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Another national tour casting notice dropped today, and once again I have serious questions about what Actors’ Equity is allowing to happen under the current Touring Agreement.

The upcoming national tour of Just in Time is apparently going out under a Level 6 Touring Agreement, with an Equity minimum of just $995 per week.

For comparison, the current Broadway minimum is $2,717 per week.

That means an Equity performer doing essentially the same professional production on the road can have a contractual minimum that is $1,722 less per week — roughly 63% below the Broadway minimum.

And we aren't talking about an unproven show desperately trying to make touring economics work.

Just in Time has already recouped its entire $12.5 million Broadway capitalization, becoming the first musical of the 2024–25 Broadway season to announce recoupment. The Broadway production has repeatedly broken the weekly gross record at Circle in the Square and has spent much of its run playing to extremely strong houses. [Playbill reported the recoupment in May.]

So now this proven commercial hit is going on the road — into a touring market where I would argue it is practically tailor-made for the subscription audience — and we're supposed to accept that Level 6 wages are economically necessary?

Bobby Darin. "Mack the Knife." "Beyond the Sea." "Splish Splash." A nostalgic jukebox musical that has already demonstrated its commercial viability on Broadway. If there were ever a show positioned to appeal directly to the traditional Broadway Across America/subscription demographic, this is it.

Obviously, nobody can guarantee that a national tour will be profitable before it opens. Touring has different expenses and economics than Broadway. But that's precisely why I think Equity members deserve much more transparency about how these tiers are actually being determined.

Because at some point the question becomes:

What kind of show actually has to go out for Equity to demand Level 1 wages?

If a Broadway musical can recoup a $12.5 million capitalization, repeatedly break its theatre's box-office record, demonstrate sustained audience demand, and then launch a first-class national tour at the lowest touring tier, what commercial benchmark is left?

This is becoming especially concerning when viewed alongside Death Becomes Her going out at Level 5. We seem to be watching highly commercial Broadway properties enter the road at increasingly low contractual minimums while Equity performers absorb the difference.

And these aren't community-theatre actors being given an opportunity to tour. These are professional union performers being asked to leave their homes, live out of suitcases, travel across North America eight shows a week, and maintain the physical demands of a first-class production for a contractual minimum of $995 a week.

To be clear, the producers are operating under a collectively bargained agreement. My criticism isn't that they're violating the contract. My question is why Actors' Equity negotiated a system that permits a production with this commercial track record to occupy Level 6 in the first place.

The union should be aggressively scrutinizing the financial assumptions being used to classify tours at these levels and explaining to its membership why extraordinarily successful Broadway properties qualify for the bottom tiers.

Because if Just in Time qualifies for Level 6, I genuinely want to know:

What show doesn't?

Casting notice: https://playbill.com/job/just-in-time-tour-nyc-epa-09-16-26/97280128-1d67-4a3e-89ac-11b74d60f0c9

Recoupment reporting: https://www.nytimes.com/2026/05/18/theater/just-in-time-broadway-profit.html

If anyone else is finding it impossible to get tickets to this fear not. The run was suspiciously short to begin with, originally ending November 15, but The Public quietly revealed another week of performances and I expect this will not be close to the last time this happens. They probably already know when and where it’s gonna transfer to Broadway.

Now, if they would kindly MAKE THE TICKETS AVAILABLE FOR PURCHASE I would love to give them my money. This same type of thing happened with Ulysses: they made it seem like the run was completely sold out before randomly and sporadically releasing tickets. If you were in the right place at the right time you got them. I guess it’s gonna have to happen again.

I’m just happy this is popular enough to have that kind of demand. Having had the immense pleasure of seeing it on The West End, I can tell you very few shows are so deserving. People are excited about this and they should be.

Slightly better week for Broadway, though these numbers are still super low. We're also starting to see the effects of schools starting back up in some of the shows, and Broadway week is right around the corner, which will likely feature some harrowingly low grosses. But most shows were up as we head in towards Labor Day weekend, where we'll see many strong grosses, so it's not all bad.

Season-to-date difference from last year:

Gross Gross: -5.8%

Total Attendance: -1.4%

For Award Wins/Nominations, a * demarcates a best musical/best revival nomination/win.

Grosses (chronological order from opening)-

➡ The Great Gatsby - $835k, 77% capacity, $90 atp (Up ~$40k from last week). Began performances March 29, 2024, Open-Ended.

Gross Less-Fees: $734k; Estimated Weekly Operating Cost: $850k/week; Estimated Profit (Loss): $(100k)+

2024 Award Wins: Outer Critics Circle (2), Drama Desk (1), Tony (1)

Gatsby improved decently in the better week, but these are still well too low for them, gross wise. Tough to see where they go from here, it's now been five months since they had a week over the $1 million mark.

