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APOLLO VICTORIA THEATRE


 

 

 
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(1)

(1a)
WICKED (musical)
Captioned performance: 19th September 2014 at 7.30pm
Signed performance: 26th September 2014 at 7.30pm
 

If you cannot see the video clip above, please check your browser is permitting "ActiveX" to run - IE users should see the yellow ribbon at the top of your browser window.

Ever wonder what the real Elphaba, the Wicked Witch of the West, was like?

Back before Dorothy's house turned her sister into Yellow Brick Road-kill, and Dorothy gave her a shower, Elphaba was a student just trying to do what was right.



(Photo credit: Matt Crockett).

 



From Monday 18 November 2013, the complete London production of Wicked is: Savannah Stevenson (Glinda), Jeremy Taylor (Fiyero), Sue Kelvin (Madame Morrible), Martyn Ellis (The Wizard - pictured above, in costume and with Willemijn Verkaik as Elphaba. Photo credit: Matt Crockett), Paul Clarkson (Doctor Dillamond), Sam Lupton (Boq), Katie Rowley Jones (Nessarose), Emma Hatton (Standby Elphaba), Sophie Linder-Lee (Standby Glinda), Florence Andrews, Kyle Anthony, William Bozier, Oliver Brenin, Lauren Brooke, Philippa Buxton, Philip Catchpole, Aisling Duffy, Samuel Edwards, Kerry Enright, Michelle Francis, Jacqueline Hughes, Melissa Jacques, Marc McBride, Stacey McGuire, Natalie McQueen, Greg Miller Burns, Tom Muggeridge, Rachel Muldoon, Sean Parkins, Charlie Stemp, Lauren Stroud, Lindsay Taylor, Justin Thomas, Hannah Toy, Matt Turner, Russell Walker and Jenny Wickham.


Kerry Ellis takes over as Elphaba until 25th October 2014. Kerry Ellis will NOT appear at performances on 19th August, 27th September, 2nd to 10th October inclusive, 14th, 15th and 16th October and 18th October 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. Photo credit: Matt Crockett.


From Monday 27 October 2014 joining the cast are Liza Sadovy (Madame Morrible) and Philip Childs (Doctor Dillamond).  Savannah Stevenson (Glinda), Jeremy Taylor (Fiyero), Martyn Ellis (The Wizard), Sam Lupton (Boq), Katie Rowley Jones (Nessarose), Emma Hatton (Standby Elphaba) and Sophie Linder-Lee (Standby Glinda) all continue in their roles.
 


 


(2)
This is the story of her college years,


(3)
meeting Glinda,


(4)
a campaign for animal rights and the lonely struggle with the fact it is no fun being green...


(5)
and in love.


(6)
Wizard or not.

Stephen Schwartz provides the music and lyrics based on a novel by Gregory Maguire. Winnie Holtzman provides the musical book, Eugene Lee the scenery, Susan Hilferty costumes, with Joe Mantello directing and Wayne Cilento credited for musical staging. The monkey's Great Uncle Ex-Squadron-Leader Wilberforce would also like credit for training the flying monkeys, apparently... even though he didn't.

 

Photographic credits for above: (from the current / Past London casts of this production)
(1)
Elphaba 2011 London Cast.
(1a) Defying Gravity 2014 London Cast.
(2) Dianne Pilkington and Oliver Tompsett. Photo by Tristram Kenton.
(3) Glinda 2011 London Cast.
(4) Idina Menzel and Company. Photo by Tristram Kenton.
(5) Fiyero 2011 London Cast.
(6) Nigel Planer and Idina Menzel. Photo by Tristram Kenton.
All photographs are copyright of the production and photographer as credited. Please note that these photographs are used by permission. They MUST NOT be reproduced on other websites without permission of the above mentioned copyright owners. Theatremonkey.com will report any abuse of these photographs to the licensee.

PLEASE NOTE: For copyright reasons, information and graphics on this page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed. 

View video clips about this production.

Hear the show: a dedicated SoundCloud channel has been created to showcase snippets of the incredible music by multi GRAMMY® and Academy Award® winner Stephen Schwartz. You can take a look at the channel here: https://soundcloud.com/wickeduk/ for a taste of some of the show-stopping tunes from the musical?

Also, are the links to the individuals songs on the SoundCloud channel:
https://soundcloud.com/wickeduk/the-wizard-and-i
https://soundcloud.com/wickeduk/for-good
https://soundcloud.com/wickeduk/defying-gravity
https://soundcloud.com/wickeduk/as-long-as-youre-mine

Also worth knowing is that WICKED, the global musical phenomenon that tells the incredible untold story of the Witches of Oz, is now on a major tour of the UK and Ireland. (Cast of UK Tour below. Photo credit: Matt Crockett, used by kind permission).

Tour dates include:
Southampton Mayflower Theatre (Tuesday 21 October 2014 until Saturday 15 November 2014). of Oz, When tickets went on public sale on Tuesday 1st October 2013 it set a new Box Office record for an on-sale with 5284 tickets booked on the first day. Ticket buyers had waited in line at the Box Office from 5.15am. The previous record was held by The Phantom of the Opera with 4376 tickets booked in one day.
Liverpool Empire Theatre (16 September to 11 October 2014)

Southampton Mayflower Theatre (21 October to 15 November 2014)
Edinburgh Playhouse (19 November 2014 to 10 January 2015)
Plymouth Theatre Royal (20 January to 14 February 2015)
Bristol Hippodrome (18 February to 21 March 2015)
Sunderland Empire Theatre (31 March to 25 April 2015)
Aberdeen His Majesty’s Theatre (5 to 30 May 2015)
The Lowry in Salford (3 June to 25 July 2015).
Tickets are now on sale at all venues.
The tour cast will be: Nikki Davis-Jones (Elphaba), Emily Tierney (Glinda), Liam Doyle (Fiyero), Marilyn Cutts (Madame Morrible), Dale Rapley (The Wizard and Doctor Dillamond), Carina Gillespie (Nessarose), George Ure (Boq), Jemma Alexander (Standby Elphaba), Lee Bridgman, Chrissy Brooke, Richard Carson, Harrison Clark, Jeanine Dinger, Tim Edwards, Howard Ellis, Natasha Ferguson, Zoe George, Lia Given, Natalie Green, Charlie Harding, Katie Kerr, Robert Kershaw, Will Knights, Sophie Leigh-Griffin, Candy Marriott, Oliver Metzler, Wendy-Lee Purdy, Julienne Schembri, Grant Thresh, Ed White and Helen Woolf.



The London production continues its record-breaking run at the Apollo Victoria Theatre. It played its 3000th performance at London’s Apollo Victoria Theatre at 2.30pm on 16th November 2013. In August 2014, it surpassed the run of "Me and My Girl" to become the 14th longest-running musical in West End theatre history.

 


On Thursday 24th July 2014 the show proudly welcomed its 6 millionth theatregoer when Owen Thomas attended the performance with Stephanie Willingham, both from Bury St. Edmonds, and enjoyed a backstage visit with the cast after the show. (photographs above, credited Andrew Fosker, used by permission).

In June 2014, Executive Producer Michael McCabe said: “We are extremely proud to be joining such legendary shows as The Mousetrap, Les Misérables and The Phantom of the Opera as one of the 10 longest running productions in the West End. It is an incredible new milestone for Wicked and we greatly appreciate the continuing support of theatregoers.”
 

WICKED is pleased to reveal a brand new video from the open auditions for the West End 2013/14 Company and UK & Ireland Tour Company that were held during April 2013 at Pineapple Studios, London:
 





Thursday 7 August 2014: The Wicked Young Writers’ Award announced its winners for 2014 at a prestigious ceremony at the Apollo Victoria Theatre.

The winning and highly commended entries included stories and poems about bullying, love, dementia and memory loss and the traumatic effects of war. This year the award received over 5000 entries from individuals and schools all across the UK and Northern Ireland.

The ceremony was hosted by Savannah Stevenson who stars as Glinda, and prizes were presented by Michael Morpurgo, best-selling author of War Horse and Chair Judge of the Award. The Award’s judges, Michael McCabe, Executive Producer of Wicked, and performance poet and writer Dean Atta, also attended the ceremony. HRH The Duchess of Cornwall is Patron of the Award.


In addition to performing musical numbers from the hit show, Wicked cast members also performed readings of the winning entries, revealed as: Liya Khan, age 6 from Birmingham, joint-winners Susanna Tredinnick, age 10 from Harpenden and Caitlin Wilkins, age 10 from Windlesham, Surrey, Rhian Hutchings, age 14 from Pontardawe, and joint-winners Freya Carter, age 15 from Sheffield, Zainab Abbass, age 15 from Sheffield, and, Chris Pritchard, age 23 from Gloucester. (Photo credit: Dan Wooller).

The Award judges chose the winners from over 5000 entries from individuals and schools across the country, revealing a wide range of different voices and themes. In the younger categories, the entries were funny, scary and surprisingly complex: an alien helps a lonely little girl with cerebral palsy make new friends; a bully is given a dose of his own medicine; a happy, greedy Venus flytrap devours the world; and a surprisingly funny and mature poem about Albert Einstein. The older age categories’ entries ranging from 11-17 year-olds, peopled with characters ranging from soldiers suffering with PTS to unwed teenage mothers, used sophisticated imagery and language to explore alienation, death, self-harm and struggling to conform without losing one’s identity. The eldest 18-25 year old category was surprisingly mature, unselfconscious and insightful, providing a first look at the emerging voices of a new generation: moving, dark and sometimes playful themes comprised of repressed sexuality, love, murder and dementia. This is writing directly from the heart, trying to make sense of a complicated world.

During the ceremony, Dean Atta led an interactive literacy workshop titled “My Wicked Poem”; prompted by the show’s theme of friendship, the audience of 100 shortlisted finalists and their guests created a brand new piece of creative writing in just 20mins.

The long-running West End show launched the Award in 2010 to recognise excellence in writing, encourage creativity and help develop writing talent in young people between 5 and 25 years of age from across all backgrounds and areas of the UK.

Michael Morpurgo said of this year’s Award. “All these talented young writers have allowed their imagination to live and breathe. They haven’t been afraid to tell their stories and speak their poems down and to express themselves with originality and flair.”

Wicked’s Executive Producer Michael McCabe said: “We've been inspired and excited by the creative skills and extraordinary pieces that we've received this year. Congratulations to our 2014 winners, and we now look forward to encouraging even more young people across the country to express themselves through writing.”

The shortlisted finalist entries from the 5-17 year old age-categories have been published in an anthology celebrating the 2014 Wicked Young Writers’ Award. The shortlisted entries from the 18-25 year old age category have been published in an e-anthology downloadable from the Wicked Young Writers’ Award website (www.wickedyoungwriters.com)

The Wicked Young Writers’ Award has also been working with the National Literacy Trust for two years on a programme of joint events at literary festivals and conferences to highlight both reading and writing skills amongst young people.



Discover more at www.WickedYoungWriters.com.

Discover more at: www.wickedthemusical.co.uk
Like: www.facebook.com/WickedUK
Follow: www.twitter.com/WickedUK
 


 

Theatremonkey Opinion:

This review refers to the original cast. Casting has now changed.
"Lyrics and music and book, oh my!" Proof, if proof were needed, that the old-fashioned Broadway musical isn't dead. The story is basically the traditional "green girl wants boy, boy wants yellow girl" ending with green girl turning boy yellow, and yellow and green girl settling their differences - with some animal rights stuff and zingy one liners thrown in. The satisfaction is in the neat dovetailing with the classic film - find out how the well loved characters became what they are; the downside is overlong sequences that look great but add twenty minutes of ballast to the proceedings.

This is very much a show of two halves. The first has Winnie "My So Called Life" Holzman channel female adolescence with acuity once again. If business starts to slip, producers should re-paint the theatre walls powder pink, replace seats with furry-toy strewn beds and provide free popcorn, cosmetics and a pizza delivery service. Very much attuned to the sleepover crowd, the fun "Popular" and 'I wish' numbers "The Wizard and I" and "I'm Not That Girl" are arrows to teenage hearts. Once the director realises "Popular" works way better with an American air-head accent than it does with a British spoof-Sloane one, it'll be the perfect "DVD night in" substitute. That isn't to say Helen Dallimore should be upset by frank analysis, but the director should consider the show in need of personality dialysis and restore it to the original (United States) state at the next cast change. Oh, and that line is probably the "wittiest" in the show - you can almost hear Sondheim scream as it is sung.

Act two grows progressively darker, and the resolutions come late into it. Tighter than act one, and noticeably more adult, it eschews the clumsy shifts of place for a smoother cinematic feel but feels rushed to ensure the show comes in at the sub-three hour mark. The searing "As Long as You're Mine" and insightful "For Good" deserved time that "Wizomania" pointlessly occupies and could have turned a good show into an unforgettable one. Time to contemplate motives, cause and effect are limited, and the monkey would have appreciated more of it spaced through the production.

Expensively staged, occasionally buckling under its own spectacular mass, set (Elphaba could perhaps have flown properly had there been space) and a desire to give the audience every penny of the production costs in spectacle over substance, this is the golden era of musicals brought into the 21st century. Those old musicals had their faults, as does this, but ultimately a show succeeds on how deep its songs and images engrave themselves in the memory. Probably too crass for the current "post war" musical lover (though Schwartz produces some of his best work here), Wicked will still worm its way into the affections of many - younger people especially - perhaps ultimately ending up as a "standard" in fifty years time. As the dragon signifies, it is time that tells, and this show is mostly worthy of the audiences' hours. 
 

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

The latest reader reviews received are below. For earlier ones, click here. Note that some reviews may refer to previous cast members who have since left the show.
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H43 and H44: Having read the reviews on the website I was hopeful that despite the tickets being ‘Limited View’, I would still see most of the show and it wouldn’t spoil my enjoyment. I would say that although our overall enjoyment of the show was not spoilt and we got the jist of the story, it should be pointed out that we did miss any action at the back of the stage (including, I believe, some projections of images that we completely missed) and a lot of the staging of the cast meant that we saw a LOT of the backs of people’s heads (so missed their facial expressions). There is also a spiral staircase on this side of the stage that blocks the view of the back of the stage. If you know these facts and you don’t mind missing some bits then, at £25 each, I would say it’s still worth the money if you know what to expect.

Nicola.
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Having checked with your website, I booked stalls N 44-46 and your reviewer was right they were great seats. We couldn't quite see the far left hand side of the stage - but that didn't really matter as nothing much happened there. Think the theatre have been reading your reviews as tickets were £32.50, but still great value for money.

Lynn.
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January 2013. Very good show, got a ticket from GILT late on for £35 so can't complain. Thought it was a nice theatre inside, reminded me of the Dominion a lot. Thought the single foyer set up was rather poor though, everyone having to cram in and just wait for the doors to open half an hour before, couldn't see why they couldn't let people in earlier. Shame they only do the big £7 programmes there...boo.

Stalls ZA38 - Very good view from here, it is nowhere near as far back as you fear from the seating plan. The overhang is quite high so you don't lose anything of the actual stage at all. The dragon that sits on top of the stage is partly obscured, but it hardly moves anyway so not a problem. Leg room is quite good back here for the 6ft plus, with this being an aisle seat it is better as well. This would also be a good seat for kids or shorter people, as the rake means that there is no one sat directly in front of you in the line of sight to the stage. I got it on the GILT offer so great value, if you were paying full price you would naturally want to be a bit further forward, somewhere around Q would be perfect probably for Wicked. However if you get offered a discounted ticket for ZA then go for it, it is still a very good view.
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We sat in the dress circle seats C31 - 33 for the matinee performance on the 21st February 2013 (£62.50 seats). The seats have a good rake and are offset, so we had a good view of the main stage at all times, including the sets and action that takes place above the stage. The seats were comfortable and had adequate leg room. Our view of performers on the 2 smaller stages projecting towards the audience were sometimes restricted by people leaning forward over the wall in row A, causing those in row B to do the same! However, these stages are not frequently used, so it was a minor irritant.

Booster cushions seemed to be available for smaller children.

One word of caution for ladies - expect a long queue for the toilets at the interval! Some were returning after the show had resumed.

The show is very colourful, with lots of movement and changing sets, and the singing was good rather than outstanding. Due to events at the end of the show I think it is an advantage if everyone is aware of the Wizard of Oz story, as it then makes more sense. Although we enjoyed the show, we didn't find the songs memorable, and left the show feeling a little underwhelmed.

Frank.
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Caution: this show is not suitable for audiences over 30 unless accompanied by a youngster.

Unless you are of the generation for whom ‘wicked’ means ‘excellent’, this very popular musical is unlikely to delight. Clearly Wicked has a huge international fan base, but a charming, intimate, theatrical experience it is not. The Apollo Victoria is a massive barn of a theatre (2500 seats) into which hordes of youngsters are herded, and the resulting atmosphere in the auditorium is one of barely contained, squealing excitement.

We went in February 2013 and sat in D15, 16 and 17: the side block of the front stalls, almost in line with the side of the proscenium. The auditorium is very wide, so we had to look well over to our left to see the action. While D17 provided an excellent view down the aisle, in D15 the head of the person in front totally obscured centre stage. This was exacerbated by the inability to look through gaps, and the lack of rake: row D appeared lower than row C. We may have been particularly unlucky, as the patron in C16 was large, but it did ruin the evening and, after swapping seats at the interval, two of us each saw only half the show! Additionally, the ladies’ toilet facilities are inadequate for the huge, predominately female, audience.

The show itself was a disappointment. The set was impressive, but we were underwhelmed by the songs, of which ‘Defying Gravity’ and ‘Popular’ were the best in an otherwise unmemorable score. The principles belted out their songs, and Gina Beck as Glinda was subversively winsome with the best one-liners, but overall the show left us unmoved, with a particularly uninspiring chorus.

Clearly, we were not the target audience, and the performance appeared to be enjoyed by the groups of young Americans and Orientals who cheered and whooped. I am not averse to a ‘young’ musical – I loved 'Legally Blonde' – but 'Wicked' had neither its energy nor its fun. Hence my opening caution: this show is for the X Factor generation.
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Very spontaneously, on a Friday night we decided to catch some tickets for 'Wicked.' After running our feet down, we got some for Stalls ZA 1 and 2. The guy at the ticket booth told us, that these seats are premium seats! ( But more about this later). The fact is, you are pretty far away from the stage. The sound is crystal clear, you're able to overview the whole stage, and what's going on up there and you're able to see the actors/witches faces but not really their expressions.

I was a little bit distracted by the candy shop, hidden behind the curtain, next to me. I was able to smell those yummy yummy sweet temptations during the show, which kicked me out of OZ from time to time!

Back to the ticket booth guy: lovely fellow with a joke on his lips for every customer. Maybe he made a joke when he told us about those premium seats. They are nothing like that. Of course they are OK, ( we paid a fair value), but, as the monkey said, there may be better seats for the same price.

Martin,
Austria.
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I took some friends to see Wicked on the 24th June 2013 as a very impromptu do. We bought the tickets on the day and not much was left over. Just some "limited view" seats for £25 behind a stairwell up in the circle. I was in seat S34 so not the row directly behind stairwell wall thing. No one really had any problems seeing the show. The only thing I can think of causing the "limited view" is the occasional people going in and out via the stairs. The seats are far but no problems enjoying such a big show from up here.

Last time I saw the show I was in the front stalls and I can honestly say I enjoyed it more up here. Perhaps its the technical theatre geek within me but the lighting in Wicked focuses quite a lot on patterns projected on the stage floor. Something you miss when viewing from the stalls. Overall definitely worth the price, no qualms from my friends either.
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"ZA6 and ZA7 for watching Wicked. We were at the matinee performance on Saturday 1st February 2014.

