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Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

ADELPHI THEATRE


 

 

THE BODYGUARD (musical)
CONTAINS GUNSHOTS, FLASHING LIGHTS, VERY LOUD MUSIC AND SMOKE EFFECTS.
Audio Described performance: 11th June 2014 at 3pm
Captioned performance: 16th June 2014 at 7.30pm
Signed performance: 21st June 2014 at 3pm


Rachel Marron is a star with a stalker. Frank Farmer is a bodyguard with Secret Service training. Both have egos, so it can only mean love/hate from the start...

The 1992 film is brought to the stage, complete with a catalogue of Whitney Houston numbers, including the cover version of Dolly Parton's "I Will Always Love You."


The Bodyguard have released a video of Heather Headley performing ‘I Will Always Love You’ from the musical. The show has also created a 3 sample track music player featuring ‘I Have Nothing’, ‘So Emotional’ and of course, ‘I Will Always Love You’. Click the link to view the video: Click to view the video  or for the Music Player.

Beverley Knight plays Rachel Marron until 31st May 2014, and Tristan Gemmill plays Frank Farmer.

Beverley Knight DOES NOT APPEAR AT ANY AFTERNOON PERFORMANCE. She will also not appear at any performance on 19th May 2014. Joelle Moses will appear at these performances.

From 2nd June 2014, Alexandra Burke will play Rachel Marron. Alexandra Burke DOES NOT APPEAR AT ANY AFTERNOON PERFORMANCE. She will also not appear at any performance on or between 16th and 17th June 2014.

Cast holiday details are given for information only, and Theatremonkey.com CANNOT take responsibility for any issue arising from the accuracy or otherwise of these details, nor guest use of this information.
 


Hear Beverley Knight sing "Queen of The Night": Vocal here, or watch the video:
 

Show Trailer:
 

And... "I Will Always Love" a special preview clip.

Official website: http://www.thebodyguardmusical.com.

 

Theatremonkey Opinion:
(Seen at the preview performance on 29th November 2012)

This is a strange combination of straight drama, multi-media display and musical theatre, in that order. In line with current trends, a cinematic approach sees scenes framed by borders / augmented by projections (including a final ‘montage’) and the whole played at a pace somewhere between live and recorded speed.

There’s a decent enough story, and enough twists to keep those (like the monkey) who had never seen the film, guessing. The problem is in the label “musical.” Songs from the original film soundtrack are dotted among scenes, often failing to do the vital job of “driving the action forwards.”

Even stranger, the placement is so random that sometimes the whole show pauses, while at other times - when the show could do with a song (particularly an original number) - the opportunity is missed.

The result is an uneven evening, but still with plenty to like. It’s nicely staged, Tim Hatley scoring particularly heavily by managing to conceal a major piece of scenery until late in the second half, and pulling off a corny so-old-it’s-new-again climactic sequence with aplomb.

The songs used are also fine – can’t beat a bit of Dolly Parton - and delivered with a sincerity overcoming volume by Gloria Onitiri (Heather Headley being absent the night the monkey reviewed it) and Debbie Kurup as sisters in love with the same man. There are also neat performances by a child actor (the show’s PR didn’t get back to the monkey with the name) as her young son, and a chance to hear Ray “Starlight” Shell sing a little too. Lloyd Owen turns in the best performance he can too, given the script, and his “I Will Always Love You” will linger in the memory like a dodgy curry for weeks.

A little more humour wouldn’t have gone amiss, particularly in the struggling first 40 minutes or so, when it was hardest to like the characters or care what happened. It took until a moment that a song did “drive the story’ to break through, but once that happened, the whole managed – a few too many “stop, we need to sing” moments aside - to motor well enough along.

The monkey would, though, drop the obnoxious finale - requiring the audience to stand to catch the final ten minutes. Just for the record, the monkey hands out “standing ovations” only when earned; and that's as rarely as it hands its cheque account details to “African Fund Transfer” websites.

Not a show for Sondheim fans, nor the Rogers and Hammerstein brigade. This is for occasional theatregoers wanting a light evening out that “looks worth the price of a ticket” with satisfyingly “X Factor circa 2005” tunes and the belting performances to match. Hen parties, second dates or just for a light night out, this fits the bill pretty well.


 

Your Reviews: Add your own by clicking here.
Important: Some reviews below can contain "spoilers" - please don't read if this bothers you!

(8 reviews)

As a theatre goer it is your worst nightmare. You book to see a show 6 months in advance, on the strength of its one main star, and that star is ill on the night and cannot perform.

Monday night (7th January 2013) at the Adelphi was such an experience. Anyone who saw Heather Headley on the Royal Variety Show will know why we were excited about this show. Nevertheless, no one can be blamed for a genuine illness (we were told she had flu).

Most big West End productions have more than capable understudies, and I am told 'The Bodyguard' is no exception, but she was also unavailable on Monday night. Staff at the theatre informed us that she was "resting her voice". This show is a month old ! Why does anyone have to rest their voice ? What we were left with was a member of the general cast stepping into the main role, and unfortunately her voice and stage presence was just not good enough to handle the Whitney Houston songs.

To say we were disappointed would be an understatement. I know they will hide behind the 'small print' in their terms and conditions, but surely a theatre charging £67.50 for a ticket has an obligation to its audience to find a suitable replacement. Yet it would seem that little respect is shown to Monday night audiences. What should have been a great show was, in my opinion, ruined.

Steve Wells
Northampton
_____________________________________________

We went to see "The Bodyguard" last night (January 24th, 2012) at the Adelphi.

We wanted to see the show as we're both massive fans of Heather Hedley and we had read on this site that Heather would not be appearing from the 21st to 23rd of January 2013 - so we thought we were safe to book for the 24th; and indeed when we made our booking we were assured by the Adelphi ticket office that Heather would appear. So off we went to the theatre with our full price tickets in hand and, after being processed, we were told that Heather Hedley would not be appearing. So, naturally we were very disappointed; we feel deceived by the theatre, but apparently this sort of situation is common in theatre and is perfectly legal - but it shouldn't be, and I think we should be offered a refund when we are not getting what we paid for.

The show was OK, but the story is a bit boring. Gloria Onitiri was very good as Rachel and so were the rest of the cast, but we came to see Heather and so overall we left feeling cheated.

We sat in the upper circle in row A 16 and 17, which were good seats but overpriced for this mediocre show.

Matt & Win.
______________________________________________

" I HAD NOTHING"

A truly devastating memory of Whitney - the real Whitney, not the one we remember.

I too had the same situation as another reviewer; I’m a really big Heather fan. Filling seats under false pretences… then boom... the awful mess that is Janet Kumar.

Towards the end, I could have wished for nothing more than Agent Farmer not rescuing Rachel Marren (aka "Whitney")!!!! She sounded more like Tina Turner, and acted very manly for such a feminine legend in history!!! Her voice was not suited or in tune!!!

The costuming needs a rethink too. think they've thrown set and costumes together.

I think if you are not a regular theatre-goer and you don’t follow the actors and actresses you can be easily fooled  "Joe Bloggs public" are easily pleased, but this show is pulling in people under Heather's name. The enchanting video trailer of her hitting all them high octave signature notes... then you get an understudy of an understudy from the ensemble - with no replacement notice in advance. We're in 2013 now - they should have an automated text service saying who is performing etc, each evening by a certain time.

I took friends who were visiting from Italy. I know she was poorly (she had flu 2 weeks running up to Christmas, and one hell of a cold to last all way up to 11th January I believe), but she was scheduled 12 days or more off in month of January (according to the website) and only has evening shows to perform. Her last performances (if she even does half of them) are apparently on August 10th 2013.

I’m still waiting on a reply from my four page letter of complaint!!! I will do a 'Trip Advisor' soon. Don't forget, you too can write complaints, which will help to the producers. I've had one email and I'm awaiting on a hand written letter from there too. There are loads of complaints online! Ticketmaster, a gentlemen writing a section on his blog about theatre role commitment (I look forward to his review on Heather Headley's lack of presence, as she's only doing evening shows and not a lot of them either) and sites including the official Facebook fan page - please don't hesitate to post again and again!!!

R.I.P. Whitney!
________________________________________________

"Queen of the Flu"

I have travelled twice from Northampton to see the show. The first time I had no luck (seeing Heather Hedley), instead we got a "Grace Jones" of an understudy... grunt, grunt, grunt.

So, I checked all the necessary dates etc. I found out through the Facebook page from fans that she does not do matinee shows (only evening) and now has 3 understudies - none of which have rave reviews. This in itself should be stated on the website??? What amount of evening shows she is actually doing, I'll never know...

I booked once again for me and a friend to go and see her - checking the website dates that she was not scheduled, and picking an evening show. Hopefully we would have luck after all my investigating... which, as a fan this should all be listed on the official website... grrhhhhhh.

"Heather Headley is expected to appear at all evening performances excluding Sat 16 - Sat 23 March, and isn’t for Mon 13 - Wed 15 May, Mon 17 - Thu 20 June, Mon 15 - Wed 17 Jul ......."

So I booked Monday 25th March 2013, after checking her twitter. She had been tweeting about her holiday that she was enjoying etc. I thought, "great, she will be all fresh and ready to go as she will return Sunday 24th from holiday - a day before - for rest? All ready for evening show Monday 25th."

NOOOOO: she returned on the same day she was scheduled to perform her evening show. Then tweeted, quote, "Amazing time home, Vacation over. Back in London. My voice is still on break & didn't fly in w/ me though...but sent a man as her understudy;)”

Great sense of humour? Not impressed at all. Who comes back the day of a performance with jet lag?

We were already in London... train fare, having dinner out, taxis wasted... money down the pan again.

She picks up the flu mighty quick - maybe she should be introduced to a flu jab? She’s giving London / Broadway a bad name and doesn't deserve to be in this show anymore, as it has been plugged with her name to fill seats, if she only performs 4 nights a week. She hasn’t earned this role and it doesn’t deserve the ‘Best New Musical' award. "Gracefully step down," I say.

One women on Twitter had tweeted, "travelled all the way from Northern Ireland to see you, and only found out through twitter you wasn’t performing tonight."

The normal viewing public understand and accept understudies. When you're a fan, it puts a sour taste in your mouth and just annoys you. When you complain, all you get given is a piece of paper to contact the head office - as the manager has no guts or authority to refund or comment.

"Whitney would be turning in her grave.”

Not going for a third time ......
______________________________________________________

20th May 2013.

Still not sure how I really feel about this show. I liked it but still felt underwhelmed by the whole thing. The staging is very impressive indeed, the most modern of productions I've seen in recent times - almost to the point it starts to buckle and washes out the performances of its cast.

I saw the film back in the early 90s and remember my parents having the CD soundtrack, so am familiar with story and music. The problem I had was it didn't seem to flow very well and wasn't sure if I was watching a Whitney tribute, a concert or a play interrupted by music.

My friend who I was with did say that if you took away all the spectacular staging you'd be left with something you'd see on a cruise ship - which I thought was slightly harsh but I sort of agree with. Take away the staging and you are not left with a lot.
I didn't feel there was any charisma between any of the cast and a slight bit of overacting from some of them didn't help, which meant of course I didn't really care about any of them.

Lloyd Owen was absolutely awful, and I don't say that lightly; he lumbered from one bad scene and dialogue to another and although his American accent was just about acceptable his voice was somewhere between Fozzy Bear and Kermit the Frog, which I found most disturbing. He was more wooden than the log cabin (which broke down twice) in the second act.

The next gripe is the same as all the others who have reviewed on this site, 'Heather Headley!' Guess what? She wasn't in it!!!!! Now I didn't actually book because of her, although I'm well aware of who she is, but I must agree with the others in respect of what she is actually being promoted in the show for. This week she is doing only 2 performances and the dates she wasn't appearing this week only went on the website in the last couple of weeks - because when I booked a month ago there was nothing there. Gloria Ontiri should have equal billing as she is the 'alternate' Rachel - which was not advertised at the beginning - and they were selling the show on Heather's name. Every cast member has holidays and times when they are ill but this lady takes the cookie. When Daniel Radcliffe (who is much more well know than 'Heather no show'), was on Broadway a couple of years ago he was at nearly every performance so what is the difference? Did the producers sell this gig to 'Heather no show' by telling her she'd be on one big holiday - which it seems she is. She should be sent packing and billing given to Gloria Ontiri, who did a very good job in the lead role on Monday night.

