‘Merrily We Roll Along’ Among Broadway’s Top Earners, Has Priciest Ticket – Broadway Box Office

Universal/Blumhouse’s Five Nights at Freddy’s was still plenty game this weekend, crossing $100M at the international box office and $200M worldwide. The sophomore frame overseas, where this is a pure theatrical play, dipped 54% to deliver $35.6M in 74 markets for a $103.5M offshore cume and $217.1M global.

according to IMDB’s Box Office Mojo.It is slated to surpass the $100 million mark in a total of just eight days, according to Deadline.The film, which was released on Oct. 27 in theaters and on Peacock, also had the biggest-ever five-day debut on the streaming service.In second place was “Taylor Swift: The Eras Tour,” with $3.6 million in sales.The concert movie, based on the pop star’s tour, has already earned $150 million domestically and more than $200 million globally, according to CNBC.It is also predicted to take in another $10 million domestically this weekend.Martin Scorsese’s “Killers of the Flower Moon” landed in third, earning $1.945 million.The Western crime drama is based on a 2017 non-fiction book by David Grann about a series of murders of Native Americans from the tribe Osage Nation.

Trish Deitch Let’s face it: No one’s going to hire Danny DeVito to play Lear. Or Willy Loman. Or even George to Albee’s Martha.

Broadway box office held fairly steady heading into trick or treat season, with receipts for the week ending Oct. 29 at $26,480,578 (about 6% down from the previous week) and attendance at 218,581 (a slip of just 3%).

Tony winners Aaron Tveit and Sutton Foster will take over as the stars of Broadway‘s hit revival Sweeney Todd: The Demon Barber of Fleet Street for a limited engagement beginning in February, producer Jeffrey Seller confirmed today.

Refresh for latest…: Universal/Blumhouse’s Five Nights at Freddy’s is gaming its way to an estimated $130.6M global opening, higher even than we had it yesterday as this phenom is now eyeing a $52.6M bow from 64 international box office markets. As Anthony has chronicled, the domestic $78M opening is a stunner — and amid the day-and-date Peacock bow. Overseas, the play is purely theatrical and has set a number of records.

Merrily We Roll Along. Sondheim acolytes are well versed in the show’s difficult past that dates back to the original 1981 Broadway production.Hal Prince, a longtime collaborator with Sondheim, mounted the show with a teenage cast who played the characters as both their younger and adult selves. It didn’t work.

No one knew how big this was going to be, or is going to be but Universal/Blumhouse’s feature take on beloved horror videogame, Five Nights at Freddy‘s is eyeing a $50M+ start possibly even more. At that level, it’s the second-best opening of this autumn’s B.O. behind Taylor Swift: The Eras Tour ($92.8M).

Broadway box office held steady last week with total grosses for 28 shows tallying up to $28,106,860, with 224,832 ticket buyers paying an average $125.01 per seat.

Patrick Frater Asia Bureau Chief “Only the River Flows,” a pitch-black crime noir from auteur Wei Shujun, comfortably topped the mainland China box office on a quietish weekend. The film, ostensibly a murder mystery, but one concerned more with atmosphere than linear plotting, earned $12.6 million (RMB90.8 million) in its opening three days, according to data from consultancy Artisan Gateway, or close to a third of the market. The film had its premiere in Cannes where Variety gave it a rave review, calling it an “inventive riff on Asian-noir” and making comparisons with films by Park Chan-wook and Diao Yinan. “Only the River Flows” has since played at a succession of festivals ever since, including New Zealand, BFI London, Vancouver, Adelaide and last week’s Pingyao event in China. Falling to second place at the box office after three weeks on top was Zhang Yimou’s “Under the Light,” which earned $6.9 million for a four-weekend cumulative of $176 million. Chen Kaige’s war, propaganda film “The Volunteers: To the War” earned $5.3 million in third place.