We (husband and I) got these tickets for £40 each on the GILT offer so didn’t pay full price. We were delighted with the view for the price we paid. Although slightly off-centre we felt that both seats gave a great view of the stage. We could just about see the moving dragon at the top of the stage so didn’t feel that the overhang of the circle got in the way at all. None of the rest of the stage was obscured in any way.

The seats in the rear side stalls are both raked and slightly offset so you are not directly behind the person sitting in front and you are slightly higher up. Legroom was not amazing but just about sufficient. We found ourselves just about the right level to look onto the stage, which is set quite low, although we could understand how smaller children would struggle to see as the rake is not that steep (booster cushions are available which seemed to help the small child in front of us). We were also far back enough to take in the overall effect of the staging and production, which is visually spectacular. We could not quite make out detailed facial expressions, so perhaps the best seats are slightly (but not a lot) further forward – perhaps the front centre circle seats or stalls centre row Q - to get the best of both worlds (detail and overall effect).

My overall impression of the theatre itself was largely good. The foyer is very small for the number of people coming in, though we managed to find a spot to stand in reasonably comfortably. I liked the relatively informal feel – the bars and snack stands are easily accessible in the auditorium and drinks, snacks etc can all be taken into the show. The one real negative point is that there are simply nowhere near enough ladies toilets for the (predominantly female) audience and they are all located on one side of the building – the far side from where we were sitting. I managed to get into the pre-show queue quite early on and only had to wait a few minutes, but after I came out and at the interval the queue was just enormous.

Oh, and since it was a matinee, we were not expecting any of the cast to come out before the evening show. However, as we were walking out past the stage door, Jeremy Taylor (currently playing Fiyero) popped out and was very willing to sign a few programmes – a lovely end to the whole Wicked experience!
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I went to see Wicked today (19th February 2014) with my 7 year old daughter, and we sat in seats ZD38/39, which cost £35 each plus commission.

I had to write and say how wonderful these seats were for the price. My daughter, who is an average sized 7 year old (not tall) sat in ZD38 which was an aisle seat....without a booster cushion....and had a totally unrestricted perfect view. We were admittedly a little far back but for the price I thought these seats were fantastic, especially considering that the "mirror" seats on the other side of our aisle (but in one of the two central blocks) were selling for £10 extra.

Plus the show was absolutely amazing !

Mary.
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I have been attending the theatre for more years than I care to remember, anything up to a dozen times a year (and sometimes more). I am, to respond to another reviewer’s comment, definitely over 30 and most certainly not of the ‘X-Factor generation’. Yet of all the shows I have seen, the one I love above all is ‘Wicked’.

Based on Gregory Maguire’s book of the same name, ‘Wicked’ takes the story of the Wizard of Oz and turns it on it’s head as it tells the tale from the angle of the two witches, Glinda the Good and Elphaba the Wicked Witch of the West. Where I found the book disappointing, Winnie Holzman’s storybook of the show is far tighter and the narrative structure makes much more sense.

The first half of the show is mostly lighter and contains most of the comedy moments and more amusing numbers (and also contains the two most famous songs ‘Popular’ and ‘Defying Gravity’), dealing as it does with how the two young girls first meet and, from a place of pure loathing they come to form a firm friendship that culminates in their trip to the Emerald City and the chance to achieve their heart’s desires.

But they find there is a heavy price to pay...

The second half is far darker, as the girls’ lives move apart and take a very different direction, before coming back together for the final showdown. The Green Girl definitely has the best of the songs this time around (including one of my favourite songs ‘No Good Deed’), but the two leads share the beautiful and tender ‘For Good’.

I believe ‘Wicked’ balances dark and light perfectly. It gives a lot of spectacle and big scenes for the younger audience, and a classic romance (if you consider ‘green girl meets boy, boy chooses blonde girl but falls for green girl after all’ a classic romance!). But it also deals with adult issues; prejudice, suppression of free speech and the misuse of the media for propaganda are all contained therein.

At it’s heart, ‘Wicked’ is an old-fashioned Broadway musical. And old-fashioned Broadway musicals need big numbers. But it contains gentle songs as well, such as the aforementioned ‘For Good’. The true test of a score is whether the songs are memorable; and in the case of Stephen Schwartz’s ‘Wicked’ score, two of the numbers (‘Defying Gravity’ and ‘Popular’) have gone on to be known in their own right, outside of the musical arena.

I find myself lost in the show; I have always been so caught up in the performance that it took me until the fourth visit to remember to check out the scene change in the lead up to ‘No Good Deed’! ‘Wicked’ just grabs hold of me and keeps me hooked in a way no other show has managed (with the exception of the sublime and beautiful ‘Once’).

But as a huge fan of the show, my views could well be considered biased. So perhaps the best way to explain the appeal of ‘Wicked’ is through different eyes. Like the gentleman sitting behind me on my last visit, who got the humour in the show immediately and was laughing out loud. At the interval he turned to his companion and said “Isn’t it marvellous?”, followed by “That was wonderful” (an accidental pun that occurs all too often) at the end. Or the four girls (in their mid-20s I would guess) sitting in front of me on another occasion, all grinning sheepishly at one another as they realised they had all been weeping openly as Glinda and Elphaba said their goodbyes in ‘For Good’.

But the memory that sums up the appeal of the show comes from a girl of perhaps 10 or 11 who was sat beside me the first time. We were approaching the final scenes and she went to take a sip from her water bottle. But became so captivated she froze in position, totally caught up in what was happening on the stage, water bottle held just an inch from her mouth.

Any show that can have that effect is, my friends, by any use of the vernacular, ‘Wicked’.

Bob Pickett.
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I went to see Wicked on Saturday the 7th of September 2014 and sat in row O seats 34-37 in the stalls. These seats gave a perfect view of the whole performance and were OK priced at £60 each as well. The theatre was packed but the air con was on for most of the performance.

Now to the show, this is the fourth time I have seen the show (twice on tour) and it just keeps getting better and better, it was also a treat to see Kerry Ellis again who is back in the role of Elphaba, I know some have slated her in online forums for not being as good as her last run, but we have to remember she has been out of the show for a few years and is also a new mum as well. All of the cast were fantastic and the audience was extremely well behaved with no talking throughout the performance.

And finally to the theatre staff, what a fantastic team of people who were very pleasant and helpful which really makes a difference to the whole experience of going to the theatre.

________________________________________________________________

A great "Fan" Site for this production is available at www.wickedwestend.co.uk 

Another great "Fan" Site is available at www.wickeduk.co.uk. In particular, the monkey felt the advice on this site for those wishing to stand in line for "Day Seats" is VERY much worth reading http://www.wickeduk.co.uk/v2/index.php?id=ecdaytickets.

 

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 2.30pm and 7.30pm

Runs 2 hours 50 minutes approximately, with one 20 minute interval.

Extra 2.30pm performances on 22nd, 23rd, 29th and 30th December 2014, 19th February 2015, 9th April, 20th, 27th and 29th October 2015.
 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form


UNTIL 25th APRIL 2015:
All Monday to Thursday (except
"peak week") performances:
Stalls: 
Front section:
Centre block:
Rows B to P: £65 except
row F 22 to 31 and rows H to L 18 to 31 designated "premium," priced: £90

Side blocks:
Rows B to P: £65 except
Row E 36, 37; F 36, 37, 38; G 38, 39; H 39, 40; J 39, 40; K and L 39, 40, 41; M to P 40, 41: £55
Row F 9, 10; G 8, 9; H 7, 8; J 6, 7; K and L 4, 5; M 4, 5; N to P 3, 4: £45
Row C and D 36, 37; E 38, 39; F 39, 40; G 6, 7, 40, 41; H 5, 6, 41, 42; J 4, 5, 41, 42, 43; K 3, 4, 42, 43, 44; L and M 2, 3, 42 to 45; N to P 1, 2, 42 to 46: £35
Row B 11 to 14; C 10 to 13; D 9 to 12; E 8 to 11; F 7 and 8: £30
Row B 36, 37, 38; C 38, 39; D 38, 39, 40; E 40, 41; F 41, 42; G 42, 43; H 43, 44; J 44, 45; K 45, 46; L and M 46, 47; N to P 47, 48: £25

Rear section:
Rows Q to Z 5 to 42: £65 except
row Q 18 to 29 designated "premium," priced: £90
Rows Q to Z seats 1 to 4, U to X 43 and 44; Y and Z 43 to 46: £55
Rows ZA to ZD: £55
Rows Q to T 43 to 46; U to X 45, 46: £35
Rows ZE and ZF: £45

 

Dress Circle:
Front section:
Central and both side blocks:

Rows A to F: £65 except
rows B to E seats 8, 9, 38 and 39: £45
row A 2, 3, 44 and 45; B to D 1, 2, 45 and 46: £35

Middle section:
Central block:
Rows G and H: £65
Rows J to M: £55
Rows N and O: £45

Side blocks adjacent to central blocks:
Rows G to M 18, 19, 34 and 35: £55
Row G 5 to 12 and 41 to 48; H 6 to 12 and 41 to 47; L and M 12 to 17 and 36 to 41; N and O 12 to 19 and 34 to 41: £45
Row J 6 to 11, 42 to 47; K 6 to 10, 43 to 47; L to O 6 to 11 and 42 to 47: £35
Restricted view rows G and H 13 and 40; J 12 to 17 and 36 to 41; K 11 to 17 and 36 to 42: £25

Side blocks furthest out:
Rows L to O: £25

Rear Section:
Central block:
Row P to S: £35
Rows T to W: £25
Rows X and Y: £15

Side blocks adjacent to central blocks:
Rows P to S: £30 except
Restricted view row R seats 16 to 20 and 31 to 35: £15
Restricted view row S seats 16 to 20 and 31 to 35: £25
Rows T to W: £25
Rows X and Y: £15

Side blocks furthest out:
Rows P to W: £25 except
Rows P to W seats 1, 2, 49, 50; P and Q 6, 7, 44, 45: £15
Row X: £15

 

 

 

All Friday Evening and Saturday Afternoon (except "peak week") performances:
Stalls: 
Front section:
Centre block:
Rows B to G: £65 except
row F 22 to 31 designated "premium," priced: £90
rows H to P 18 to 31 designated "premium," priced: £90

Side blocks:
Rows B to P: £65 except
Row E 36, 37; F 36, 37, 38; G 38, 39; H 39, 40; J 39, 40; K and L 39, 40, 41; M to P 40, 41: £55
Row F 9, 10; G 8, 9; H 7, 8; J 6, 7; K and L 4, 5; M 4, 5; N to P 3, 4: £45
Row C and D 36, 37; E 38, 39; F 39, 40; G 6, 7, 40, 41; H 5, 6, 41, 42; J 4, 5, 41, 42, 43; K 3, 4, 42, 43, 44; L and M 2, 3, 42 to 45; N to P 1, 2, 42 to 46: £35
Row B 11 to 14; C 10 to 13; D 9 to 12; E 8 to 11; F 7 and 8: £30
Row B 36, 37, 38; C 38, 39; D 38, 39, 40; E 40, 41; F 41, 42; G 42, 43; H 43, 44; J 44, 45; K 45, 46; L and M 46, 47; N to P 47, 48: £25

Rear section:
Rows Q to ZB: £65 except
rows Q to T 18 to 29 designated "premium," priced: £90
Rows ZC and ZD: £55
Rows Q to T 43 to 46; U to X 45, 46: £35
Rows ZE and ZF: £45

 

Dress Circle:
Front section:
Central and both side blocks:

Rows A to F: £65 except
rows B and C 14 to 19 and 28 to 33 designated "premium," priced: £90
rows B to E seats 8, 9, 38 and 39: £45
row A 2, 3, 44 and 45; B to D 1, 2, 45 and 46: £35

Middle section:
Central block:
Rows G to K: £65
Rows L to O: £55

Side blocks adjacent to central blocks:
Rows G to O 18, 19, 34 and 35: £55
Row G 5 to 12 and 41 to 48; H 6 to 12 and 41 to 47; J 6 to 11, 42 to 47; K 6 to 10, 43 to 47; L to O 12 to 17 and 36 to 41: £45
Rows L to O 6 to 11 and 42 to 47: £35
Restricted view row K 11 to 17 and 36 to 42: £35
Restricted view rows G and H 13 and 40; J 12 to 17 and 36 to 41: £25

Side blocks furthest out:
Rows L to O: £25

Rear Section:
Central block:
Row P to T: £30
Rows U to X: £25
Row Y: £15

Side blocks adjacent to central blocks:
Rows P to T: £30 except
Row T 15 to 20 and 31 to 36: £25
Restricted view row R seats 16 to 20 and 31 to 35: £15
Restricted view row S seats 16 to 20 and 31 to 35: £25
Rows U to X: £25
Row Y: £15

Side blocks furthest out:
Rows P to W: £25 except
Rows P to W seats 1, 2, 49, 50; P and Q 6, 7, 44, 45: £15
Row X: £15

 

 

All Saturday Evening and "peak week" performances. "Peak Week" dates include: 27th October to 1st November 2014:
Stalls: 
Front section:
Centre block:
Rows B to G: £67.50 except
row F 22 to 31 designated "premium," priced: £95
rows H to P 18 to 31 designated "premium," priced: £95

Side blocks:
Rows B to P: £67.50 except
rows G to P 12 to 17 and 32 and 33 designated "premium," priced: £95
Row E 36, 37; F 36, 37, 38; G 38, 39; H 39, 40; J 39, 40, 41; K 39 to 42; L 39 to 43; M to P 40 to 43: £55
Row C and D 36, 37; E 38, 39; F 9, 10, 39, 40; G 6 to 9, 40, 41; H 5 to 8, 41, 42; J  4 to 7, 42, 43; K 3 to 6, 43, 44; L and M 2 to 5, 44, 45; N to P 1 to 4, 44 to 46: £45
Row B 11 to 14, 36, 37, 38; C 10 to 13, 38, 39; D 9 to 12, 38 to 40; E 8 to 11, 40, 41; F 7, 8, 41 and 42; G 42, 43; H 43, 44; J 44, 45; K 45, 46; L and M 46, 47; N to P 47, 48: £35

Rear section:
Rows Q to ZC: £67.50 except
rows Q to T 18 to 29 designated "premium," priced: £95
Rows ZD and ZE: £55
Rows Q to T 43 to 46; U to X 45, 46: £45
Row ZF: £45

 

Dress Circle:
Front section:
Central and both side blocks:

Rows A to F: £67.50 except
rows B and C 14 to 19 and 28 to 33 designated "premium," priced: £95
rows B to E seats 8, 9, 38 and 39: £45
row A 2, 3, 44 and 45; B to D 1, 2, 45 and 46: £45

Middle section:
Central block:
Rows G to M: £67.50
Rows N and O: £55

Side blocks adjacent to central blocks:
Rows G to O: £55 except
Row K 6 to 10, 43 to 47; Rows L to O 6 to 11 and 42 to 47: £45
Restricted view rows G and H 13 and 40; J 12 to 17 and 36 to 41; K 11 to 17 and 36 to 42: £35

Side blocks furthest out:
Rows L to O: £25

Rear Section:
Central block:
Rows P and Q: £45
Rows R to U: £35
Rows W and X: £25
Row Y: £15

Side blocks adjacent to central blocks:
Rows P and Q: £45
Rows R to U: £35 except
Restricted view row R seats 16 to 20 and 31 to 35: £15
Restricted view row S seats 16 to 20 and 31 to 35: £25
Rows W and X: £25
Row Y: £15

Side blocks furthest out:
Rows P to X: £25

 

 

FROM 27th APRIL 2015:
All Monday to Thursday (except
"peak week") performances:
Stalls: 
Front section:
Centre block:
Rows B to P: £65 except
row F 22 to 31 and rows H to L 18 to 31 designated "premium," priced: £90

Side blocks:
Rows B to P: £65 except
Row E 36, 37; F 36, 37, 38; G 38, 39; H 39, 40; J 39, 40; K and L 39, 40, 41; M to P 40, 41: £55
Row F 9, 10; G 8, 9; H 7, 8; J 6, 7; K and L 4, 5; M 4, 5; N to P 3, 4: £45
Row C and D 36, 37; E 38, 39; F 39, 40; G 6, 7, 40, 41; H 5, 6, 41, 42; J 4, 5, 41, 42, 43; K 3, 4, 42, 43, 44; L and M 2, 3, 42 to 45; N to P 1, 2, 42 to 46: £35
Row B 11 to 14; C 10 to 13; D 9 to 12; E 8 to 11; F 7 and 8: £30
Row B 36, 37, 38; C 38, 39; D 38, 39, 40; E 40, 41; F 41, 42; G 42, 43; H 43, 44; J 44, 45; K 45, 46; L and M 46, 47; N to P 47, 48: £25

Rear section:
Rows Q to Z 5 to 42: £65 except
row Q 18 to 29 designated "premium," priced: £90
Rows Q to Z seats 1 to 4, U to X 43 and 44; Y and Z 43 to 46: £55
Rows ZA to ZD: £55
Rows Q to T 43 to 46; U to X 45, 46: £35
Rows ZE and ZF: £45

 

Dress Circle:
Front section:
Central and both side blocks:

Rows A to F: £65 except
rows B to E seats 8, 9, 38 and 39: £45
row A 2, 3, 44 and 45; B to D 1, 2, 45 and 46: £35

Middle section:
Central block:
Rows G and H: £65
Rows J to M: £55
Rows N and O: £45

Side blocks adjacent to central blocks:
Rows G to M 18, 19, 34 and 35: £55
Row G 5 to 12 and 41 to 48; H 6 to 12 and 41 to 47; L and M 12 to 17 and 36 to 41; N and O 12 to 19 and 34 to 41: £45
Row J 6 to 11, 42 to 47; K 6 to 10, 43 to 47; L to O 6 to 11 and 42 to 47: £35
Restricted view rows G and H 13 and 40; J 12 to 17 and 36 to 41; K 11 to 17 and 36 to 42: £25

Side blocks furthest out:
Rows L to O: £25

Rear Section:
Central block:
Row P to S: £35
Rows T to W: £25
Rows X and Y: £15

Side blocks adjacent to central blocks:
Rows P to S: £30 except
Restricted view row R seats 16 to 20 and 31 to 35: £15
Restricted view row S seats 16 to 20 and 31 to 35: £25
Rows T to W: £25
Rows X and Y: £15

Side blocks furthest out:
Rows P to W: £25 except
Rows P to W seats 1, 2, 49, 50; P and Q 6, 7, 44, 45: £15
Row X: £15

 

 

 

All Friday Evening and Saturday Afternoon (except "peak week") performances:
Stalls: 
Front section:
Centre block:
Rows B to G: £65 except
row F 22 to 31 designated "premium," priced: £90
rows H to N 18 to 31 designated "premium," priced: £90

Side blocks:
Rows B to P: £65 except
Row E 36, 37; F 36, 37, 38; G 38, 39; H 39, 40; J 39, 40; K and L 39, 40, 41; M to P 40, 41: £55
Row F 9, 10; G 8, 9; H 7, 8; J 6, 7; K and L 4, 5; M 4, 5; N to P 3, 4: £45
Row C and D 36, 37; E 38, 39; F 39, 40; G 6, 7, 40, 41; H 5, 6, 41, 42; J 4, 5, 41, 42, 43; K 3, 4, 42, 43, 44; L and M 2, 3, 42 to 45; N to P 1, 2, 42 to 46: £35
Row B 11 to 14; C 10 to 13; D 9 to 12; E 8 to 11; F 7 and 8: £30
Row B 36, 37, 38; C 38, 39; D 38, 39, 40; E 40, 41; F 41, 42; G 42, 43; H 43, 44; J 44, 45; K 45, 46; L and M 46, 47; N to P 47, 48: £25