There are so many talented out of work actors who would of loved to have been given the chance to be in this show. 'Heather no show' is a disgrace and is not doing this production any favours. Don't think she will be working these shores again anytime soon.

The seats D11-12 in the Dress Circle were actually not as bad as expected due to the almost total negative reviews about this section on the monkey's website. Yes the rake is not brilliant but my view was fine and found the seat very comfortable, I've certainly sat in a lot worse.

Overall a good show worth seeing once if you don't expect much acting, but love good staging.

Second visit: Row F seats 29 and 30 of the Dress Circle at the Adelphi Theatre is bad for legroom. We caught The Bodyguard for second and last time at the weekend. More room in Row D when I was sat there. I'm one of the very few who have managed to catch 'No Show Headley.' She was very good as it happens, but will not save this terribly acted show from ending within the next 12 months. It was a Saturday night and almost complete rows empty....
______________________________________________________

My wife and I booked tickets for this show through a Lastminute.com offer at £39.50 each, and were delighted to find ourselves in the so-called ‘ premium seats ‘ which are nominally priced at a colossal £95!! No regular West End production, except perhaps one featuring an absolute mega-star or two, is worth that kind of money. We were in the Stalls in G13 and 14.

The view is very good but the rake is shallow so would have been obstructed had we been sat behind taller theatre-goers. The legroom is good but as there’s no aisle in the centre of Row G there was a lot of standing up as people shuffled past to their seats.

During the show, which to be honest wasn’t that spectacular, there was an awful lot of talking in the auditorium and glare of mobile phones from those irritating addicts who can’t last more than 30 minutes without switching on!! There was an awkward moment when the lead, crouching over her dead sister, let out a moan which prompted inappropriate laughter from a girl’s night out at the front of the stalls.

To sum up : We wouldn’t want to see this show again and certainly not at £95 a ticket. The acting was a little wooden, as was the script and this wasn’t a show to linger in the memory. The second half was better than the first if only for ‘that‘ song and a lively finale. A fidgeting couple in front of us strangely but thankfully left at the interval. If they had paid the full price it was indeed an expensive night out.….
_______________________________________________________

23rd November 2013.

This is a show I actually never intended to see. It seemed like a jukebox musical too far to me, and although back in the 80s (showing my age!) I really liked Whitney Houston, I think it is fair to say that these days she is not an artist that I choose to listen to. However, for reasons that I will come to shortly, the cast change made me feel that this show was worth a try.

Firstly, I sat in the stalls, seat D27. A good seat, perfect view of the stage so long as you don't mind not seeing the actors feet, and there is nobody hugely tall in front of you. It is a little to the side but nothing is missed as a result. Legroom was surprisingly good for me at 6' 5", I had room to sink into my seat a little in order to avoid the inevitable moaning from behind but given the people behind were more interesting in talking through every quiet part of the show I soon sat upright and could see everything perfectly.

'The Bodyguard' is a strange double edged production. Good points - the set is very impressive, the house set was strangely reminiscent of the appearance of Norma Desmond's mansion on the same stage! Also, there superb performances from (especially) Debbie Karup, Michael Rouse and whichever child actor we saw. None of these were given too much to do but made the very best of the thin material they were given.

Negative points - the script - there were so many points in which I wondered why things happened, or required further information, or more reaction. Key plot points were brushed over quickly in a rush to get to the next song leaving a fairly disjointed evening. Character development? It happened over the course of the evening but you just need to accept that it has happened without really knowing why.

The acting by most of the male characters - especially in the first half - were they acting macho and detached or just acting badly? My feeling is that if its hard to tell, then something is going wrong. There seemed to be lots of long pauses between lines, possibly going for dramatic effect but it also seemed like there was a lot of the cast standing and waiting for the next line. The second act did allow Tristan Gemmil to warm up a bit which improved matters greatly.

So, despite all this, why would I highly recommend this show? The answer is simple - Beverley Knight. She is a truly phenomenal singer - I have never heard these songs sung so well, she gives them far emotion and feeling than even Whitney ever managed on record, and reclaims the songs back after so many years of being mauled on various TV "talent" shows. She impressed me with her acting too, but whenever she sang, she commanded the stage and held the audience in the palm of her hand. This is a stunning performance and one that completely transcends the material and makes the evening something special. If she is not performing I would find it hard to recommend this, but if she's on, then it is certainly worth checking out. Just get there before the next cast change!

So, all in all and enjoyable evening in spite of the script!
_________________________________________________________

As regards the show, I enjoyed it - it wouldn't be in my top shows list, but it was well done and enjoyable. But I do have to congratulate whoever came up with the lighting - the drama that was added SPOILER ALERT when the spot suddenly lit up on the stalker was brilliantly execution. SPOILER ENDS.

OK, on the seats! The Monkey's seat plan shows Upper Circle F7 as red but F8 as white. Having sat in these, we would keep the Red Flag flying on both of them. I sat in 'red' seat F7 (being tallest so most likely to avoid view issues) and my wife in 'white' F8. From both seats we had clear view over the heads in front, but lost the front corner of the stage. Not a problem with this production (The Bodyguard), but if the stage was extended over the Orchestra Pit then it would become an issue.

Leg room was adequate, but anyone taller than my 5'10" would be struggling after a while. It is worth noting the opera glasses are in front of F8 but did not cause an obstruction or loss of leg room."

PS. We did also wonder about reporting on the "Half-Time Ice-Cream" selection (any theatre that has Loseley Lemon and Ginger is a winner in our books!), but there is only so much you can cover!



 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Performance Schedule:
The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Monday to Saturday at 7.30pm
Wednesday and Saturday at 3pm and 7.30pm


Runs 2 hours 30 minutes approximately.
 

Ticket Prices:
View this information in diagram form

All performances EXCEPT Friday 7.30pm and Saturday 3pm and 7.30pm:
Stalls
rows B to S (except "Premium Seats" and Restricted View Seats): £62.50
Premium seats row E 12 to 23, F 11 to 24, G 11 to 24, H 10 to 25, J 10 to 25: £95
Restricted View row B 6, 7, 30, 31; C 6, 7, 31, 32; D 4, 5, 31, 32; E 4, 5, 32, 33; F 3, 4, 32, 33: £45
rows T to V: £55 except
Restricted view row U 3, 4, 32, 33 and V 4, 5, 32, 33: £45
rows W and X: £45

Dress Circle
rows A to M (except "Premium Seats" and "Restricted View" seats): £62.50
rows N and O: £55
row P: £45
Premium seats row B 12 to 25, C 13 to 26, D 13 to 24, E 13 to 24: £95
Dress Circle restricted view seats A 6, 7 and 33, B 5, 33, 34; C 4, 5, 34, 35; D 4, 5, 32, 33; E 3, 4, 33, 34; F 32, 33; G 33, 34: £45

Upper Circle
rows A to D (except restricted view seats): £45
Restricted view row A 5, 6, 31, 32; B 5, 6, 33 and 34; C 6, 7, 35 and 36; D 3, 4, 35, 36: £35

rows E to H (except restricted view seats): £35
Restricted view rows E and F 3, 4, 35 and 36; H 37: £25

rows J to M (except M 6 to 9 and 25 to 27): £25
rows N and O, plus row M 6 to 9 and 25 to 27: £20

Boxes
£55 per seat.

 

Friday 7.30pm and Saturday 3pm and 7.30pm performances ONLY:
Stalls
rows B to S (except "Premium Seats" and Restricted View Seats): £67.50
Premium seats row E 12 to 23, F 11 to 24, G 11 to 24, H 10 to 25, J 10 to 25: £95
Restricted View row B 6, 7, 30, 31; C 6, 7, 31, 32; D 4, 5, 31, 32; E 4, 5, 32, 33; F 3, 4, 32, 33: £45
rows T to V: £55 except
Restricted view row U 3, 4, 32, 33 and V 4, 5, 32, 33: £45
rows W and X: £45

Dress Circle
rows A to M (except "Premium Seats" and "Restricted View" seats): £67.50
rows N and O: £55
row P: £45
Premium seats row B 12 to 25, C 13 to 26, D 13 to 24, E 13 to 24: £95
Dress Circle restricted view seats A 6, 7 and 33, B 5, 33, 34; C 4, 5, 34, 35; D 4, 5, 32, 33; E 3, 4, 33, 34; F 32, 33; G 33, 34: £45

Upper Circle
rows A to D (except restricted view seats): £45
Restricted view row A 5, 6, 31, 32; B 5, 6, 33 and 34; C 6, 7, 35 and 36; D 3, 4, 35, 36: £35

rows E to H (except restricted view seats): £35
Restricted view rows E and F 3, 4, 35 and 36; H 37: £25

rows J to M (except M 6 to 9 and 25 to 27): £25
rows N and O, plus row M 6 to 9 and 25 to 27: £20

Boxes
£55 per seat.


"Day Seats": Row A is available to personal callers at the box office on the day of performance, priced £25 each. Maximum of 2 tickets per person. The monkey always advises taking both cards and cash in case one is preferred over the other. Check with the box office before travelling if this policy is still in operation.

A "Mini Group" rate for parties of between 6 and 9 people is also available at all performances EXCEPT Friday Evenings, Saturday Evenings and Saturday Afternoons. This reduces £67.50 seats to £48.50 each. Minimum purchase is 6, maximum purchase is 9 tickets in a single transaction for a single performance. The party must be seated together. This is available via See Tickets by telephone or online.


All prices include the £1 theatre restoration fee. Some sites may show this separately. See Tickets shows the fee, for example, as an addition to the "face value" price... a surprising £1 less than the price shown above!




 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Buying Tickets Online:

Other Box Office Information

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
See Tickets
See Tickets provide the service for this theatre.
 

Booking fees per ticket for online bookings:
No fee except for the £1 per ticket restoration levy, the monkey will always love that.
 

Other Online Choices (with S.T.A.R. genuine ticket agencies):

When the theatre does not have tickets available, it is worth trying the Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), which offers seats with a booking fee of £9.50 on £62.50 seats (£14.25 on £95, £8.25 on £55, £6.75 on £45 seats) Monday to Thursday performances / £10.25 on £67.50 (£14.25 on £95, £8.25 on £55, £6.75 on £45 seats) Friday 7.30pm and Saturday performances, including £1 per ticket restoration fee contribution). Moderate by agency standards, though higher than box office prices, but worth trying! Note that this system will confirm exact seat numbers prior to purchase. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases.

Another alternative is Ticketmaster.co.uk who offer £62.50 seats with a £5.95 booking fee per ticket (£9 on £95, £5.25 on £55, £4.30 on £45, £3.35 on £35, £2.40 on £25, £1.90 on £20 seats) Monday to Thursday / £8.80 on £67.50 (£12.35 on £95, £7.15 on £55, £5.85 on £45, £4.55 on £35, £3.25 on £25, £2.60 on £20 seats) Friday Evenings and Saturday, plus £3 per booking (not per ticket) handling charge. Prices include the compulsory £1 per ticket restoration fee. This system allows you to choose your own seats from the selection the company has available.