Taylor Swift: The Eras Tour” reigned supreme in theaters for the second Friday in a row, earning $10.4 million, according to IMDB’s Box Office Mojo.After her negotiations with movie studios failed, the songstress struck an unprecedented agreement with AMC Theatres for its distribution.Some fans told The Post that they are getting reprimanded by fellow Swifties and theater employees for singing and dancing while watching the movie. Swift managed to beat out Martin Scorsese’s “Killers of the Flower Moon,” which saw sales of $9.4 million on Friday, its opening night.

Gordon Cox Theater Editor The 2023 edition of Variety’s annual theater breakfast was all about the Business of Broadway. But that didn’t keep things from getting spiritual, too. In a panel discussion featuring the starry cast of “Merrily We Roll Along” — held during the Business of Broadway breakfast Oct.

surprise appearance on “Saturday Night Live” a day earlier and the success of Swift’s concert film — estimated to have brought in astronomical numbers at the box office.“Taylor Swift: The Eras Tour” raked in close to $96 million at the box office in the United States and Canada, movie theater chain AMC said Sunday — making it the highest-grossing concert film for an opening weekend.The biggest domestic concert films prior to Swit’s were 2011’s “Justin Bieber: Never Say Never,” which finished with total earnings of $73 million, and 2009’s “Michael Jackson’s This Is It,” cashing in with $72 million box office sales, according to IMDb.The runners-up at the box office by a long shot this weekend were the “Exorcist: Believer,” with estimated ticket sales of $11 million, and the family-friendly animation “Paw Patrol: The Mighty Movie,” racking in a mere $7 million.Kelce spent Sunday afternoon at MetLife stadium watching his brother, Philadelphia Eagles center Jason Kelce, and his team fall short of a victory over the New York Jets.The Kansas City Chiefs tight end was photographed leaving the “Cruel Summer” singer’s NYC apartment solo on Sunday, decked out in a green tracksuit with white Nike sneakers, black shades, and a backward baseball cap as he hopped into a black SUV outside the songstress’ luxe pad.Despite being a well-known Eagles fan from Pennsylvania, Swift did not attend the game with her new beau.The duo seems to be playing into the world’s interest with their blossoming relationship since both attended “SNL” on Saturday night, with Kelce even featured in a skit poking fun at the NFL and Swiftys’ obsession with their romance.The athlete appeared in a sketch based on a parody of “Fox NFL Sunday,” where the crew

Taylor Swift seems set to do for the UK cinema industry what she has pulled off for the live entertainment industry, ie provide a much-needed cash injection.

Preview performances for Broadway‘s I Need That starring Danny DeVito begin tonight, and already the limited engagement has been extended by a week.

Alright, “Exorcist: Believer,” Universal and Blumhouse Pictures’ legacy sequel of 1973’s “The Exorcist,” directed by David Gordon Green hit theaters last weekend and the results were, well, kinda mid. Yes, it’s a legacy sequel, so much like the newest “Halloween” trilogy (also made by Green, Universal and Blumhouse), it disregards all the other sequels and essentially only takes place after the original film).

Naman Ramachandran Universal’s “The Exorcist: Believer” debuted atop the U.K. and Ireland box office with £1.6 million ($2 million), according to numbers released by Comscore. In its second weekend, in second place, Disney’s “The Creator” collected £1 million for a total of £4.1 million.

Trish Deitch Commercial theater — theater written mostly to entertain audiences, for the purpose of making money — is the enemy in Stephen Sondheim and George Furth’s 1981 musical, “Merrily We Roll Along,” now on Broadway at the Hudson Theatre. According to “Merrily,” it’s theater that doesn’t sacrifice its profundity to make it easy on audiences that has any real value at all.

Stephen Sondheim’s 1981 show, which was a 16-performance flop when it began its life, has, against all odds, only improved as the years have rolled on. It’s better and more youthfully optimistic now than it ever was before.

Troubled musicals, like troubled friendships, can often seem like defeats lying in wait, sponging up every last second of loving care, effort and good intention. So Maria Friedman’s smartly tended production of that most troubled of stage properties, the Stephen Sondheim-George Furth backwards musical Merrily We Roll Along deserves all the applause – and ticket-buying business – it’s getting at Broadway‘s Hudson Theatre.