Rear section:
Rows Q to ZB: £65 except
row Q 18 to 29 designated "premium," priced: £90
Rows ZC and ZD: £55
Rows Q to T 43 to 46; U to X 45, 46: £35
Rows ZE and ZF: £45

 

Dress Circle:
Front section:
Central and both side blocks:

Rows A to F: £65 except
rows B 28 to 33 designated "premium," priced: £90
rows B to E seats 8, 9, 38 and 39: £45
row A 2, 3, 44 and 45; B to D 1, 2, 45 and 46: £35

Middle section:
Central block:
Rows G to K: £65
Rows L to O: £55

Side blocks adjacent to central blocks:
Rows G to O 18, 19, 34 and 35: £55
Row G 5 to 12 and 41 to 48; H 6 to 12 and 41 to 47; J 6 to 11, 42 to 47; K 6 to 10, 43 to 47; L to O 12 to 17 and 36 to 41: £45
Rows L to O 6 to 11 and 42 to 47: £35
Restricted view row K 11 to 17 and 36 to 42: £35
Restricted view rows G and H 13 and 40; J 12 to 17 and 36 to 41: £25

Side blocks furthest out:
Rows L to O: £25

Rear Section:
Central block:
Row P to T: £30
Rows U to X: £25
Row Y: £15

Side blocks adjacent to central blocks:
Rows P to T: £30 except
Row T 15 to 20 and 31 to 36: £25
Restricted view row R seats 16 to 20 and 31 to 35: £15
Restricted view row S seats 16 to 20 and 31 to 35: £25
Rows U to X: £25
Row Y: £15

Side blocks furthest out:
Rows P to W: £25 except
Rows P to W seats 1, 2, 49, 50; P and Q 6, 7, 44, 45: £15
Row X: £15

 

 

All Saturday Evening and "peak week" performances. "Peak Week" dates include: 27th October to 1st November 2014:
Stalls: 
Front section:
Centre block:
Rows B to G: £67.50 except
row F 22 to 31 designated "premium," priced: £95
rows H to P 18 to 31 designated "premium," priced: £95

Side blocks:
Rows B to P: £67.50 except
rows G to P 12 to 17 and 32 and 33 designated "premium," priced: £95
Row E 36, 37; F 36, 37, 38; G 38, 39; H 39, 40; J 39, 40, 41; K 39 to 42; L 39 to 43; M to P 40 to 43: £55
Row C and D 36, 37; E 38, 39; F 9, 10, 39, 40; G 6 to 9, 40, 41; H 5 to 8, 41, 42; J  4 to 7, 42, 43; K 3 to 6, 43, 44; L and M 2 to 5, 44, 45; N to P 1 to 4, 44 to 46: £45
Row B 11 to 14, 36, 37, 38; C 10 to 13, 38, 39; D 9 to 12, 38 to 40; E 8 to 11, 40, 41; F 7, 8, 41 and 42; G 42, 43; H 43, 44; J 44, 45; K 45, 46; L and M 46, 47; N to P 47, 48: £35

Rear section:
Rows Q to ZC: £67.50 except
rows Q 18 to 29 designated "premium," priced: £95
Rows ZD and ZE: £55
Rows Q to T 43 to 46; U to X 45, 46: £45
Row ZF: £45

 

Dress Circle:
Front section:
Central and both side blocks:

Rows A to F: £67.50 except
rows B and C 14 to 19 and 28 to 33 designated "premium," priced: £95
rows B to E seats 8, 9, 38 and 39: £45
row A 2, 3, 44 and 45; B to D 1, 2, 45 and 46: £45

Middle section:
Central block:
Rows G to M: £67.50
Rows N and O: £55

Side blocks adjacent to central blocks:
Rows G to O: £55 except
Row K 6 to 10, 43 to 47; Rows L to O 6 to 11 and 42 to 47: £45
Restricted view rows G and H 13 and 40; J 12 to 17 and 36 to 41; K 11 to 17 and 36 to 42: £35

Side blocks furthest out:
Rows L to O: £25

Rear Section:
Central block:
Rows P and Q: £45
Rows R to U: £35
Rows W and X: £25
Row Y: £15

Side blocks adjacent to central blocks:
Rows P and Q: £45
Rows R to U: £35 except
Restricted view row R seats 16 to 20 and 31 to 35: £15
Restricted view row S seats 16 to 20 and 31 to 35: £25
Rows W and X: £25
Row Y: £15

Side blocks furthest out:
Rows P to X: £25

 

NOTE: This theatre uses "dynamic pricing" - some prices may change with demand at some performances.
____________________________

Stalls row A (24 seats) will be sold at £29.50 each on the day of performance to personal callers at the theatre from 10am. Limited to 2 tickets (1 ticket at some special performances) per person. Cash or card (though monkey advice is bring both, in case the policy changes or you decide to buy other tickets). No standing room is currently available.

Students can buy "best available" seats for £29.50 each for all performances EXCEPT Saturday Evenings by calling in person at the theatre from 10am. Limited to 1 ticket per person. Cash or card (though monkey advice is bring both, in case the policy changes or you decide to buy other tickets). STUDENT I.D. must be produced to buy these tickets.

Senior Citizens, Jobseekers, Equity, BECTU, MU and Registered Disabled people can buy "best available" seats for £29.50 each for all performances EXCEPT Saturday Evenings by calling in person at the theatre from 6pm for Monday to Friday Evening and 12 noon for Wednesday and Saturday Afternoon performances. Limited to 1 ticket per I.D. produced. Cash or card (though monkey advice is bring both, in case the policy changes or you decide to buy other tickets). Recognised I.D. must be produced to buy these tickets.

In 2013 a reader says, "Queued for Wicked day seats this morning (Saturday 17th August 2013) at 7:45am and was third in line. Both people ahead of us were buying tickets for the matinee so we managed to bag the centre seats for the evening performance.

Kept an eye on the queue as it grew and at 9am there was only 12 people. By the time the box office opened at 10am there was probably only 24 people. Given that there are two shows I would've thought that everybody would have at least got something for either of today's shows."

another reader says, "About a month ago (24th April 2013) I decided to get a Wicked day seat for the matinee. I had other things to do that morning so could not queue and ended up going to the box office at around 13:00. I got seat A20 so I'm not sure if it was just a quiet day or because it was a matinee but I don't feel the queue is anywhere near as crazy as it used to be. In the end not even the whole of the front row was filled."

Monkey reader Liam reports,
"I went to queue for day seats on Saturday morning (9th September 2006). I got there at 8.50am and was in a queue of about 50 people. All was calm.........until the box office opened. I have never known such chaos! The matinee people were called, so I jumped right to the front of the queue, only to be elbowed by an old woman. There were Americans shouting at the box office saying they were here from 7.30am etc, etc."

Another reader says in December 2006,
"I queued for day seats on a very cold Tuesday, arrived 0830 (box office opens 1000). I was 14th in the queue but about 5+ people joined friends ahead of me at various stages so I ended up further back. All the day seats went by about 4 people in front of me - **NB** every 1 person can buy either 1 or 2 tickets (it does state this on the show's website) (worth checking the policy though, if planning to buy these seats, as it can change - editor). The people at the front of the queue had been there since FIVE THIRTY A.M.!!! and this on a day where it was about 1 degree C. Goodness knows what the queue is like on Saturdays!

I think they should do 1 ticket per person as most day seats are, that way you can judge if you are too late in the queue."

Reader Matt adds that things have eased a bit in January 2007:
"Thought your readers may be interested to know that the queues for day tickets for Wicked are considerably shorter since the previous commentnr 2006. I got tickets this morning (Wednesday 10th January 2007) for the evening show and only arrived at about 9.40am! I walk past the theatre each day and there's usually only half a dozen people outside by 9am ish, if that. Only £25 for a front row seat so looking forward to the show!!"

Reader Robert Devaney reports in June 2007, though:
I queued up for day seats for my wife and step-daughter on Saturday 2nd June 2007. I arrived at 7am to find approximately 10/12 people ahead of me in the queue. Some of those at the front appear to have been there most of the night!! Please bear in mind that the box office is in Wilton Road and not Vauxhall Bridge Road.

The 3 hours passed quickly thanks to meeting a very pleasant couple from Atlanta, Georgia. We all noticed however a number of people "appearing" from nowhere and becoming a part of the queue, not behind us but in front of us...so beware interlopers and people "saving" places for their mates. At least one of the latecomers had a "Wicked" sweatshirt on and clearly they knew the score and the right tactics to ensure success for gaining tickets. It may well be that they were only after one ticket each rather than two but still...by 10am we had been relegated to 20+ in line.

In October 2007 a reader says,
Tuesday 16th October 2007. I arrived at 8.00am and discovered I was the queue!!  After another 20 minutes or so another 2 arrived followed by another 2 another 20 minutes later.  By 10am there was only about 10 of us in the queue."

By 2011, though, a reader reports,
"I got day seats for the evening performance on a Saturday and ended up being 7th in line at 6.40am. I got A 30/31 as a result."

In August 2011 another reader observed,
"I needed two day seats for Tuesday 2nd August 2011. I thought that considering the show has been running for a while and that it was a Tuesday I would not need to queue up that early. However I woke up earlier than expected and couldn't get back to sleep so I thought I would start queuing. I arrived just after 7am and there were already two people in the queue in front of me. Within 5 - 10 minutes another 2 people joined our queue, whom I shall address as person A and person B. From my estimates, by about 8.15-8.30am, the line had enough people for all the day seats, because at around 8am, people were doing head counts and asking people how many tickets they were buying, by about 8.30am people were just looking at the queue, doing a head count then leaving. The twist is between 8am and 9.50am, Person B was joined 5 other friends, each arriving one at a time with the last arriving at about 9.50am. Each bought one ticket. At about 9.30am, Person A was joined by 2 others. They purchased 4 tickets in total. I believe it should have been more, though I might be wrong.

I mention this as those who arrived at around 8am and did a head count or the maths of how many tickets each person was going to purchase, were not told of the friends of A and B. So there was a chance they wasted 2 hours standing in the queue and didn't get their day seat. Another unfortunate thing is they wouldn't have found out till they reached the box office, and by this time, person A, person B and all their friends would have purchased their tickets and left."


The monkey also strongly feels that advice given by a "Fan" site at:
http://www.wickeduk.co.uk/v2/index.php?id=ecdaytickets is VERY much worth reading.

PLEASE NOTE: For copyright reasons, information and graphics on this page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed.

 

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:

Ambassador Theatre Group, the theatre group's own website provide the service for this theatre. This site allows you to choose your own tickets from those available.

 

Booking fees per ticket for online bookings:
A service charge of £2.75 (£2.25 on £25 and £15 seats) per ticket, plus £3 per booking, not per ticket, is levied.

This pays for training the flying monkeys, thinks the monkey...

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 £65 seats with a booking fee of £9.80 per ticket (£10.20 on £67.50, £14.20 on £95, £13.50 on £90, £8.30 on £55, £7.90 on £52.50, £5.30 on £35, £3.80 on £25, £3.40 on £22.50 seats). 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. Meal and Show Ticket deals may also be available. Click here for details. 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 www.seetickets.com  / telephone 0870 830 0200 which offers tickets with a £6.50 booking fee on £65 seats, (£9.50 on £95, £9 on £90, £6.75 on £67.50, £5.50 on £55, £4.50 on £45, £3.50 on £35, £3 on £30, £2.50 on £25 and £1.50 on £15 tickets. A £2.75 per booking, not per ticket, transaction fee is also added on all bookings. (FREE call if using BT.com Calling Plan at your chosen times).

www.ticketmaster.co.uk offer tickets with a £6.50 booking fee on £65 seats, (£9.50 on £95, £9 on £90, £6.75 on £67.50, £5.50 on £55, £4.50 on £45, £3.50 on £35, £3 on £30, £2.50 on £25 and £1.50 on £15 tickets. A £3 per transaction (not per ticket) booking fee applies on all bookings. 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 £65 seats with a £17 booking fee per ticket (£25 on £95, £24 on £90 seats, £18.50 on £67.50, £15 on £55, £12 on £45, £10 on £35, £8 on £30, £7 on £25, £4 on £15 seats. 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. Discount ticket offers and 'meal and show packages' may also be available. Quality and Value hotel / theatre ticket packages are also available.

Lastminute.com offer £65 seats with an £8 booking fee per ticket (£9 on £67.50 Saturday and peak performances, £7 on £55, £5.50 on £45, £4.50 on £35, £3 on £25, £2.50 on £15 seats) until 1st November 2014 / £65 seats with an £7.80 booking fee per ticket (£8.10 on £67.50 Saturday and peak performances, £6.60 on £55, £5.40 on £45, £4.20 on £35, £3.60 on £30, £3 on £25, £2.50 on £15 seats) from 3rd November 2014 onwards. 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 £65 seats with a £16.25 booking fee per ticket (£17 on £67.50 Saturday and peak performances, £23.75 on £95, £22.50 on £90, £13.75 on £55, £11.25 on £45, £8.75 on £35, £7.50 on £30, £6.25 on £25, £3.75 on £15 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 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: 0844 871 3001
Operated by Ambassador Theatre Group, who own the venue. Operated by the Ambassador Theatre group's own phoneroom from 9am until 10pm (Sundays 10am until 8pm). Outside these hours the Ticketmaster agency answer calls on their behalf.

Booking fees per ticket for telephone bookings:
A service charge of £2.75 (£2.25 on £25 and £15 seats) per ticket, plus £3 per booking, not per ticket, is levied.

This pays for training the flying monkeys, thinks the monkey...

 

For personal callers or by post: 17 Wilton Road, London, SW1V 1LL.
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 020 7828 7074 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the theatre box office in London. See Notes.

www.WickedTheMusical.co.uk is the official show website.

PLEASE NOTE: For copyright reasons, information and graphics on this page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed. 

 

 
 
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 Notes
STALLS 
Layout:
The Dress Circle overhangs the stalls at row Q. The top of the stage is not visible from row W back due to circle overhang.

The stalls is divided into front and rear sections by a wide aisle across the front of row Q.

The front section split into three blocks - centre and two side blocks by aisles. The rear section is split into four blocks - two central blocks, two outer blocks, by aisles.

In the front side blocks the first and last few seats are at the far sides of the theatre, outside the proscenium arch and have a strange viewing angle.

Legroom:
Taller folk (over 6ft 2 or so) find most seats cramped - least legroom in rows B and C. The seats seem wide and comfortable to the smaller Monkey, though.

Row A has "space to lie down" according to one reader, and row Q offers exceptional legroom as it has an aisle in front. Seat Q9 has extra space over about three-quarters of the seat, with nothing in front.

Choosing Seats in General:
Front Section, Centre Block:
Row A to C are fine. Further back, the lack of offsetting of seats, combined with a low stage, seems to have sparked a few issues.

The prime seats are normally in rows K to P where being the right distance from the stage ensures an excellent view in monkey opinion. Sadly, at premium prices and with a low stage, they suddenly don't seem so appealing.

Many readers have reported issues, which the monkey never noticed previously. Hence it alters advice accordingly. Note that booster cushions (available from the theatre) may help some, and that the issue hasn't always arisen for in these seats, but when it does, it is a problem, hence the highlighting here.

Front Section, Side Blocks:
The bargains here are down to a show re-pricing seats downwards at the outer ends of rows. Otherwise, it's a case of going for seats as close to the centre aisle as possible. At the ends of rows, the acute angles to the stage diminish as you go further back - by around row J the effect becomes noticeable.

Rear section, Central blocks:
The rear section of the theatre is split into four blocks - two central blocks, two outer blocks, by aisles.

Row Q seats 10 to 37 are good value thanks to legroom and having no heads directly in front. Row Q is also haunted, though the spook has failed to put in an appearance recently. 

Otherwise, most are very happy with seats back here. Some readers comment that being further back makes it easier to take in the whole stage, and that the rake  (sloped floor to help see over rows in front) is far better. Monkey feeling is that row X is about far enough back at top price, though. Instead take the Dress Circle for the same price, unless you need more legroom than circle seats offer. The circle seats will be closer to the stage.

Further back, when rows ZC to ZF are below top price, these are fair value. Clear views, and the reduction matches the distance from the front pretty well.

Rear section, Side blocks:
The side blocks of the rear section are often the same price as central seats. Though there's no problem with the view, monkey feeling is that it's a bit harsh to pay full price for the outermost 4 seats in rows Q to Z. There's more central seats further forward at the same price.

As a rule, opt for the seats closest to the central aisle to maximise value for money.

Moving back to the lower prices, aisle seats in rows ZE and ZF again seem best bet when all seats are the same price either centre or side blocks. 

As in the central block, though, you could alternatively choose seats in the Dress Circle for the same price, be closer to the stage (and see more of the top of it), but have less legroom... Your call as it is based on your own physiology!!

General Hazard Notes:
Seats are not properly "offset" - they line up behind each other. This means there is no view between the seats in front through the arm rest gap.

The rake is shallow - as a reader notes, in a cinema (as the venue once was), front rows do slope downwards away from the screen - and little adjustment has been made since. One reader felt row D was noticeably lower than row C.

In the rear blocks, seats on the "low numbers" side may hear noise from the bar outside the auditorium.

Changes for the current production:
A low stage, so looking up isn't an issue.

"Day Seats:" Stalls row A are being sold as "day seats" at a great price for all performances. Monkey feeling is that all are great, and it highlights 15 to 34 in particular. Worries that the conductor may be in front of some central seats around A 24 / 25 / 26 have proven unfounded. It would sit in any seat in the row, though, given the hefty discount on offer!

Until 25th April 2015: Rows F 22 to 31 and H to L 18 to 31 Monday to Thursday / F 22 to 31 and rows H to P 18 to 31 and Q to T 18 to 29 Friday, Saturday and "Peak weeks" (PLUS side block G to P 12 to 17 and 32 and 33 at Saturday Evening and "Peak week" performances) become "premium" priced. The monkey would honestly avoid unless it has struck banana oil. There are decent seats around them... In particular, it would avoid row J... see below for reader thoughts as to why... Frankly, it also thinks you'd have to be out of your skull to pay premium prices to sit anywhere in the side blocks for that money, and in rows K to N. If you HAVE to, and want extra legroom, Q 18 to 29 are possible for the tall and wealthy. The "Supermodel" seats, really. Pity they are haunted, though.

From 27th April 2015 onwards: Rows F 22 to 31 and H to L 18 to 31 Monday to Thursday / F 22 to 31 and rows H to P 18 to 31 and Q18 to 29 Friday, Saturday and "Peak weeks" (PLUS side block G to P 12 to 17 and 32 and 33 at Saturday Evening and "Peak week" performances) become "premium" priced. The monkey would honestly avoid unless it has struck banana oil. There are decent seats around them... In particular, it would avoid row J... see below for reader thoughts as to why... Frankly, it also thinks you'd have to be out of your skull to pay premium prices to sit anywhere in the side blocks for that money, and in rows K to N. If you HAVE to, and want extra legroom, Q 18 to 29 are possible for the tall and wealthy. The "Supermodel" seats, really. Pity they are haunted, though.

In the side blocks, most of the seats at the extreme ends of the row, (except for the outermost high numbers side pairs Monday to Thursday off-peak) increase substantially. In particular on Saturday evenings and peak weeks, the outermost low numbers pairs rise to second price and the cheapest high numbers pairs to fourth price - way too much, feels the monkey. On the high numbers side, most other normally cheaper seats rise to second price at these performances too. You'll just get fair value at second price, at third N to P 44 and 45 remain decent value, though.