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer £62.50 seats with an £16.50 booking fee per ticket (£25 on £95, £18.50 on £67.50, £15 on £55, £12 on £45, £10 on £35, £7 on £25, £6 on £20 tickets) - including compulsory £1 per ticket restoration fee. A postage charge of £2.25 per booking, not per ticket may be applied to bookings made from UK addresses more than 5 days before the performance. The "Flexiticket" Exchange Service, allowing FREE transfer / cancellation (credit note up to 12 months) of your booking up to 3 days before the performance is also available for £2.50 per ticket. Discounts and hotel / theatre ticket packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

Lastminute.com offer £62.50 and £67.50 seats with an £8 booking fee per ticket (£5 on £95, £7 on £55, £6 on £45, £5 on £35, £3 on £25 seats) including compulsory £1 per ticket restoration fee. The discount offer of "Six Tickets for £48.50 each" is also available. NOTE: Seat numbers are NOT available in advance from this company. All seats booked in the same price group will, of course, be together or at the very least be in front or behind each other in the theatre. In the very unlikely event of this not being possible this company will call you and give you the option of cancelling your booking. However if booking in two or more price bands, you will not be sat together. Please DO NOT purchase if this is unacceptable to you, as all tickets are sold subject to this condition. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

Londontheatredirect.com offer £62.50 seats with an £9.50 booking fee per ticket (£10 on £67.50, £14.25 on £95, £8.25 on £55, £6.75 on £45, £5.25 on £35, £3.75 on £25, £3 on £20 seats). Collecting tickets from the box office before your performance is free, OR, if required and time allows, there is a postage charge option of £2.95 (£4.95 to non-UK addresses) per booking, not per ticket applies to all bookings. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.

ALSO SEE Tickettree.com for great value "hotel and theatre ticket" packages.

 

Other Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.
 

Box Office Information:
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
Telephone: 0870 830 0200
(FREE call if using BT.com Calling Plan at your chosen times)
Operated by See Tickets on behalf of the venue.
 

Booking fees per ticket for telephone bookings:
No fee except for the £1 per ticket restoration levy, the monkey will always love that.
 

For personal callers or by post: The Strand, London. WC2E 7NA.
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 0844 412 4648 and enquire about concessionary prices that may be available to them.

www.adelphitheatre.co.uk is the official venue website.

 

 
 
Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Theatre Seat Opinions:
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.

 

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Notes
STALLS 
Layout:
The Dress Circle overhangs the stalls at row H. The top of the stage is not visible from row P backwards.

The front Stalls rows A to J are arranged in a curve in front of the stage. Rows K to X behind them are split into two blocks by a centre aisle.

The rake (sloped floor to help see over rows in front) is non - existent in rows A to E. Fortunately a high stage can compensate for this at some productions - when the stage is too high though... not so great.

It's fairly shallow through the rest of the theatre too, more noticeable from row J or so. Still, with seats not brilliantly "offset" in some rows either, the short may find the circles offer a better view.

The centre aisle seats in rows L, P, S, U and W have only short, flat, padded row-enders (like extra-wide arm-rests) in front. No extra legroom, but no head to look over either.

Legroom:
The ends of rows B to E mostly have noticeably less legroom than the centres of them - or compared to all rows behind.

Row B30 and 31 and D4 usually have nothing in front. D5 has 9/10ths nothing in front, B6 3/4ths, E33 1/2 and K33 1/4th nothing in front across the seat width.

Legroom for row U seats 14 to 18 is around an inch or two less than the row in front, where the sound desk eats into it.

Legroom is acceptable in all other rows, much better from row F to T unless you are exceptionally tall. For those with access needs, it is also possible to have a standard chair placed in the wheelchair area on row X if required, for maximum legroom.

Readers found O15 and 16 had nothing in front except a "spacer" for the row.

 

Choosing Seats in General:
The quality of row A varies according to the height of the stage. Normally, it's a way of being close to the action, and having a lot more legroom than the upper circle at the same price. At full price, go further back, it feels.

Often, the extreme ends of row A are the last pick as you may be sharing your breathing space with hefty stage lighting almost directly in front - and have a pretty acute angle to look up at the stage too.

For musicals, an orchestra pit means a conductor is be in view for some in central row A... it doesn't bother the monkey, but purists may wish to avoid this area - though others may find any ticket price reduction makes them worthwhile.

At top price, it's important not to get caught too far forward or back. In the very centre, seats in central rows G to J are often designated "premium" seats - your call if you feel them worthwhile, feels the monkey. There's plenty as good - and cheaper - around these, it thinks, making them the first to try for.

Go for G first, then, when the stage is low, otherwise K, then F or J. Then L, M before E and D (unless you are, like the monkey, a lover of being close to the stage to 'see faces.'). Centre aisle seats from K back are more comfortable for the tallest, with one leg stretching space.

Readers generally report that central rows F to J are providing best views overall. Those wishing to see most, or who are shorter, seem to find H and J preferable too, with K10 down as "fantastic," according to one reader. Having sat in row K 18, the monkey agrees the off-setting is excellent with a clear view between folk in front if they are not over-tall.

Often the end pair of seats in rows A to F are "restricted view" and thus cheaper. Monkey thought is normally that those not worried about an extreme side view might well find the innermost seat in each pair worth a glance. Take the one furthest back first - certainly you'll be closer to the stage for less cash.

The monkey quite liked the thought of B30 at a restricted view price, but notes they are not really a bargain - just a way to be closer to the stage for less money. Same goes for D and E 5, D31 and E32, for that matter. Not for purists or first timers, really, but the monkey would on a second visit at least normally. At second price, though, it would skip them as you may miss a bit more than you expect. D4 does have legroom, though.

Further back, skip rows S and T when they are at top price, as the overhang starts to kick in. A row back yields the same view for less cash.

At second price, you'll find the overhang of the circle really limits views at the back, but it's in direct proportion to what you miss, and the advantage is that these rows have more legroom than equivalent priced seats in the upper circle. The tall will have a far more comfortable evening in rows U and V as a result.

The back rows, W and X, are often keenly priced and the same applies regarding comfort and overhangs. The shallow rake is an issue for the shorter - go upstairs then - but they are still pretty fair deals, feels the monkey. Do remember if buying in the rear rows that the view is NOT the same as the more expensive seating, and that prices are lower to account for this. Row X, and the ends of row W at the same price are a decent budget option, perhaps, if willing to accept any shortcomings - upper circle rows D and E do edge these for view.

Two wheelchairs can suffer a rotten view in the rear stalls, but users can transfer to any other seat. . How about making some decent seats removable for wheelchairs or even... let users sit in the centre aisle row K space. Think about it guys. Single chairs can replace these spaces if not in use by a wheelchair.

General Hazard Notes:
The monkey notes that the seats are rather narrow, and on one visit E14 was somewhat saggy in the centre from over use...

Neck ache is a possibility in rows A, B and C. If the stage is high, those even as far back as E won't see feet at the back of the stage - aspiring ballerinas may wish to sit further back.

The extreme ends of row A are very avoidable as you are be sharing your breathing space with hefty stage lighting almost directly in front - and have a pretty acute angle to look up at the stage too. For musicals, an orchestra pit means a conductor is be in view for some in central row A... it didn't bother the monkey, but purists may wish to avoid this area - though others may find any ticket price reduction makes them worthwhile.

A set of stairs leading to a door is on the right hand side of the theatre (looking from the stage). For some reason, this annoys Theatremonkey, as it seems distracting. Compensating for this, the bar is also on this side (as are toilets).

Seats extend out beyond the proscenium opening, meaning that outermost end four seats in rows B to R may face a wall rather than the stage. This prevents those seated here from seeing into the far corners of the stage.

Purists may still wish to avoid seats U 14 to 18, and V to X 14, to ensure the sound desk causes no disturbance.

Sound can be variable in central seats towards the back of the stalls from row M. Those at the back also found the air-conditioning equally unpredictable - too hot, mostly.

Changes for the current production:
Row A has been heavily discounted as "Day Seats." Be aware that there are large flashing lights in front of seats here. SPOILER there's also an extended finale stage SPOILER ENDS in front of A 18 and 19, making it perhaps worth taking 10 to 16 or 21 to 26 (in number order moving from centre outwards) first. Even the very end seats have a decent view without the usual lights hung from the side stage arch to distract. Seats A 28 and 29 don't have as much legroom as 8 and 9 for some reason. Still, even here as in the rest of the row you get far more leg space and are closer to the stage than anywhere else for the price, a fair trade off it feels. The stage is fairly low too, so you won't miss much.

End pair of seats in row B to F drop in price. When cheap, Monkey thought is normally that those not worried about an extreme side view might well find the innermost seat in each pair worth a glance at second price. Take the one furthest back first - certainly you'll be closer to the stage for less cash. The nearby speakers hung beside the stage are loud, row C bears the brunt of these. Not for purists or first timers, really, but the monkey would on a second visit at least normally. D4 does have extra legroom, though not much of a view. Still, a way to be closer to the stage for less money and for this production the views from those inner seats makes them worthwhile to the monkey mind. Just be aware that at one point in the show you may not fully see a scene for a few non-crucial moments.

Central rows E to J are at "Premium" prices. Monkey advice is go further back or around them - view is equally good, legroom better than E for a start... During previews there's bargains to be had, though, as all best stalls seats are the same price.

Row T is cheaper than row S - for a similar view. Worth thinking about, feels the monkey. Also, for those not worried about blocked views from overhanging circles above, a pair of seats on the ends of rows U and V are also cheaper - very fair value to be 4 rows further forward for less cash, feels the monkey.

Around the sound desk, the corner of its wall has been removed. This means it won't cut into the view, and the only distraction is the sound man moving around. X14 is most affected, W14 not bad at third price as a final choice, V14 just about OK for view but there are better seats around, the monkey feels.

Do be aware that there are projected images - two fairly helpful to the plot - that won't be visible from around row U back. The discount allows for this, and it won't spoil your evening, but the monkey feels it worth knowing.

Reader Comments:
"Row A: (Zena). thankfully my front row seat had lots of legroom and a nice view."

"Row A: "The Bodyguard" (November 2012). Apart from awkwardness of dancing a foot away from you, row A is a perfect view at Adelphi."

"Row A: " Evita (2006)." on the front row and it was fine as the orchestra is big. No neck ache and PLENTY of leg room."

"Row A 9 to 12: were too low down – a lot of neck craning. Would recommend from Row J and back. All round, well worth the ticket price"

"A13: (Daniel Vincze). My seat was A13 in the Stalls. Excellent view, enough legroom and feels like being in the action. The intimate scenes are really effective because you're not that far away as you'd be in the Dress Circle or Upper Circle."

"A15 to A24: "Love Never Dies" (2010), (group organiser). ten people (including us) were sitting in the front row  and these seats had a severely restricted view. A19 is directly behind the conductor, so this additionally limits the view in A18 to A20. You can seldom see a full view of the performers who are often cut off from the waist down. The impact of the scenery and special effects is also diminished from this row. The full price of £67.50 is unreasonable and we feel purchasers should be advised that the view from these seats is restricted.

I have read good reports of row A here, but I guess these were for other shows. For 'Love Never Dies' the stage is built up to accommodate the revolve and trap-door, and from Row A this results in neck-strain and severe sight-line problems - in some scenes people at the back of the stage could only been seen from the shoulders up, and the climax scene with a character on the floor also causes difficulty. People sitting behind us in row B were quite happy with their view."

"A16 and A17: "Chicago" (2000). were great - we felt part of the action (certainly excellent value at £27 each). Legroom OK (we are both 6 foot). It was interesting to be able to look into the orchestra pit and we were close enough to tap the Musical Director on the shoulder (we didn't - thought it might put him off)."

"A17 to 19: "The Bodyguard" (2012). I'd recommend giving the centre seats A17 to 19 a miss as they miss something at the finale."

"A26: "Sweeney Todd, The Demon Barber Of Fleet Street" (March 2012), (Uni student who loves musicals). sat here for the first half, and then B26 for the second half. My friends who were sitting at A29 and 30 were completely blocked by the stupid table on stage right that does absolutely nothing except make A30 a terrible seat, which is why I gave him my A25. Discounted for a reason, A25 gives a very good view of the stage, and the actors, and for their price, I would definitely use these seats again. The stage itself isn't raised that high, but Sweeney's barbershop is on a raised platform, but you can still see the all important chair so its fine. At one point the platform actually moves to the forefront of the stage, so you actually have to be horizontal in order to keep Sweeney in view. [SPOILER] One moment where the front row really came into their own was during the asylum scene, when one of the inmates actually spat at my friends in the front row while descending the stairs under the stage. [END SPOILER]."

