“Suffs,” a feminist Broadway musical produced by prominent figures including Hillary Clinton, has unfortunately been branded a box-office failure, prompting producers to announce a closing date after nearly six months of operations. The production, which celebrates the suffragette movement through a nearly three-hour performance featuring an all-female and gender non-binary cast, had an estimated cost of $19 million, as disclosed in a Securities and Exchange Commission filing analyzed by the New York Times. Despite its lofty ambitions and extensive investment, ticket sales have not matched operational costs, leaving its producers unable to recoup their significant financial outlay.
The show’s closing date is set for January 5, 2025, making its run just eight months long since it debuted on April 18, 2024. Alongside Clinton, another producer of note is Meena Harris, the niece of Democratic presidential candidate Kamala Harris. In the lead-up to its opening, Clinton actively supported the musical, promoting it through appearances on late-night television and even hosting a Democratic fundraiser linked to the show. However, despite these high-profile endorsements and positive media coverage, the anticipated surge in ticket sales did not materialize, highlighting the challenges faced by new Broadway productions.
Early indications of “Suffs” struggling to attract audiences became apparent shortly after its debut; attendance plummeted to as low as 78 percent within a month of opening, a concerning marker for a production in what is typically a robust Broadway season. Although attendance figures saw a slight recovery during summer, they fell again as tourist interest waned, allowing the numbers to dip to nearly that same low threshold in the most recent earnings report. For the week ending October 6, the show operated at approximately 78 percent capacity and grossed just $679,589, illustrating ongoing financial struggles.
The harsh realities of Broadway economics present a significant barrier for new musicals lacking the advantage of a well-known cast or a reliable brand like Disney. Most attendees of Broadway shows tend to be tourists, who typically favor big-name productions with wide appeal rather than niche offerings. The financial dynamics of the theater industry have also been exacerbated by rising costs attributed to inflation during the administration of Kamala Harris and Joe Biden, impacting various shows. Notably, even the successful and long-standing “The Phantom of the Opera” was forced to shut down after over three decades, indicating the precarious situation many productions find themselves in.
Looking ahead, the producers of “Suffs” have announced plans for a national tour set to commence in Seattle towards the end of next year. This decision signifies a continued commitment to the material, despite the challenges encountered on Broadway. The hope is that removing the show from the high-stakes context of Broadway may allow it to reach a broader audience, which might be more receptive to its themes and intent, thereby salvaging some of the investment that has already been made.
In summary, while “Suffs” has garnered considerable attention due to its prominent backers and thematic significance, the realities of the Broadway scene have led to it becoming an unprofitable venture. Its struggle speaks to larger trends affecting theater productions, especially those that do not fit the mold of conventional crowd-pleasing entertainments. As it prepares for a shift to a national tour, the producers aim to reinvigorate interest in the show’s message, hoping to create a more favorable reception beyond the constraints of the Broadway market.