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Seating Plan Diagram

The stalls have a very shallow rake. This means that from row K back the view is progressively worse for the less tall! Rows AA and A is a neck ache too...but in AA you may get your rose from Roxie...

A reader says of this row,
"I saw Chicago from the front row gangway (and got 50% of tickets through a special promotion) and thought I had an excellent view, I could see everything and the leg room was fantastic. The only problem was the child (yes a child!) rustling some sweets a few seats away and the latecomers who made everyone stand up!!!!"

another reader agrees,
"Chicago from stalls seat AA18 - front row, middle seat, half price thanks to GILT - was pure luxury:  Due to the distance between the first row and the stage, you can actually lie back and stretch your legs and take in the whole show as if you were sitting in your sofa at home."

as does reader Nicky,
"We were in seats AA22 and AA23. It was absolutely FANTASTIC... Seeing it right on the front row was also very special, you could virtually reach out and touch the cast (we didn't!) and it was fascinating to have such a close-up view. The seats were comfortable with lots of leg room."

Stalls seats N1 and N34 are removable for wheelchairs. Theatremonkey rates the view below par for a top price seat, just acceptable if heavily discounted. Having a decent centre aisle seat removable (or using the space behind H 14 and 15) would have been nice, though. See notes.

The curved shape of the stalls make the first and last four seats in every row poor value as the view of the stage does not justify the price. The box office feel that the ends of rows are OK for the current production, as nothing is missed. They also feel that all the seats are fairly priced.

Reader Natalie comments,
"We were in row A seats 5 and 6 and had a great view, only missing the teeniest portion of the bottom of the stage."

Best seats are rows D to J 9 to 20.

Reader Ali P agrees,
"Stalls seats H16 and H17 - top price tickets but good value, as we had an excellent view of entire stage. The seats provided good leg room (we are both tall) and have the added advantage of being aisle seats and pretty much centre stage."

On Saturday Evenings, Stalls D 6 to 11 and J 15 to 18 are sold with a "hospitality package" including use of a hospitality room, glass of champagne and souvenir brochure at £75 per ticket. If these seats are unsold 48 hours prior to performance, they may be released for sale at the usual £55 price WITHOUT the extra package elements. If you like that sort of thing then "go for it" feels the monkey.
 

Reader Danielle Knights says,
"I was slightly worried about where we were sitting as it was row O seats 7 and 8, but they were both very good seats, enabling us to have a clear view of everything going on on stage. I was pleased with the size of the theatre - I was convinced it would be too big to see from everywhere, but I could confidently say that you could see from anywhere, certainly in the stalls."

Further along the row, reader Paul West opines,
"We got seats on row O of the stalls from TKTS (seats 24 to 29.) The view was great, the theatre is small enough to see everything really clearly, although the shallow rake meant that a couple of my group had a few problems with big people in front of them. however, I feel they were maybe unlucky, as with a quick swap, they could see perfectly. However, I found the legroom (or lack of it) pretty painful. Once my legs were wedged in, they weren't going anywhere! All the others (who are substantially shorter than me) were very comfortable."

In the rear stalls, a sound desk is usually installed. Avoiding row P 16 and 17, Q 10 to 16 and rows R and S seat 10 should put you furthest from any problem. Better yet, pick seats on the other side of the aisle. Seats near the sound / lighting control desk may suffer noise and disturbance to your enjoyment. 

For "Chicago" new pricing makes rows Q and R seats 7 to 9 and 18 to 22 worthwhile value, feels the monkey.

Reader Miles T says,
"The seats in the rear stalls were great and provided a good view of the stage."

Legroom throughout the stalls is good for all but the tallest. Seats on row AA and the centre aisle offer the most exceptional comfort and view.

DRESS CIRCLE 
Called the ROYAL CIRCLE in this theatre.

The Upper Circle (called Grand Circle in this theatre) overhangs the Dress Circle at row C. This overhang affects the view of the top of the stage from row G back.

A metal bar runs across the front of the circle. This does not particularly affect the view from any seat other than those in row A.

This circle is tucked away at the back of the theatre, a long distance from the stage and almost behind the Stalls. The rake of the seats is shallow, contributing to that distant feeling.