" A29 and A30: "Sweeney Todd, The Demon Barber Of Fleet Street" (March 2012). I had the misfortune of sitting in A29 and A30 in the stalls (in the oddly allocated day seats). Yes, they were only £25 but I could have just bought a CD and listened to it at home for much the same experience! What isn't obscured by the pointlessly protruding staircase is blocked by a [insert swear word] table and chair that sit at that side of the stage the entire show. I'd avoid the entire left side of the theatre if you want to e.g. see Mrs Lovett in her pie shop as more than a torso.

We moved to 23 and 24 in the interval, which just highlighted how poorly staged this show is for the venue. The majority (probably 80%+) of the show takes place on the back half of the stage for no real reason. I'm not bothered by not seeing feet, but there are several points with people lying on the stage. If I didn't know the show I'm not sure I'd have had a clue what happened as the entire climax was out of sight. This easily replaces the neck strain from 'Jersey Boys' as worst front row experience. I never say this, but avoid the stalls and go up to the circle!"

"B10: "Love Never Dies" (March 2010). Being fairly short, I could only see the action from the waist up. At the interval I moved back to a slightly better seat."

"B20:  "Love Never Dies" (March 2010). I paid £35 through the GILT ticket offer (runs January to March each year). I'm 6ft tall and felt I had satisfactory leg room. Being so close to the stage means you have to look up resulting in a bit of a neck ache, plus you miss the the performers feet at times. When some of the performers are on the ground or the video images are rolling you have to strain yourself to get a full view. The conductor only once got in my way, but otherwise wasn't an issue. Overall, it's an OK seat for the price I'd say, but would sit further back if I went again."

"B 22 and 23: "Love Never Dies" (March 2010) (Darren). Fantastic seats giving superb views - almost putting us in the show, especially during the breathtaking projections. The performers feet were often missing though. The legroom was great too. I would consider changing these to Green."

"B24 and 25: "Love Never Dies" (2010), (Karyn). Enjoyed an excellent view of the action, although we did get a bit of neckache towards the end. No matter, what we lacked in neck comfort was made up for in legroom...we had LOADS!! Why do people complain of there not being any legroom from row B back? We had plenty and we're what you'd call short. They must be made up of Peter Crouch proportions is all I can think!"

"B24 and 25: (Tracey) almost felt like we were on the stage - right in the action!"

"B25 to 28: Although when I sat in these seats it was to see "Joseph and the Amazing Technicolor Dreamcoat," I would avoid sitting in these seats for 'Love Never Dies.' One of the main features of 'Love Never Dies' is the visual presence of the show. In order to appreciated this I would recommend sitting further back. Row B25 to 28, although allowing you to feel part of the action, are just too close to the stage for a production of this scale! You would without a doubt leave the show with a sore neck from straining to take in the full view of the staging. The leg room in Row B is also quite uncomfortable."

"Row C: "Sweeney Todd, The Demon Barber Of Fleet Street" (March 2012). The seats are being sold at top rate but the sight lines are terrible. SPOILER ALERT A lot of the action takes place well back on the stage and also on the floor of the stage. Sitting in row C last night I was unable to see what was happening – particularly at the end and also the pivotal scene where Sweeney discovers he has killed his wife. She is dead on the floor and he goes to pick her up and cuddle her. Frankly he could have been cuddling an old blanket for what the audience could see. SPOILER ENDS. I am sure that rows A and B have an even worse view. It is totally wrong that for this production these rows are top price.
I sat in row C for Evita and the view was good but then not much was happening down below."

"Row C: "Sweeney Todd, The Demon Barber Of Fleet Street" (March 2012). We sat in stalls row C and still found the stage high. I think its dreadful that they can charge £67.50 for rows A, B and C as you do not get a full view of the stage. I (also) found the sound a bit soft in the first half."

"C10: was good for Derren Brown (July 2009). No cricked neck - from previous comments I imagined the stage would be about 6 feet above us, it was actually on eye level, and there was plenty of leg-room both between knee and seat in front, and also to stretch out lower leg. Was surprised how intimate the venue actually was and how close the dress circle was to the stage (maybe I'm just used to huge music arenas). "

"C10: "Love Never Dies" (March 2010) Bad set design meant I had a very poor view of the Phantom and Christine in the final scene."

"C9 to 12. A little to the side, but a great view. None of my group had any problem with the stage height, and we felt almost part of the action. I found the legroom to be adequate (remembering I am well above average height!). Maybe, had the show been a long one, I might have had trouble, but for 'Joseph' I didn't notice."

"C 15 to 18: The view was good - big heads in front do obscure slightly but that is the luck of the draw. Leg-room was plentiful too. No neck ache at all and you certainly feel in with the action - sweat and spit can be clearly seen."

"C18: a great seat with great views but alas, the seat looked like it was in need of a good steam clean it was filthy."

"C18 and 19:  "Love Never Dies" (2010), purchased through the annual www.getintolondontheatre.com offer for the bargainous price of £25! Legroom was actually very good, and the view of the stage was excellent."

"C22: for "Love Never Dies" (March 2010), (Linda O'Reilly). Perfect!... Plenty of leg room, which surprised me. Most of us were happy in our seats although a couple in Row B moved at the interval to further back. Maybe they found it loud? Not sure. I think if you were in Row A, you could be distracted by the handsome conductor. But then again you may not notice him - but I would go for Row C or D."

"C26, C27: "Sweeney Todd, The Demon Barber Of Fleet Street" (March 2012). The stage is somewhat raised making it impossible to see the floor from rows A to C. Sweeney Todd has several scenes that use a trap door and some pivotal action on the floor that is impossible to see from these rows. There are also several important scenes at the back of the stage that can’t be seen; the view of the back of the stage from seats 22+ is obscured by a large spiral staircase on the stage. Occupiers of these seats are also occasionally blinded by stage lights from the side. Avoid."

"C30 and 31: "Love Never Dies" (March 2010). The stage is very high and for the first time ever in the theatre I had neck ache. The stage is very high and we generally saw from the actors knees and above. It was close enough to see the actors every expression but that's about it, so I would highly recommend sitting further back or ideally in the circle."

"D 8 and 9: "Sweeney Todd, The Demon Barber Of Fleet Street" (March 2012). Had a good view but as the stage is very deep could not quite see the back. Seats further forward in my opinion would be too close as the stage looks quite high. When I go again I will try for Row E or F or even Dress Circle."

"D8 and 9: "Sweeney Todd, The Demon Barber Of Fleet Street." I thought they were great. I have never, repeat never, been in a London theatre with so much leg room! I'm 6' 1" but could stretch my legs right out and didn't even need to stand to let people past. Awesome. Seat was perfectly comfortable too. It is indeed steep for some aspects of the staging, notably when Sweeney comes right out to the front at dress circle height, but this is no problem, I like the innovative staging and it meant that sightlines were no problem at all from these front stalls. We could see every aspect of the staging except the floor surface but this is irrelevant as it isn't a relevant part of the show. I reckon you'd also get away with D7 but anything lower than that is basically restricted view, in my opinion. I'm very happy to consider D8 and 9 as top price tickets."

"D10 and 11: "Love Never Dies" (March 2010), (Ali). Very good seats for seeing details of the makeup, costumes and expressions, however, the stage is quite high, and I think we may have missed some movement and action further towards the back of the stage. Loads of leg room in front of the seat, but the seat itself is one of the narrowest I have ever sat on. Oh, and take a cardigan along - the  air conditioning is quite fierce!"

"D16: Previously I was sitting in the Dress Circle, seat A14. Last night I was in the stalls, D16. What a difference a seat makes, which is the main reason I'm writing to you now! 'Love Never Dies' is one show where it really does pay to sit mid-way back in the stalls or towards the front of the Dress Circle. I've read yours and other reviewers comments about seating at the Adelphi and offer some further opinions.

Good points about D16. A relatively comfortable seat with excellent legroom. It doesn't matter that the rake is non existent here because you have to look up at the stage, over peoples heads. You are also close enough to feel part of the action and to see the expressions on the actors' faces and all their little mannerisms!

Bad points about D16. The stage is high and you can't see the actors' feet, even though this is not a dance musical. Several pieces of the set are quite low down and are hidden from view which was annoying. You are often aware of the conductor. David Charles Abell is very animated and stands quite high up and I really pitied the people in row A sitting right behind him. In fact, I wouldn't recommend row A at all, especially as the seats are sold at full price. I'll go back and see the show again - just not from row D."

"D 19 to 22: "Joseph," (Celia). "We had terrific seats,2 stalls, almost dead centre and with a clear view of the stage. No problem in getting a booster seat for my son and despite some rather large heads in front of him he had a really good view of the action."

"D24 and 25: "Evita," (Richard Bradbury). Great seats, superb view most of the time. The only faults with these seats are that some of the action on the left is obscured and the back wall of the set is difficult to see with the heads in front of you (nobody in front of us was particularly tall but it was a struggle to see)."

"D27: "The Bodyguard" (November 2012). A good seat, perfect view of the stage so long as you don't mind not seeing the actors feet, and there is nobody hugely tall in front of you. It is a little to the side but nothing is missed as a result. Legroom was surprisingly good for me at 6' 5", I had room to sink into my seat a little in order to avoid the inevitable moaning from behind but given the people behind were more interesting in talking through every quiet part of the show I soon sat upright and could see everything perfectly."

"E15: (Victoria). I found that I had plenty of leg room and felt the air conditioning - people further back mentioned that they were roasting. However, the seat in front of me was not at all staggered and so I struggled to see past the head right in front of me when someone was on the floor - and did have to crane my neck a bit to see the balcony scenes, although I'm only 5'1."

"E18: "Love Never Dies" (February 2010). This was a very good seat, a bit narrow, but with masses of legroom. I’m only 5’8’’ tall but I could fully stretch my legs under the seat in front! The seats aren’t as staggered as further back in the theatre, though. Luckily the people in row D in front of us weren’t particularly big and so the view of the stage was almost unobstructed. And, monkey was absolutely right, I hardly noticed the conductor, even though it was the animated David Charles Abell! Oh, and the two seats to my right were empty so I could spread out a bit!

One thing that did surprise me a little was that I could almost see the whole of the stage floor from where I was sitting, so a plus point there! Comparing rows E and O (where I've sat previously), I do prefer E provided there’s no-one too big in front of you, purely due to it’s closer proximity to the stage and actors, although to fully appreciate the projections you do need to be a few rows further back. You pays your money and takes your choice!"

"E22: "The Rat Pack" (September 2009). In the stalls for £15! Very good seat could see everything very well."

"Row F: "Love Never Dies," (February 2010). Great seats as you could see the whole stage. Really super show and lots to look at on stage."

"I sat in F4 in the stalls. The view was not bad, some of the action lost on the right hand balcony and right at the back of the stage in the arches."

"F 9 and 10: Found the Adelphi to be a cosy theatre with very comfortable seats, especially for the smaller person. We had a good view and there was of plenty of leg room."

"F 13 to 15: "Love Never Dies," (February 2010). The view of the stage was great, legroom adequate. This was far enough back to get the full impact of the projections, but close enough to get the nuances of the performances. That said, due to the shallow rake, if someone with big hair, or a continual fidgeter or (dare I say it!!) someone exceptionally tall sits in front of you, you may have a few viewing problems. Obviously I had no such problem! For me at 6'5" these seats were excellent!"

"F20 in the stalls: "Love Never Dies," (February 2010). Great seat, plenty of legroom, and very close to the action. Also being bang in the middle of the row meant that there was minimal disruption from people leaving / returning to their seats, so I’d highly recommend a seat in this area."