In general, those seats on the "low numbers" side near the front are most expensive as they suffer least from restricted views - and are almost worth the extra money. Many fans of "Wicked," though, are happy with the cheapest seats going - and feel that going further back improves the view.

So, as rule, seat prices accurately take account of the various quirks of staging which cut into the view of the audience at the ends of rows at times. With the huge drops in price, the monkey rates the end seats in all rows at "fair" value outside of Saturday Evening and peak performances - you will get what you pay for, and some should feel they have done very well. The seats it particularly likes are in rows N to P 40 to 45, M 40 to 43, H to L 39, G 9, 38, 39, E and F 36 to 38 and D 36 and 37. All previously top price but now at a reduced fee you should feel you are getting more than pay for, feels the monkey. In the corners, it also liked B 13 and 14, C 12 and 13, D 11 and 12 and E 10 and 11 too. Not quite as cheap as seats on the other side, but a reasonable alternative at similar prices to "day seats," it feels.

A small cluster of seats on the "high numbers" side of rows Q to X are also discounted. Q to T 43 and 44 seem a fair way of getting cheaper seats (those on Q with maximum legroom) and are worth taking if the ones at the same price in the front stalls section have gone. Saturday Evening and peak performances set these at a high second price - skip the outermost two. Oh, and don't bother with the top price seats in rows U to ZC behind them either - you will miss part of the action and still pay as much as everybody more central.

Some interesting pricing Monday to Thursday off-peak performances throws up some bargains. The extreme ends of rows Q back to Z drop to second price on the "low numbers" side. Some lucky person can grab Q 3 and 4 to enjoy magnificent legroom for a tenner less than the person beside them. Those not moving so quickly still get a pick of decent seats nearer the front than normal. Take "low numbers" side before "high numbers" for the view without the staircase, though, and take seat 4 then 3 unless an aisle is preferred... in which case...

... centre block seats from row ZA drop to second price, and in ZE drop to third. If the edges of the theatre don't appeal, look at these two rows, then the ones behind. Closer to the stage than circle equivalents, and with more legroom. Good change, feels the monkey.

Rear rows ZC and ZD are overpriced at the weekends, at top price, in the monkey's opinion. Rows ZA to ZD and ZE and ZF drop to second and third prices Monday to Thursday, ZC and ZD to second, ZE andZF to third Friday and Saturday Afternoons and ZD to second price, and ZF to third at Saturday and Peak performances. Far fairer value, with centre blocks ZA and ZE Monday to Thursday and ZC and ZE on Friday and Saturday Afternoons picked out as green by the monkey for value.

 

Reader Comments:
Front Section, Centre Block:
"
Row A: (Karen and Peter).
Front row is great but make sure you try to get seats 16 to 25 as a lot of the action takes place here."

"Row A: (Liam). bargain on the front row - although I'd ensure you were as central as possible as many cast members block your view at a couple of moments towards the side."

"Row A: (Rebecca). I've seen Wicked numerous times. The majority have been in row A, central section. This is probably the greatest view in the world - enough leg room to swing a baboon in, and the stage is set back far enough that you can see everything without needing to tilt your head at all. At only £25, I would, and do get these seats whenever the feeling strikes me. Sitting in the middle of row A, it really feels as though the cast are performing just for you."

"Row A: (Sarah Clarke). I can't rave enough about the day seats for this show!! Only £15 (now £25 - editor) for a front row seat! I'm the sort of person who likes to be 'up close and personal' with the actors. I like to see their facial expressions, hear every comment, witness things you can only see from the front. I also like to loose myself in a show - envisage myself in Oz with no other audience heads to confuse the illusion. If you can relate to any of that you have to get the day seats!

There is no restricted view like some theatre day seats. At the Apollo Victoria you can see the whole stage. The only effect you don't get the full benefit of is the dragon fixed above the stage and green lighting that reaches up into the balcony when the characters arrive at the Emerald City."

"Row A: (Andy B). The only negative thing about sitting in the front row is that you lose a lot of the impact of the set, which comes right out over the proscenium arch and into the auditorium. But the fact that you get so close to the marvellous costumes and stunning actors more than makes up for it. You also get closer to seeing things done with smoke that you'd never imagine!"

"Row A (Lauren): "I took the advice given by many people that the day seats for 'Wicked' were excellent value and have a fantastic view, and I'm so glad I did! The stage was low and I had a perfect, clear and close-up view of every moment of the show. I also had acres of legroom and no annoying heads in front of me - I couldn't have really asked for any more, and all for £25!"

"A18: (Tom C). The seat was absolutely fantastic! The stage literally feels like an arms-length away, and you can see right to the back of the stage because of its low height. You feel so up-close and personal with the actors and actresses that it feels like they are only performing to you- and you can notice so many intricate details that you can't notice from further back e.g. the wonderful costumes. I would highly recommend day-seating if you fancy an affordable trip to the theatre because it is completely and utterly worth it- although if you haven't seen the show before you would be better off sat further back as you can reflect on the show as a whole e.g. see the whole set, rather than being specifically 'zoomed in' on the characters.

Two points, though:
- A18 is on an aisle, and it just happens to be next to the position where the ushers sell ice-creams! Although this can be beneficial (you can be first in line for an ice cream!), it is really distracting during the interval to have people queuing next to you and looking over your shoulder!

- It seems that the day seats in the two side blocks provide less of a good view as members of the cast and parts of the set block the view - throughout the show I noticed the people sat across the aisle from me swaying from side to side to peer through the gaps between the actors."

"A19 to 21: Amazing, perfect view the best seats in the house."

"A22 to 24: have to say they must be one of the best bargains in London. The view of all the action is amazing because you do not have to look up to see it all." 

"A23: (Kirsty, regular reader). I have sat in this seat before and I love it. Its very central and you don't miss a thing, except perhaps the dragon, which only really moves at the beginning." On another visit she adds,
"A23 and A24 feel very close to the action and I swear to God at times Alexia was staring right at me."

"A 24: I day queued for Wicked, sat Row A24 in the Stalls and it was perfect. The music was well balanced and not too loud. It's quite obvious that you have a great view, especially at the finale of Act1. Stunning. Though I have to admit, that first timers should see it from farther back first. I also found this seat preferable to M36 in the circle, which had no legroom for my 6ft 2 tall frame to be comfortable - for the tall take the front row day-seats first every time..."

"A25: Although I've read that sitting behind the conductor wouldn't be a problem, it kind of was for me. Not a lot but it was a little bit disturbing, especially when he was making little dance moves or something:) Apart from that, I really loved the seat! It was right in front of the action and it felt as if Alexia Kadhime was looking straight at me when she was singing "No good deed". It was so incredibly intense and really gave me the chills! Ok, she was probably looking at the conductor, but still :)"

"A 25 and 26. (Gem). Now I really cannot put into words how amazing the seats were. They have the best view from any front row I have ever sat in! The stage is relatively low and you miss nothing, you can even see peoples feet. You don't need to look up at all and there is no restriction whatsoever from the conductor. Also the legroom? I could have lay down on the floor in front of me and still had room to move!"

"A 27 to 30: (New Zealand reader Karin W). My husband I took our two boys 8 and 10 and luckily, got 4 of the last 5 seats they sell - A 27 to 30. I must comment that our two boys would have benefited from having a cushion as they were quite low down to the stage and one got a sore neck in the last hour from looking up. However the seats would be perfectly fine for adults."

"A27 and A28: You cannot get better for the price. Many others have said, you'll miss out a bit on the mechanical dragon, though it didn't seem to move that much. It is difficult to focus on the whole stage as you are quite close. But I believe the close proximity a good thing. You are NOT close enough that you need to tilt your head back, but you are close enough that you feel as though the actors/actresses are looking directly at you while they're singing. You can see the details of all their costumes, the expression on their faces and even their beads of sweat. (The conductor also poses no problems to anyone.)

If given the choice again, I would still chose the day seats over the regular seats as you really feel the acting, the leg room is great and you are first in line for the ice cream and drinks."

"A 30 and 31: I was impressed with the legroom, sound and view of the stage. It didn't feel
too close, though the orchestra was a bit overpowering coming right off the speakers incorporated into the proscenium arch to your left - but you could still understand everything. I'd always try to get those day seats, best seats in the house in my opinion!"

"A36: For £25 this is a really good seat. I have sat on the far side at the other side of the stage and the view here is much better (and I didn't see Helen Dallimore's pants, as I did from B11). The odd bit of a scene was blocked by chorus members, but all in all I caught most of the action."

"B13: Such good seats!"

"B20: which although you've got marked as red I was very impressed with - though admittedly the seat in front of me was the only seat in that row unoccupied so effectively I was in the front row. Admittedly you can't see the actors feet, but worth suffering for such a good seat. I also found that most people in the front row really seem to slouch in their seats and look sharply upwards (and then complain about neck-ache, silly people)!"

"B 24 and 25 and 29 and 30, and C32 and 33: although theatremonkey recommends taking row C over row B, I haven’t notice a difference in the view from either rows. Both rows offer amazing value and views of the action on the stage. Occasionally you have to look up to see the dragon, but as this only has a small part in the production its not essential to be looking up at it through the whole production. The central block of the stalls can be a bit cramped for leg room. However, ! would highly recommend sitting in any of the 6 seats mentioned."

"B 27 and 28: Even though you have them marked red, in my opinion, they are the best seats in the theatre. As the stage is quite low, you don't have to look up so no neck ache! And you are so close, you feel as if you are right in the action and you can see the facial expressions and costumes so clearly. These seats are best for fans of the show who have seen it before, because admittedly you do lose some of the impact of the set. If I had the chance, I would definitely book these seats again."

"C 18 and 19: These seats were on the central aisle and were perfect. I got to see such a different show sat there and felt so up close and personal with everything that was going on in font of me. No-one will have a problem sitting in these seats, they were great!!!"

"C 18 and 19: (Peter Rose). I have seen the show twice now, first time in the stalls row R 24 and 25 and second time stalls row C seats 18 and 19. I had an amazing experience is both, but it depends on what you prefer. Row R enables you to take in the whole stage and offers excellent views and sound, though there is a walk way in front so people are able to walk past during the performance which can be annoying, especially during a good number. Row C lets you become completely absorbed in the action. I love seeing the actors close up and thought this was fab. You are slightly looking up but this is a small matter really. Defying gravity is awesome and I was blown away by this in both seats, row C was fantastic for this song."

C22: (Barfly). on the first preview night of "Saturday Night Fever" in 2004 and can understand why you made it red too. The rake there is non-existent and although admittedly I'm shorter, the person in front's head blocked a lot of the action. Sat in stalls D15 later, and that wasn't too bad, at least I got to see all the action.

"C24 to 29: for "Wicked." Fantastic seats with a great view of all the action and the emotion."

"C26 and 27: Good view, close to the stage where you can see all the actors trying their best. No problem with any large heads in my way this time, although a rather annoying child kept rocking backwards and forwards in her seat - and as they are obviously not oiled you can imagine the squeaking got on ones nerves after a while."

"Row D: (Dawn). I have now seen the show ("Wicked") four times and have sat in a variety of seats. Row D of the stall was a very different experience - very powerful and personal. Great as I'd already seen the show - but maybe you miss out a little on the whole effect. I would book these / or closer again - as I saw lots of little things I hadn't noticed from further back."

"D15, 16 and 17: the side block of the front stalls, almost in line with the side of the proscenium. The auditorium is very wide, so we had to look well over to our left to see the action. While D17 provided an excellent view down the aisle, in D15 the head of the person in front totally obscured centre stage. This was exacerbated by the inability to look through gaps, and the lack of rake: row D appeared lower than row C. We may have been particularly unlucky, as the patron in C16 was large, but it did ruin the evening and, after swapping seats at the interval, two of us each saw only half the show! Additionally, the ladies’ toilet facilities are inadequate for the huge, predominately female, audience."

"D 30 and 31: (K Elliott). so on the end of the central aisle, these offered very good value for money, priced at £20 (now £45 - editor), and would highly recommend".

"D30: I saw Wicked from stalls seat D30. I didn't feel I was too close to the stage, neither did I feel a sore neck. But there was very little leg room and I was sitting beside a rather large American woman who took up her own seat and much of mine. When we had to let someone in during the second number she refused to get up and chaos ensued. Also, I was only in row D yet found the sound a problem."

"Row E: I have seen Wicked 3 times already and it's "the business", twice in the stalls row E which was great"

"E23 and 24: awesome, its great to be so close..."

"E 24 to 26: I've noticed in the monkey reviews that row E isn't mentioned and it also seems to be one of the last to be taken up in the ticket selling plans. Well my advice is don't worry and snap up the central location. Yes it is at the edge of the price group, but being centrally located and just 5 rows back you get a fantastic view and exhilarating experience being close-up and personal. SPOILER ALERT You do look up, but only a little, the worst is at the start with Galinda in her bubble - conversely the best is when Elphaba is menacingly overhead in 'Defying Gravity.' SPOILER ENDS.

"F20 and 21: (Diego). Got these on a standby discount for £25. Central and close to stage. These seats are close to the action which is good as you see the expressions on the actors faces, but it is really hard to see the dragon as you have to crane your neck! Not that I am complaining given the price of the seats. As the monkey suggests, the most ideal seats are a few rows back. The rake also isn't great in these first few rows and so the person in front did have a blocking effect on one half of the stage."

"F22 and 23: (Pip). I have to say these are the most amazing seats ever. Could see everything in a central view. However, I wouldn't pay the price for them as the seats at the side are perfectly good for a cheaper price."

"F27: I was sitting in F27 in the stalls and was very disappointed with view. I am 5'6" and the man in front of me was of average height yet I could not see anything in centre stage at all. I spent the entire performance weaving from side to side to follow the performers and felt I had to apologise to the woman behind me for doing so. Her response was that she was following me because she couldn't see either! Having spent £66 per ticket I felt it was very poor value for money."

"G24: Although ideally placed, this seat (and those in this area) could cause problems. There's no rake and the rows are not staggered. If someone tall sits in front of you, then you're going to be in trouble. Fortunately, on this occasion I was lucky and so had a fine view of the stage."

"G25 and 26: I was sat in the centre of row G (G25, G26). Great seats and didn't have to look up,"

H43 and H44: (Nicola). Having read the reviews on the website I was hopeful that despite the tickets being ‘Limited View’, I would still see most of the show and it wouldn’t spoil my enjoyment. I would say that although our overall enjoyment of the show was not spoilt and we got the jist of the story, it should be pointed out that we did miss any action at the back of the stage (including, I believe, some projections of images that we completely missed) and a lot of the staging of the cast meant that we saw a LOT of the backs of people’s heads (so missed their facial expressions). There is also a spiral staircase on this side of the stage that blocks the view of the back of the stage. If you know these facts and you don’t mind missing some bits then, at £25 each, I would say it’s still worth the money if you know what to expect."

"J 18, 19 and 20: Fantastic seats could not fault them. The slope in this part of the stalls is not very steep but it didn't make any difference. Could not recommend these seats too highly."

" J22: (Barfly). is admittedly a good seat - though not as much rake as at the Dominion Theatre. Stalls F18, on the aisle, is also a very good seat, admittedly there was very little rake (used booster cushions) and I had a couple of young kids in front of me but I saw a lot more than previously." 

"J22 and 23: After reading reviews here we paid for top price tickets in the stalls (J22 and 23), what a big mistake. Out of all the seats in the theatre, the guy with the biggest head and curliest ridiculous hair had to be sitting in front of me. All I could see was the back of his head!... The seats are not set aside to one another either, i.e. the seat in the row in front of you will be directly in front of you rather than to one side where you would be able to see through a gap between heads. Others around me were finding it hard to see past taller people in front of them as well given that the rake in the stalls is virtually non-existent. I would advise you seriously think about this and perhaps sit in the Circle instead or the first few rows in the Stalls."

"J22 and 23: We were in the stalls (J22 and J23) these were somewhat disappointing - the rows are all on one level so if you have a tall person in front of you, you have to keep dodging their head when characters are centre stage. I suggest for the stalls either buying tickets further back (from row Q) where the seats slope or if you want to be near the front don't go in the centre that way you are always looking diagonally so people in front of you do not get in the way."

"J24: (James from Finchley). Seat was not great value (at £55) as the rake is completely un-noticeable. A man of average height in front obscured the whole centre of the stage and I was moving from left to right constantly. In the interval I walked back a few rows and reckon that even going back to row P will still give an excellent view as there is a good rake from about K/L and there are no pillars to obscure the view."

"J 24 and 25: (Luke). Paid £60 each. These seats where exceptional, well worth the money. These seats offer a fantastic view of the stage and you're not too close that you feel uncomfortable, but not too far back that you don't feel part of - or engaged in - the show... and now that they are marked as 'premium seats' I feel I got a brilliant deal, best seats in the house!!"

"J24 and 25 (John). Sat in Stalls J24/25 (what should be prime stalls) and experienced the same problems as Caite. The rake of the seating is barely noticeable. When combined with the low height of the stage, the close spacing of rows and the lack of any offset between seats in adjacent rows (why?) it means you can struggle to obtain a clear view of the stage – I found myself staring at the back of someone’s head which obscured all action dead centre of the stage! At the interval, when the man in front stood up, I expected to see some 6’6 giant but the man was only average height. I think I’d prefer to move back to row Q where the wide aisle should afford a better view. Myself and my partner actually found that part of the stalls quite claustrophobic – something I rarely encounter."

"J 26 and 27: (Ali). Excellent seats in row J of the stalls 26 and 27 ... I have seen that other reviewers didn't like row J - maybe we were lucky not to have tall people in front! I was able to see details of the fantastic costumes and the facial expressions. Legroom was ok"

"J27 (Caite). I was in seat J27... I have to say the view was poor. Although the rake has just about begun here, it is barely perceptible and with the stage being fairly low and flat, a good part of the action was obscured by the head in front of me (and it was only a person of average height). The seats are at a level where the head could obscure an entire group of people standing up on stage, so I spent most of the performance swaying from side to side to see round at what I was missing. I really couldn't recommend these seats for the money."

"K 24 and 25: We were sat in row K 24 and 25 so we were dead centre and 11 rows from the front, perfect, I hear you cry, well cry you will because the rake is non existent and even at 6ft 1" I could not see over the head of the guy in front of me. OK, this particular guy did have the head the size of a large pumpkin (yes he did) in fact he could go to his local farm show and he'd win first prize for the largest pumpkin EVER!! If anyone is slightly smaller they will not see a thing and at £60 a time for these seats it's no laughing matter. I had a much better view from row C when I was sat there at a previous performance because you do have to look up to the stage. Row K you are looking straight ahead, I wouldn't recommend these seats to anyone. Row A to F would be OK, and I would miss the next few rows out and opt for row P going further back as the rake starts to get steeper from there. It would probably help if the seats weren't directly behind eachother and moved slightly left or right with each row so that you are looking through the gap of heads rather than at a head (or pumpkin in my case)."

"K 26 and 27: (K Fried). Our seats (stalls K 26 and 27) were AMAZING. I can't imagine better seats for this show. Close enough to feel part of the show, far back enough to allow a small amount of illusion. We had to look up to get the full effect of the dragon, but I really think that it should be that way. After all, he's meant to be looking down over OZ."

"K26 and 27: Fantastic seats, dead centre, a good rake and outstanding view. Could not recommend these seats highly enough."

"M 24 and 25: Other readers of Theatremonkey have commented on the lack of rake in the front centre stalls. This is a problem but we were very fortunate to have two children in front of us (there is no off centre seats i.e. they are all behind one another in this block). Consequently we enjoyed a perfectly central uninterrupted view of one of the most lavish sets I have ever seen. Close enough to see faces and expressions but far enough away to get the whole effect of the set and which does not restrict itself just to the stage (genius usage of the LED fabulousness that is the Apollo Vic)."

