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      ‘Macbeth’ performances on Broadway pause after Daniel Craig tests positive for the coronavirus.

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      The show, which just began previews on Tuesday, hopes to resume on April 8.Daniel Craig, who is starring in the title role of a new Broadway production of “Macbeth,” tested positive for the coronavirus on Saturday, forcing the show to cancel most of next week’s performances.The show, which just began previews on Tuesday and is scheduled to open April 28, had already canceled Friday night’s performance, citing another positive coronavirus test among cast members, when on Saturday it canceled both the matinee and an evening performance, citing Mr. Craig’s positive test. Then, late Saturday night, the production said that it was canceling all performances until April 8 “due to the detection of a limited number of positive covid test results within the company.”Coronavirus cases have recently been rising in New York City, and several Broadway performers have tested positive. In most instances, shows have been able to turn to understudies to keep going, but because “Macbeth” had just begun performances, it had not yet fully rehearsed the understudies.All Broadway actors — in fact, all workers in Broadway theaters — are required to be fully vaccinated. Broadway also currently requires that ticket holders be fully vaccinated and wear masks except when eating and drinking; on Friday, the theater owners and operators said that those rules would remain in place at least through April 30, and that they would decide by April 15 whether to retain, alter or drop the audience protocols after the end of the month.“Macbeth,” of course, is a well-known and much-loved tragedy by William Shakespeare, and this revival has been one of the most anticipated productions of the spring on Broadway. Mr. Craig, who is fresh off his long run playing James Bond on film, had repeatedly said he wanted to be part of Broadway’s efforts to rebound after the industry’s long pandemic shutdown.Mr. Craig is starring opposite Ruth Negga, as Lady Macbeth, in the production, which is directed by Sam Gold. The show does not have much leeway — it is already scheduled to be the last production to open this season, and its opening night is on the final day when shows can open to qualify for this year’s Tony Awards. More

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      ‘Music Man’ Sets Box Office Record for a Reopened Broadway

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      The Hugh Jackman-led revival has 76 trombones, 110 cornets, and took in $3.5 million in ticket sales last week, more than any show since the pandemic began.Broadway has a new box office leader: A starry revival of “The Music Man” grossed $3.5 million last week, the most of any show since theaters reopened after the long pandemic shutdown.The musical, with a cast led by the ever popular Hugh Jackman, is outselling “Hamilton” and every other show, triumphing over tepid reviews as it plays to full houses and sells tickets at top-tier prices.Data released Tuesday by the Broadway League showed that “The Music Man” had grossed over $3 million for five weeks in a row.The industry’s three big mainstays remain strong: Last week, “Hamilton” brought in $2.3 million, “Wicked” was at $1.9 million and “The Lion King” at $1.8 million.The box office numbers were the first for individual shows to be publicly released by the League since March of 2020, and suggested, as expected, that the relatively small number of mostly big-name shows that survived the Omicron spike of the coronavirus late last year are fairly hardy, and most appear to be bringing in more money than they are spending on a week-to-week basis. The industry faces another stress test ahead, as the number of shows increases; no one knows whether there is enough audience to support the newcomers as well as the established productions.Among the highlights, according to the new information: A revival of the Neil Simon comedy “Plaza Suite” starring Sarah Jessica Parker and Matthew Broderick is starting very strong, reflecting the enormous appeal of the two stars, who are married to each other and have not appeared together onstage for years. The play, still in previews, grossed $1.7 million last week, which is a huge number for a small-cast play in a modest-size venue.“The Music Man,” which also stars the gifted Sutton Foster, had the highest average ticket price, at $283, and the highest premium ticket price, at $697. “Plaza Suite” was also selling notably high-priced premium seats, at $549, reflecting Parker’s popularity.The numbers do show signs of concern for some shows. “Tina — The Tina Turner Musical,” played to houses that were only 55 percent full last week, grossing $778,000. And a new musical, “Paradise Square,” started slow in previews — the show drew large audiences (it was 97 percent full) but with unsustainably low ticket prices (it grossed just $355,000, with an average ticket price of $47). And sales for shows including “Dear Evan Hansen,” “Come From Away” and “Chicago” have notably softened since before the pandemic.But there is also good news for other shows. In particular, the newly released box office data suggests that “Harry Potter and the Cursed Child” has benefited from its decision to consolidate from a two-part play to one part during the pandemic. The show grossed $1.7 million last week; the two-part version had been bringing in around $1 million during non-holiday weeks before the pandemic.By the end of last week there were 22 shows running in the 41 Broadway houses, up from a low of 19 earlier in the year. The average ticket price was a healthy $136, and 92 percent of all seats were occupied, although there were fewer spots to fill overall because so many theaters did not have shows in them. More