Estimated percentage recouped: 10%-30%

➡Maybe Happy Ending- $672k gross, 84% capacity, $99 atp (Down ~$17k from last week). Began performances October 16, 2024, Open-Ended

Gross Less-Fees: $569k; Weekly Operating Cost: $765k/week; Estimated Profit (Loss): ($100k)+

2025 Award Wins: New York Drama Critics (1*); Outer Critics Circle (4*); Drama League (2*); Drama Desk (6*); Tony (6*)

Maybe Happy Ending continues to do the exact opposite of the rest of the industry, taking a slight hit this week. They're struggling, no doubt about that. The question is what are they willing to try to pull themselves out of it.

Estimated percentage recouped: 30%-50%

➡Operation Mincemeat- $641k gross, 91% capacity, $111 atp (Up ~$50k from last week). Began performances February 15, 2025, Open-Ended.

Gross Less-Fees: $558k; Estimated Weekly Operating Cost: $560k/week; Estimated Profit (Loss): $50k-($50k)

2025 Award Wins: Outer Critics Circle (1); Drama Desk (1); Tony (1)

Mincemeat recovered very well from their lowest week of the year last time out. They're still in the strongest spot of last years shows I'd say.

Estimated percentage recouped: 10%-30%

➡Buena Vista Social Club- $759k gross, 93% capacity, $97 atp (Up ~$79k from last week). Began performances February 21, 2025, Open-Ended.

Gross Less-Fees: $661k; Estimated Weekly Operating Cost: $700k/week; Estimated Profit (Loss): $0-(100k)

2024 Award Wins: Outer Critics Circle (1); Drama Desk (1)

2025 Award Wins: Chita Rivera (2); Tonys (5); Grammy (1)

Decent improvement for BVSC, Jose Iglesias is probably partially to blame for this increase, though again the week was slightly stronger. Still, a 10% bump is nothing to be ashamed of, hopefully this can signal a return to form!

Estimated percentage recouped: 20%-40%

➡Two Strangers (Carry a Cake Across New York)- $478k gross, 64% capacity, $88 atp, (Up ~$22k from last week). Began Performances November 1, 2025, Open-Ended.

Gross Less-Fees: $406k; Estimated Weekly Operating Cost: $480k/week; Estimated Profit (Loss): $0k-($100k)

2026 Award Nominations: Drama League (2*); Outer Critics Circle (4*); Drama Desk (3*); Tonys (8*)

2026 Award Wins: Drama Desk (1)

Slight bump for Two Strangers in the overall marginally stronger week, a trend I expect will continue next week. This show is just along for the ride at this point.

Estimated percentage recouped: 0%

➡Titanique- $903k gross, 90% capacity, $93 atp, (Up ~$87k from last week), Began Performances March 18, 2026, Limited through September 20.

Gross Less-Fees: $830k; Estimated Weekly Operating Cost: $900k/week; Estimated Profit (Loss): $0-$100k

2026 Award Nominations: Drama League (3*); Drama Desk (1); Tonys (4*)

Titanique continues to improve as we head towards its closing. This is their second highest grossing week yet, and I think they're going to have an earning week next week! Glad as we get towards the end of the run the houses are getting more full and more people are seeing it.

Estimated percentage recouped: 0%

➡The Rocky Horror Show- $722k gross, 96% capacity, $95 atp, (Down ~$226k from last week), Began Performances March 26, 2026, Limited Through February 28, 2027.

Gross Less-Fees: $812k; Estimated Weekly Operating Cost: $750k/week; Estimated Profit (Loss): $0k-($100k)

2026 Award Nominations: Drama League (4*); Outer Critics Circle (2*); Drama Desk (6*); Tonys (9*)

Rocky dropped pretty significantly with the departure of Luke Evans. We'll see how Jake Shears fares in a couple of weeks. These grosses probably aren't super sustainable for them.

Estimated percentage recouped: 0%-20%

➡The Lost Boys- $1.1 million gross, 83% capacity, $103 atp, (Down ~$15k from last week), Began Performances March 27, 2026, Open-Ended.

Gross Less-Fees: $974k ; Estimated Weekly Operating Cost: $950k/week; Estimated Profit (Loss): $50k-($50k)

2026 Award Nominations: Drama League (4*); Outer Critics Circle (11*); Drama Desk (5); Tonys (12*)

2026 Award Wins: Outer Critics Circle (2); Drama Desk (2); Tonys (4)

Lost Boys was one of only a small handful of shows to take a step back this week at the box office, I suspect with schools starting to ramp up they're really feeling the impacts more heavily than some of their peers. Still, these aren't bad grosses for them, and they should do well with the holiday. We'll see what happens from there.

Estimated percentage recouped: 0%

➡Schmigadoon- $939k gross, 92% capacity, $110 atp (Up ~$35k from last week), Began Performances April 4, 2026, Open-Ended.

Gross Less-Fees: $803k; Estimated Weekly Operating Cost: $750k/week; Estimated Profit (Loss): $50k-($50k)

2026 Award Nominations: Drama League (2*); Outer Critics Circle (8*); Drama Desk (4*); Tony (12*)

2026 Award Wins: Outer Critics Circle (5*); Drama Desks (2*); Tonys (4*)

Schmigadoon took a small increase in stride with the overall better week. Still low grosses for a Best Musical winner, though they're settling into what it seems is their groove. Expect good grosses for them next time out, back up over $1 million.

