RAGTIME closes with approximately US$1.96 million Lincoln Center weekly record

RAGTIME closed its Broadway engagement at Lincoln Center Theater’s Vivian Beaumont Theater in New York on 16 August 2026 after grossing approximately US$1.96 million in its final week. The Hollywood Reporter reported the result as the highest weekly gross for both the Vivian Beaumont and Lincoln Center Theater. The closing-week high capped an extended, Tony Award-winning limited run and completed a sequence of three new house records during the production’s final weeks.

The achievement has a precise boundary. It is a weekly venue and company record, not an all-time box-office mark across Broadway. The available reporting also does not establish that RAGTIME was the highest-grossing production on the complete Broadway chart for that week. In this context, final gross means revenue from the last Broadway week alone. It does not mean the cumulative gross earned over the full engagement.

The first of the closing stretch’s three records came in the week ending 26 July. Broadway League figures show that RAGTIME took US$1,625,400 across eight performances, at that point the highest weekly gross in Lincoln Center Theater history. That benchmark was the result previously covered by AussieTheatre, but it held only briefly as the limited engagement moved into August.

For the week ending 2 August, BroadwayWorld reported that the production increased the record to US$1,887,495 across another eight performances. Its final week then brought the reported total to approximately US$1.96 million, surpassing the 2 August mark. Each stage in the sequence therefore set a fresh house high. The progression, rather than the July result alone, now provides the clearest account of RAGTIME’s late-run box-office momentum.

The two earlier weekly totals are available as exact figures, while the closing result is established only in rounded form in the supplied reporting. That distinction is why the final figure remains approximately US$1.96 million. An exact unrounded gross, attendance, capacity percentage and average paid admission for the week ending 16 August have not been verified, so none should be inferred from the rounded total.

Broadway performances began on 26 September 2025, with RAGTIME presented as a limited engagement. The run was extended more than once before reaching its eventual closing date. Earlier reports listed 2 August 2026 as the final performance, but a later extension superseded that schedule and carried the production through 16 August. This is superseded chronology rather than an unresolved conflict. The extension from 2 to 16 August supplied the additional closing period in which the final house record was set.

That extended calendar also separates the closing story from AussieTheatre’s earlier coverage. Previous reports addressed the Broadway opening, the engagement’s extensions, its post-Tony box-office performance and the US$1,625,400 week ending 26 July. The completed run adds the 2 August benchmark and the higher closing-week result. The July account therefore captured an interim high; the full three-step sequence became clear only after the production had closed.

RAGTIME won four Tony Awards in 2026, including Best Revival of a Musical. Principal cast members Joshua Henry and Caissie Levy were among the production’s winners, alongside sound designer Kai Harada. The tally spanned revival, principal cast and sound-design honours. Those awards formed part of the production’s late-run commercial context, but the weekly figures do not establish that the Tony results alone caused the subsequent records or identify a single factor behind demand.

The Broadway production grew from director Lear deBessonet‘s 2024 RAGTIME staging at New York City Center. deBessonet also directed the Lincoln Center Theater production, creating a direct line between the City Center staging and the Vivian Beaumont transfer. The musical has music by Stephen Flaherty, lyrics by Lynn Ahrens and a book by Terrence McNally. Those origins and credits place the Broadway box-office result within the documented development of this revival without requiring a broader claim about the musical’s history.

The closing-week record does not settle the engagement’s overall finances. No updated authoritative cumulative Broadway gross has been established, and the verified material contains no recoupment announcement, capitalisation figure or final profitability statement. Without those figures, the weekly high cannot support a claim that the production recovered its costs or generated a particular profit. The established financial claim is narrower: one record week at the Vivian Beaumont and a new benchmark for Lincoln Center Theater.

No verified post-Broadway plan has been announced either. The available material establishes no transfer, tour, cast recording, professional capture, licensing expansion or Australian production, and it includes no official post-closing comment from Lincoln Center Theater or the producers. For now, the 16 August performance is this staging’s last confirmed milestone. Whether it has a further life elsewhere remains unanswered.