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      Tony Awards to Announce Prizes in June at Radio City Music Hall

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      The 75th ceremony, honoring plays and musicals staged on Broadway, resumes its traditional calendar after a few years of pandemic disruption.This year’s Tony Awards will take place on June 12 at Radio City Music Hall as the theater industry seeks to settle in to some sort of new normal following the enormous disruption of the coronavirus pandemic.The ceremony — like the one last September that coincided with the reopening of many theaters after the lengthy lockdown — will be bisected, with one hour streamed by Paramount+, followed by a three-hour broadcast on CBS that is likely to be heavy on the razzle-dazzle.The Tonys, which honor plays and musicals staged on Broadway, are an important moment for the theater community because the awards are valued by artists and because the event serves to market the art form and the industry. The awards, formally known as the Antoinette Perry Awards, are presented by the Broadway League and the American Theater Wing.This year’s ceremony — the 75th since the Tonys were established in 1947 — will honor shows that opened between Feb. 20, 2020, and April 28, 2022. That unusually long eligibility window includes the 15 months when all theaters were shut down to protect public health. (Last year’s Tony Awards ceremony was a much-delayed event that considered only the reduced slate of shows that managed to open before the pandemic cut short the 2019-20 theater season.)The nominators, for the first time since 2019, will have a robust slate of options to consider in all categories.This season features nine new musicals, including the fan favorite “Six”; the critical darling “Girl From the North Country” (which opened one week before theaters shut down); the Michael Jackson jukebox musical, “MJ”; and the Pulitzer Prize-winning “A Strange Loop” (which arrives next month).In the play category, this season brought a record number of works by Black writers, the best reviewed of which were “Clyde’s,” by Lynn Nottage; “Pass Over,” by Antoinette Chinonye Nwandu; and “Skeleton Crew,” by Dominique Morisseau. They will face stiff competition from “The Lehman Trilogy,” a widely hailed exploration of the rise and fall of Lehman Brothers written by Stefano Massini and adapted by Ben Power.The musical and play revival categories are strong as well.Many of the contenders have yet to open. Because of concerns about when audiences would return in large numbers, and then the arrival of the Omicron variant, numerous producers opted to open as late as possible in the season: 16 shows are still to open before the eligibility period closes.The nominees are to be announced on May 3, determined by a nominating committee made up of about 37 actors, theater administrators and others with a close knowledge of the art form but no financial involvement in the eligible shows.Then voting will take place, electronically. There are about 800 Tony voters, many of whom work in the industry and some of whom are employed by or have invested in nominated shows; they can only vote in categories for which they have seen all the nominees, and there are a few specialized categories in which only some voters are allowed to vote.The show, directed by Glenn Weiss, will air live nationally, with the streaming portion starting at 7 p.m. Eastern and the broadcast portion (which will also be streamable) starting at 8 p.m. More

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      Private Data Shows Broadway’s Hits and Misses After Reopening