"N 19: (Peter Rose). We were spread across the front section of the stalls. I sat in row N seat 19 and had perfect view of the stage, however this was because no one was sitting in front of me (lucky lucky). The seats in the front section are poorly raked and hardly staggered which means your full view can be blocked if you are smaller. Some pupils needed cushions kindly supplied by the staff, to help them see. So I would pick front dress circle or the first 5 rows of the stalls. Some pupils commented that some of the action was missed as they were on the ends (seats 3-7) and sight lines are not great (I have trained them well!!)"
"N 23, 24, 25: (Rob). My seats - front stalls row N 23, 24 and 25 were perfect - best I've had. They seem much higher than the row in front."

"O25 and O26: (James, regular contributor). Sat here for 'Wicked.'  Still can’t seem to find the best place to sit in this theatre.  The rake is definitely better here than it is further forward, but the fact that the seats are all directly in front of each other rather than staggered meant that a person of only average height still managed to partially block my view.  That said, row O was a great place to see the show without moving my head constantly from left to right due to the wide stage and there was no neckache as it’s at a good level to see the stage.  The sound is good here too and you don’t feel far away from the action

On another visit I sat in Stalls O20 andO21 and with a slightly shorter person in front of me this time, the view was the best I've had for the show".

"Row P: (Holly M). near the back of the front section, great seats with a good view"

"Row P: I must admit I felt you could get a good view from any area of the stalls and Row P was fine for me, even though I’m usually a front row fan! If I see the show again (and its highly likely I will as it completely captivated me) I would like to sit further forward just out of personal preference."

"P18 P19 and P20. We had seats in the stall in row P by the aisle. This block rakes downwards but we found that the drop between rows P and O (the row in front) was much less that the drop between O and N. A tall couple sat in O18 and O19 and it was very difficult to see past them. If I was going to this theatre again I would avoid row P."

"P20 and P21: (Mark). Good seats in P20 and P21 for this, Monkey is spot on in rating these as amongst the best in the house. Only slight issue is the rake isn't quite as good as might be desired, particularly if your companion is a bit of a Munchkin and sat behind someone with height to spare. Other than that they are a great spot where you can take in the whole stage and still be close enough to take in the expressions on actors faces."

Front Section, Side Blocks:
"B11: I was sat in seat B11, marked red by Theatremonkey. I totally agree with this assessment. Soundwise it is fine, but because it is so far over the side of the stage, you miss some of the action upstage left. The way the chorus are arranged in some scenes also prevents you seeing all the action, which is not great if you don't know the story. I also got a very good look at:
a) the stage hands in the wings, and
b) Helen Dallimore's pants at least twice in every scene (which some may see as a selling point)."

"B13 and 14: These seats are marked as 'green' on the seating plan and I can definitely see why. At times (especially when she flew) you really felt as if you were in the action and there, this made it very special. These seats were definitely worth it at £28 each. If they were marked down as £62 seats, I probably wouldn't hesitate sitting there again because the view was absolutely phenomenal."

"B14: Booked this as a "restricted view" seat, for around £30 (with fees etc). I sat in it before the show started, but since seat B15 (around £65) next to me remained empty, I moved into that one. Had an excellent view for (nearly) the whole show. I can only imagine that it's marked red by the Monkey because the main action was slightly blocked by other members of the cast for a little bit in one scene, but this really wasn't a problem for very long. I would highly recommend this seat for people who are able to pay top price. However I'd imagine that B14 would be almost just as good for less than half the price."

"B 14 to 17: (Mila): Seats great, it's fantastic to be so close. B 13 and 14 are marked as limited view so are much cheaper but are well worth it, none of us missed anything....."

"B17: (Kirstin). I just wanted to put in a good word for seat B17 in the stalls. Though this is the second row, its position on the aisle and the fact that the front row starts further across means that this seat is effectively a front row seat in the second row - there won't be anyone in front of you! Plenty of space and a completely clear view of the stage."

"B33 to 35: (Barfly). I went to see Saturday Night Fever in 2004 and sat in stalls seats B33 to 35. The end of the stage either side juts out and is very high meaning that the back left of the stage couldn't be seen from where we were sitting. In fact my dad, who was sat in B35, hardly saw anything on the near left hand side of the stage even though he's six foot tall! These seats should really be avoided when they're full price. You'd have to be about eight feet tall to see some of the action, and nobody should pay full price to 'see' a dismembered voice! 

I also doubt you can see anything from seats B37 and 38 because the stage is so high. I don't think the reduction in price justifies such a bad view. Admittedly the seats mentioned hadn't been sold at the show I went to but I felt theatregoers should be aware of this."

"B36: in the stalls as it was only £15 (plus £2.50 for booking). I was warned that there was a limited view but decided to go for it as I was probably going for the soundtrack more than anything. Then my Mum decided she wanted to come, so I bought the two seats next to it, B37 and 38 (I wasn't planning to buy two more, but Ticketmaster's policy of not leaving single seats meant it worked out just as cheap for me to buy an extra seat as it was to move somewhere else).

"B36 and 37: These seats are advertised as 'side view': You do turn the head/body a little, but not overly. For “Wicked”, you lose sight of part of the stage due to a section of the set (one set of stairs) protruding. And occasionally an actor would block the view. But this is compensated for by (a) the price - £25 instead of £65 and (b) the proximity to the stage: I have seen “Wicked” a number of times, but had never realised the pain Glinda (the ‘ga’ is silent) shows when telling the people of Oz the Wicked Witch is dead. Legroom, comfort and view past row A are all acceptable."

"B 36, 37 and 38: For the most part, B36 had a fantastic view. Being so close to the stage, you are looking at a slight upward angle but it's not uncomfortable. I had enough leg room as well, but I'm 5'7" so anyone taller may have a bit of a squeeze. There were a couple of occasions where you couldn't see actions in the back left of the stage due to the stage, but these aren't pivotal scenes and you can still tell what is happening. Also, you do find yourself looking at cast members' backs a few times but they move around a lot and for all important scenes the view is fine.

My Mum had a little more trouble in B37 as the stairs were more in her way, so I would say that 36 is as far as you can go before the view is really hindered, but she said she could still see all of the action in the centre and didn't really feel like she missed out on anything. She also said she thought the music was a bit loud at times as the amps for the orchestra are positioned right in front of our seats. Luckily there was no one in the end 3 seats of row A so no tall people blocking the view. I don't know whether that would have been a problem; that's one advantage of going on a week day I suppose (ours was a Wednesday matinee).

Overall I would recommend buying B36 if you're on a budget and don't mind missing a little bit of the action. Being so close was great as you could see the actors' faces perfectly and they even catch your eye a few times which was nice. It may be that if you get the equivalent seat on the right hand side of the stalls then your view would be less restricted because the stairs to the wings aren't on that side. I think B36 is as far left as you would want to go if seeing the action easily is important to you, but for such a good price it was great!

"B 37 and 38. They were really awful because the staircase was in the way."

"C10 and 11: (Kirsty). These are OK. The view is not that fab if you want to see the whole stage. Anything that happens on the right hand side is totally lost. However, if you are slightly interested in seeing the scenery and cast members move on and off it is quite fascinating. You see everything centre stage and you are still close so you can see all the actors facial features and gestures. In the Shiz scene, though, I had Keeley Jane Jackson and Sabrina Carter blocking my view of Chloe's Glinda - but hey ho."

"C 12 and 13: Brilliant view all the time! But for some reason I prefer Row D! Totally worth the price as in many theatres, side view seats would be at top price in the stalls."

"C12 and 13: Although these tickets offer better value than C 10 and 11, I would advise to avoid these seats. These are the cheapest bracketed tickets I have ever purchased for a West End show and this obvious throughout the show. Although we had an amazing view the main characters through the main scenes ('Defying Gravity,' 'No Good Deed,' 'Popular' 'Wizard and I' etc) at times the stage was blocked by backing dancers. Also because these seats are at such an angle it is possible to see the stage hands stood at the side of the stage and also the cast exiting and going back stage. I would recommend paying a little extra and sitting either further back, or in the cheaper bracketed tickets on the other side of the stalls."

"C16 and 17: (Mila). Seats great, it's fantastic to be so close."

"C 32 and 33: These are the aisle seats on the side front stalls block and this is the second time I've sat on the aisle on a side block and strongly feel that any aisle seat on either side block from Row C back to P are brilliant. Because of the angle your view will be totally un-interrupted and the seat in from it are usually very good too. My seat in Row C on the aisle was perfect bearing in mind it was my third viewing. I had no one sat in front of me in Row B so when Elphie, Glinda and Co, were my side of the stage it felt like they were singing directly to me. Awesome. Like others have said before though, for a first viewing I think ideally it's better to sit further back - I bought my parents tickets in P16 and 17 which was a few rows back from my last seats and they loved their view. Having now watched the show from both sides of the 'side stalls' I would recommend labelling Seat numbers C17 back to P17 and C32 back to P32 as great seats. As mentioned previously the seats next to these won't be as good but they'll still be good ones."

"C 36 and 37: (Cristopher H). I thought that the front seats in the stalls were really affected by an overflow of smoke that covers the whole theatre. I was seated on the stalls row C seats 36 to 37 , which were £20 each and when the show started I really knew why!! These seats were really on the side, and parts of the musical were blocked by the staircase on stage. I actually thought that the best seats were in the stalls behind row P in the middle,  just because of the rake. In my seats, a very tall man sat in front of me for the second half and I had a neck ache by the end of the show. I also noticed the seats were old, creaky and very uncomfortable - the space was poor and the leg room atrocious."

"C36 and 37: I hated these seats. I felt too close to the actors and the stage, there were moments when I thought they were going to fall on top of me. Certain moments throughout the show were missed because my view was restricted - including a very important moment towards the end. The seats were only £30 each, but I've sat in the £15 seats in the Circle before and much preferred those. I would say avoid these seats!"

"C36 and 37: (Pip). Joint furthest forward I've been at the theatre. I much prefer these to Row C £25 seats (as Glinda blocks your view often in the first song). However in these you are much more central than other seats so you don't miss anything due to blocked staircases on stage. The seats are comfortable and no neck ache. Legroom is average."

"D11 to 12: Personally I have no complaints about D11 to 12 and I missed none of the show, In fact, I would recommend these seats any day.

"D 36 and 37: (Harriet). each £20: Very good value for money and I would definitely recommend them to anyone, particularly if they enjoy being close to the action. At other musicals I have sat in the circle, but preferred the experience in the stalls as you could see the acting more clearly. Our seats were classified as restricted view - and occasionally we could not see people when they were entering the stage - but we didn't miss any important parts of the show as all of the main action took place near the front of the stage. I am glad to see these seats are marked green on the chart because I would definitely choose them again."

"D 36 and 37: (Pip). Excellent view for the price, much preferred then my old favourites of £25 on the other side. Leg room acceptable, and considering the seat next door is £60, it's a bargain. Only disadvantage is scenes with dry ice make you very cold, and there is no heating! But loved them. Comfortable as always. Brilliant, wonderful, fantastic! Can't say anymore than that."

"D36 and D37: (Michael). green on the monkey seating plan were available at half the price of D35 - which had no better view than ours! The seats were on the cusp for viewing the left of the stage and very little was performed there due to the stage stairs in use immediately in front of us. There was a little neck ache looking to the right most of the time, but the price of the seats made up for this. If going again I would look for seats in the centre, though more expensive."

"D36 and 37: offered a decent view of the stage, there was only a small part which I couldn't get a clear view of."

"D38: Although the view from this stalls seat was a slightly restricted, it was still a great view for the £20 I paid. The staircase on this side of the stage, that quite a few reviewers have mentioned, wasn't actually that much of a problem. In one scene, you couldn't really see what was going on at the very left of the stage, but it was easy to guess what was happening, and this was only for one scene. If you're happy to spend a little more, then go for a seat slightly further in, but if you're on a tight budget, this seat is more than satisfactory."

"E8 to E9 do miss some of the key events in the first half, but the price is fair for this, and they are very much better than Dress Circle row U at £5 less. Worth paying the extra to sit in the stalls."

"E 8 and 9: (Moon). Don't pay £60 (£55 when I saw it) to sit in Stalls, row E, seats 8/9. These are top price tickets and yes, you guessed it, they had a restricted view. We could not see a full half of the back of the stage. Thankfully, most of the action took place further forward."

"E36: I'm still not convinced that the sound is right - I have no idea how that is adjusted - or if it can be - but where principals are singing with the full company e.g. in 'One Short Day' they are not quite prominent enough - Idina and Helen were not sufficiently 'picked out' when singing the 'there are buildings tall as quoxwood trees/dress salons/and libraries/palaces/museums/a hundred strong'. I was in E36 in the stalls - which is very much to the side of the theatre - perhaps it was a quirk from that position - but I could have done with a more treble sound to the principal vocals from there and picked them out even more in the mix. But what do I know?"

"F36 and 37: I asked for F36 and 37 (£20 at the time - February 2010) in the stalls after looking at the theatremonkey plan and they had them. These seats were amazing! I can’t explain how great they are, I think they are the best seats I have ever sat in, anywhere, and such a great deal! They were what I would describe as a perfect distance away from the stage: really close so you can see everything in detail but not too close. Even though they are towards the side, you can see everything, I sat in 37 and I think there was one occasion when I had to wait a couple of seconds to see who had just come on to the stage, but you can see all of the actual action as it goes on in the middle or at the front. I can see from the plan these seats are about to increase in price, but I would say that at £30, or even £40 they are still fair value, especially as the seats next door (and behind?!) are top price."

"F36 and 37. These seats offer amazing value for money. The view of the stage is only limited slightly (SPOILER I can only remember missing the lion cub). I would recommend these seats to anyone on a budget who cant get to the show to purchase day tickets."

"F 38 to 40: (Tom C). (£20). I have sat once in the circle (row K) and once further back in the stalls (row R). The seats for this performance were fantastic!! They were really worth the £20 that we paid. However, I agree with the ratings of the seats on your Apollo Victoria seating chart. I sat in F38 which had a perfect view of everything (except for a small amount of scenery in 2/3 scenes) - you have highlighted this as green which I agree with! My sister and our friend sat in seats F39 and 40 and had more of a restricted view. The stairs on the left hand side of the stage blocked around 1/5th of the stage - but as most of the action took place at the front it did not matter as much! They were just surprised at how good the show was!

Another point that makes these seats so fantastic is that the speakers were literally a few rows in front (disguised underneath the stairs on stage). This meant that the sound was perfect - you could literally hear every instrument in the orchestra and all of the singing on top of this! There was no point in the show where I couldn't hear what was being said / sung."

"F41 and 42. Lovely seats, felt nice to be further forward, but I prefer not being at the end of the row. Comfortable seats with better legroom at the very end. Can see almost everything."

"G32: (Roddy). we were sat to the side of the Stalls in rows G, H, and J seats 32 to 45ish... These seats were excellent and a fun and most memorable time was had by all, with no viewing problems whatsoever like others have mentioned on Monkey's site. A very clear uninterrupted view. For any musical or show, I would always recommend front Stalls as the best seating."

"G32 and 33: Paid £62.50 per ticket. Brilliant seat. Worth every penny. View was clear, we could see the actors up close but were far enough to appreciate the stage. Perhaps a seat further behind in the central stalls would be more appropriate for someone who wishes to enjoy the entire stage. However, I certainly enjoyed being close to the stage."

"G38 and 39: Gave a pretty decent view of the stage, only a slight part was obscured but tickets were still great value for money."

"G 40 and 41: (John). only cost £20 and were great value - especially considering a few seats across they were £60. There were only a couple of occasions that our view was not great, but overall brilliant value - I would suggest that the seats similar to these at the other side i.e. Row G 8 and 9 would be slightly better than ours as there is a circular stairway on our side which does protrude more than on the other, where there isn't one. But if your on a budget and want to see this great show don't hesitate."

"G 40 and 41: Excellent seats, for £20 you can see everything. I don't see where 'restricted' view comes in at all. Although being at the side, I do think they are excellently priced and well worth it. Would attempt to get a few rows in front for the same price (if possible) though.

At another performance I sat in Stalls Row E seat 8. This use to be my favourite area to sit in as it is amazingly priced for £25 when the seats nearby are £60. You are up close and personal and the sound if perfect. Legroom at the end of the row is plenty and is very comfortable. However, having experienced £20 on the other side of the Stalls I personally feel they are better for money, because I don't see the restriction over there, but at this seat where Glinda stands in the first scene blocked the 'Witch's Mother' scene, and the back of the stage is not visible."

"G43 and 42: seats with “restricted view”, so they were just £15. I cannot praise these seats enough for the price, there was a small bit of the stage, maybe the left fifth, but only at the back, you could see everything on the left at the front fine (and a great view for “As Long As You’re Mine,” it felt like Elphaba and Fiyero were just in front of us). I would definitely go for these seats before more expensive seats far back in the circle. I have never sat in the stalls to see a musical before because it’s always too expensive for me, so it was amazing to be this close to the stage."

"H 40 to 44: (Trevor Chenery). We were sitting in row H 40 to 44 which are in red on your seat plan (in early 2007). True the left-side stage action when the cast are not very far forward misses a bit of a view but, overall, you lose nothing. One important thing to bear in mind about this show and others -  is that a lot of the close-up action takes place on the left side of the stage and rows A to J seats 35 to the 40s really get the best and most intimate view of what is happening in key scenes.

Also, that night, seats in 35 to 42 in rows B to E were unsold. Any late-comer, personal-callers at the box might enquire about availability of these if they desperately want to see the show at short notice or to try and do a deal.

What your other correspondents don't seem to take into account with regards to "seat rake" is that the theatre was originally built as a cinema and as such the stalls seating in the first 20 rows needed to fall away from the stage level to make the screen visible."

"H 41 to 42: (Pip). Must say I loved these seats. I think I'd get them around here because you're not too far at the side, and not too close to the action to get a bad neck. Lots of legroom, extremely comfortable, just beware of uber tall people in front (although I didn't have one). Could see everything from exit to entrance."

"H43 and H44: We got tickets on Ticketmaster for £17.25 each (February 2012 prices) and they were perfect. I was a little nervous about them but after reading reviews on this website decided to take a chance. They were great seats and hardly any of the show was missed. I would recommend anyone to go for these cheaper seats than pay full price for them."

"J44 and 45: (Pip). Personally this was the biggest bargain I've ever made at a theatre. I could see all but one part of 'The Wizard and I' because of the stairs, and Elphaba's entrance to the Ozdust Ballroom, but otherwise everything was clear and detailed. I loved it. Definitely good seats. Much better then same priced in the stalls. Legroom is good at the end of row and very comfortable. Some theatres that sell £15 seats aren't anything like as good."

"K14 and 15: (4ft 11 tall reader Rebecca). I was happy with the distance to the stage - it gives an excellent broad view. I was happy with the position, slightly to the right, and felt nothing was hidden. However, the rake of the Apollo Victoria is almost non-existent, and because the seats do not alternate position, my view was largely hidden by the heads in front of me, and by the woman who sat through the second act painting her toe nails. Unless confident that they are tall enough, I would recommend that people consider sacrificing a few hours of sleep and getting the front row day seats."

"K 41 and 42: (B). Purchased through Ticketmaster for £30 plus service charge. We thought these seats were fair value. Row K is a good distance from the stage in that you are close enough to see everything and feel the emotions of the characters, and far enough that you can take in the whole stage and are not looking up. We could comfortably see almost everything from seats 41 and 42. There are a very few scenes where you have a few seconds of a restricted view (mainly left hand side) but as soon as the characters come further forward (usually within seconds)--you have a wonderful view. This is mainly due to the proscenium arch, but it in no way detracted from my enjoyment of the show. In fact, the savings of £30 greatly increased my enjoyment because it meant that I could also go to 'Billy Elliot the next night :-). I loved Wicked--it is a wonderful show--my evening did indeed "defy gravity".

