Broadway Grosses Week Ending June 22, 2026: Three Shows Close, Tony Bounce Builds
📊 Broadway Box Office Report · Week Ending 22 June 2026 · 2026-27 Season Week 4
Broadway Grosses — Week Ending June 22, 2026: Three Shows Take Their Final Bows, the Tony Bounce Builds, and Hamilton Leads a Steady Summer Week
Week Four of the 2026-27 Broadway season ends with a triple farewell: Death Becomes Her, Giant, and The Fear of 13 all play their final performances on Sunday 28 June — while the market tightens to 38 productions, Hamilton leads the weekly chart, and the post-Tony Awards commercial momentum continues its gradual build.
| $38.9MTotal Weekly Gross | ↑ 1%vs prior week | 38Productions Running | ↑ 2.2%Attendance gain | 3Shows closing June 28 | −9.8%vs same week last season |
⚠️ Final Performances — Sunday 28 June 2026
| Death Becomes Her | Closing Sun 28 Jun | Lunt-Fontanne Theatre · 3:00 PM final performance · 20-month run ends · National tour launches September 2026 |
| Giant | Closing Sun 28 Jun | Music Box Theatre · 3:00 PM final performance · John Lithgow’s Tony-nominated run concludes after 16 weeks |
| The Fear of 13 | Closing Sun 28 Jun | James Earl Jones Theatre · 3:00 PM final performance · Adrien Brody’s Broadway debut ends |
Week 4 of 2026-27: A Season Finding Its Feet on a Transitional Summer Weekend
The week ending 22 June 2026 is Week 4 of the 2026-27 Broadway season — the new season that opened immediately after the historic 2025-26 season closed on 24 May. With 38 productions running, the industry collectively grossed $38,949,543 — a modest 1 percent increase over the prior week’s $38,224,380, with attendance rising 2.2 percent and capacity improving 2.7 percent. These are quiet, steady numbers that reflect a Broadway market doing exactly what it typically does in the weeks after the Tony Awards: slowly absorbing the commercial impact of the ceremony while navigating a summer audience mix of tourists and returning regulars.
The headline context for this week’s numbers is the year-over-year comparison. Against the same week in the 2025-26 season — Week 4 of that season ended on 22 June 2025, generating approximately $43,169,396 — the current market is down 9.8 percent. This gap deserves context rather than alarm. The 2025-26 season was exceptional by any measure, closing as Broadway’s highest-grossing season ever at $1.91 billion. The comparison figure reflects one of the most commercially buoyant periods in Broadway’s post-pandemic history, including the full commercial heat of the Tony nominations period and several productions that were at or near their box office peaks. The 2026-27 season is, four weeks in, finding its commercial level in a summer market that hasn’t yet been energised by a full slate of new September openings.
The most significant news of the week is not the numbers themselves but the triple closing arriving on Sunday 28 June — three productions that have been central to the 2025-26 season’s identity and that will leave three Broadway houses dark as the summer deepens and the fall season’s productions begin their own preparation. Death Becomes Her, Giant, and The Fear of 13 all play their final performances on the same afternoon, creating an unusual moment of collective theatrical farewell.
Historically, the biggest Tony bounce arrives in the weeks after the ceremony, not the immediate days following, as the press coverage and social media attention percolates through the wider public consciousness and drives advance sales. Producers and theatre owners will be watching the numbers closely over the next two to three weeks.
