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It’s extremely rare for cast and crew to earn anything beyond their negotiated weekly salary. Creative teams often get a fixed weekly fee against a % of either box office or weekly net profits.
Bonus’s to cast and crew for sold out or high capacity box office also incredibly rare, although some producers offer Christmas bonus (normally a few hundred pounds each-same amount to all) and some of the wiser producers also give a small bonus when a show recoups its capital investment.
There is no common system to reward cast and crew when a show has a full house. It’s pretty unheard of.
It’s normal for creative teams-especially authors and director to earn very well if a show runs a while even if a show doesn’t recoup its capital.

Do stop clauses exist for West End shows?

Stop clauses exist for almost all west end shows and are determined by the contract between producer and theatre owner. If a show falls below a certain box office amount for more than 2-4 consecutive weeks then either party can give the other notice-normally 2-4 weeks but in some very rare cases 4-6 months. Of course it can also be agreed between those two parties to defer that action, if it suits them. In some rare cases they get argued out by the producer at contract stage and there are a couple of theatres that don't have stop clauses-either because a show transferred from one venue to another or because the producer and owner are entirely the same entity.

Many shows stay open because a deal is reached between the producer and the theatre owner so the venue owner (basically) waives all rent and recharge of staff costs as it is deemed to be less bad to have a show paying no direct rent but the theatre still earns on ticketing and bar sales, F&B etc than to close a show and have no income at all. Merchandise-except for the obvious 3 or 4 shows really doesn’t make too much money for the venue. Sales and margin are just not there in enough scale. But ticketing and bar sales can often amount to more than the rent and recharge income on a show. Avoiding dark weeks is the number one aim of every theatre owner.

Ice cream mark up by venues is around 350% on wholesale price. Buy at 80p sell at £3. Ish. Depends on the venue. ATG buy at a much better rate than (say) Delfont or Nimax.

I assume if a theatre owner wants a theatre for a particular show but the current tenant is still doing great business, they can offer a theatre that's in their portfolio available. Mamma Mia! for example has moved twice to make way for other shows for example.

I think someone on here mentioned Blood Brothers lasted so long at the Phoenix because they were on a very old contract and so they were able to pay practically nothing to the theatre owner in this case ATG.

With reference to the above, what is the deal with Nimax, Mischief and Jamie's 'pause'?

What are you hearing about Next to Normal? I had some info leaked to me, but it's all gone quiet again as it so often does.

How do producers and to an extent theatre owners decide what theatre is the right one for a show? I've assume that there is a lot of schmoozing and tours of theatres in order for a theatre owner to secure a hot show from Broadway or elsewhere and for a producer that they have more than one option in case the theatre they have in mind isn't available.

Ultimately yes lots of schmoozing. And negotiating a deal! Sometimes a producer will have their eye on a particular house, eg. Cursed Child to the Palace. Some shows don't really care where they go and will opt for the best financial deal for them. Sometimes theatre owners who are also producers can put money into a show to have more of an input, eg Cameron Mackintosh putting money into Hamilton which helped steer it to his venue. But this doesn't always end up being the case. ATG Productions are producers on Dear Evan Hansen yet that went to a DMT venue.

I remember reading that Cameron originally had Mary Poppins in mind for the VP after the refurb but then Hamilton became such a huge hit on Broadway that he changed tact. 

Cameron was also a UK producer on Kinky Boots but I assume that the American producers had their eye on the Adelphi and no other theatre.

Les Miserables' move from the Palace to the Queens/Sondheim is one I've never heard the conclusive story but I think ALW agreed to give the lease of the Queens/Sondheim to Cameron a few years earlier than planned in exchange for moving Les Mis.

Thanks for that.

I guess The Lion King would gross £1m would this be in the peak school holidays?

£50k a week for a West End show as you said Woman in Black would be enough to close a off Broadway show I would think?

How much would such as Phantom/Les Mis gross a week? I would hazard a guess about £300k to £400k?

I think you're vastly over-estimating the 300k as being an average for off-broadway running costs. Little shop wouldn't even come close to that figure even if it sold every seat at full price. For comparisons, the off-broadway Sweeney a few years back cost $70k a week to run.