"K45 and 46 (Dee). I booked the lower end tickets (£15) which were a great bargain and got seats K45/46 in the Stalls. I thought that being in the Stalls would mean having a fabulous view of the stage/show. Boy was I wrong! Yes, these seats are close enough to the stage to see precise expressions of the characters however, they are way too far to the left hand side of the stage and both my boyfriend and I found we had to constantly crane our necks to the right every time there was a captivating scene (which in my opinion is for the majority of the show!). In these seats the view of the stage backdrop is lost A LOT almost to the point of spoiling the evening. If I had paid any more for these tickets I would have been really disappointed."

"L32: Great view, highly recommend."

"L36: Hardly any leg room. I'm 6ft 3" and had to sit bolt upright so probably blocking the view of someone behind. Sorry!

A good view from the side, but would not have liked to be any more to the left i.e. 37 onwards) as the view must be obscured.

Having sat in many other places in this theatre and the sound was good, the sound was not balanced here. Way too much bass. Near the drum kit I think! and some of the dialogue was drowned out. There was also the noise of what sounded like a large fan constantly? May be the lighting coolers? Not had that before either. Glad I only paid £35 for this."

"L41: (Price paid £22.50): Leg room was good. This seat was quite to the left of the stage, and I would not advise readers to sit much further to the left. Some of the stage entrances were missed but that was all."

"L45: (Paul). (£20 in April 2010) – utterly, utterly brilliant value. Missed very little (a few entrances) despite blocking issues with the way the ensemble were placed in the opening scene, as the majority is staged in the centre and front. I suspect I missed seeing Dorothy’s house – but that didn’t matter. Having been a ‘best-seat’ purist for many years, ticket prices mean that cheaper seats are needed now and then. These seats, should in my view – for the price and the view – be green. Would see it again – glad I didn’t pay £62.50 – and would be incredibly happy to see it from L45 once more!"

"L46 and 47: (Pip). Would be nicer to be further in the centre, but as the price is cheap I loved it. Could see everything clearly and sound is excellent)."

" M15, 16 and 17: Researched these seats and came up trumps. Superb. The raking just comes into effect and the aisle location means that the person in 17 has a total unrestricted view. Plenty of key scenes straight ahead too. If you're paying top price for tickets, these are near-perfect seats"

"M17: This seat was fine. Being tall, I was able to put my legs into the aisle and lower myself into the chair a little to help the person behind due to my big head! Sometimes I hear people moan behind me when I sit down; if any one reads this who has had their view blocked by a tall person, we can’t help it, we were born that way!!!"

"M44 and 45: they were an absolute bargain at £20! I would definitely mark these seats green (value for money). Great distance, only occasional restricted view and generally superb."

"N1 to 5: (Di). Just to add to your conversation about seats at the Apollo Victoria (Wicked). I really wouldn't advise people to pay top price to sit in the stalls N1 to 5. Unfortunately we did, and we couldn't see half the action. A little dickie bird tells me that prices for N1 to 4 have been reduced for the next booking period - but I would still say that if you want to see the full effect of this show don't sit in these seats. (Interesting that no-one in the side blocks gave a standing ovation at the performance I saw - probably because they only saw half the show!)"

"N44 to 46: (Lynn). Having checked with your website, I booked stalls N 44-46... and your reviewer was right - they were great seats. We couldn't quite see the far left hand side of the stage but that didn't really matter as nothing much happened there. Think the theatre have been reading your reviews as tickets were £32.50, but still great value for money."

"N 46 to 48: N46 was £22.50, N47 and 48 were £15 each plus service charge in August 2011. N46 had an amazing view and I would highly recommend it, especially for the amount paid. N47 and 48 are over to the side, therefore you miss some small bits of the show, and the back of the stage is hidden a bit, but you still get to see pretty much the whole show and are so close to the stage. Great seats for the price paid. £17.25 was a total bargain!!! I would highly recommend these seats of you can get them."

"O34 to 37: These seats gave a perfect view of the whole performance and were OK priced at £60 each as well. The theatre was packed but the air con was on for most of the performance."

"O47 and O48: Very good for the 15 pounds we paid! Good: Can see almost all of the main action, and close enough to grasp the intensity of facial expression. Extremely good deal for the price we paid. Legroom was decent (I'm 180cm tall). At the corner, so it was easy for us to escape the crowds / lines for the toilet / entry / exit. Not-so-good: Back-left of the stage was obscured. Not much happens there though. Left half of the illuminated background screen (which has tons of colours) is obscured."

"P14 and P15: (James, regular contributor). for “Wicked”.  I actually quite liked being slightly off to the side as although the seats aren’t quite staggered, because everyone is slightly angled it made for a very good view between people’s heads and I had a completely unobstructed view of the stage."

"P36 to 39: (Hannah M). I rate these stalls highly for "Wicked."

"P38 and P39: although they're in white on the seating plan, we found them to be AMAZING!! (but we were quite lucky - the two seats in front of us were unoccupied)."

"P40 to 43: Cheaper than full price tickets but we couldn't understand why - as they offered a fantastic view. With no one sat directly behind us, we also made a 'coat booster-cushion' for our 7 year old son to raise him a little, and both he and our 10 year old daughter were able to see everything."

"P40 and 41: (Teresa Gustafsson). The best seat I’ve ever had anywhere so far! My friend saw the show for the first time and she also loved the seats! We had tickets to stalls P40 and 41 which is marked green and only costs £40 because of the slight angle of the stage, which was fine, but there wasn’t anyone sitting next to us so we moved to P37 and 38 which is full price seats and closer to the centre. We had a perfect view of the stage and I could finally see the actor’s faces and details, something I’ve wanted for a long time."

"P42 and 43: We had seats P42 and 43 in the stalls and we were a little worried as you had these as red on your seating plan (now green at lower prices - editor). Yes, we did have to view the stage at a slight angle but we didn’t miss any of the action on stage and had a fantastic view of all of the characters. The tickets at full price were worth every penny and we would recommend them to anyone."

"P42 and 43: Having read all the reviews here and despite being a seating snob (always go for A-reserve), I decided to chance it and bought myself and a friend P42 and 43. I can't recommend these seats enough. £32.50 each and the only action blocked were three entrances which were brief and minor. Would I pay £30 more for these entrances? Absolutely not. To put it another way - the entire row (P 32 to 48) was empty apart from us but we were happy to stay in P42 and 43. If you can get these, take them."

"P42 and 43: (£35). Felt they were great value for money. I only recall two brief instances of missing entrances from the left of the stage, and not being able to see what was in the cage during the lesson. All the other scenes were perfect, close enough to see expressions, far enough to take in the whole set. The slight angle means that you look between the head of the people in front of you, which is useful due to the shallow dip of the seats."

"P42 and P43: To the left hand side of stalls, and are ones that the Monkey recommends as they are at a reduced price compared to some of the more expensive tickets in the stalls. The tickets were £32.50 and are amazing value as you get a good view of the stage without the big price tag of surrounding seats. There was only one moment where I couldn't see one of the performers enter, but they soon moved to the foreground. I would highly recommend these seats as they are really great value."

"P48: Advertised as a limited view, bought it on the day at box office for just £15 at a Wednesday afternoon performance in October 2010. Brilliant view for the money, end of an aisle. Legroom is generous in that row, though, even without being on the end of an aisle. Sound was brilliant and could see everything apart from bit right at the back left hand side of the stage where very little happens. Having previously sat in the back of the stalls under the circle, this seat was far better value for money."

Rear section, Central blocks:
"Q 19: I was extremely pleased with the clear, unrestricted view of the stage and felt that this seat was well worth the top price that I had paid. I was near enough to see facial expressions but far away enough to experience the whole affect of the stage/set designs. In addition, the wide aisle that runs in front of row Q gives you an enormous amount of legroom to really stretch out. The rake of the floor is also very noticeable in this row, giving you clear views over heads in the stalls in the front centre block."

"Q23: (Tony). I was told this normally went for an eye-watering £90, but I could have it for £62.50. Still pricey, but not a bad deal on a premium seat. The view really couldn't have been better. The near lack of rake in rows A to P works to your advantage here because unless you have someone particularly tall in those seats, you are looking over the people's heads. Also, as will be seen from the seat plan, it is the front row on a centre aisle so the leg room is enormous. The seats in row Q are also far enough forward so the overhang of the dress does not obscure the view of anything happening high up, as it might do with seats further back. A small (very small) irritation is that Q23 is on the junction of two centre aisles, the position where the drinks and ice cream sellers position themselves, so if you're staying in your seat for the interval, be prepared for quite a bit of traffic as I say minor quibble. Facial expressions would have been clearer by being a bit closer, but again this is a small point and you're really not that far away. Being central, the sound is superb and Rachel Tucker's voice is so powerful it could probably be heard at the Apollo Shaftesbury Avenue, never mind the Apollo Victoria. I'm probably a bit spoilt now. I can never afford the full price of a premium seat and will not always be lucky enough to pick up one cheaper. But if you can go that extra few pounds, this is a good a seat as any in the house."

"S21 to 23: Me and two other friends went again to see Wicked (Wednesday matinee 21st March 2007) and sat in stalls S21-23. I couldn't ask for better seats, all the stage was visible including the time dragon perfectly. Furthermore, we were close enough to take in the expressions and also detail of the props themselves. In addition we felt as if we saw everything the stage had to offer, being at this distance. The seats do provide binoculars for 50p but honestly you don't really need them - however they are quite cool to look through at the map in the opening of the production! For £60 a ticket I did feel they were a little expensive yet still was highly pleased - great view, great sound and also great leg room. I would definitely be experiencing Oz from these seats again!!!!!"

"S21: Taking advantage of the January 2010 getintolondontheatre.com promotion, I secured S21 in the stalls for £35. Initially apprehensive (S sounded like a LONG way back) - I was pleasantly surprised - this is a great seat - for some reason it feels pretty close to the action. Perfect view of the stage, and due to the fairly steep rake there's no problems with anyone blocking your view. Legroom pretty decent too. At full price, I would probably opt for rows Q or P in the central blocks first."

"S24 to 33: (Julia). We were sat in the stalls row S24 to 33. The view... was ideal to see everything and to feel totally included in OZ"

"S34 to 37. (James, regular reader). A great place to see the show from – good sound and a really good view especially because the seats are angled slightly so you look through the gaps rather than directly at the back of someone’s head."

"T22 and 23: Very good view of the stage with a good rake. I could see the Time Dragon and hear everything. In addition, seat 23 is on the aisle so you can stretch out at least one leg."

"T 23 and 24: (George Wheeler). These were even better seats (than S 1, 2 and 3 from my first visit) and I thought the view was spectacular and would thoroughly suggest these seats to anyone even if they are full price tickets."

"T 24 and 25: were really good seats - and no pumpkin head in front of me this time. T24 is situated on the aisle which meant I could stretch my leg out."

"U 10 to 23: We were a group, in rows U and W seats 10 to 23 and row X seats 18 to 23. I sat in U23 (on the aisle), giving a central, completely uninterrupted view of the stage. Although it sounds surprisingly far back, the stage seemed so much nearer but gave you a chance to admire the whole set as well."

"X30 and 31: (James). for “Wicked”. You can see the whole stage clearly here and I didn’t lose anything from the overhang. The sound is good here too. However, at top price it feels a bit too distant."

"Z 28 and 29: Paid £40 for these £60 seats when visiting the Box Office on the day (local discount offer, Editor) and were good value for the money. My girlfriend is of average height for a female and her view wasn't brilliant with someone of average height in front of her, quite far back with low ceiling due to Circle Overhang but for £40 good seats. For face value of £60 you can get MUCH better."

"Z39 and 40: which I was really worried about but the view was excellent.. except we couldn’t see the dragon at the top of the stage, but it didn’t matter."

"ZA 19 to 23: (Rebecca). Our party of 5 was in row ZA of the Stalls seats 19 to 23. The seats were comfortable, with plenty of legroom (tallest 5' 11"). We found these seats to be excellent, I was worried about being so far back, but the steep rake allowed for an excellent view and even the children in our party could see the stage reasonably well with adults sitting in front. Binoculars were 50p but not really necessary. The biggest drawback was the heat. It was stiflingly hot. I can't imagine what it must have been like higher up."

"ZA 28 and 29: Sat in Seats Row ZA in the stalls 28 and 29 and very good view as most of the stall seating seemed to offer."

"ZD34: (Luke). Paid £40. Good view of stage and, by sitting further back, you seem to take in a lot more of the show and notice more of detail put into the set. Although... the overhang prevents you from seeing the dragon, I also felt quiet far back and distant from the stage."

"ZE24: (Teresa Gustafsson). Loved that seat! It’s straight in front of the stage and because the floor goes up it’s also at the same level. Perfect, clear view although a little bit far back. It was also nice not having anyone next to me on one side."

Rear section, Side blocks:
"Q 3 to 9: (Mila) Lovely seats. Theatremonkey has seats 3 and 4 marked as red but not sure why (expensive at top price - Editor), me and my friend could see everything, and a perfect view as no-one in front of us. And plenty of room for bags, and to stand and cheer Louise at the end."

"Q38 and 39: fantastic seats with a brilliant view of the stage!"

"Q38 to 40: Are great. There are no leg room concerns, as the seats are the first row following a walk through gap. The seats cost £65 each (including booking fee) whereas the ones just across the aisle, in the centre block, were £92 each. We each had a full and unobstructed view of the stage. The rake wasn't an issue because of the walk through gap and the row in front being set lower down. And, an added bonus for the ladies - loos just off to the side, which allow you to beat the interval rush and would have saved us queuing at the main ones when we came in had we known!"

"R5 to 9: On the diagram it looks like the seats are very wide out and looks as though you may miss some of the action on stage but they were fantastic seats and are closer to the stage than the diagram suggests. We didn't miss one minute of the action and all the special effects worked well from our view."

"R8 and 9: (Mila). Only white in the seating plan, but really really good. Because of the way the seats are laid out, R9 actually has no seat in front, meaning a completely clear view of the stage for my 11 year old daughter."

"R 38 and 39: PERFECT."

"R38 and 39: (Geoff Jones). Great view of the whole stage and one of us could stretch out a bit as R38 is on the aisle – seats felt comfortable and binoculars were available if you felt you needed them. For the most part sound was fine when people were speaking and singing individually, but when the whole cast sang it was hard to make out what they were saying."

"R 45 and 46: (Tom C). On your seating plan, it marks seats R 45 and 46 as red...but I think that this is wrong! My two friends who sat here basically had the same view as myself and my other friend did in seats R 43 and 44. They were all worth £30, so obviously had a slightly restricted view. There were short amounts of time where you couldn't see scenery because of the staircase on the left hand side of the stage, like the house in the Catfight Scene and the Stairwell during 'For Good' but you did not miss anything at all because most of the action took place on centre stage. Here, the sound was better than previously because the orchestra sounded louder and therefore the songs were more spine- chilling, and also you could actually see the character's facial expressions!"

"S 1 to 3: (George Wheeler). I bought S 1, 2 and 3 for £62.00 each in April 2009, and thought they were brilliant value but maybe a little low on the rake. View wasn't obstructed at all as I am quite tall but for anyone shorter may be a bit of a problem if you got an adult sitting in front."

"S38 and 39: George Wheeler). These seats were amazing. I had full view of the stage, No view restrictions. Well worth the £62.50 per seat! If I went again I would try and get closer to stage. The sound is a tad low back in Row S and you don't get the full OOMPHH of 'Defying Gravity.' But... the view is clear, and you can just about make out the facial expressions on the actors/actresses faces. Bloomin' GREATTTTT SEATS!! :)"

"S 38, 39 and 40: Excellent views, good leg room and good luck as two tiny people sat in front of my young daughters!!"

"S46: (Jesca). I had a fantastic view at only £35 (January 2011 prices); the rows curve into a semi-circle so you actually feel quite close to the action. The seats were slightly wider than in most theatres so more comfortable for larger visitors (me being one of them!), and leg room was more than ample HOWEVER a small step down between rows S and R means that even when the seats in front of you are occupied, you can't stretch your legs out, something I found unbearable as it's the main reason I choose the stalls. There are no such problems in row T as far as I could fathom, so it may be worth choosing this row if this is a problem for you and you can't get a seat any further forward. This end of the stalls would also be handy for anyone who wants easy access to the toilets as you just duck behind a curtain and you're at the door for the ladies (and the gents' can't be far away!)."

"T 3 to 5: Seats were adequate. We sat behind four young women who spent the entire time fidgeting, which caused a problem as my kids tried to angle themselves to look through the gap of heads, so every time they put their heads together to have a chat, my kids couldn't see."

"T38, T39 and T40: These seats were side right to the stage. We paid £67.50 and would recommend these seats. I unfortunately had a tall man in front of me so had to do a bit of bobbing in and out; however, he was aware of his height and sat well down in his seat, bless. The characters were easy to see but for more of a look at their expressions etc we used the binoculars. I would recommend these seats and the leg room was excellent."

"ZA 1 and 2: "Wicked," (Martin from Austria - regular reader). The guy at the ticket booth told us, that these seats are premium seats! ( But more about this later). The fact is, you are pretty far away from the stage. The sound is crystal clear, you're able to overview the whole stage, and what's going on up there and you're able to see the actors/witches faces but not really their expressions.
I was a little bit distracted by the candy shop, hidden behind the curtain, next to me. I was able to smell those yummy yummy sweet temptations during the show, which kicked me out of OZ from time to time!
Back to the ticket booth guy: lovely fellow with a joke on his lips for every customer. Maybe he made a joke when he told us about those premium seats. They are nothing like that. Of course they are OK, ( we paid a fair value), but, as the monkey said, there may be better seats for the same price.
"

"ZA6 7: "Wicked." We got these tickets for £40 each on the GILT offer so didn’t pay full price. We were delighted with the view for the price we paid. Although slightly off-centre we felt that both seats gave a great view of the stage. We could just about see the moving dragon at the top of the stage so didn’t feel that the overhang of the circle got in the way at all. None of the rest of the stage was obscured in any way. The seats in the rear side stalls are both raked and slightly offset so you are not directly behind the person sitting in front and you are slightly higher up. Legroom was not amazing but just about sufficient. We found ourselves just about the right level to look onto the stage, which is set quite low, although we could understand how smaller children would struggle to see as the rake is not that steep (booster cushions are available which seemed to help the small child in front of us). We were also far back enough to take in the overall effect of the staging and production, which is visually spectacular. We could not quite make out detailed facial expressions, so perhaps the best seats are slightly (but not a lot) further forward – perhaps the front centre circle seats or stalls centre row Q - to get the best of both worlds (detail and overall effect). The one real negative point is that there are simply nowhere near enough ladies toilets for the (predominantly female) audience and they are all located on one side of the building – the far side from where we were sitting. I managed to get into the pre-show queue quite early on and only had to wait a few minutes, but after I came out and at the interval the queue was just enormous."

"ZA38: "Wicked." Very good view from here, it is nowhere near as far back as you fear from the seating plan. The overhang is quite high so you don't lose anything of the actual stage at all. The dragon that sits on top of the stage is partly obscured, but it hardly moves anyway so not a problem. Leg room is quite good back here for the 6ft plus, with this being an aisle seat it is better as well. This would also be a good seat for kids or shorter people, as the rake means that there is no one sat directly in front of you in the line of sight to the stage. I got it on the GILT offer so great value, if you were paying full price you would naturally want to be a bit further forward, somewhere around Q would be perfect probably for Wicked. However if you get offered a discounted ticket for ZA then go for it, it is still a very good view."