If you get sat here, rows B to G seats 12 to 24 are the prime seats in the centre block, the pick of the bunch. Theatremonkey says if you must sit in this circle, the centre block is the only way to go. The side blocks are not particularly poor, but still…

Reader Andy Ellis feels differently:
"I must disagree with your negative comments about the Dress (or Royal) Circle. It was a gentleman called Chris at the box office (who I think works at the Cambridge) who recommended our seats, saying the view were very good, and I was pleased we took his advice. We sat in C16 and C17, and found the raking adequate, the leg room (I'm 6ft 1in) OK, and the view of the whole stage excellent. I accept that the back of the circle and extreme sides would have been less satisfactory, but the centre block was fine - especially for admiring the dance routines and action."

Reader Barry Liimakka says,
"Our seats, in Dress Circle C18/19, were good seats, just as TM describes them."

The box office do indeed feel strongly that the Dress Circle is well priced and worthwhile. A reader also notes the sound balance in row B was excellent in November 2007.

Legroom is just adequate for a five foot six theatremonkey, try the stalls. Aisle seats in this circle do offer slightly better legroom with space for a leg to shift into.

Dress Circle Boxes
Two boxes, one either side of the Dress Circle. These have a restricted view - up to one fifth of the nearest side of the stage is not visible. Sold at an ambitious price when used.

A reader comments,
"Me and my family sat in Box C seats 1 to 4 (taking the whole box), theatremonkey gave the seats a red rating saying that a 5th of the stage wasn't visible and perhaps that the seats didn't show value for money at £39 per seat. However on my experience of Chicago - these seats are fab - the view was great (though at an angle) none of the action was missed and only a small part of the orchestra stage left was unviewable. Even when Roxie and Val are extreme stage left and right on the ladders you are still able to see them perfect. At a great price (£39 slightly cheaper then stalls and equal to Dress Circle) these seats offer great views , a private area and great sound quality (which isn't too loud due to the speaker being side of the box) Great seats...will definitely consider again !!!!!!"

The monkey notes that other seats at the same price give a fuller view of the stage, but for those willing to take a side view the above will certainly be of interest.

UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.

This circle is above the Dress Circle, overhanging it to row C. 

It is split into a front and rear block, divided by a wide gangway.

A metal bar runs across the front of the circle, restricting the view in row A. Row G also has a bar in front.

The monkey has registered several complaints about poor sound quality in this part of the theatre, though one reader reports this problem has now been fixed.

The front block is split into three by aisles. Like the Dress Circle, the centre block offers best value for money. Select row C 13 to 23 first, then D to F - though row A is also possible at the same price but with less legroom. 

Reader Chris says of row A,
"We sat in the central block of the upper circle, row A. I'd seen that this was coloured red according to theatremonkey but was actually quite pleased. There is a safety bar which runs across the front of your view, but sitting up straight and leaning slightly forward, you pretty much eliminate it's effects. I was surprised how far forward I felt, and how clearly I could see all the cast and their facial expressions, the upper circle didn't seem as high as it has done elsewhere either."

Your call, feels the monkey, depending if you are willing to sit up straight and lean a little.

Next best are side blocks B to F 12 to 7 (12 being an aisle seat with good legroom), and equally B to F 25 to 30 (25 also aisle). The other seats here are too far to the side to offer good value.

The rear block is very high up and a long way from the stage. The shallow rake further diminishes the view, even allowing for low prices. Aisles divide the seats into four blocks, with only the back row, M, running the whole width of the circle.

The two middle blocks suffer from stairwells let into them. The walls around and on top of the stairwells affect views in rows G and H 11 to 14 and 19 to 22, also row J 11 to 18 and 23 to 30. The row J seats particularly suffer from both this and poor legroom, and a restricted view (a bar which annoys children and shorter adults, but is not noticed much by other people), in the monkey's opinion, provided you accept the limitation. 

On the plus side, behind these stairwells are the cheapest seats for "Chicago." The monkey would still skip row J, but those looking for a cheap seat (and prepared to accept the limitations in view) might well find K 12 to 16 and 25 to 29, and L 13 to 16 and 26 to 30 worth a thought as central seats for a low price. NOT for those who expect a full and good view, though, the monkey points out.