Estimated percentage recouped: 0%

➡Play Roundup:

Stranger Things: The First Shadow- Bad week for them, but their fate is known at this point. Closing January 3, 2027

Paranormal Activity- They're selling out for the moment which is good, and if they can keep the average ticket price low and sell well they might be ok given how large the theatre is. Solid start, hopefully it continues. Limited Through January 3, 2027.

I'm a contributor for Broadway World now! My most recent article can be found here- a look at Word of Mouth, how it's defined, and the way if affects shows. A full archive of my work can be found here!

Discuss below, please remember to keep it kind and civil.

We just got notified that Jessica Vosk's solo concert at the Staller Center on Long Island in December has been cancelled due to "a new Broadway theater project" that will be announced soon. Anyone have any tidbits? We'd be stoked if she's back on stage!

BTW, The show was replaced by HOME (for the holidays) featuring Jarrod Spector & Kelli Barrett

As you all know, the new cast of Hadestown has their first performance tonight.

To anyone going tonight, I'd love to hear your thoughts on the new cast after the show tonight. I'm going on 09/13 and I'm especially excited for this cast.

Thanks in advance!

More auction lots to come and 60+ tables in person on 9/27.

Please conceal any spoilers!!!

I'm just wondering if there was something supernatural/spooky in the broadcast of 8 Out of 10 Cats that is on the TV at one point? I thought someone said something was going on with the letters, but my eyes aren't great so I couldn't see them well enough. I'm sure if it is something, it's probably minor since many/most people wouldn't be able to make it out, I just want to appreciate all the wonderful little bits they put into the show. Thanks!

I organized an AMA/Q&A with actress Jodie Comer. You may know her from fantastic roles in things like Killing Eve, The Last Duel, 28 Years Later, The Bikeriders, Free Guy.

Theater fans will know her for her amazing run in PRIMA FACIE on the West End and Broadway, she she won both the Tony and the Olivier award for.

It's live here now in r/movies for anyone interested in asking a question:

https://www.reddit.com/r/movies/comments/1w4bbu1/hi_rmovies_jodie_comer_here_with_michael_sarnoski/

She will be back at 12 PM ET tomorrow (Wednesday 9/2) to answer questions. I recommend asking in advance. Please ask there, not here. All questions are much appreciated!

Thank you :)

Her newest film, The Death of Robin Hood, is out in UK theaters on September 2. It co-stars Hugh Jackman and is directed by Michael Sarnoski (Pig).

Trailer: https://www.youtube.com/watch?v=tlSDDuWxO_0&themeRefresh=1

Starting this evening:

* Ben Davis as Hades
* Amber Iman as Persephone
* Norbert Leo Butz as Hermes
* Kayko as Orpheus
* Jasmin Savoy Brown as Eurydice

Who's going to see the show at the Walter Kerr tonight and is willing to give us reports?

I organized an AMA/Q&A with actor Andrew Scott. He is known for countless memorable roles in films, TV, and on the stage, including: WAKE UP DEAD MAN, FLEABAG, RIPLEY, ALL OF US STRANGERS, SPECTRE, DENIAL, 1917, and BLUE MOON.

It's live here now in r/movies for anyone interested in asking a question:

https://www.reddit.com/r/movies/comments/1w492dn/hello_reddit_im_andrew_scott_ama/

He will be back at around 2 PM ET today to answer questions. I recommend asking in advance. Please ask there, not here. All questions are much appreciated!

Thank you :)

His new film, a WW2 drama based on a true story, Pressure, was out in US theaters earlier this year and is hitting UK cinemas next week. It also stars Brandon Fraser, Kerry Condon, Damian Lewis, and Chris Messina.

Trailer: https://www.youtube.com/watch?v=eYa8N3R2cZw

Synopsis: The fate of the free world hangs in the balance as Gen. Dwight D. Eisenhower and Capt. James Stagg face an impossible choice -- launch the D-Day invasion or risk losing World War II altogether.

Hi all,

I just got this in the mail today! We saw JIT on a Saturday night about 3 weeks ago during a trip to NYC and loved it. That night, the stage door crowd was a little rowdy/uncooperative with the security and the cast (wisely, I think) skipped on signing and interacting with the crowd.

I really was hoping for some of the cast to sign a playbill for my daughter, so I sent in a request, with a receipt from a donation to broadwaycares and SASE, note, etc. 2 weeks later (super quick imo, it's here - what a priceless little book and I couldn't be happier.

Anyways, wishing good luck to anyone else who is mailing away for signed playbills.

Bath & Body Works candle holder, this made me chuckle! (With all due respect to Bebe and Chicago, it’s my favorite show.)

So excited for him!

​I have always wondered how The Lost Boys climax happens. Does anyone know how the stake/arrow trick is done for Marko​, Dwane and David’s deaths? I’ve seen the show so many times but I’ve never been close enough to see how the tricks are done.