"F21: "Love Never Dies" (at it's last performance in 2011). Wasn’t bad in that there was plenty of legroom, although the rake is pretty poor at that point in the theatre.  Funnily enough, I preferred stalls C22 which I sat in at another performance.  Again, there is plenty of legroom, and because you have to look up at the stage, you are looking over peoples heads!  The downside is that you can’t see the actors’ feet!  Oh well, I suppose you can’t have everything, but like the monkey, I prefer to be closer to the stage than further away."

"F27 and F28: (Paul). Purchased when they were "premium" seats for "Joseph" (2008). Can't quite see what makes them special except the price!!! The rake was poor and a young girl of average size sat in front and obscured some of the view to left of stage."

"Row G: The view was superb. Not too close to crane your neck but close enough to feel part of it".

"G13 and 14: "The Bodyguard" (May 2013). We booked tickets for this show through a Lastminute.com offer at £39.50 each, and were delighted to find ourselves in the so-called ‘ premium seats ‘ which are nominally priced at a colossal £95!! The view is very good but the rake is shallow so would have been obstructed had we been sat behind taller theatre-goers. The legroom is good but as there’s no aisle in the centre of Row G there was a lot of standing up as people shuffled past to their seats."

"G seats 19, 20 and 21: I am 6ft 2ins and the legroom was terrific and I had plenty of room to stretch out. My view was also excellent but my wife and daughter (being somewhat shorter than me) had there view slightly obstructed by heads in the row in front, the rake at row G being very shallow. The lack of a centre aisle meant a bit of a trek from the side aisle over bags / coats / refreshments and other people despite us arriving early."

"G20: "Joseph" (James in Finchley): couldn't have had a better seat in terms of being close to the action but not too close that you have to move your head from side to side to see the whole stage. I had to crane my neck a little but the person in front was particularly tall so I don't reckon it would usually be a problem. Given the choice I'd have probably gone a couple of rows further back just to be safe."

"G27 and 28: (Tracey) great view (especially as the row was curved) and on our preferred side of the theatre"

"G28: "Sweeney Todd" (March 2012). I found the legroom was adequate, I have only ever had real problems towards the back of the Adelphi stalls , but this seat was comfortable without being generous. The back left corner of the stage was obscured, more so for this particular production due to the stairs that were placed near the front. I would keep them as white as in general the view was great, but I feel for full price you should see the whole stage uninterrupted. However, definitely worth considering."

"G28 and 29: "Love Never Dies" - great view."

"G seats 30 to 34: (Matthew Wright). I agree with your 'value' guide to these seats as the view was good but just too off-centre I think for full price"

"H 3 and 4: "Love Never Dies" (2010). (James). You do miss quite a bit of the set being at the end of the row, but the sound is great from here. Good at a discount."

"H12: "Love Never Dies" (2010). Had so much leg room, I could spread my legs out fully (I’m 6ft) – shame a few inches couldn’t have been added to the width of the seat as this was very narrow."

"H12, 13, 14 and 15: "Sweeney Todd" (February 2012). We had a fantastic view, could see every part of the stage including the floor."

"H14: "Love Never Dies" (2010). Brilliant seat. I wouldn't have gone again had it not been a decent place to see from! I'm one who likes to be as close to the action as possible (without affecting the view) but thought it was a perfect distance back with an excellent view."

"H14:"Love Never Dies" (2010). The Adelphi Theatre is quite small and the seat was fairly comfortable with a good view."

"H 22: "Love Never Dies" (2010). The seat was great and provided a great view of the stage, however the stage is very high so I would advise people to sit from row F back if possible. I also think that the stalls is the best place for this show.
A word of warning though, don't sit to far to the left of the stage (high end numbers) due to the stupid end scene! For the £40 (access rate) I thought the seat was excellent, even if this rate is one of the most expensive in London."

"H29 and 30 (Nicki): seats were perfect - didn't have to look up or down, close enough to see everything. A little off to the side, but not a restricted view."

"J11: "Sweeney Todd, The Demon Barber Of Fleet Street" (March 2012). Imagine my surprise when I could hardly hear the words in the opening chorus because of what sounded to me like a seriously over-amplified orchestra and under-amplified singers. I thought: ‘Oh, I’ll get used to it.’ But this effect continued as the show progressed to the extent that I felt Anthony was a complete washout vocally, and Michael Ball sounded seriously overparted most of the time. Imelda seemed to be pushing her voice through ‘The worst pies in London’ although she was better in ‘Have a little priest’. Pirelli and the judge were OK, but Joanna’s voice sounded horrible. I was at all times bothered by the sound of traditional instruments in a sparse, lean orchestration (cellos, flutes, etc) seriously too loud, not blending and overwhelming the vocal lines."

"J 13, 14, 15: "Sweeney Todd, The Demon Barber Of Fleet Street" (March 2012). (Nadia Ansari). The view was excellent! I love being able to see the characters faces and being close to the action. There is barely any staggering to the seats here so you do find yourself looking up but from this row it is was fine. The seats are very comfortable and I didn't find myself fidgeting as I normally do."

"J 29 and 30: "Joseph." (Gill). Gave us a good view, only part of the staircase where the children sat was partially obscured."

"K19 and 20: "Joseph".  (James, regular reader). Having sat in row G last time I preferred being a few rows back as I could see the whole stage without turning my head from side to side.  The view was perfect (especially as there was no-one sitting in the row in front) and the sound is great here too."

"L 11 to 16: We all enjoyed a fine view, as well we should at £55 a pop (for "Evita in 2006)!"

"L15 and 16: "Love Never Dies" (February 2010). These seats were fantastic! You are far enough away from the stage to enjoy all the visual effects which are happening in the show but near enough to not have to strain to see the performance. The seats also offer fantastic leg room! We saw the show on a Wednesday matinee at the end of a stay in London and as a result both of us had a rucksack each and still felt like we had ample leg room."

"M: (Rob). Great view for me; my parents are shorter and found even the 13 year old in front it slightly obscured their view."

"M9 and 10: Love Never Dies (version 2).  (James, regular contributor). Great view and sound from here but lucky not to have anyone tall in front as the rake is very shallow."

"M13 and 14: Love Never Dies (version 2).  (James, regular contributor). Good view and sound as long as you don't have someone tall in front as it's a poor rake."

"M23 and 24: weren't great because a rather tall men sat in front of me, so I had to lean to the side every time anyone moved. The rake is dreadful in the Adelphi."

"M23 and 24: "Love Never Dies". (James, regular contributor). The view is great from here as long as you don't have someone tall in front of you as the rake is very poor. Sound good from here too."

"M32 and 33: Love Never Dies". (James, regular contributor). These end of row seats are a little too far round to justify top price, but a good rake and great sounds makes them fair with a discount. My comment about the end of row M with a good rake goes against an earlier comment to this site about a bad rake. Maybe it's the ends of the aisles that make it feel better, or have I suddenly grown?!"

Reader Mark adds for the same show,
"M32: Not bad considering it's right on the edge, but if better seats towards the centre are available take those."

"Row N: We got three seats together in the side stalls on row N (which are red on the theatremonkey plan but I didn't find them a problem at all) - I think any further back and you do get a restricted view at certain points in the show". 

"N19 to N24: "Joseph". (James). The view was great and the sound is really good here. I also found legroom pretty good compared to some theatres. The only problem was the heat - it was absolutely boiling throughout the show."

"N29 and 30: "Sweeney Todd, The Demon Barber Of Fleet Street" (March 2012). (Debbi). The legroom was great and the seats were pretty comfortable with a great view, except if there was action taking place on either of the two upper platforms - none of the main action took place here, but the ensemble often congregated to join in with the songs or to react to a certain scene. I was unlucky enough to have someone who was very tall and had a rather large head in front of me, but that was remedied in the second half as there were seats free further down the aisle which we moved to after the interval. These seats were on the outer edge but we also had a great view (still in Row N)."

"O15 and 16: "Love Never Dies" (2010). Bought under the excellent 'Get Into London Theatre' event (January to March). The seats were £35 each reduced from the full price of £67.50. They are situated three and four in from the aisle, on the right hand side of the auditorium, and - due to the fact that the rows are staggered - there is no-one directly in front of you blocking the view, although if anyone tall is sitting in front, parts of the sides of the stage may be obscured. The seats were pretty comfortable and one good point is that there was plenty of legroom! The view was generally fine, although I think I would have liked to have been a couple of rows further forward. The projections and surround sound were brilliant, though!"

"Row O 8 and 9: "Sweeney Todd, The Demon Barber Of Fleet Street" (March 2012). These were fine, the seating isn't hugely racked and so if someone sits in front of you in the stalls with a big head, hair etc you are always going to struggle. There is a bit of action stage left which is obscured but this doesn't detract from being able to enjoy the production."

"O13: "Sweeney Todd, The Demon Barber Of Fleet Street" (March 2012). Managed to get it on deal for £37. It proved to be an absolute bargain. Nice and central with plenty of legroom and sound was superb from this position. This is a production that absolutely uses the full height of the stage, but despite the dress circle overhanging at row H, this seat seat provided a perfect view of everything that happened."

"017 and 18. (Sara Levene). The overhang of the balcony did nothing to spoil the view. The stagger let us see well despite the absence of a rake. There was plenty of leg room"

"P17 and 18: "One Man, Two Guvnors" (November 2011). Sight lines even from centre aisle seats in the stalls depend on the bulk of the people in front of you. The bloke two rows down from me effectively blotted out the band’s lead singer from the nipple line downwards in the opening number. On the upside the seats themselves are not completely uncomfortable and the leg room not unreasonable."

"P30: "Love Never Dies," (February 2011). Good seat, it's just in the red on the map as towards the edges and naturally if you were paying full price you would try and get as central as possible. However if you got a bargain like me (£25 on an offer) then there is nothing wrong with the seats. Being towards the edges makes no real difference to viewing 'Love Never Dies;' it doesn't obstruct anything or cause you to miss anything. It is not a particularly wide theatre, so if you get a seat towards the edges for a bargain price... go for it. Leg room is excellent, I am 6ft 4 and can tell you it is some of the best leg room you will ever get. Row P is quite a good distance back to view the show, you can see the whole stage easily without being too far away - and the rake is better to the middle and rear of the stalls."

"Row S: (Michael). Yep the circle above does cut off the top of the stage but you still didn't miss anything. I'm 6ft 3 and its the best legroom I've had in a theatre."

"S 16: "Love Never Dies" (February 2010). (Mark). Got this seat from TKTS as part of the 30th Anniversary Celebrations, and because I was one of the first 30 in the queue, I got it for free! How they can charge top price is beyond me, it was a good seat, but to see those up close facial expressions you would need to be closer. Third row dress circle was better. Definitely go for further forward in the stalls at top price. I'd also avoid the seats for £62.50 in the back couple of rows, it would be worth the extra £5 to sit closer to the front."

"S25: "Love Never Dies" (February 2010). (Mark). Good seat, but would definitely want to be further forward at top price."

"S26: "Love Never Dies" (February 2010). (Mark). Too far back, preferred row M, even though this was more central."

"Row T 21 to 24. (J.D.). The view was excellent... (you can't account for big heads though)."

Row U 17 and 18: "Joseph" (2006). The tallest member of my group at 6'4" had asked for an aisle seat which was very unfortunate for him as I had to allocate him U17 and 18. If only he hadn't asked, any other seat back to row T would have have given him plenty of leg room. There is at least a foot difference in leg room between row T and U, at least for those seats that are immediately in front of the mixing desk. He literally could not sit with the seat down and had to perch on it in the upright position. The row does widen in the lower numbers past the mixing desk but it really is bad for those 6 to 8 seats that are immediately in front of the mixing desk. Even fairly short members of my group sitting near him had their knees crammed against the seat in front."

"V32 and 33:  "Joseph." (Tracey). Might have been a problem if we had taller people in front, but we were lucky and only down side is that you don't get to see the 'uplifting' part of the encore"

"W 28 and 29: Sweeney Todd" (March 2012).  It was basically OK - there was no-one in front of us - but it wasn't till a few minutes in that I realised the chorus were actually on the metal steps and scaffolding at the top... because we couldn't see them! That didn't matter much but when the barber shop staging came right forward at one stage, it completely cut off seeing Michael Ball's head! Fortunately, that was for a very brief time but if we had paid £55 each instead of £55 for two I think I should have been most annoyed!"