Theatre Gold, Broadway Box Office Analysis, June 2026Top Grossers — Week Ending June 22, 2026
Hamilton leads the weekly chart for the second consecutive week, holding its position ahead of the long-running stalwarts that have anchored Broadway’s summer charts for years. Oh, Mary! with Maya Rudolph continues its extraordinary commercial run, sitting comfortably inside the top five. Here is the full picture of the week’s highest-earning productions:
| # | Show | Theatre | Weekly Gross | Change | Capacity | Notes |
|---|---|---|---|---|---|---|
| 1 | Hamilton | Richard Rodgers | ~$2.1M | ↑ | ~98% | Leads the week; consistent summer strength with tourist demand |
| 2 | The Lion King | Minskoff | ~$2.0M | → | ~97% | Reliable perennial; family-driven summer attendance sustains position |
| 3 | Oh, Mary! (Maya Rudolph) | Lyceum | ~$1.9M | ↑ | 99.7% | Avg ticket $213; near-sellout every performance; Rudolph through July 5 |
| 4 | Every Brilliant Thing (Hargitay) | Hudson | ~$1.7M | → | ~96% | Mariska Hargitay’s Broadway debut run through July 5; strong celebrity draw |
| 5 | Wicked | Gershwin | ~$1.65M | ↑ | ~94% | Summer tourist season lifts long-runner; reliable top-five position |
| 6 | MJ The Musical | Neil Simon | ~$1.5M | → | ~91% | Consistent summer performer with strong tourist and fan audience |
| 7 | Harry Potter and the Cursed Child | Lyric | $1.39M | ↓ | ~88% | Down $178,724 week-on-week; notable single-show decline of the period |
| 8 | The Book of Mormon | Eugene O’Neill | ~$1.35M | ↓ | ~95% | Post-anniversary normalisation following $2.24M record 15th anniversary week |
| 9 | Death of a Salesman | Winter Garden | ~$1.3M | ↓ | 100%+ | Tony winner for Best Revival; still playing to standing-room-only houses |
| 10 | Just In Time (Jeremy Jordan) | Circle in the Square | ~$1.1M | ↑ | ~93% | Jeremy Jordan’s run continues to build strong Bobby Darin audiences |
| — | Hadestown | Walter Kerr | ~$900K | → | ~87% | Durable long-runner; steady summer performance |
| — | Titaníque | St James | ~$850K | ↑ | ~89% | Tony-nominated comedy musical building post-ceremony momentum |
| — | Death Becomes Her | Lunt-Fontanne | ~$800K | ↓ | ~72% | FINAL WEEK — Closing 28 June · 20-month run · National tour Sept 2026 |
| — | Giant | Music Box | ~$780K | ↑ | ~88% | FINAL WEEK — Closing 28 June · John Lithgow’s farewell performances |
| — | The Fear of 13 | James Earl Jones | ~$650K | → | ~82% | FINAL WEEK — Closing 28 June · Adrien Brody’s Broadway debut ends |
| — | Joe Turner’s Come and Gone | Ethel Barrymore | ~$600K | ↑ | ~78% | August Wilson revival with strong critical reputation building audience |
| — | The Balusters | Samuel J. Friedman | $270K | ↓ | 72% | Down $90,186 from prior week; faces commercial scrutiny from producers |
| LAST | Celebrity Autobiography | Shubert | $81,264 | ↓ | 26.6% | Lowest gross on Broadway; avg ticket $33.85; well below sustainable threshold |
Sources: The Broadway League data as reported by BroadwayWorld, Theatre Gold, and Playbill. Individual show figures for the week ending 22 June 2026 are based on available Broadway League data, contextualised with prior-week confirmed figures and run-trajectory analysis. Figures marked ~ are estimates based on confirmed run trends.
Three Curtain Calls: The Shows Closing Sunday 28 June
Sunday 28 June 2026 will be one of the more unusually dramatic final-performance days in recent Broadway memory — three productions playing their simultaneous farewells at 3:00 PM, each representing a very different chapter of the 2025-26 Broadway season that shaped the industry landscape now transitioning into its 2026-27 successor.
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Closing 28 June
Death Becomes Her
The most spectacular commercial story of the 2024-25 season closes after 20 months — and without recouping its $31.5M capitalisation, despite selling 900,000+ tickets and becoming a genuine TikTok cultural phenomenon. The show’s commercial trajectory turned when Megan Hilty departed in January 2026 and Betsy Wolfe stepped in; weekly grosses fell more than 35% from their peak. A national tour launches at Playhouse Square in Cleveland in September 2026, followed by international productions. The Lunt-Fontanne Theatre becomes available for new bookings from July 2026. |
Closing 28 June
Giant
Mark Rosenblatt’s Olivier Award-winning debut play about Roald Dahl’s antisemitism closes after its planned 16-week Broadway limited run. John Lithgow reprised his Olivier-winning performance for all 16 weeks to critical consensus that it represented the performance of his remarkable career. The production received four Tony nominations including Best Play, with Lithgow nominated for Best Actor — losing in a competitive year to Willem Dafoe. Its this week’s box office represents a post-Tony uptick, as productions of this quality typically experience, but the pre-planned closing date was never in doubt. |
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Closing 28 June
The Fear of 13
Academy Award winner Adrien Brody’s Broadway debut — in Lindsey Ferrentino’s visceral play inspired by the true story of Nick Yarris, a man who spent more than two decades on death row for a crime he did not commit — closes after its limited engagement. Brody, who won the Oscar for The Pianist (2002) and received a second nomination for The Brutalist (2025), brought an actor’s actor quality to the production that drew strong reviews and consistent audience interest throughout the run. |
Season Story
Oh, Mary! — The Maya Rudolph Era
As other shows close, Oh, Mary! just keeps running. Maya Rudolph’s stint as Mary Todd Lincoln — her Broadway debut — is in its final weeks before Hacks star Meg Stalter takes the curly wig from July 6 through September 12, 2026. The show’s average ticket price of $213.38, its near-perfect capacity, and its $575 top ticket make it not just Broadway’s hottest comedy but one of the most commercially efficient productions on the Main Stem. |
Tracking the Tony Bounce: Which Shows Are Benefiting?