"ZC 1 and 2: Was a bit worried as could only get seats ZC1-2 in stalls but needn't of worried - did not feel like I missed anything. Yes, would be nice to be in centre of theatre but if this is all that's left did not feel cheated... and loads of leg room! I`m over 6ft and had no problems. In quieter bit did get a little noise from behind curtains at side where they keep stock for the bars etc, so staff should be quieter - and cold blasts as someone else said - but I had a great view."

"ZD 38 and 39: (Mary). I went to see Wicked today with my 7 year old daughter, and we sat in these seats, which cost £35 each plus commission. I had to write and say how wonderful these seats were for the price. My daughter, who is an average sized 7 year old (not tall) sat in ZD38 which was an aisle seat....without a booster cushion....and had a totally unrestricted perfect view. We were admittedly a little far back but for the price I thought these seats were fantastic, especially considering that the "mirror" seats on the other side of our aisle (but in one of the two central blocks) were selling for £10 extra."

 



DRESS CIRCLE 
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Layout:
The Dress Circle is split into front, centre and rear sections by aisles across the fronts of rows G and P.

Each section is split into 5 blocks by aisles. In the centre section, all except the central block have seats missing for entrance stairwells. In the rear blocks, the two blocks either side of the central one also have stairwells.

Legroom:
Many feel row A and aisle seats satisfactory. Some find the seats narrower and more cramped than the stalls, but most are satisfied that it's acceptable unless particularly tall. One tall person found D9 acceptable, though.

Choosing Seats in General:
Front section, Central blocks:
In the central block, the prime seats are in rows C to F, numbers 10 to 37. These offer a good view of the stage, though row B can be affected by people leaning forward to see over the wall in front of row A.

Front section, Side blocks:
Almost all seats offer fair value (again the problem in row B applies), though the ends of rows are rather far over to the edge of the theatre.

At top price, the monkey isn't keen on the seats behind the rail, nor the extreme edges (first and last two seats in rows back to D) either. The extra money should ensure a really full view, in its opinion.

Row E in the side block has platforms at the ends for wheelchair users. Not at all bad, feels the monkey, and a chair user confirms it!

Central section, Central blocks:
The central block back to row M is top price at Friday and Saturday performances. Monkey advice is to make L and M last choice if there are central stalls back to T available. After that, take circle centre block J, K, L, H, M over side stalls for view if not comfort. It still feels the seats are getting darn overpriced, though, and would point out that sitting a single row behind in the circle row N is £10 cheaper. At Monday to Thursday performances, they are cheaper and thus about "fair value" feels the monkey.

Central section, side blocks adjacent to central blocks:

In these blocks, rows K to O are prime. Remember that there are stairwells in these blocks, so choose the centre block first for the same money if possible where seats are at top price.

Row J seats 14 to 17 and 36 to 39 are behind a stairwell wall. This restricts legroom and will annoy anyone under 5 foot 9 tall. Rows G to J seats 13 and 40 are affected slightly by the walls too, and should not be considered unless only far side block seats are available.

Pairs of seats H18, 19, 34 and 35 are well liked by monkey readers for privacy.

Central section, outermost side blocks:
Of the tiny side blocks, rows M to O are far more expensive - take N or O (as a reader recommends) first if you must, but try for the same priced front section stalls before taking these if possible. Worth knowing is that the rear rows - O back, may miss action at the very front of the stage if you are shorter.

Those in L have to lean forward to see over the wall. If you have to see the show and accept being at the very extreme edge of the theatre, sit here, but for the same money, try to be in the more central blocks unless sold at bottom price.

Rear section, Central block:
A safety bar in front of row P intrudes into the view, as do safety bars at the ends of rows on the aisles, and you are a long way back. take row Q first to avoid this, but do remember that here you get what you pay for, so rule it out if you want more than to just "be at the show"!  Also worth knowing is that the section may miss action at the very front of the stage if you are shorter.

It would still explore row R 16 to 20 and 21 to 35 if the stairwell rail isn't a bother (skip if shorter / dislike leaning forwards / being told not to lean forward by those behind). The price for rows P and Q at weekends seems very high, and the monkey would try for the front stalls at the same price first, followed by N and O in the extreme sides of the Dress Circle. The extreme side blocks seem expensive, and the monkey would skip 1 to 3 and 48 to 50 if possible.

Seats further back have a very distant view of the stage. Those seated here still get about average value for money - and a history lesson in how 1930's "Super Cinemas" were constructed to allow maximum audience seating at the expense of view for the poorest!

Rear section, Side blocks:
Simply along way back, and to the side. Be aware everything looks far away from up here. Avoid the seats near the stairwells and in the front of the section where rails are in view and you pay the same as folk in the centre for a mediocre view. There's no bargains unless prices are very low, but unless you are at the most extreme ends of the row, you'll get about what you paid for. Just remember that some in the restricted view stalls pay the same for a much closer view...

General Hazard Notes:
Rails across the front aisles are right in audience sightlines and cause many people annoyance.

Further rails across the front of the centre and rear sections irritate fewer people, though the short might well wish to avoid them.

Folk leaning forward to see over rails will upset those behind them.

Row G has sightline and legroom restricted by ironwork in front, row H may also suffer for some people.

Rear rows - O back, may miss action at the very front of the stage if you are shorter.

Many moans about sound, particularly in the centre of the front and back section.

Ushers are known to stand in the aisles and restrict views.

Changes for the current production:
On Saturdays, a cluster of 4 seats at the far (high numbers) end of rows A to D have been priced to account for the restricted view. The monkey really liked B and C 43 and 44 under this new regime, and thought the other two seats fairly priced too - but would go for the ones further in first!

From Monday to Friday the end two seats in rows A to D are at fourth price, but makes the next two further in top price again on the "high numbers" side. So, skip the newly increased ones, and for those willing to accept the rail in view, take D 2 then 1, C 2 then 1 first for a cheap front block circle view. These seats are third price at Saturday and "peak week" performances. Just fair value considering what else you get for your money, the monkey feels.

Until 25th April 2015, a few central seats in rows B to D are "premium" on Fridays and Saturdays. From 27th April 2015, only a few seats in row B are "premium." The monkey feels that the view is excellent, but there are seats with fewer complaints about sound over the years downstairs... that is all.

Centre section side blocks have undergone a massive price increase since the show opened. At Monday to Thursday performances the "clear view" seats are second price and better value - excluding those around the stairwells, of course.

Row L extreme ends are cheap, but not for the shorter. Bargain for those willing to put up with the rails, only.

On Friday Evenings and Saturday afternoons, centre block G to K become top price - skip them, feels the monkey, way too far back. L and M at second price are better value. On Saturday Evenings and "peak weeks" only second price N and O are worth a look, the monkey feels, for the same reason.

Over the aisle, Theatremonkey readers' favourite pairs of seats by the stairwell drop a price. H18, 19, 34 and 35 for those private moments, J 19 and 34 for only one person beside you (if you can take them moaning about the wall corner beside them). On Saturday Evenings and "peak weeks" from 28th April 2014 they are also a way of being closer to the stage for less cash too.

The rest of row H is also well priced, with a seat near the front of the section the same price as ones in centre row N. The monkey would take the seats 11 and 12 / 41 and 42 at this price over same price centre block row O for sure. There's also seats even further along in the same blocks in rows L to O at the same price. Another choice once those front corners of H are full.

Further, in this barganacious zone, just behind row H, row J 6 to 11 and 42 to 47, and seats behind it in all rows back to row O suddenly become a mere £35 each except at Friday, Saturday and peak performances - £10 cheaper than the row in front. Bargains for sure, feels the monkey, if you can nab the most central of the bunch in rows J or K first.

There's still bargains in this block on those Friday, Saturday and peak performances too. The price drops are still there, but they move a little. H, L and M on Fridays and Saturday afternoons, H, K and L on a Saturday Evening and peak performances. Same numbers, those on the outer ends of the row, away from the stairwell restrictions.

Speaking of stairwell restrictions, for those over 5ft 7 and willing to suffer less legroom, seats around the stairwell and behind the wall are not badly priced in the middle blocks. NOT for children, though.

The outermost blocks in the middle section also drop a price. N and O may suit those on a budget, but remember there are seats in the block beside them behind a stairwell at the same price, and with a decent view if you are tall enough to see over the wall (5ft 8 or so) but not too long-legged to let legroom get to you.

The rear section also has a new pricing strategy, with lower prices in the adjacent-to-the-central-block row Q looking good, and the very outermost seats in rows P to W with cheap pairs to be had.

Row X becomes more expensive on Fridays, Saturdays and "peak week" performances - take cheaper Y for the same view at £10 less. Also, at Saturday Evening and "peak week" performances there are no bottom price seats in the side blocks. Skip those outermost pairs at the price. Moving to the blocks beside the middle ones, they are charging fourth price for the front two rows and fifth price for rows R to U behind that. Remember, there are seats in the block ahead at third price - and in the front stalls too at both third and fourth prices. The restrictions in the stalls win over the distant views in the circle, feels the monkey. If you do need a cheap circle seat, W 9 to 43, except behind the stairwell area 16 to 20 and 31 to 35 are the ones to pick, as are the cheapest row Y seats again.

Further very cheap seats can be had in Q 6, 7, 44 and 45 (and those in front in row P if you don't mind a rail). Skip row P but from Q back, you can't go wrong at the price, feels the monkey. Oh, and the tall but not too long legged might also find stairwell seats at the same price another bargain.

Basically, some "Wicked" changes, it feels, happily reliving its 1980s vocabulary.

 

Reader Comments:
Front section, Central blocks:
"Row A: I did get one complaint about the brass rail on the balcony which is just on eye level, fortunately there were other seats empty which they moved to and others in the circle almost had vertigo due to the rake of the seats and they moved to the stalls."

"Row A: (Jazz). Sat in the the front of the Dress Circle. It definitely was a great view to take in all the effects of "Defying Gravity" and a good place to appreciate the staging and choreography."

"A 18: I have never been a fan of front row Circle seats but I have to say that I found this seat gave me an amazing view of the stage. Even better than my favourite seat in Row Q in the stalls. At 5ft 8" I found the Circle wall to be only very mildly off putting, as it cuts of the very front of the stage and you will sometimes miss some of the limited action that takes place there, especially on the right hand side (looking at the stage). Having always sat in the stalls for 'Wicked,' I found that sitting in the Circle gave the show a completely different look, and I could see things that I did not see before.

However, the only major problem I had was the sound. It was terrible! At times it was deafening and at other times it went really quiet. For the final five minutes it completely went and then I couldn't hear anything that was being said; which was a shame because I really enjoyed myself sitting in the Circle and would be happy to sit there again."

"A 22 and 23: Dead centre and on the aisle, a bar just to the left on the circle ledge might just creep into sight but it did not distract me at all. Great seats....Sound quality off balance a few times but not as bad as on previous visits; I really don't know why they cannot sort this out as the shows been running long enough now."

"A 22 and 23: Both seats give a good central view of the stage. In addition, I believe that row A sits at around row N in the stalls so you are not as far back as you think, although the Circle in this theatre does seem high up. At 5ft 8, I find the Circle wall only cuts off the very front of the stage (you will miss the orchestra and the right hand stage protrusion) but this won’t spoil your enjoyment of the show and is a good place to see some of the big musical numbers like ‘Defying Gravity’ and to appreciate the sets, including an excellent view of the Time Dragon.

In addition, seat 23 is on the aisle, so you can stretch out a bit, but I found that space was not too much of a problem in the front row. The only issue I had was the metal bar that sits on the circle wall at the bottom aisle staircase. Although it does not really obstruct your view, I found it a little intrusive, as if someone was standing right next to you. This was my second time in the circle and was pleased to notice that the sound was a lot better ."

"A24 and 25: (Chris B). Fantastic seats, perfect clear view of the whole stage and being raised up you can appreciate the whole intricately designed set without having to strain your neck, and they use every last inch of it. And one of the largest legrooms around. Plus A24 is an aisle seat allowing you to extend your legs if needs be. Looking eye to eye with the dragon too! I have seen this show three times getting gradually further towards the front of the dress circle (starting about half way back) and would say these are by far the best in the house, worth every penny."

"A33 and 34: Great view, although one does need to lean forward at one or two moments when the action is downstage. Hard call on circle vs stalls, there’s a lot you’ll miss in a close up stalls seat that you get from the circle but even from this prime position up the stairs I didn’t feel especially close to the action. Worth mentioning I got these last minute by turning up at the box office with my friend and a student card each, £29.50 for the best seats available, although we were put in single seats a few apart. We swapped around to get next to each other though."

"B14 and B15: We were both amazed at how remote we both felt, despite being only 2 rows back from the front of the circle. The seats were good, though the person in front of me kept moving leaning forward when any action took place at the front of the stage and this blocked my view."

"B23: (Rebecca). At 4ft 11 inch tall, I feel these are overpriced and unsuitable for those of a shorter disposition. The front of the circle actually cuts off the front of the stage and completely hides the protruding sections of stage at the sides. Being short, I found additional problems and had even more of the view cut off. I would not see 'Wicked' again from anywhere but the stalls."

"D10 and 11: They were well worth full price, we were bang level with the (enormous) time dragon (who sparked lots of oohs from the audience whenever in motion) and when Elpheba flew in Defying Gravity we had a fantastic overall view of the whole scene one suspects you would not get in the stalls. Only problems is the sound could go up a notch especially the orchestra I wanted to be blasted out my seat by that overture and I was not, it sounded like they were hidden behind a screen somewhere, but again early previews yet! Seats at the very back in the Circle I personally would avoid they were miles high and I looked at them thankful I was not swayed by the cheap offer and had paid the money."

"Row C 15, 16, 17: (Kathryn). Could clearly see all of the action."

"C31 to 33: (Frank). The seats have a good rake and are offset, so we had a good view of the main stage at all times, including the sets and action that takes place above the stage. The seats were comfortable and had adequate leg room. Our view of performers on the 2 smaller stages projecting towards the audience were sometimes restricted by people leaning forward over the wall in row A, causing those in row B to do the same! However, these stages are not frequently used, so it was a minor irritant. Booster cushions seemed to be available for smaller children."

"Row D 13 and 14: Central seats, however the view was distant. The seats are so tightly packed. When people started standing up for no apparent reason (not during an applause), they blocked my entire view for the whole of "Defying Gravity." I missed all the special effects, and I was very upset as I had paid £120 for the pair. I just wasn't satisfied, so I had to see it again. This time I sat front row A23 of the dress circle... fabulous UNINTERRUPTED view."

"D16 and 17: Seats very distant from the stage and a long way up, just off centre but with a good view of the main stage. The lower stage (stage left) was slightly blocked from view. The performers tend to look forward to those in the stalls as opposed to looking up so high. The theatre is huge and I would strongly recommend not sitting in the next tier back as more of the stage would be lost. I think the stalls may be better for this show to be closer to the action."

"D19 and 20: As feared, whilst these seats are almost as good as it gets in the Circle, it's still a long way up from feeling as though you're part of the action. Considering the great seats you can get in the Stalls, the Circle is just too high up and far back. The leg room was OK and it was great to see more spectacle from the position, but this is far outweighed by what sitting in the stalls at the Apollo Victoria offers. Another thing I found unreal was how everyone had to lean forward to see the performers when they ventured to the front of the stage. You often get this was the front row or two but here I'm talking everyone. It should be said, when attending the theatre I'm neither a Circle or Stalls fan. Some shows I'd prefer to be sat in the Stalls, some the Circle. It all depends on the show itself and obviously the theatre. Having now seen Wicked from four different areas, easily the best place to see the show is one of the aisle seats of the Stalls Front Section, side areas, C to P 17, C32 to P32. "

"D 24 and 25: (Barry Liimakka). "Our seats in Dress Circle (D24/25) were as TM suggests, very good seats - comfortable and good leg room to boot. However that brass balcony railing which is located adjacent to the aisles is indeed an annoyance which blocks your view of the stage. It affects my view of the stage from D24, though not my wife's view. I suspect that the same is true for rows C, E, and F immediately behind or opposite my seat. Perhaps others can weigh in."

"Row E: (Michael). I sat in row E of the Dress Circle at a preview performance of Wicked, and whilst the view was very good indeed, the sound was very very poor. The orchestra sounded as if they were in another building and the cast could have been singing in French for all we could tell. the dialogue was not much better - you really had to strain to hear what was being said and a lady sitting next to me summed it up when she said that "This is billed as the untold story of the witches of Oz - I have sat through three hours and am no wiser as I can not hear anything". It was a preview but they HAVE to sort this problem out - at £55 a ticket it is not on. I do gather that the sound is better in the stalls but I can not confirm this."

"Row E: I went to see it last night (14th October 2006), sitting in Row E of the Dress. I was a little concerned before by the reports on this site about the sound. I feel they must have sorted it because I felt it was perfectly balanced between vocals and orchestra, at an appropriate volume - Idina Menzel's magnificent voice given just the right "knee-trembling" factor! Also, the spaciality of the sound was right. So, I breathed a sigh of relief."

"E 31 to 33 - the sound was quiet, but I had no problems hearing any of the show. having been to some shows where the balance of music / vocals have sometimes been disproportionate, I was pleased that the balance seems right here. Re. the seats - legroom is a bit tight, but the view was fine."

"E 21 to 25: we had a good view, seating was well raked and all the stage was visible. Legroom was a little tight but nothing out of the ordinary."

"Row G: (Morvey). We were right in the middle of Row G in the Dress Circle and the sound was truly dreadful - the only thing we could hear clearly was the percussion track which was very annoying at times and, of course, Miriam Margolyes who has the best speaking voice in England."

Front section, Side blocks:
"A 7, 8 and 9: I was expecting a pole in front of us (I had these booked for me!), but actually this was not a problem. I think the rows behind were more affected than ours, but the bar was not in the field of vision at all. However the front right of the stage was obscured, even when leaning forward, due to the height and width of the lighting rig in front of us. However, 80% of the view was fine, although feeling distant from the stage. Leg room was terrific! Overall, I would keep these red for full price, but under the new pricing structure definitely worth looking at.

"Row A44 and 45: These seats are the last two seats on the row, however I could see everything perfectly and for £30 well worth it - seeing as the seats next to them are worth £60."

"B1 and B2: Good views looking down onto the stage, no problems with bars in the way or having to look over the edge. As others have commented, the sound did seem a little different up here as opposed to the stalls. Far too much bass, often overpowering."

"B 8 and 9: Was supposed to sit with a friend in B 8 and 9 of the dress circle - to all the readers, try and avoid B9 of the dress circle as much as you can, as there's a pole right in front of your line of vision! Luckily the seats in the centre of B of the dress circle weren't filled, so we moved and 2 friends who had bought tickets for other seats moved down to sit with us, B in the centre of the dress circle are great seats, I could see everything, facial expressions quite a bit too!"

"B 45 and 46: Our seats were pretty good although we couldn't see all the action on the left hand side of the stage, especially the part where the house lands on the Wicked Witch of the East. Luckily a girl was sitting in front of me so I didn't have to lean to the sides to see the action."