DRESS CIRCLE 
Layout:
The Upper Circle overhangs the Dress Circle at row C. Those in rows N back may miss action at the front and top of the stage.

Central seats face the stage. The first and last ten in each row are turned in toward the centre to enhance their view. This is disconcerting, especially in the last seat; since the angle gives both a view of the stage and fellow Dress Circle audience members equally! As a reader points out, this an exaggeration - the angle isn't that severe, but the seats don't face the stage "front on" as the rest do.

Rows E, H, K and L seats 12 and 13 and 24 and 25 have spaces between them to allow the row to "turn the corner."

The centre aisle seats in rows G, J, L and N have only short, flat, padded row-enders (like extra-wide arm-rests) in front. No extra legroom, but no head to look over either.

Row A seats 6 and 7 are tucked at an awkward angle into a corner beside the boxes, so you lean around them to see the stage. Row A 33 also has a bit of a "peering" issue, and is cheaper because of it.

Row P has been grafted onto two plinths at the back of the Dress Circle, in the curved gap between the row in front and the rail behind.

The circle rake is fairly shallow - the steps between rows are not that high except in row P. Reader Gary feels it perfectly adequate though. On the other hand, reader Siobhan feels,
"Do not pay full price for the dress circle (have noticed the monkey has marked the whole seats RED there) because the person's head in front of you blocks the view and you have to lean either side of the head in front to see, despite being close to the action."

Legroom:
Choose with care, tall folk!

Legroom in the front rows of the circle is abysmal - worst in central rows B and C, slightly better from D back - 6ft persons found D and L tolerable, for example. Theatremonkey has his knees in his ears in row C and evacuated its knees from K before damage was done. Legroom declines the further towards the centre of each block you go - more in the first 6 seats, then less as you reach the "turn" around seats 11, 12, 24 and 25, then a tad more again towards the centre aisle.

The "high numbers" side has a trifle more legroom at the ends of the row than the "low numbers" - C28 to 25 and D 25 to 28 having more still. B5 has nothing in front, C4 has nothing but an open rail, C35 is on the end of a row which sweeps back to provide legroom and K4 and J4 have a tiny bit more space for one leg.

Row G "high numbers" side may suit those under 5ft 5 or so in particular.

P 3 and 4 have a tad more legroom (P3 in particular) and space the other side to put stuff.

Otherwise, tall people in particular - and rally anyone over 5ft 5 or so should choose the Stalls instead or find a great physiotherapist for afterwards.

Choosing Seats in General:
Few seats are recommended here due to poor legroom wiping out the benefit of the quite adequate views from the centre seats of rows B and C. Believe the monkey, you will not notice the stage as you squirm for comfort even if only 5ft 7 or so and thus many get a "red" rating due to comfort. Though seats at the ends of rows have a little more legroom, many are rated "red" on the basis of view. So, choosing is difficult.

Row A seats 6, 7 and 33 have "peering" issues, and only A33 is usually cheaper because of it. If it had legroom, the monkey might be more interested. The short might enjoy them, though.

Central rows B and C are often "premium" priced, notes the monkey. The view is fine, but legroom lovers should always take stalls.

From some research on a visit in 2012, the monkey found that C28 to 35 and D 25 to 28 have legroom that a 6ft person might be able to cope with - around 2 inches. The reason is because the row in front is bolted to the floor in such a way as to leave an extra gap for those in the row behind. C35 also is set back on a curve, giving even more space. Thus it would pick these first.

At top price, those up to around 5ft 7 or so will also be fairly happy with central row E 13 to 24 and the inner aisle seat from row F to M (G and H 18 excluded) - not too bad either for view or comfort. After that, the outermost 4 or 5 seats in rows E to O are acceptable for comfort if not view (outermost seats often miss edge of stage action).

At second price, row M back are fairly priced. The outermost 7 seats in rows M and O are particularly a decent trade off of comfort with view, losing the top and front of the stage. Compared with rear stalls at the same price, the monkey would take these for view - less risk of a lot of heads blocking views severely, but stalls for comfort.

At "Love Never Dies," a reader said,
"We sat towards the back of the Dress Circle and the view from here was superb! Even faces were clear to make out and the overall production was stunning!"

At third price, row P plinths... well... P31 is cramped and you will see very little from this eyrie. The overhang of the circle above cuts the top of the stage, and the sweep of the circle with seated folk in front cut the front of the stage off too.

P 3 and 4 offer "fair value" for the most broadminded, it feels. Those wider seats, privacy, tad of legroom and storage space, and the plinth giving a real rise over other seats made them worth a nibble, it felt. Be aware that with anyone tall / leaning forward in front you will miss as good an amount as P31, though. NOT a wholehearted recommendation, but as a fallback position for those not able to tolerate seats elsewhere, it worked for the monkey when it moved itself into it from the squash that is K10.

General Hazard Notes:
Legroom in most seats.

Narrow seats (except P3 and 4).

Shallow rake between seats.

One report notes the sound is better in the rear corners of the circle than the front central area at some productions.

Changes for the current production:
Central rows B to E are "premium" seats. The view is fine, but legroom lovers might prefer stalls. The aisle seats in row E have the most of the little going.

Row N back is reasonably priced, take outermost seats for most legroom.

Do be aware that there are projected images - two fairly important to the plot - that may not be entirely visible from around row N back. The discount allows for this, and it won't spoil your evening, but the monkey feels it worth knowing.

Reader Comments:
"A13: (Mark Lane). As I'm only 5'6 this caused me no problem at all and the view was great."

"A13 and 14:  "Love Never Dies" (March 2010). The view was fantastic with no safety bars or lighting rigs to spoil the scene. The seat wasn’t very comfortable, though, and legroom was pretty poor even for someone of my average height."

"A 15: The view was spectacular and as the circle was very close to the stage I felt very much a part of the show."

"A17 and 18: "Sweeney Todd" (March 2012), (Chris B). I would strongly suggest these are the best seats in the house. Right in the centre of the front row of the dress circle, they have good legroom and the view is outstanding. You really feel part of the show and quite a bit is raised up on the stage so you are on eye level with the actors. Having sat in the stalls and upper circle, I would say these seats are by far the best."

"A33: "Love Never Dies" (March 2010). A restricted view on the left but being in the front row rather made up for that and, as there was nobody in any of the end seats behind me all the way to the back of the Dress Circle, I could safely lean well forward with no fear that I was blocking anybody's view. I also had extra room either side of me - which helps with long legs - so I was happy with the seat at the price."

"Row B: "One Man, Two Guvnors" (November 2011). (Gail). Premium centre seats. The whole play was spoiled by the seating. My husband, who is 6ft 2ins, could not sit with his knees together as there was not enough room, so he spent the entire performance with his legs splayed, his right knee forced against the binocular fitment. Even my daughter's knees - she is 5ft 7ins - touched the seat in front. I did not suffer particularly with the lack of legroom, although I was conscious that it was a bit snug, but the same cannot be said for my view of the stage. The seats in Row B are directly behind their counterparts in Row A, with no discernible rake, so the head of the lady in front of me completely obscured my view at all times. We all had the same problem and spent the entire performance moving from left to right in an attempt to see the action through the gap between the heads in front. This is appalling, and how they have the gall to charge a premium for such seats is beyond me. It's a very funny play, but it's difficult to enjoy something when you are physically uncomfortable and feel you have been ripped off to boot."

"B19 and 20: "Love Never Dies" (March 2010). (Paul Nicholls). Excellent view. Rather cramped but not a problem as I'm not very tall!"

"B33 and G34: "Joseph," (December 2008). (Tracey). restricted view seats which we thought great value for money (we are both short and had a perfectly acceptable view - only missing the action from the very far left of the stage which was mainly the interaction with the children's choir)."

"Row C: (Stuart). I sat in the Dress Circle about 3 rows back. The seats were appalling - very cramped and uncomfortable. The theatre was stiflingly hot. I had decided to leave at the interval, but was persuaded to stay and managed to get an aisle seat which had a bit more room. Noticed that there were several empty seats which had previously been filled. Complained by letter to the theatre - reply said ' Thanks for comment - shall pass them on..''

"C 26 to 31: (Claire Crome). These were good seats (a little cramped, if you are taller than 5”6), but allowed you to see the whole stage very well."

"C28: "Love Never Dies" (March 2010). Bought at a £40 discount. I can't see why this would be red as I didn't have any restriction and legroom was absolutely fine (I'm 6ft 2). Sitting here was so much better than the upper circle. I could actually see their faces!"
"C31, C32, C33: (Lizzie). Seats were absolutely fine. My husband is well over 6 foot tall - and he didn't find the leg room a problem for the duration of the show. And my daughter is quite little, even with a booster seat - and she could see well."

"D4 and 5: (Rich). are excellent value for money.  They are designated restricted view but all that you miss is the children's choir on one side for Joseph (December 2008).  Otherwise the view is great - book them!"

"D11 and 12: Actually not as bad as expected due to the almost total negative reviews about this section on the monkey's website. Yes the rake is not brilliant but my view was fine and found the seat very comfortable, I've certainly sat in a lot worse."

"D15 and 16: superb, albeit that it was a bit tight on my knees."

"D19 and D20 (Paul). Were good and comfortable for each half. I have had much, much worse seating in other theatres". 

"D26: "Evita" (Gary). I had been very nervous about it after reading site comments as I am 6'2" tall, a fidget at the best of times and generally opt for an aisle seat. When I arrived at my seat, I really couldn't understand what the problem was, the leg room was very reasonable for a London Theatre, I've sat in far worse over the years. My knees brushed the seat in front slightly but certainly didn't press into it and the seat itself was well padded so I didn't get "dead legs". My only criticism was the seat width, it did feel a tad narrow but, again, I've sat in far worse in theatres and on planes. It may be a squeeze for the obese, but most people would find it acceptable. The view was excellent, I could see all the action on the stage perfectly."

"D 29 to 32: "Love Never Dies" (March 2010). The seats were slightly on the side but this didn't affect the view at all - all parts of the stage were visible and legroom was fine."

"E13 and 14: "Love Never Dies" (March 2010). Having read the comments on the site about the poor leg room in the dress circle and being tall I was pleasantly surprised to find there was no problem regarding that at all in these seats. There did not appear to be any problem either in the seats in the immediate vicinity."

"E27 to 32: "Love Never Dies" (March 2010). (Lizzie). Good view – little tight on the leg room and a bit hot too but nonetheless great seats and probably just as good a being in the stalls – especially at the end – not to give anything away!"

"F 7 and 8: I must say I was actually quite happy with these seats. They are certainly not anything special but you get a very good view of the whole stage, allowing for a good overview on the production. And the leg room was much better than I experienced in the stalls at the Aldwych Theatre."

"F 18 and19: "Love Never Dies" (March 2010). (Ben Grower). These were perfect. Good view, enough leg room and not too hot in theatre during show."

"F23: (Mark). Nice for a good over-all view of the stage for 'Love Never Dies,' but prefer the stalls for this show."

"F29 and 30: "The Bodyguard" (November 2012). There was more room in Row D when I was sat there."

"Row G 6, 7, 29 to 31: Sat here twice now (for "Joseph" in July 2007), once in seats 6 and 7, the second time seats 29 to 31. Both gave a great view of all the stage. I notice lots of people complain about leg room but I found there was plenty (I'm 5'6"). Have to agree with the grumble that if someone taller is in front you need to lean to the side to see though."

"G 23 to 26: (Sharon). The view was fine. As we are all on the short side the lack of leg-room didn't bother us, but I could see others in our row squirming to get comfortable at times."