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      Big shows did well when they returned in the fall after the long pandemic shutdown but new plays struggled, previously undisclosed industry data shows.During the long dark months when the coronavirus pandemic kept Broadway shuttered, a hypothesis took hold in parts of the industry: Once theaters reopened, the audience would include more New Yorkers and fewer tourists, and the result could be a more receptive marketplace for ambitious new plays.It did not turn out that way.Previously undisclosed data about the financial performance of individual Broadway shows reveal that the fundamental modern economics of the industry, in which big brands dominate and adventurous new works struggle to break through, were reinforced, rather than upended, as the industry reopened last fall.The good news: In the months between the reopening of Broadway and the upheaval caused by the arrival of Omicron, the biggest prepandemic hits were doing reasonably well. The disappointment: Many new and unfamiliar plays, including a much-heralded wave of work by Black writers and a pair of experimental plays by white writers, struggled to sell tickets, much as plays have often done in recent seasons.The information about the shows’ financial performance was collected by the Broadway League, a trade association representing producers and theater owners, and distributed to the association’s membership in mid-January. The League, in a break with past practice, has decided not to make show-by-show box office data public this season, saying the circumstances are so unusual that the data cannot fairly be compared to that of other seasons, but The New York Times has obtained access to the numbers.The data, which begins in mid-September, when some of the biggest musicals reopened, runs only through Dec. 12, just before a spike in positive coronavirus tests among theater workers forced as many as half of all Broadway shows to cancel performances. In the weeks since, Broadway has taken a tumble — even though the wave of cancellations has stopped, attendance has been soft and multiple shows have closed.Before Omicron hit, Broadway’s return was going better than some had feared, especially for big-brand musicals. Plays had a harder time.An Rong Xu for The New York TimesBut before the Omicron variant, Broadway’s box office was doing far better than pessimists had feared, given the dearth of visitors and office workers, ongoing concerns about public health, and uncertainty about the effect of vaccine mandates and mask requirements. During the final week covered in the data — the week that ended Dec. 12 — about one-third of the shows running grossed more than $1 million, which has often been seen as a sign of strength. Among them: the musicals “Hamilton,” “Wicked,” “The Lion King,” “Moulin Rouge!,” “Tina,” “Six,” “Aladdin,” “The Book of Mormon,” “Hadestown” and “The Phantom of the Opera,” and the plays “Harry Potter and the Cursed Child,” “To Kill a Mockingbird” and “The Lehman Trilogy.”Notably, the club of top grossers included two newcomers, “Six” and “The Lehman Trilogy,” both of which were well-reviewed, small-cast shows that were in previews in 2020 when the pandemic hit, and then finally opened last October. “Six” is still running on Broadway; “The Lehman Trilogy” ended its Broadway run as scheduled on Jan. 2 and on March 3 it plans to begin a monthlong run in Los Angeles.Also noteworthy: “Harry Potter and the Cursed Child,” which during the pandemic shutdown was trimmed from a two-part play to a more traditional one-part show, appears, at least initially, to have benefited from the reconstructive surgery. The shorter version impressed critics and reduced running costs, and its weekly grosses in early December were about $1.7 million, which is significantly better than it was doing during that same period in 2019.During the industry’s best fall stretch — Thanksgiving week — “Hamilton” grossed over $3 million, and “The Lion King,” “Wicked” and “Harry Potter and the Cursed Child” each grossed over $2 million.The effect of the Tony Awards, which were held Sept. 26 in an effort to showcase the reopening of Broadway, is difficult to discern. “Moulin Rouge!,” which won the best musical Tony, sold well through the fall, but less well than it had in the fall of 2019 (the week before Thanksgiving last year, the musical grossed $1.5 million; during that same week in 2019, it had grossed $2 million).The fall was especially tough for plays, which often struggle in an era when Broadway is dominated by big musicals. Critically acclaimed plays like “Pass Over,” “Is This a Room” and “Dana H.” played to houses that were at times between one half and two-thirds empty.The average ticket prices for all the new plays other than “The Lehman Trilogy” were well below the industry average, suggesting that the plays were resorting to steep discounts. During Thanksgiving week, the average ticket price at “Hamilton” was $297, while at “Chicken & Biscuits” it was $35.Other than “Lehman,” the strongest selling of the new plays was “Thoughts of a Colored Man,” which grossed over $400,000 in some weeks. It has since closed, as has every other play that was running on Broadway last fall other than “Cursed Child.”There were also, as there always are, musicals that struggled too. The new musical “Diana,” which opened to harsh reviews and closed a month later, played to 51 percent capacity houses and grossed $374,000 (for seven performances) during the week that ended Dec. 12. “Girl From the North Country,” which has closed but says it plans to reopen in the spring, played to 47 percent capacity audiences that week and grossed $310,000, and “Flying Over Sunset,” which ended its run early, played to 69 percent capacity audiences and grossed $323,000 that week.“Jagged Little Pill,” the musical featuring songs by Alanis Morissette, did better than those shows, but not well enough to sustain a long run. The show was playing to houses that were about four-fifths full in the late fall, and it grossed $768,000 the week of Dec. 12. It closed a week later.Broadway is now in the midst of a particularly grim winter, and there are currently only 19 shows in the 41 theaters, which is lower than it has been for years. But producers say their daily wraps (that’s their net ticket sales) are picking up and they are optimistic about spring; there are already 14 openings scheduled in April. More