"C 8 and 9: We sat in Row C8 and 9 in the Dress, and I wish I had seen your red marked chart area before I paid full price for these (£55). The safety bar on the front of the circle aisle is sufficiently high that neither my husband nor I could see the middle of the front of the stage without scrunching our heads down into our shoulders. It is only when you have to do this that you realise just how much action takes place there. The people one row in front had to do this too. In the row in front of them, you could just look through it like a frame. On the plus side, the aisle seat had no seat in front so the legroom was infinite, and the other seat had good leg room. The also sound wasn’t very well balanced that night (13th October 2006), I have to say. It was still good though! (These seats were made cheaper since - Editor)"

Row D: (Lee Wilson). Circle Row D... the sound was adequate it was certainly not stunning. It was much louder and clearer in the cheap seats (row W). On 18th September 2006 there was a more "muddy" sound with lyrics sometimes hard to understand. Individual voices were mostly okay but as soon as more than one person sang it was hard to follow lyrics. Whilst it is great to have a much closer view of the stage people should be aware that at the side block (we sat in D38 and D39) there is a quite high horizontal bar on the front of the Circle that I found slightly irritating because I found myself having to look under it to see the actors when they were on the very front sections of the stage that jut out.

I would say for the few seats that are affected by the bar it should be red, if only because I would not choose them again at full price. If anything in the centre block was available I would go for that or even anything a couple of rows back at the side where the height of the seat would mean we would not notice the bar as much. Again I would say it is a minor quibble but for full price you can get better seats"

"D 5 and 6: (Lynda). Good seats, but could not see all of the front of the stage without leaning forward."

"D9: I am a big guy, 6.3" and many seats are usually pretty crappy for me, but this time around I was fairly lucky. For Wicked: I got seated in D9 in the Circle (paid £27.50 Pounds for the Student Ticket). The view is great, the metal bar is in the way, but not really obstructing any key points of the show, I would mark them as green, especially since there was no seat in front of it due to the curve of the circle."

"E 6 and 7: As another reader here says about row D in front, the front area of the stage is invisible and the distance meant that we could not see the actors clearly without opera glasses. Most of the front of the stage also had an aisle safety rail blocking visibility."

Central section, central blocks:
"Row G: The view was still excellent from row G circle though, and I didn't find the bar in front of the seats restricted the view. I would agree with previous reviews about the sound - when I saw it in the circle I could barely make out half the words of the songs. The theatre needs to sort this out - that's why you have preview performances. The sound quality was MUCH better in the stalls. It's not fair to penalise people who can't afford top price tickets such that they get bad sound quality."

"Row G: The mix where I was sitting was absolutely dreadful; I could hear bass and nothing else."

"H26 and 27: (Emerson). The view from these seats was amazing. All the stage could be clearly seen, with none of the characters feeling too far away. Sound was pretty good, better than expected after reading the reviews. However I do not suggest these seats unless bought cheap; reason being that people in row G in front of you have the railing. We had the guy in front of us constantly moving, forward and backwards - and this was a pain. We were lucky enough that row I behind us was empty so we moved up one row, resolving the problem. So I agree with Theatremonkey marking these rows in Red as they are risky especially if you pay top price for them. Go for rows J or K or A to F middle section, worth every penny."

"K20 to K29: (Steph Nicholls). Got  for £40 each from the booth within Leicester Square Tube Station. The view was great, apart from the very front of the stage being cut off (not that we missed anything). Leg space was adequate, though our America friends felt cramped, however we left without bruises on our legs from the seats in front which isn’t always the case!"

"J32 and J33: (James). got seats at a £15 promotional rate and for that the view was fair, but at the regular £45 price… absolutely outrageous!! You feel so far back and the sound was all over the place."

Central section, side blocks adjacent to central blocks:
"H 18 and 19: (Emma). I think we had fantastic and great value seats, Circle, Row H 18 and 19. These are two seats on their own, right in the middle, not too far back and priced only £35. The same would be true for Row G and Row I. Pass the message on."

"H34 and 35: (Francesca). We had seats in the Dress Circle. I took my 10-year-old daughter and she thought they were the best seats we’d ever had! Unobstructed view and it was nice not sitting next to anybody! We usually pay top price so I was apprehensive but I would recommend these to anybody. (Sadly, the producers have probably read this... and they are now top price - caught, alas, thinks the monkey!)."

"Row K: Sat in circle row K, excellent seats, good view of everything, don't pay the extra for the front of the Circle."

"K 14 to 17: (Tom). which, at the time were £30 at the start of the run in 2007. These seats were good, although the characters seemed quite far away, and also the front of the stage was cut off by the bar splitting the circle and the top of the stairwell just a row in front of us. The sound was powerful and loud and nothing can fault those seats for the amount of money we paid."

"K15 and 16: These seats are listed as 'restricted view' and reduced as such. However, I had no problem with these seats at all; and for someone looking to see the show on a budget and have a great view I would highly recommend them. No problems at all, could see the actors faces clearly and really felt involved in the action!"

"L37: "Paid £15 (in 2006, editor) for seat 37 row L of the circle and OMG what amazing seats. Could see the whole stage and take in the amazing sets and costumes from there... On a small side note, leg room is insufficient for taller people (I'm 5 foot 11)."

"M 18 and 19: (Paul Nicholls). Sat in seats 18 and 19 Row M Dress Circle. Seats only £15 each (now £25, editor) and EXCELLENT value for money. We had a clear view of the massive stage and set. I can't see any reason to pay top prices if you can get seats in this section of the circle. I did have a walk up to the rear of the circle to see what the £5 (now £15) seats were like. A bit too high up for me but great at that price."

"M36: have to say, that it is a decent seat for £25 (I guess it cost that much in January 2007 - now £60, Editor) but it is not worth any more in my opinion. I had a hard time getting my legs in a decent place (I'm 6ft 2" tall), had luck that no-one was sitting next to me then. I'd always go for front row day-seats now for comfort."

"O 15, 16 and 17: I had researched the seats on theatremonkey. I was a bit disappointed. When the action on stage went to the very front part of the stage we could not see it, and had to lean forward a lot. My friend and I could see down to the stage but the little girl with us who is 9 couldn't."

Central section, outermost side blocks:
"O 49 to 52: (Dawn). First thing to note is that the numbers on the seats are actually 48 to 51 - there is technically no seat 52!!!!! When you actually ask for assistance in this matter they tell you to go by the number on the step (which says 49) and although they are numbered 48 to 51 they are tickets 49 to 52 !!! Worth being aware of as otherwise you might find two people sat in the middle of your seats!!!

49 and 50 are the better view of the two, as the other two might be subject to people leaning forward in row L because of the bar which has a knock on effect on the other far end of row. Just depends how selfish the people in front are. Man in front of us just told them!! Although a theatre chap did bring some people here little cushions - rather nice! But for £15 per ticket all were fab value and well worth it. (Numbers have been corrected since - Editor)"

"O 51 and 52: (SJ). For £25 they are excellent value. We even had a space next to us for all out shopping."

Rear section, Central block:
"Rear Section: (Louise Robinson). I sat in the back circle. You can see the stage but everything's mini and most of the binoculars were missing!"

Rear Section. (Paul Nicholls). "I did have a walk up to the rear of the circle to see what the £5 (in previews, now £15 - editor) seats were like. A bit too high up for me but great at that price."

"Rear Section. We had £20 seats in the circle and quite a good view, but found latecomers, toilet visitors and general movement throughout the performance to be rather irritating."

"Row P: The preview (September 2006) £5 priced seats were okay but not sure I would want to sit there again though. The front of the stage is a bit obscured by peoples' heads and, in fact, some of the action too as the stage extends a bit and they use it quite often; but great for £5 - but in the main run £15 don't think they are really worth it as with Wicked (and Idina especially) you just have to see her facial expressions to really enjoy her awesome performance."

"Row P: I have now seen the show four times and have sat in a variety of seats. After 0 in the dress circle I have had row P centre in the dress circle, row W dress circle and row D in the stalls.

I have to say that from all of these seats I got something different from the show - but all were great. Row W of the dress circle - booked last minute - cheap - great overall view - took my cheap Argos binoculars for a closer view - but others in my party were still blown away by the show from here.

- only problem I have found with any of the dress circle seats - is the leaning forward person - if you have someone that does that - it is a real pain - but a polite word often does the trick."

"P25: and surrounding seats. The safety bar you mention as being an obstruction isn't the one right in front of you, but the one forward to stop people falling down the rest of the dress circle. Now, it isn't high at all, but at a few points during the show we had to lean forward slightly to see the stage. If my sister didn't have a booster seat here she might not have seen very well at all. Apart from those few moments in the show, they were great seats, especially at just £15 each."

"Row Q: (Liam). I had £5 (preview priced, now £15 - editor) Wicked seats in the middle of row Q on Friday night (8th September 2006) - and what an absolute bargain! The view was a little distant but incredible - totally clear view of the stage and you can really take in the enormity of the show."

"S 27 to 30: (Jan). The theatre is set out in such a way that you could probably see the stage to a decent degree no matter where you sat if you are of average height, but being only 5' tall, I have trouble seeing anything wherever I go. Although the rear circle has a good rake, we had a tall man in front of us and we had to swap seats around so that the tallest member of our party sat behind him. But even he had problems and had to constantly lean to one side to get a proper view. Then of course there were safety bars right at the front of the circle, so the four rows in front of us all in turn had to lean forward, until we were all leaning forward to see over someone's shoulder! I had a neck ache for days after."

"T 21 and 22: which had cost the princely sum of £5 each. Legroom was very good (my friend is 5’ 8”) and the view was fantastic – central, clear and so well-raked that even with a couple of tallish people in front there was no problem at all. Very comfortable, although walking up and (particularly) down the fairly steep steps can be a bit heart-in-mouth, especially when being pushed by a crowd, as there is no handrail and the seatbacks are too low to grab if you stumble. Might be sensible to allow a few extra minutes if you’re at all concerned about mobility and have a Circle seat."

"Row W: My row W tickets were £20 each, which I know is quite cheap but I didn’t expect them to be THAT far away. I would say avoid sitting this far back at all costs, it’s definitely worth paying an extra £10 (or more if you can afford it)."

"X 21 and 22: These seats are fantastic for what you pay, a great central view. Yes you are far away but that's because you're paying tuppence!"

Rear section, side blocks:
"Rear Section: Seated in the front circle, I noticed that seats at the very back in the Circle I personally would avoid they were miles high and I looked at them thankful I was not swayed by the cheap offer and had paid the money."

"Rear Section: (Karen and Peter). Back of the dress circle is great value for money at £15 but we recommend the middle blocks for optimum viewing."

"P 12 and 13: in October 2007: When booking these seats I rather stupidly didn't realise there would be a bar across in front of us, preventing easy access to and from our seats but its not that big of a deal. These seats offer a nice leg room, however the safety bar is a slight problem which is sorted by simply leaning forward slightly. If that doesn't bother you then these seats are a good buy. Got a bit annoyed by late comers and toilet visitors as you are right by the stairwell and everyone walks past you. All in all, worth what you pay.

"P13 to 15: (Teresa Gustafsson) they are marked red but I don’t feel they deserve that. The safety bar meant you had to lean slightly forward at some times (reason for rating - Editor), but it didn’t obstruct the view. Maybe I’m an overly positive person or maybe I just love 'Wicked' to much, but I really liked that seat!"

"Q35 and 36: (Mandi). We had seats in Q35 and 36 of the dress circle. Although we were a long way back, it was nice to get the overall impression of the staging effects which were quite spectacular. We had no problems with sound at all. As to be expected from sitting so far back, we missed all the nuances of expression etc from the performers but as we managed to get them for only £5 (preview priced, now £15 - editor) each seat, we certainly couldn't complain!"

"R19 and 20: are over the stairwell, and if you are sitting there you need to lean forward the whole time, thus blocking everyones' view behind you"

"R 31 and 33: We got these last minute from the box office and I think they should be £15. Compared to the £20 seats behind, which may be further back, they are even worse. There is a ledge in front because of the staircase and I couldn't see sitting back (and I am 5ft 8). I had to lean forward for most of the performance and my back hurt so much at one point, I gave up and just sat forward enough to see their heads. However, from my last experience of the Circle, the sound has much improved and the view without the leaning would be fair value. However, go for Row T in the middle if wanting to sit in the Circle. Stalls for same price much preferred."

"T 10: Like other people already said, it's really distant from the stage, but you saw everything and the sound was great! We then moved to row P seat 35. They are marked as red but I liked the seat. Really good legroom and a bit closer to the stage. Would, however, prefer to sit even more close."

"S5: (James). you were a long way from the stage, but as the show is so "big" it really didn't matter or detract from my enjoyment at all. Sound fine here too."

"S 6 and 7: These seats were fine for what you pay (£22). Although I didn't see much difference from the £15 seats which I've sat in before the view was fine - a decent buy."

"S34: We bought the tickets on the day and not much was left over. Just some "limited view" seats for £25 behind a stairwell up in the circle. I was in seat S34 so not the row directly behind stairwell wall thing. No one really had any problems seeing the show. The only thing I can think of causing the "limited view" is the occasional people going in and out via the stairs. The seats are far but no problems enjoying such a big show from up here. Last time I saw the show I was in the front stalls and I can honestly say I enjoyed it more up here. Perhaps its the technical theatre geek within me but the lighting in Wicked focuses quite a lot on patterns projected on the stage floor. Something you miss when viewing from the stalls. Overall definitely worth the price, no qualms from my friends either."

"S44 and S45: (Natalie). I would recommend our seats. S44 and S45. The aisle seats have loads of legroom, although the seats are very narrow for the ample of bottom!"  

"U 6 to 7: were only £5 less than the stalls seats D11 and 12 and E8 and 9 (already mentioned earlier, above). U is considerably bad in comparison - you cannot see the actor's faces and at times the music sounds like a whisper. However, as the person before had not put the binoculars back properly, we did get a better close up!"

"Row W: (Lee Wilson). the sound back there was fantastic. We could hear every word clearly even from the ensemble and the songs really belted out to us. They seem to have additional speakers behind the audience there too (very noticeable during the "Wizard head" talking for example)."

"W 17 to 20: (Karen Wheeler). was a bit worried we would not see much but good view, a bit steep going up, and I don't like heights but coped! 19 and 20 were the better of the 4 seats as with the other 2 it was the problem of people leaning forward in rows in front of you."

"W 18 to 20: On the aisle. I actually took to clients with learning / physical difficulties to see the show. The seats are comfy, the legroom is some of the best, and it is not the steepest aisle in theatreland. I would probably treat myself to seats nearer the stage to get a little more out of the expressions (which couldn't be seen from out viewpoint), though there was so much portrayed in the acting and the inflections in the voices that you knew exactly what expressions they were making and it didn't detract too much."

"W 34 and 35: (Susan Richards). Dress Circle row W, 34 and 35. Saw the info on your site and got these preview tickets for £5 each. You rate them "green", I certainly agree. Although, they are high above the stage and a bit distant, for this price (and £15 after previews), they are wonderful value. There are glasses, 50p if need be, but as most of the play is action on a grand scale, this distance is not a problem. Leg room is ok if you are 5 foot 6 or less. If you need to see every wrinkle and spot on the actor's faces, pay £60."

"X6: (Teresa Gustafsson). well, it’s almost as high up and as far back as you can get which means you don’t really see any details but the view of the stage is clear and you can take in all the action, so it’s ok for just £15. The sound is great!"

"X 31, 32 and 33: (Pip). By far the best seats I've had in the Circle. Almost central and yes you are near the back, but you can see everything clearly and the sound has improved greatly. Would get these before £20 seats by stairwells. I was at the end of the row, so could stretch my legs - otherwise legroom is not great."

"Y31: (Luke). Brilliant for the price of £15, but you are very far back and are unable too see the actors faces, but at £15 quid you can go wrong."

 

Notes
PLEASE NOTE: For copyright reasons, information and graphics on this page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed. 

Seats 2313 plus 50 standing.

Air-cooled theatre. 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 overhang. Just a bit of advice from someone in the theatre industry who has a grasp of physics... One reader does report icy blasts in the circle in October, though, so sometimes it works...

Another, July reader, says,
"On the Saturday afternoon we went, the air conditioning was almost non-existent, so take some bottled water if it is a little warm outside!"

Wheelchair access is to the Dress Circle via chair lifts from pavement to foyer and foyer to Dress Circle level. The lifts are at the Vauxhall Bridge Road entrance, not the Wilton Road one that faces the station. Row E has platforms fitted in both side blocks and a chair user assesses the view as good. A wheelchair accessible toilet is also available on the ground floor. Signed and audio described performances are planned, guide dogs are welcome either inside or can be dog sat. There is no hearing loop at the moment. www.theatre-access.co.uk or Artsline on 020 7388 2227 or 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.

A reader comments,
"I actually took to clients with learning / physical difficulties to see the show. It is worth talking to the theatre as they can be very accommodating; allowing you in a little earlier to allow you to get to your seats before the rush and allowing you to leave after the rush."

No food except Ice cream and confectionery.

Three bars, 1 foyer, 2 Dress Circle. Reader Barfly notes, though:
"The foyer bar is very small and gets very full close to show time. The two Dress Circle bars should be sued under the trade descriptions act, Barfly is not happy!" 

Six toilets. Stalls 1 Gents 3 cubicles, 1 ladies 11 cubicles; Dress Circle foyer 1 gents 1 cubicle, 1 ladies 6 cubicles; Dress Circle 1 gents 2 cubicles, 1 ladies 2 cubicles

A reader reports,
"Toilet facilities (certainly for women) totally inadequate; the interval queue snaked down from upper level to the ground floor..."

This is echoed by many other readers too...

Karen Wheeler adds,
"ladies toilets a nightmare, tried to go in interval and queue right down the stairwell, but isn't that always the way...the men's were fine."

another adds, from the back of the dress circle,
"There is nothing they can do about the queue for the ladies' toilets in the interval - where you have to navigate your way down the stairs, then across to the other side of the theatre, down past the toilets, down stairs to the front of the dress circle so you can then join the queue to climb the stairs back up to the toilet. Decide carefully if you want ice-cream or toilets as you wont have time to queue for both."

In the stalls, reader Jesca says,
"S46:  This end of the stalls would also be handy for anyone who wants easy access to the toilets as you just duck behind a curtain and you're at the door for the ladies (and the gents' can't be far away!)."

another reader notes stalls row Q 38 to 40 are also in handy "first in line" dashing distance.

Reader David reports for the Wizards,
"Do not have too much to drink before the show. We used the toilets in the interval which for a theatre with 2,000 seats are far too inadequate causing huge queues even at the gents. Patrons continued to disrupt the performance after the performance re-started."

 

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
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Victoria - Victoria Line (pale blue), District Line (green) and Circle Line (yellow).

From the Victoria line ticket barriers, turn to your left. Follow the curve of the barriers around until you see an exit sign for "Wilton Road". Go under this sign and up the stairs. The theatre is opposite you, across a busy road.

From the District and Circle line ticket barriers, turn to your right, and look along diagonally for a tunnel sign marked "National Rail". Walk under it and down a gentle slope. This will bring you into the Victoria line hall. Follow the curve of the ticket barriers around until you see an exit sign for "Wilton Road". Go under this sign and up the stairs. The theatre is opposite you, across a busy road.

 

Buses:
8, 11, 24, 36, 38, 73, 211, 511 To Victoria Bus Station. The theatre is to the right of the station. 

 

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

 

 

Car Park:
Car parks are in Rochester Row and Cumberland Street.

The "Theatreland Parking Scheme" may be available at Cumberland Street. 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.

 

Other option is Semley Place car park.

On leaving the car park turn to your left. Walk to the end of the street, to a busy main road, Buckingham Palace Road. If you see Ebury Street, wrong way.

Turn Left and walk down Buckingham Palace Road, passing Victoria Coach Station, a white building on your left as you walk. Cross Elizabeth Street and Eccleston Street. Change to the other side of the road.

Keep walking with Victoria Station on your right. When you reach the station forecourt, turn right and walk across it. The Apollo Victoria Theatre is opposite, across Wilton Road, just to your right.
 

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