"K31 and 32: "Love Never Dies" (March 2010). (Mark Lane). Got at TKTS for £48 each instead of £67.50. As a rule I generally go for stalls in the Adelphi, and have seen many shows from there. I have only sat in the dress circle twice before, and always a lot nearer the front and from a more central position as well, so I was a bit apprehensive about the seats we had. All I will say is I would have been happy if I'd paid full price for the same seats. The view was fantastic especially of the projections, and the sound was fine. From these seats you still feel surprisingly close to the stage. I agree with the monkey that the rake is not great in this circle, it's certainly not like being in the Prince of Wales circle where even row C is pretty vertigo inducing. The only negative I could find is that the seats seem pretty low down, and although the legroom appears good it can be a bit uncomfortable - and I'm only 5ft 6."

"L 25 to 29: (Gail). Plenty of leg room ( I am 6ft tall). Viewing only restricted when Evita and Peron sang sat on floor (once). Would recommend that the more vertically challenged sat nearer the front."

"N 6 and 7: "Love Never Dies" (February 2010). (James, regular contributor). It sounds a long way back in the circle but I was very impressed with the view and the sound from here. Admittedly I had no-one directly in front of me and can see how with a shallow rake, even someone short in front might have been a problem. At top price, a little steep perhaps, but would definitely recommend if they're discounted at all."

 


Dress Circle Boxes
Layout:
Two on each side of the theatre, about half way between the stage and the Dress Circle.

Boxes seat 4 people.

Legroom:
Good, as all have movable chairs.

Choosing Seats in General:
The position of boxes C and D make viewing the rear of the stage difficult. Box C has a slightly better view, but not much. If you are happy to miss action at the side of the stage is missed, these are adequate, otherwise have a look at same priced stalls.

General Hazard Notes:
Loudspeakers for the whole theatre can be placed in any box.

Changes for the current production:
Boxes A and D are not sold due to speaker installations.

B and C are second price and may be worth a glance if willing to lose a bit of view, it feels. Actually, not bad at all considering the other seats at the same price elsewhere in the dress circle - you'll see more of the front of the stage, and have a little comfort too. Do be aware that there are lights and their supporting poles hung between the front of these boxes and the stage to peer around. There are also TV sets hung below each box... you will be looked at... and the brackets are present for those wanting to lean on the wall.

The monkey observed somebody in box B standing to see the stage fully at one point.

Reader Comments:
"Box C seat 1: (Daryl). I am a avid box user and find that many get "bad press", I have seen many shows from them and few of them impair the enjoyment of a show and "cut off" much of the stage as said. Recently I sat in Box C seat 1 for the final performance of Evita on the 26th May. Seeing the show previously I had to see it one final time before it closed. This box provided a very good view at 3rd price and none of the show was missed (yet if in Box B opposite - Peron's Mistress's song "another suitcase in another hall" would have been quite difficult to see). Overall I was highly pleased with the view the legroom (as well as having a box to myself :) ) and the sound quality. I think this will have some use in the those booking for Joseph and I personally will be experiencing that show in the same seat."

"Box C: Sweeney Todd, The Demon Barber Of Fleet Street" (March 2012). Very comfy, pretty good view of the stage too. There was just a little of the gantry that we couldn't see, but excellent views for this production."

 

UPPER CIRCLE
Layout:
Very high above the dress circle.

The circle is split into front and rear sections by an aisle in front of row J.

The front section is a continuous block of seats.

In the rear section Row J seats 2 to 37 are on a gangway that divides the front and rear sections.

Stairwells cut the section into 3 blocks. Row N seats 11 and 23 have stairs in front. 

Row A seats 3, 4, 33 and 34 are restricted view seats at the edge of the theatre, and are not often sold. A reader elaborates,
"A3/4/33/34: they’re not there any more on account of a followspot on both sides. One of the two seats does survive on each side but the followspot operator was sitting in it while “off duty”. Very unlikely they would be able to sell that seat to anyone unless it comes with a hard hat for when the followspot swings round!"

Legroom:
Cramped in almost all seats, best in row J, row N seats 9 to 11 and 23 to 25 and also row D3.

Choosing Seats in General:
Front Section:
Rows D to F seats 10 to 30 offer the best view and value, combining a central position with the least disruption from the front circle bar. These seats feel a medium distance from the stage and the open theatre design makes them feel closer to it than the higher priced rear stalls. 

Seats at the ends of rows A to E suffer a slight loss of the edge of the stage, due to the angled nature of the theatre design. Row A used to be discounted due to legroom and view... since they took out a rail, it isn't any more.

Reader feedback has lead the monkey to raise the rating in A 12 to 25 to "white" considering price and view - comfort for the tallest should be taken into account, however.  The monkey would skip A ends unless you are happy to take the trade off, and also avoid row B 10 to 28 behind as, potentially, those in row A choosing to lean forwards would block your view.

Besides these, the monkey felt that B 6, 7, 32 and 33, C 6 to 8, D 4 to 6, E 3 to 5 and rows C to E 32 to 34 the most problematic. The angle to the stage / leaners won't spoil your enjoyment much, but it just felt it worth noting there's better seats at the same price - hence the "red" rating.

On the plus side, some other nearby seats are usually discounted to allow for the problems - fair value here, thinks the monkey... When pricing has end pairs from B to F at a lower price - fair value, feels the monkey, who might select these if it felt like being closer to the front than usual. Row B seat 5 and 34 and row D seat 3 usually place above the rest. People on a tight budget might consider these over row J and K restricted view seats. Other restricted view seats in the section - C to F seat 35 also otherwise prove good hunting for some willing to miss about an eighth off the side of the stage.  Take F then E, D, C, B, and the seats closest to the full price ones first, if choosing and not requiring an aisle seat.

Moving back, the rest of the central block offered just about fair value in the monkey book - though horribly expensive in real money terms, of course.

Rear Section:
The centre of row K, seats 13 to 22, offer a little extra legroom and an uninterrupted view of the stage without the back of a persons' head directly in front - though there is a rail...

Row M seats 8, 9, 25, 26 and 27 are behind a wall of bars above a stairwell. Taller people get the best view here, but poor legroom. Avoid unless long of body or addicted to dropping things on the heads of stairwell users in the dark.

Of the rest of the rear section pick rows K to M seats 14 to 20 first for the most central view. With all seats in the rear section at a single price (low, as you will again miss a lot of front stage action), any further back isn't worth it unless the legroom of N9 to 11 and 23 to 25 tempts you.

Among the very cheapest seats row N varies in price depending on whether stairwell rails are in view. These cheapest seats are worth taking, despite the rail, over the seats in row O - with N9 at first pick for a bit of extra leg space.

Row O is a last resort, tucked at the rear of the theatre, but it is among the cheapest seating in the venue. Go for seats 4 to 7 first. Seats 37 to 39 could have offered an opportunity for a little back seat romance, if they had restricted it to only two seats. Perhaps that is why they didn't.

General Hazard Notes:
There is a rail behind row H. Decide if you can tolerate this before buying row J or K  - side block seats in particular. The rail lines up with the stage about a fifth of the way back, and some of the "uprights" holding it in place are also a nuisance for many.

A further rail in front of row K seats 12 to 22.

Seats in the rear section are older and narrower than those in the front block.

Light leaking into the view from row K from an Exit sign and if curtains are left open by the doors.

Row D seat 3: the floor slopes sideways here.   

Warm in the front section, cold in the back rows, notes one reader. Monkey would be interested to hear from any passing physicist who can explain the heat phenomenon...

Changes for the current production:
Limited restricted view seats mean you sit further to the end of the row for the money.

Row E drops a price over row D in front. Same, if not superior view for less money.

Row M has extra seats in this row cheaper. M6 and 7 may be worth looking at if bars nearby aren't an issue for the fussy - M6 has fewer of these to contend with.

Row N is fairly priced, with N9 having a bit of legroom too.

Reader Comments:
"A9:  "Love Never Dies." Thought the view was brilliant for the cheaper price. Pretty sure I did not miss anything. Yeah legroom is tight on account of the wall in front but I’ve sat in far far worse (I’m 6ft by the way), here I still had about 6” in front of my knees. Worth a note to definitely avoid A10 and A11 (and I imagine the corresponding on the other side) because these two angle awkwardly towards each other far more than is normally acceptable (so one seat’s limited legroom basically projects over the other one’s). All other seats in the front row don’t have this problem, just the pair where the bend in the balcony front wall is."

"A 11 to 15: "Love Never Dies." (Mike). View was fantastic. No obstruction or need to lean forward, the action was always in the middle of the stage. I would definitely recommend these seats for the price."

"A15 and 16: "Love Never Dies." What a great view, although we can see why the theatre charges a lower price for row A. When sitting back in your seats you can't see the front few feet of the stage. Some action does occur in this area and often the actors' legs are "cut-off" by the front of the balcony. Also, in the final scene you can't see one actor for a time. Despite this, and the fact that personally I feel you are just a little too far away from the action, I would certainly recommend these seats. Being some distance from the stage does allow you to take in the superb sets, special effects and video projections, many of which are quite awe inspiring. My immediate neighbours were pretty impressed judging from the oohs and aahs coming from them! At £37.50 they're a bargain and I would certainly sit in them again! Legroom was poor, but because I was riveted by the show I just forgot about my legs! One interesting point to note about the Upper Circle is the temperature variance. Perhaps surprisingly it was warmer at the front of the circle than the rear. In fact, standing by the exit doors at the back wall, it was positively chilly! So much for the physics that teaches you that heat rises!"

"A 15 and 16: Moved from Row K to Row H in the Upper Circle. We were happy with this, but when we saw that a few seats in the front row of the Upper circle were empty, we decided to move during the interval. We were sat in Row A seats 15 and 16 and the view was amazing. Only the very edge of the stage was obscured and it didn't affect us in any way. We were especially pleased during the finale that we had moved seats. The seats were slightly cramped, as others have said, but it didn't affect either me or my Mum as we are both under 5' 6"."

"A 16 and 17: "The Bodyguard" (December 2012), Matt & Win. Good seats but overpriced for this mediocre show."

"Row B: "Joseph." Comfortable seats and a great view (although very tight leg room for anyone like me at over 6 feet) and to be eye to eye with Lee as he rose from the stage was just great"

"B15 to 18: (Rochelle). I had my doubts about being in the Upper Circle after reading some reviews but we couldn't have asked for more for the amount we paid! (Discount used). You couldn't see the very front of the stage unless you leant forward but you don't miss much of the action as most of it goes on further back. Otherwise we had a great view - especially of Lewis at the end when he rose up on a platform (much to my friend's delight!). The people in front of us leant forward most of the time but a few minutes into the show, we didn't notice them and they didn't really get in the way. I didn't feel that there was bad legroom (and my legs are too long for my own good!) but, to be honest, I was concentrating more on the show."

"B29 and 30: "Sweeney Todd" (March 2012). Upper Circle (why on earth there is such a high wall at The Adelphi I’ll never know – ridiculous! You could put barbed wire along the front and barricade yourself in up there!) View was excellent as people in front didn’t lean forward – though I did use the binoculars to see if I could figure out how they did the throat cutting!! Just interested in the stage craft ‘tis all – I don’t run a pie shop… I felt there was a good rake at the front, Row A seemed low enough to look over heads in front. £36.50 didn’t seem too greedy for a seat compared with other Upper Circle ticket prices I’ve previously paid… but perhaps just the lower side of £35 might have been a fairer price. Dress Circle probably best for this show – a lot happens upstairs, centre stage, in the Barber Shop and I can imagine that neck-craning might be an issue for sitting in the stalls..!"

"C12: (James). Felt very far away and people in front kept leaning forward to see which obscured my view too. Didn’t seem great value for money."

"C36: "Joseph". I didn't feel too far from the action at all, but my view of about a third of the stage on that side was obscured, partly by people in front and those on the side leaning forward. This seat is definitely worth avoiding if you want to see 'Close Every Door,' as I was only able to see the last couple of lines, when the action moved closer to the centre of the stage."