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      Broadway Grosses Fall, but Average Attendance Rises, as Shows Close

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      The percentage of seats filled on Broadway was up last week, but overall box office grosses fell, as some of the industry’s softest shows closed and the survivors reduced prices.According to figures released Wednesday by the Broadway League, 75 percent of all seats on Broadway were occupied during the week that ended Jan. 23. That’s up from 66 percent the week ending Jan. 16, and 62 percent the week ending Jan. 9, as the coronavirus pandemic continues to take a toll on the industry and the rapid spread of the Omicron variant makes this winter especially challenging.Average attendance is still far below what it was in January 2020, before the coronavirus pandemic, when between 93 percent and 95 percent of seats were occupied.The overall number of people who saw a Broadway show last week (152,135) was down from the previous week (162,566), as shows continue to close — there were 21 shows open last week, down from 25 the previous week. Two more shows closed on Sunday (“Girl From the North Country,” which says it plans to return in the spring, and “Slave Play,” which is transferring to Los Angeles), leaving just 19 shows now running in the 41 Broadway houses.The rising capacity percentage is good news for an industry rattled by empty seats. But it’s coming at a cost, with fewer shows running and the average ticket price falling.Last week, the average ticket price on Broadway was $108, down from $114 the week ending Jan. 16 and $116 the week ending Jan. 9. (In 2020, average January ticket prices were as high as $123.)The falling average ticket price reflects both a lowering of premium prices (that’s the price for the best seats on the most popular nights), and a heavy use of discounts.At “Hamilton,” for example, the top price in January 2020 was $847; now it’s $299. (The priciest premium seat at the moment appears to be at “The Music Man,” which is asking $699 for some center orchestra seats on a Saturday night in February; “Six” is selling some tickets for $499.)But there are also multiple discounts available. The city’s tourism agency, NYC & Company, is now holding its annual Broadway Week (which, despite its name, will last 27 days this year), a popular program that offers two-for-one tickets to all but a handful of shows.And, although the Broadway League is no longer disclosing grosses for individual shows, there are indications that more are turning to discounting as a strategy to get through this winter, when the ordinary seasonal dip has been exacerbated by the pandemic. The TKTS ticket booth in Times Square, which sells tickets at 20 percent to 50 percent off, now periodically features “The Lion King,” which was almost never sold at the booth before the pandemic, as well as other big shows including “Moulin Rouge!,” “Harry Potter and the Cursed Child,” “Hadestown” and “MJ,” the new Michael Jackson musical. More

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      As Broadway Struggles, Governor Hochul Proposes Expanded Tax Credit