When sold at a discount, notable value is row G 7 to 10, 15 to 18 and 23 to 26, skip when sold at normal prices, as for "Chicago" though. They are not priced for the restricted view (a bar which annoys children and shorter adults, but is not noticed as much by other people), they are only worth thinking about, in the monkey's opinion, if you accept the limitation. Indeed, the whole central three blocks seemed expensive to the monkey for this production, with nothing below £30 except a few restricted view tickets already discussed.

Row M 7, 8, 24, 25, 41 and 42 are worth considering, allowing for the fact they are in the back row, since they are at the top of the aisle and offer a view down it, and maybe a bit more legroom. just about fair value for money.

Off to the sides of the rear blocks, though, some sensible pricing prevails. If you have a problem with low bars in view, then skip rows G and H - even J for purists - but K back are about fairly priced, felt the monkey. Do note, though, that in the rear block there are no aisles at the extreme ends of the row. Claustrophobics may like to avoid these!

Reader Alun Moss comments that:
"You are up very high in these seats and I felt a little bit as if I was out of the way out of the show in the first half.  I would say if you go for the Upper Circle try as hard as you can not to go for any further back than row F."

Reader Chris May adds:
"I was sat up in the Upper Circle on seat E25 and was perfectly happy with my view and the sound quality and rather chuffed with my legroom. I had a wander up into the " gods" of the Upper Circle and really there is no point paying for these seats." 

Legroom is just about best in M 7, 8, 24, 25, 41 and 42. Otherwise it is barely adequate except in aisle seats with a little space, row A especially is cramped.

Notes
Total 1249 seats.

Air-conditioned.

Infrared headsets for hire, some signed and audio described performances. Guide dog sitter available. Level access with a gentle slope through Earlham Street fire doors to Stalls seats N1 and N34, removable for wheelchairs. The adapted toilet is at the back of stalls and is kept locked until requested. Specific information from  www.seetickets.com or 0870 895 5505 or e-mail customer.relations@seetickets.com.  www.artslineonline.com also has comprehensive information on this venue. 

Food: Ice Cream and confectionery available. Also bookable in advance (redeem voucher on day of performance to collect) is a food container called a "Royal Box" (nothing to do with sitting in a box in the theatre!) containing a selection of canapés for consumption in the bar or at your seat. A half bottle of champagne is also available as an optional extra with the box too - for those over 18 only, subject to usual licensing laws. Click here for more information.

Three bars. Stalls, Dress Circle and Upper Circle.

7 toilets in all; Stalls 1 gents 3 cubicles, 1 ladies 4 cubicles, 1 unisex disabled; Dress Circle 1 gents 2 cubicles, 1 ladies 3 cubicles; Upper Circle 1 gents 2 cubicles, 1 ladies 3 cubicles.

Plan your tube journey to this station using the button below:
 

Leave the underground station and turn to the left. Walk straight on to a road called Long Acre. If instead of a road you see a pedestrianised area, Wrong way, turn around. 

Cross Long Acre to the other side of the road from the underground station. Turn to your left. 

Keep walking: 

Cross Langley Street, don't go down it though. 

The next street is Mercer Street. Turn right into it and walk straight on, crossing Shelton Street on the way. 

At the top of Mercer Street is an open space with a column monument in the centre of it. The Cambridge Theatre is on the right of this. 

Careful - in the absence of kerbstones, cars and pedestrians mix on the cobbles of this junction.
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An alternate (some feel easier and safer) route from Leicester Square Underground Station is illustrated here - and the tube journey to the station can be planned using the banner below:

The "Theatreland Parking Scheme" is in use here. Call Westminster City Council car parks on 0800 243 348 or see www.westminster.gov.uk/carparks for details. 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 72 hours using this scheme and it is endorsed by the Society of London Theatre.

For a full list of car parks that participate in the 50% off theatreland scheme here see www.westminster.gov.uk/carparks/theatreland.cfm, and for a full list of theatres that participate in the scheme see www.westminster.gov.uk/carparks/theatres.cfm.