticket price of the week at $211.72 as it, too, approaches its August 9 closing. The Lion King rounded out the top three with $2,160,847, while Harry Potter and the Cursed Child and MJ the Musical both topped $1.85 million, with MJ’s momentum continuing a stretch of exceptionally strong post-Tony sales for the Michael Jackson musical despite receiving no nominations this season.

Full Grosses by Show, Week Ending August 2, 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.

What’s Closing: The Next Six Weeks on Broadway

Broadway’s traditionally quiet late-summer stretch is delivering an unusually dense run of closings this year, several of them tied directly to this week’s standout grosses. Here is every confirmed closing between now and mid-September 2026:

Several of these closings carry extra weight given this year’s Tony Awards. Death of a Salesman, which has continued to play at over 100% capacity through its final weeks, remains the most decorated production of the season, while Ragtime‘s closing brings down the curtain on one of the most acclaimed transfers in recent Lincoln Center Theater history, having moved from a celebrated 2024 New York City Center Gala production into a full commercial run under new LCT Artistic Director Lear deBessonet.

Off-Broadway is seeing its own round of farewells in the same window. Heathers: The Musical has set its final performance at New World Stages for November 8 after a fourth extension, ahead of a North American tour launching in Baltimore in 2027, and the long-running Gazillion Bubble Show will end its nearly 20-year residency at New World Stages on September 7, having played 6,802 performances for over one million attendees, with its final months celebrated as “The Summer of Bubbles.”

What’s Opening: The Next Six Weeks on Broadway

New Broadway openings are relatively sparse in the immediate six-week window following this report, as producers largely hold their fall slate for late September through November — but one significant new production is set to arrive before the summer is out:

Looking slightly further ahead, the fall calendar taking shape behind this window is one of the most star-studded in years, with confirmed openings including Julia Louis-Dreyfus, Ed Harris, and Joe Keery in Other Desert Cities (October 18), Billy Crystal’s solo show 860 (October 21), Tom Hiddleston and Hayley Atwell in Much Ado About Nothing (November 19), and the new musical Wanted (November 8), among several others.

Season Context: Where Broadway Stands in Week 10

This week’s numbers land against the backdrop of a genuinely remarkable prior season: the 2025-26 season closed as Broadway’s highest-grossing in history, at roughly $1.91 billion in total box office receipts and 14.6 million in attendance, surpassing pre-pandemic levels for the first time since 2019. The current 2026-27 season is still finding its early footing by comparison, running about 5% behind last year’s pace through the first ten weeks, though individual weeks — like this one, up nearly 13% year-over-year — continue to show real strength.

Ticket pricing remains the industry’s most closely watched storyline. The average Broadway ticket for the week landed at $128.42, tracking close to the roughly $131 average recorded across all of the record-breaking 2025-26 season. Structural cost pressures continue to underpin those prices: weekly operating costs for a Broadway production typically run $650,000 to $800,000, driven by union labor requirements and orchestra minimums, while New York City inflation has remained elevated through the first half of 2026, pushing up costs for everything from fabric to lumber used in scenic construction.

Where to Find a Deal

Despite headline ticket prices, discounted seats remain widely available for those willing to look. Digital lotteries continue to price seats between roughly $30 and $60 for shows including Buena Vista Social Club, Aladdin, and The Book of Mormon, while Hamilton’s famous $10 “Ham4Ham” lottery remains one of Broadway’s best-known bargains. Rush tickets, typically sold the morning of performance for around $45, are available at productions including The Lost Boys, 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. With Fall Broadway Week’s 2-for-1 promotion opening for sales around August 25, budget-conscious theatregoers have another major discount window arriving just past the close of this report.

Winners, Laggards, and the Tony Bump

Three weeks removed from the 79th Annual Tony Awards, held June 7 at Radio City Music Hall and hosted by P!NK, the commercial ripple effects remain visible but uneven. Death of a Salesman continues to sell at or above 100% capacity in its closing week, and Ragtime‘s house-record-setting finish shows the Tony bump can extend all the way to a show’s final performances rather than fading after opening season. Best Musical winner Schmigadoon! also had a solid week at $1,153,867 and 97.55% capacity at the Nederlander.

Not every strong performer this week came from the Tony winners’ circle, however. MJ the Musical, which received no nominations this season, again posted one of the week’s largest grosses at $1,856,296, continuing a run of momentum that industry watchers attribute to star casting, tourist familiarity, and the show’s growing reputation as a dependable box-office draw independent of awards-season prestige. Similarly, Harry Potter and the Cursed Child remains one of Broadway’s most consistent earners at $1,898,022, helped in part by Tom Felton’s high-profile return to the cast, which runs through November 1.

At the other end of the spectrum, a handful of shows are running well below full capacity even as they continue steady runs: Two Strangers (Carry a Cake Across New York) played to 73.21% capacity at the Longacre, while The Great Gatsby and Stranger Things: The First Shadow both sat in the low 80s, a reminder that even amid a historically strong season, capacity and demand vary widely from title to title depending on genre, star power, and how long a show has been running.

Frequently Asked Questions

Reporting compiled from The Broadway League, BroadwayWorld Grosses, Broadway News, Deadline, Playbill, Broadway.com, Broadway Direct, 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 August 9, 2026.