Broadway's spring 2026 season is now fully underway, and the box office results for the week ending April 26 are painting a telling picture of which new productions have found their footing — and which are already fighting for survival.

Leading the conversation is Moulin Rouge!, which posted a remarkable $1,638,650 gross at the Al Hirschfeld Theatre, cementing star Megan Thee Stallion's undeniable drawing power at the box office. The news isn't entirely celebratory, however — producers are reportedly disappointed after the rapper and performer announced she would be departing the production two weeks ahead of schedule, with no official explanation given. Her final curtain call is set for this Friday, May 1.

Not far behind in the buzz department is Cats: The Jellicle Ball, which hit a new personal best at the Broadhurst Theatre with a weekly gross of $1,010,779 — a milestone that signals the reimagined production has firmly won over audiences.

The Rocky Horror Show, starring Luke Evans and playing at Studio 54 under the Roundabout Theatre Company banner, opened April 23 to strong critical reception and an even stronger turnout — 99.6% of seats filled and $813,707 in grosses. It's shaping up to be a genuine hit for the nonprofit organization.

Among other notable performers for the week:

Dog Day Afternoon brought in $1,034,680 at the August Wilson Theatre, continuing its impressive run.

Giant, Proof, and The Lion King all maintained roughly 95% capacity attendance, grossing $1,197,363, $976,808, and $1,886,387 respectively.

Hadestown ($848,980), Just in Time with Jeremy Jordan ($880,111), Operation Mincemeat ($756,303), and Stranger Things: The First Shadow ($1,003,369) also posted solid numbers, though the Stranger Things production lingered around 76% capacity — hinting that the boost from the television finale may be fading.

Fallen Angels, another Roundabout entry, surged with a $165,291 week-over-week increase to reach $598,456, likely propelled by critical acclaim.

Complete sellouts for the week included Rocky Horror Show, Chicago, Every Brilliant Thing, Harry Potter and the Cursed Child, and Ragtime.

On the newcomer front, results were mixed. The Lost Boys grossed $897,362 at the Palace Theatre at 90% capacity, though that figure reflects a dip due to heavily comped opening-night performances — actual attendance was up. Manhattan Theatre Club's The Balusters at the Friedman also hit 90% capacity with a $268,997 gross and has already earned a two-week extension through June 7.

Schmigadoon!, which opened April 20 at the Nederlander, drew paid attendance around 85% of capacity for a $621,609 gross, while August Wilson's Joe Turner's Come and Gone opened to glowing reviews at the Barrymore, grossing $580,113 — a figure dampened by one fewer performance and significant comps. Both shows are expected to show a truer earning potential in the coming weeks.

The most precarious situation belongs to Beaches, the new musical that opened April 22 at the Majestic Theatre to largely negative reviews. With only 65% of seats filled and a gross of $476,871, the show's long-term viability looks shaky. Its best hope for extending into summer may hinge on next week's Tony Award nominations, which will be announced on May 5 by Darren Criss and Uzo Aduba.

Stepping back to look at the broader season: all 40 Broadway productions combined for a weekly total of $40,365,196, a modest 3% uptick from the prior week. However, that number sits 21% below the same period last year, when a wave of high-profile, star-driven productions sent ticket prices soaring. The average paid admission last week was $120.47 — a drop of $21.91 compared to last year.

Total weekly attendance reached 335,070, up 2% from the previous week but down 6% year-over-year.

Cumulatively, the 2025-26 season now stands at $1,754,297,657 in gross revenue through 48 weeks — a 5% increase over last year at this point — with total attendance of 13,281,196, up 2% season-over-season.

All figures are courtesy of the Broadway League.

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