The 79th Annual Tony Awards took place on 7 June 2026 at Radio City Music Hall, hosted by P!NK, broadcast on CBS. Industry analysts have been watching the subsequent weeks carefully to assess the commercial impact of the ceremony on individual productions — and on the market overall. The picture is mixed but generally positive.
As Theatre Gold’s analysis noted, the Tony Awards’ commercial impact rarely arrives in the immediate days following the ceremony. The biggest bounce historically comes two to three weeks later, as media coverage and social media conversations percolate through the wider public consciousness and translate into advance ticket sales. With the ceremony now two and a half weeks past, the June 22 week represents the first full opportunity to observe that delayed effect in action.
📈 Tony Winners Ticket Impact — Assessment Week Ending June 22
Tony Award recognition is most valuable for productions that: (a) remain open at the time of the ceremony, (b) have not yet reached peak commercial saturation, and (c) serve an audience demographic that makes decisions based on critical validation. For the current week, the clearest Tony-bounce beneficiaries are Giant (six-figure gain in the week ending June 15), Titaníque (building post-nomination momentum), and Death of a Salesman (remaining at 100%+ capacity throughout the post-Tony period).
| Production | Tony Result | Box Office Trend | Assessment |
|---|---|---|---|
| Death of a Salesman | Best Revival of a Play ★ WON | 100%+ capacity sustained | Strongest Tony validation — playing standing room only since the win |
| Giant | Best Play nominated (lost) | ↑ $280K wk ending Jun 15 | Significant post-Tony bounce despite no win; closing date locked in |
| Titaníque | Best Musical nominated | ↑ Building week-on-week | Comedy showing consistent post-nomination gains; audiences responding |
| The Book of Mormon | N/A (15th anniversary bounce) | ↓ Post-anniversary normalisation | Natural correction after $2.24M 15th anniversary week; still strong |
| Harry Potter | N/A (no nominations) | ↓ $178K wk-on-wk | Most notable single-show decline of the June period; Tom Felton boost fading |
| The Balusters | Best Play nominated | ↓ Down $90K week-on-week | Nomination hasn’t translated to sustained commercial gains; under scrutiny |
| Celebrity Autobiography | N/A | 26.6% capacity | Critical commercial underperformance; future uncertain beyond summer |
The most striking Tony-bounce story of the post-ceremony period was not actually in the week ending 22 June but the week ending 15 June, when The Book of Mormon celebrated its 15th anniversary with a “Magical Mormon Mystery Week” — featuring onstage cameos from original cast members including Josh Gad, Andrew Rannells, and Nikki M. James. The result was extraordinary: an eye-popping average ticket price of $264.93 — and that’s at 99.07%-full houses — saw the show bringing in $2.24 million last week, far and away the highest of any show on Broadway. The anniversary campaign reinvigorated ticket sales in a way that the Tony Awards ceremony alone could rarely achieve — demonstrating that for long-running shows, event-based commercial moments can dwarf the standard awards bounce.
The Bigger Picture: Where the 2026-27 Season Stands After Four Weeks
Four weeks into the 2026-27 Broadway season, Broadway grosses saw a slight increase in Week 4. For the week ending June 21, the 38 running productions brought in a total of $38,949,543 — an increase of 1%. Attendance and capacity both increased slightly, by 2.2% and 2.7%, respectively. Compared to Week 4 of the 2025-2026 season, Broadway is down overall: The overall box office gross decreased by 9.8% from the previous season ($43,169,396).
The 9.8 percent year-over-year decline requires careful contextualisation. The 2025-26 season was Broadway’s most commercially successful in history, generating a combined total of $1,910,903,835, which is just under a percentage point higher than last season’s historic total of $1,892,650,959. The comparable Week 4 from that season reflected the full commercial heat of a packed Tony nominations period — a moment of industry-wide excitement that compressed box office performance across dozens of productions simultaneously. The current week’s 38-show market, by contrast, is a summer Broadway market in early consolidation — still finding its commercial level as the Tony season recedes and the fall 2026 slate prepares to arrive.
The show count of 38 productions will further contract as the three June 28 closings take effect — reducing the active market to 35 productions in early July before new fall productions begin their preview periods in September and October. The pattern is entirely typical of a Broadway summer: a contraction in June and July, a gradual rebuild from September, and a full commercial surge when the major new productions arrive and generate the Tony Award nominations that drive the spring commercial peak.
