The Ferryman is an epic British import, an old-school barnburner covering everything from broad comedy to potent family drama, with nary a whiff of source material about it. There is one more play of note right now. The only other show that lays claim to the same? Hamilton. Regardless of their unique recipes, the three shows share an undeniable metric of success: they all grossed over 100% of their listed potential last week, and have for many weeks prior. The show itself is a fine venture, but it's not singular - that distinction belongs to Harper's Lee's voice, the echo of which is drawing crowds like a siren song. Six decades after its first printing the book still sells a million copies a year, and remains a beloved touchstone for the boomer generation that grew up with it.who happen to now be prime Broadway ticket buyers.  It's got a big name writer ( The West Wing's Aaron Sorkin) a powerhouse producer ( EGOT Scott Rudin) and unimpeachable source material woven into America's cultural fabric. Cursed Child is hardly such a revolution, but it is capitalizing on a once-in-a-generation juggernaut that sold enough books to be read by 1/15th of the entire human race.   Hamilton is a once-in-a-generation juggernaut that reasserted Broadway's place in America's national dialogue. Pundits like to point to both as indicators of Broadway's health, but they operate so far outside the norm that they're not actually useful tools for comparison. Potter is as much an outlier as Hamilton. Butterfly) but the producers of Network have a dynamo in Cranston. This doesn't always work (see recent duds Hughie, The Present, and M.  That would be Network, which struck gold using the tried-and true strategy of anchoring a play with a famous screen star. Each of these shows is succeeding for different reasons, only one of which can be replicated with any ease.

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