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      With Omicron complicating Broadway’s return, Gov. Kathy Hochul proposed more assistance for commercial theater, which her budget director called “critical for the economy.”As Broadway continues to reel from the economic effects of the coronavirus pandemic, Gov. Kathy Hochul is proposing to expand and extend a pandemic tax credit intended to help the commercial theater industry rebound.Ms. Hochul on Tuesday proposed budgeting $200 million for the New York City Musical and Theatrical Production Tax Credit, which provides up to $3 million per show to help defray production costs.“They were starting to recover before Omicron, and then, as you have all seen, a lot of these performance venues had to shut down again, and those venues are critical for the economy,” the state budget director, Robert Mujica, told reporters.The tax credit program, which began last year under Gov. Andrew Cuomo, was initially capped at $100 million. Early indications are that interest is high: Nearly three dozen productions have told the state they expect to apply, said Matthew Gorton, a spokesman for Empire State Development, the state’s economic development agency.The Hochul administration decided to seek to expand the tax credit program — and to extend the initial application deadline, from Dec. 31, 2022 to June 30, 2023 — as it became clear that Broadway’s recovery from its lengthy pandemic shutdown would be bumpier than expected.Shows began resuming performances last summer, and many were drawing good audiences — Ms. Hochul visited “Chicago” and “Six” in October, while Mr. Gorton saw “The Lehman Trilogy” and “To Kill a Mockingbird.”But the industry is now struggling after a spike in coronavirus cases prompted multiple cancellations over the ordinarily lucrative holiday season, and then attendance plunged. Last week, 66 percent of Broadway seats were occupied, according to the Broadway League; that’s up from 62 percent the previous week, but down from 95 percent during the comparable week before the pandemic.“Clearly, we’re not out of the woods yet,” said Jeff Daniel, who is the chairman of the Broadway League’s Government Relations Committee, as well as co-chief executive of Broadway Across America, which presents touring shows in regional markets. Mr. Daniel, still recovering from his own recent bout of Covid, welcomed the governor’s proposal, and said the League would work to urge the Legislature to approve it.“Every show we can open drives jobs and economic impact,” said Mr. Daniel, who noted the close economic relationship between Broadway and other businesses, including hotels and restaurants. “If we can maximize Broadway, we maximize tourism.”Under the program, shows can receive tax credits to cover up to 25 percent of many production expenditures, including labor. As a condition of the credit, shows must have a state-approved diversity and arts job training program, and take steps to make their productions accessible to low-income New Yorkers. More

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      Now Is the Winter of Broadway’s Discontent

