Producers had particular success drawing sizable audiences for plays. A double bill of Shakespeare’s “Twelfth Night” and “Richard III” — which sometimes feel like homework — became the talk of the town thanks to an all-male Elizabethan troupe, led by Mark Rylance, who has been nominated for Tony Awards for both plays. Pinter’s “Betrayal” and “No Man’s Land” and Beckett’s “Waiting for Godot” featured stars with fan followings: Daniel Craig, Patrick Stewart and Ian McKellen. A critically acclaimed “The Glass Menagerie” had inventive staging that made a well-worn title feel fresh.

“Even plays that I’m not normally crazy about, I found to be fabulous, because the performances were so extraordinary,” said Charlotte St. Martin, the executive director of the Broadway League, a trade group of theater owners and producers. (She declined to name titles.)

As usual, Broadway also grew more expensive to attend. The average paid admission this season, which concludes Sunday, will end up close to $104, compared with about $98 for 2012-13. Some shows, like “Kinky Boots,” “Betrayal” and “The Book of Mormon,” charged premium prices of more than $400 for many seats at some performances, given audience demand. But another factor in ticket prices were the holdovers like “Matilda” and “Motown”: While they offered discounts of 25 percent or more last season, during their first months of performances, they bloomed into bona fide hits this season and have seen more patrons buying seats at regular ticket prices of up to $145 (and premium prices of up to $250).

For all the good news, Broadway remains a tough place to make money: Only about 25 percent of shows turn a profit, and that proportion is not expected to grow much this season. Still, nearly all Broadway houses had shows this season (and backups when some flopped), in contrast to last season’s strikingly high number of vacancies.

One prime theater, the Neil Simon, was empty for nine months after the musical “Scandalous” closed quickly in December 2012; this season, the musical “Big Fish” and now the acclaimed play “All the Way” have run there. Another house, the Broadhurst, was dark for seven months in 2012-13 when the musical “Rebecca” was derailed by a fraud scheme; the Tom Hanks play “Lucky Guy” and now “Mamma Mia!” have kept the seats filled this season. A third theater, Circle in the Square, was empty for 13 months until this season’s lineup of “Soul Doctor” and “Bronx Bombers” (both flops) and “Lady Day at Emerson’s Bar & Grill” (a hit). The Lyceum, Sondheim and Longacre theaters have also gone from dark to lit.

Several new shows that had hoped to open in the 2014-15 season, which officially begins next week, are now struggling to find theaters. Plans for new musicals like “King Kong” and revivals like “The Color Purple” are partly dependent on theaters’ coming open. And one show has already fallen out: A revival of the musical “Titanic” will not come in as planned, the show’s producers announced on Wednesday, because its preferred theaters wouldn’t be available.