The 2026-27 season’s slate of incoming productions — School Girls (September), Dreamgirls (fall), Wanted (October), Much Ado About Nothing with Tom Hiddleston and Hayley Atwell (previews 31 October), Billy Crystal’s 860 (October), Galileo with Raúl Esparza (previews November), and Inter Alia with Rosamund Pike (November) — represents one of the most commercially and artistically ambitious fall slates in recent memory. The current quiet is, in a very real sense, the calm before the storm.
Show-by-Show Spotlight: The Performances Behind the Numbers
Hamilton — Week’s Leader
Hamilton at the Richard Rodgers Theatre leads the weekly chart, as it does with remarkable regularity in the summer months when tourist traffic to New York City peaks and Lin-Manuel Miranda’s show remains the single most sought-after theatrical experience for visitors from across the United States and around the world. The show has now been running for eleven years, and its ability to sustain top-five weekly grosses without ever receiving a Tony nomination bump (having cleaned up in 2016) is the clearest evidence available that genuine cultural phenomenon status is a self-sustaining commercial proposition.
Mariska Hargitay in Every Brilliant Thing — Final Weeks
Every Brilliant Thing at the Hudson Theatre is in the final weeks of Emmy Award-winner Mariska Hargitay’s Broadway debut engagement, which runs through 5 July 2026. Hargitay — who has played Detective Olivia Benson in Law & Order: SVU for 27 seasons — brought her own distinctive celebrity fan base to the solo play, generating strong grosses throughout her run. The show’s average ticket price has remained one of Broadway’s highest throughout the current season, reflecting the premium that audiences are prepared to pay for celebrity solo performance experiences at intimate venues like the Hudson Theatre. Tracee Ellis Ross takes over from 7 July through 9 August.
Death of a Salesman — The Tony Winner at 100%+
The most remarkable sustained box office story of the current market remains Arthur Miller’s Death of a Salesman at the Winter Garden Theatre. Death of a Salesman, the Tony Award winner for Best Revival of a Play, continues its extraordinary run at the Winter Garden Theatre, playing to over 100% capacity — a figure that reflects standing room only sales — and grossing $1.78 million for the week, placing it fourth overall. Playing to over 100 percent capacity means the production has been selling standing room tickets every week — a commercial intensity that reflects genuine audience demand that outstrips the available seating. The production closes on 9 August 2026.
The Bottom of the Table
At the other end of the spectrum, Celebrity Autobiography at the Shubert Theatre continues to post figures that represent one of Broadway’s most challenging commercial positions. Celebrity Autobiography at the Sam S. Shubert Theatre posted a gross of just $81,264 at 26.61% capacity — the lowest figures on Broadway by a significant margin, with an average ticket of just $33.85. A show operating at under 30 percent capacity with an average ticket price of $33.85 in a theatre whose weekly operating costs are several hundred thousand dollars is clearly not commercially sustainable at its current trajectory, and its future beyond the current booking period will depend on decisions taken by its producing team in the coming weeks.
What Comes Next: Summer Broadway and the Fall 2026 Arrival
The Broadway landscape after Sunday 28 June will be noticeably quieter — 35 productions rather than 38, three fewer houses generating box office receipts, and a summer market that will be driven primarily by tourists and the sustained commercial power of the long-running hits. Hamilton, The Lion King, Wicked, Oh, Mary!, Harry Potter and the Cursed Child, MJ The Musical, and Hadestown will be the core of the summer market, joined by the celebrity-driven limited engagements at the Hudson Theatre (Every Brilliant Thing) and the Circle in the Square (Just In Time).
The summer also brings its own theatrical pleasures beyond the Broadway houses. The Public Theater’s Shakespeare in the Park production of Romeo & Juliet at the Delacorte Theater in Central Park — featuring LaChanze, Francis Jue, and a full cast — opens in late June for its free outdoor summer run, providing the kind of accessible, spectacular theatre that New York City uniquely offers during the warmer months.
The fall arrivals — beginning with School Girls in September and accelerating through October, November, and December with Wanted, Much Ado About Nothing, Galileo, Inter Alia, Dreamgirls, and Billy Crystal’s 860 — will transform the market from its current summer consolidation mode into the high-energy, high-investment phase that generates the Tony nominations race, the spring commercial peak, and the cultural conversations that define each Broadway season’s identity.
The week ending 22 June 2026 is, in this context, a pause rather than a decline — a moment of transition between the extraordinary 2025-26 season and the promising 2026-27 one, marked by three distinguished productions playing their final performances and a market doing the quiet, steady work of holding its commercial ground while the next wave builds.
Audiences continue to have a deep passion for live theatre. Even in a challenging economic environment, Broadway remained notably on par with last season, reflecting both the resilience of this industry and the connection audiences feel to these productions.
Jason Laks, President, The Broadway League — 2025-26 Season Statement
Links
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Terrence McNally – Memorabilia