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      Curtains are rising again after the Omicron surge caused widespread cancellations, but attendance has fallen steeply. Nine shows are closing, at least temporarily.The reopening of Broadway last summer, following the longest shutdown in history, provided a jolt of energy to a city ready for a rebound: Bruce Springsteen and block parties, eager audiences and enthusiastic actors.But the Omicron variant that has barreled into the city, sending coronavirus case counts soaring, is now battering Broadway, leaving the industry facing an unexpected and enormous setback on its road back from the pandemic.In December, so many theater workers tested positive for the coronavirus that, on some nights, half of all shows were canceled — in a few troublesome instances after audiences were already in their seats.Now, producers have figured out how to keep shows running, thanks mainly to a small army of replacement workers filling in for infected colleagues. Heroic stories abound: When the two girls who alternate as the young lioness Nala in “The Lion King” were both out one night, a 10-year-old boy who usually plays the cub Simba went on in the role, saving the performance.Broadway shows have been using social media to remind potential ticket-buyers that performances are still happening. The revival of “Company” is among many using the hashtag #BroadwayIsOpen.An Rong Xu for The New York TimesBut there’s a new problem: Audiences are vanishing.During the week that ended Jan. 9, just 62 percent of seats were occupied. That’s the lowest attendance has been since a week in 2003 when musicians went on strike, and it’s a precipitous drop from the January before the pandemic, when 94 percent of seats were filled during the first week after the holidays.The casualty list is growing. Over the last month, nine shows have decided to close their doors, at least temporarily. “To Kill a Mockingbird,” a huge hit before the pandemic, announced last week that it would close until June; on Sunday “Ain’t Too Proud,” a successful jukebox musical about the Temptations, closed for good.Box-office grosses are falling off a cliff. The all-important Christmas and New Year’s weeks, which producers count on each year to fatten their coffers in anticipation of the lean weeks that follow, generated just $40 million this season, down from $99 million before the pandemic. Requests for ticket refunds are now so high that on some days some shows have negative wraps, meaning they are giving back more money than they are taking in.“This is the worst I have ever experienced,” said Jack Viertel, a longtime executive at Jujamcyn Theaters, which operates five Broadway houses.Over the long run, industry leaders say, there is every reason to remain bullish about Broadway. Until the pandemic, the industry had been enjoying a sustained boom, fueled by a rebound in the popularity of musicals and by New York’s gargantuan growth as a tourist destination. And this downturn might not last long: There is some evidence that the Omicron surge may be peaking, at least in some parts of the country, including New York.The musical “Ain’t Too Proud,” about the Temptations, was a hit before the pandemic, but decided to close after coronavirus cases forced the show to cancel multiple performances over the holidays.  An Rong Xu for The New York TimesBut before it eases, the slump will cost investors tens of millions of dollars, and will push theater workers back into unemployment, as dwindling attendance forces productions without abundant reserves to close. And the distress is not just financial: Artists spend years developing shows before they get to Broadway, so a premature closing is a crushing blow.“It’s harrowing, and there will be a lot of damage done,” Mr. Viertel said. “Some shows will be put out of business permanently, and this will be career ending for some individuals.”Dominique Morisseau, the playwright who wrote the book for “Ain’t Too Proud,” and whose new play, “Skeleton Crew,” is now in previews following two virus-related delays, called this moment “extremely painful.” “My play is about plants shutting down during the auto industry collapse, and factory workers wondering every day, ‘Is it shutting down?’” she said. “Now that’s how we’re coming to work.”The Broadway League, which represents producers, has asked labor unions to consider pay cuts to help shows survive this rough patch. At one point, in a step previously reported by The Daily Beast, the League asked workers to accept half-pay when Covid-19 forced performance cancellations; there have also been discussions about offering lower pay for scaled-back performance calendars.“We’re doing everything we can to keep as many shows open as possible,” said Charlotte St. Martin, the president of the Broadway League, citing safety protocols and marketing efforts as well as labor discussions.The talks stalled as unions sought more financial information.A revival of “The Music Man” canceled multiple performances just days after starting previews when both of its stars tested positive for the coronavirus, but it is now up and running again.An Rong Xu for The New York Times“It’s fair to say that all the unions recognize that shows remaining open is important — that represents jobs for actors and stage managers and everyone else who makes a living in the live theater,” said Kate Shindle, the president of Actors’ Equity. But Ms. Shindle noted that Broadway shows had received tens of millions of dollars in federal aid last year, and that the industry is no longer even disclosing weekly box-office grosses for individual shows, as it did before the pandemic. “Pretty universally, the unions’ response has been that if you want us to make financial concessions, we need financial transparency,” she said.Meanwhile, shows are collapsing. There are always closings in January, a soft time of year for Broadway, but this season a crush of announcements started in December, usually one of the most lucrative months. The musicals “Ain’t Too Proud,” “Diana,” “Flying Over Sunset,” “Jagged Little Pill” and “Waitress,” as well as the play “Thoughts of a Colored Man,” all decided to close earlier than planned after Omicron hit. And three other shows, including “Mrs. Doubtfire” and “Girl From the North Country” as well as “Mockingbird,” said they would close for a few months and then attempt to reopen.“If it means that shows get to come back, hooray,” said Jenn Gambatese, the lead actress in “Mrs. Doubtfire.” “The alternative was, run another week and buh-bye.”More and more theaters are now dark. By next Sunday, there will be only 19 shows running in the 41 Broadway theaters. Cast and crew members from shuttered productions are trying to figure out whether they even worked enough weeks to qualify for unemployment; those who do will get less assistance than they did earlier in the pandemic, because the maximum weekly benefit in New York is now $504, down from $1,104 when the federal government was offering a supplement.This is a good time for bargain hunters: Discounts are available for many shows at the TKTS booth, and NYC & Company’s annual Broadway Week, which offers 2-for-1 tickets to most shows, has been extended to 27 days. An Rong Xu for The New York TimesThe surviving shows seem to have figured out how to avert the cancellations that bedeviled the industry last month.One reason: So many workers have already tested positive, and are now back at work (and, notably, no performers are known to have been hospitalized during this latest round). More important: Productions have trained and hired additional replacement workers, including for crew members.Playbills are regularly stuffed with cast-change inserts. One night, Keenan Scott II, the playwright of “Thoughts of a Colored Man,” kept his show afloat by going on to replace an actor who tested positive. “Come From Away” saved a performance by deploying eight swings, including alumni and a touring performer who had never worked on Broadway. At “Wicked,” a longtime understudy who had left Broadway to become a software engineer in Chicago returned and performed as Elphaba.The Coronavirus Pandemic: Key Things to KnowCard 1 of 4Omicron in retreat. More