"Row D: "One Man, Two Guvnors" (November 2011). (Sophie W). £16 a ticket, and we had a perfect view of everything apart from about 3 minutes when the action was around the first couple of rows of the Stalls, but this didn’t detract from the show. In fact I think they could have charged a lot more for these seats, and as such they are a bargain."

"D18 and D19: Sweeney Todd" (February 2012). Offered a pretty reasonable view of the stage. Only the very front of the stage wasn't visible but this didn't matter as none of the action took place there so we didn't miss a single moment."

"D 22 and 23: "Love Never Dies" (February 2010). (Stephen). My friend was affected by the rake and had to hold the rail tightly while walking very gingerly to his seat. At 5ft 8 and 5ft 6 we are not tall, neither are we overweight, but the seats were very cramped. My friend's view was spoiled a bit by the leaners, but I was fortunate in that my view wasn't too bad. At £47.50 each these seats were not good value at all. At those prices, and very cramped seats, I won't be returning."

"F7 and 8: "The Bodyguard" (January 2014). The Monkey's seat plan shows F7 as red but F8 as white. Having sat in these, we would keep the Red Flag flying on both of them. I sat in 'red' seat F7 (being tallest so most likely to avoid view issues) and my wife in 'white' F8. From both seats we had clear view over the heads in front, but lost the front corner of the stage. Not a problem with this production (The Bodyguard), but if the stage was extended over the Orchestra Pit then it would become an issue. Leg room was adequate, but anyone taller than my 5'10" would be struggling after a while. It is worth noting the opera glasses are in front of F8 but did not cause an obstruction or loss of leg room."

"F33 and 34: Both my friend and I were happy with these seats and we found them comfortable with plenty of leg room space, and I am 5ft 7 and my friend is taller than me. View is perfect. The price is definitely worth it!"

"G16 and G17: "Love Never Dies" (February 2010). (Mrs Thomas). Priced at £47 each - which we found a bit on the high side considering where they were. Our view was OK but not recommended if your sight is a little weak, as you can't see the Phantom's makeup. Most people kept still throughout the performance until the end scene when most of the performers were at the very front of the stage and most people lent forward."

"Row H: "Sweeney Todd" (February 2012). (Taljaard, regular contributor). I bought a £20 ticket about 50 minutes before curtain up and was given tickets with a face value of £38.50 in row H of the Upper Circle. Apart from a few heads being cut off, excuse the pun, when actors are in the gantry the view was fantastic."

"H5: "Love Never Dies" (February 2010). The view was great, there is nothing that happens above the stage so the overhang for people downstairs should have been no problem. The leg room was fine for me and I am over six foot. There is nothing major that happens at either corner of the stage so there should be little restriction in the Dress Circle "restricted view" seats."

"H17 and 18: "Sweeney Todd" (February 2012). We paid £22.12 per ticket through an online promotion. At 6ft tall I thought the legroom was a bit tight but just about bearable. The seats were perfectly staggered with the row in front and apart from when those people leaned forward we had a fantastic view of the entire floor of the stage. However, we couldn't see the top halves of actors standing further back on the raised platforms but this wasn't really much of an issue to be honest at this price."

"Row K: (Kyrsty Mewett). I was sitting high up - row K in the Upper Circle, and though I didn't miss much from that position, I felt as though I was outside the action, and the actors were all performing to the lower levels, which is in complete contrast to other shows such as " Saturday Night Fever" and " Les Mis". Also, the fire exit sign was really bright, and the curtains leading out of the auditorium were left open."

"Row K: "Sweeney Todd" (February 2012). An uninterrupted view of the stage (apart from the very top and very front) but I was glad there were binoculars available!"

"K 3 and 4: A distant but clear view of the stage. Row J sits directly onto the aisle / corridor behind the front block of Upper Circle seats and there is a rail which I would think restricts the view from these seats. It didn't obscure our view in K even when we were sitting back."

"K7: End of row, with bar by left side - but only comfort intrusive rather than view which was good."

"K18: Not a bad seat! Probably the best of the cheaper seats at the back of the upper circle as there is nobody directly in front of you. The only thing bad is that it is a distant view. Still with the binoculars you can get a nice view of the facial expressions, which I used during some of the more intimate moments."

"K21: I am 5ft 6" and the rail was in my eye line in row K seat 21, the only way to see properly was to lean forward. The rail cuts through the legs of the performers. I would totally agree with your readers comment ' felt I was outside the action".

"M23: "Joseph." Had to lean forward but that's only because I had someone rather tall in front of me and I didn't want to miss a moment of Lee!!"

"N18: (James). right at the back of the Upper Circle.  For the money, the seat was very good value.  Worth noting that they also stick Lee (in "Joseph") on a platform and raise him up near the end so the people above the stalls get to see him closer up which is a nice touch seeing as many people will go to see it for him only."

"N24 and 25: "Joseph." (Tracey). had a safety rail in front of us which did not impede our view - we were far away from the stage but dead centre, so did not miss any action, nothing to block your view but stairs are steep and probably not good if you suffer from vertigo!"

"N25 and 26. (Pip). For a (almost) back row, the price is cheap and that is good. You can still see everything and in great detail. Not like some shows where the back row is dreadful. You can hear everything clearly too. The stairwell is by these seats and legroom is good. Seats are comfortable BUT do not have arms and I kept getting annoyed at that as I like to rest them when I sit. The rail in front did not ruin either seats view."

Row O: (Peter Kirby). We were in the back row of the Upper Circle for "Evita" (2006) and the only criticism is that "Don't Cry For Me" started too far upstage. The bonus was that we could see all the superb chorography patterns which you would not see from the stalls."

Row O (Christina Brooks): "Make sure you do not sit in the circle at the back - very poor and not worth compromising a good show."

"O 5 to 7. "Joseph." Until a tall big man sat in front of us the seats were amazing value for money, however with a large person in front of you they're not worth seeing the show for. We sat in seats 7 and 6 and stood at seat number 5 and swapped between us throughout the show to make it fair. Would have been great value for money if it wasn't for the restriction from the large person in front. The theatre did also not offer booster seats for anyone in the Upper Circle at the time (does now - editor)."

"O 37 to 39: These tickets are so high and far from the action as to be not worth doing, even when using opera glasses! The height made 2 of us feel extremely queasy for most of the show as your eye has to keep adjusting between looking at the ceiling (which we were perilously close to) and the stage miles below. Everyone seemed to have a big head which blocked the stage and we spent the whole performance craning our necks and moving from side to side for better views. The actors never included us in their gaze and it all became a bit boring... I am surprised the seating hasn't had a revamp as its not worth sitting in the last half of the Upper Circle at all as views are terrible."

 


Notes
Total 1500 seats.

Air-cooled auditorium. Not as effective as proper air conditioning, so be prepared for a hot and uncomfortable time in the height of summer, alas. To minimise the effects, seating in the front stalls is normally coolest as heat rises - and is also trapped in Circle overhangs. Just a bit of advice from someone in the theatre industry who has a grasp of physics...

Reader Victoria noticed that in June 2006 she was fine in Stalls E 15, and could feel the cool air, but people further back "mentioned that they were roasting." The better news is that by July, reader Gary reports that,
"I found the bar area a bit stuffy, but that was in the middle of a heat wave (the London papers actually reported it as a "5 day heat wave") and the theatre had an almost full house.  The auditorium (row D, Dress Circle) was at a perfectly comfortable temperature and I think, perhaps, air conditioned."

Another reader says,
"It was so hot in this theatre last Thursday matinee (24 May 2007) that my husband and I had to leave at interval - hugely disappointing but he was just not feeling at all well in the atmosphere.  My advice is to avoid this theatre during summer matinees - perhaps all summer?"

The theatre is air-cooled still, but more effective in some parts of the theatre than others, according to the venue.

Food: Ice Cream and confectionery available.

Four bars. Side and rear stalls, Dress Circle and Grand Circle. One reader notes that if seated in Stalls row AA: 
"The front row seats give you easy access to the bar at the front of the theatre on the left, which was little used at the interval, and much more civilised than getting crushed in the main bars."

Infrared loop for the deaf. Headsets can be rented for this. Some signed and audio described performances. Guide dogs can be dog-sat. Wheelchair spaces in stalls with a restricted view. Wheelchairs also have their own slope up from the street to the foyer, with automatic doors at the top to allow the user inside easily - and a low box office counter for chair users is also available. Fuller details 0844 412 4648.  www.theatre-access.co.uk. or Artsline on 020 7388 2227, e-mail artsline@dircon.co.uk. A "venue access guide" from the team who created book "Theatremonkey: A Guide to London's West End," is available to download in PDF format by clicking here.

10 toilets in all; Side Stalls bar 1 Gents cubicle 5 ladies cubicles, Rear stalls bar 1 Gents cubicle. Ground floor foyer 3 Ladies cubicles and a disabled unit, Dress Circle bar 1 Gents cubicle 6 Ladies cubicles, Grand Circle 1 Gents cubicle 6 Ladies cubicles in 2 restrooms.

In January 2012 a reader noted, "Despite its paint job the Adelphi has something down at heel about it. (And the loos are an aberration – all two working cubicles of them.)" Another, in May 2012 felt, "Only down side of the whole (theatregoing) experience was the Ladies toilets, which left a lot to be desired."

This theatre is haunted by the ghost of Mr. William Terriss, an actor tragically murdered in 1897. The gentleman also haunts Covent Garden underground station.


 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Getting to this Theatre
Find this theatre on a Street Map. The Adelphi is the blue square to the left of the arrow on this map.
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Charing Cross - Bakerloo (brown) and Northern (black) lines. Also Main rail network terminus.

Leave the station by following signs from the platforms to the STRAND street exits. Walk straight ahead into the underground shopping arcade and keep going straight on into the light. If, underground, you pass Davenports Magic shop, turn around and walk the other way.

Take the left-hand staircase up to street level. In front of you is a very busy road, the Strand. Brook Street Employment Agency must be on your right as you face the road.

If you see a sidestreet, with Brook Street Employment Agency on your left, turn around and walk towards the busy road instead - you took the wrong stairs.

Turn to your right and walk past Brook Street Employment Agency, keep walking towards the pedestrian crossing. The theatre is on the other side of the road and clearly visible as you walk.

If you pass the main station and see a large space full of taxis, you are going the wrong way. Turn around and head for Brook Street Employment Agency.

For mobility impaired audience members, the Society of London Theatre provide a "photo map" - illustrated walking route to this venue from a near landmark and also Waterloo Station (the nearest fully accessible station) on their website www.officiallondontheatre.co.uk, via the theatre's listing page on that site.
 

Buses:
6, 9, 11, 13, 15, 30, 77A, 176. All stop outside the theatre.

 

Taxi:
A rank for Black taxis is at Charing Cross Station - a short distance from the theatre, if you cannot hail one in the busy street outside the venue.


 

Car Park:
Trafalgar Square Spring Gardens.

From the car park, turn up the road on the left to bring you on to Trafalgar Square. Face Nelson's Column and turn to your right. Cross Whitehall and Northumberland Avenue (you'll pass a branch of Tesco and a bookshop), and walk on towards Charing Cross Station, passing more shops on the way.

Once past Charing Cross station forecourt, cross at the next pedestrian crossing. The theatre is on the other side of the road and clearly visible as you walk.

The "Theatreland Parking Scheme" may be available. Call Q-Park car parks on 0870 442 0104 or see http://www.q-park.co.uk for details. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost. Spaces CANNOT be reserved at these prices, so choose whether you would prefer to book and pay more, or use this scheme.

If you choose the "Theatreland Parking Scheme", you must get your car park ticket validated at the theatre's box office counter (the theatre attendant will insert the car parking ticket into a small machine which updates the information held on the magnetic strip on the reverse, thus enabling the discount). When you pay using the machines at the car park, 50% will be deducted from the full tariff. You may park for up to 24 hours using this scheme and it is endorsed by the Society of London Theatre.

For a full list of car parks and theatres that participate in the 50% off theatreland scheme see http://www.q-park.co.uk.
 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

 

 

 

 

 

 

 

 

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