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      Broadway Grosses Drop 26 Percent as Many Shows Cancel Performances

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      The surge in coronavirus cases comes at a tough time for the theater industry, which traditionally relies on the holiday season box office.The surge in coronavirus cases is starting to take a real financial toll on Broadway, just as the industry is attempting to rebound from its lengthy shutdown.The Broadway League, a trade association, said on Tuesday that its theaters brought in $22.5 million last week. That’s a 26 percent drop from the $30.5 million in tickets sold the previous week; in the week before Christmas in 2019, total grosses were $40.1 million.The drop in grosses is a reflection of the fact that multiple shows have canceled performances when positive coronavirus tests forced cast or crew members to quarantine and there were not enough understudies or replacement workers for the shows to continue.Last weekend, about one-third of all shows canceled some performances, and this week, multiple shows decided to postpone performances until after Christmas, including “Ain’t Too Proud,” “Aladdin,” “Dear Evan Hansen,” “Hadestown,” “Hamilton,” “Harry Potter and the Cursed Child,” “The Lion King, “MJ” and “Skeleton Crew.”Plus, “Tina” canceled until Christmas night; “Jagged Little Pill” closed entirely; “Mrs. Doubtfire” canceled Tuesday night; and “Waitress” canceled Tuesday and Wednesday nights.Attendance also dropped, given the cancellations: 184,227 people saw a Broadway show last week, down from 240,602 the previous week.The resulting revenue drop is a real concern for an industry where most shows, even before the pandemic, fail financially. But the damage is not evenly dispersed — some shows that stay open are benefiting by selling tickets to people scrambling for something to see after their first-choice show canceled. This year the Broadway League is releasing only aggregate weekly grosses rather than breaking them down for individual productions, so it is difficult to see exactly how the financial ramifications are unfolding.Five other shows cited the pandemic shutdown in deciding not to reopen this fall — the musicals “Frozen,” “Mean Girls” and “West Side Story” and the plays “Hangmen” and “Who’s Afraid of Virginia Woolf?” Two shows cited the ongoing pandemic in deciding to close for good after starting (or restarting) performances this fall, then pausing because of positive coronavirus tests in their companies: not only “Jagged Little Pill,” which announced its closing Monday night, but also the play “Chicken & Biscuits,” which closed last month.The current crisis is coming at the worst possible time for the industry, because the holiday season is traditionally the most lucrative time of year for Broadway, and many shows depend on the holidays to make up for softer periods.Charlotte St. Martin, the president of the Broadway League, said she does not envision the industry shutting down again, no matter how many individual shows have to pause. “I do not imagine a shutdown by us, unless every show has people with Covid,” she said. “We’re going to keep as many people employed as we can.”And New York Mayor Bill de Blasio, at a news conference on Tuesday, was similarly shutdown-averse. “No more shutdowns,” he said. “We’ve been through them. They were devastating. We can’t go through it again.” More