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

(formerly the New Players Theatre)


SOHO CINDERS (musical)
Not suitable for children or the easily offended.
Ends 11th January 2020.

Celebrating London’s most colourful district and mixing politics, sex-scandals and true love, ‘Soho Cinders’ is a deliciously naughty musical update of the Cinderella fairy tale with an infectious score that you’ll be humming long past the stroke of midnight!

When impoverished student Robbie becomes romantically involved with engaged London Mayoral candidate James Prince, his lap-dancing step-sisters become the least of his problems! James and Robbie’s worlds collide forcing them to fight for their own fairy-tale ending in this hilarious, satirical twist on the classic Cinderella story.

Until 22nd December 2019:
West End stars Luke Bayer and Millie O’Connell head the cast.

Hear them sing "Wishing For The Normal" here: youtube.

Luke was alternate Jamie in Everybody’s Talking About Jamie at the Apollo theatre and Millie ends her Olivier Award-nominated reign as Anne Boleyn in the smash-hit musical SIX at the Arts theatre on October 13th 2019.

They will be joined by Lewis Asquith, Christopher Coleman, Ewan Gillies, Tori Hargreaves, Natalie Harman, Michaela Stern, with an ensemble cast featuring Jade Bailey, Thomas Ball, Luke Byrne, Ben Darcy, Laura Fulgenzi, Danny Lane, Savannah Reed and Melissa Rose.

From 23rd December 2019:
Michael Mather and Livvy Evans are to lead the extension cast of Soho Cinders at Charing Cross Theatre.

Michael Mather (Hades in the world premiere of ‘Mythic’ at Charing Cross Theatre, JImmy in ‘Flashdance’) will step into Robbie’s “Glass Slippers” alongside Livvy Evans (‘Motown’, ‘Ghost’, ‘Sister Act’) as Velcro.

Another addition to the cast and taking over the role of William George is Dayle Hodge (‘Jesus Christ Superstar’, ‘Jersey Boys’, ‘Les Misérables’). He joins the previously announced Hollie Taylor (‘Matilda’, ‘Betty Blue Eyes’, ‘Oliver!’) who performed her first show as Dana earlier this week.

Continuing in their roles will be Tori Hargreaves as Marilyn Platt, Lewis Asquith as James Prince and Michaela Stern as Clodagh.

The role of Lord Bellingham is still to be announced.

New to the ensemble will be Liam McHugh (‘Saturday Night Fever’, ‘We Will Rock You’) who joins Melissa Rose, Luke Byrne, Savannah Reed, Thomas Ball, Laura Fulgenzi and Jade Bailey who will all remain with the show until the end of its extended run.

The creative team is confirmed as: Director Will Keith, Choreographer Adam Haigh, Musical Director Sarah Morrison, Associate Musical Director Joe Louis Robinson, Set Designer Justin Williams, Lighting Designer Jack Weir, Sound Designer Andrew Johnson, Costume Designer Nicole Garbett, Producers: Will Keith for Theatre Syndicate London and Starting OverTheatricals Ltd in association with Kyle Tovey for AKT Management.

Soho Cinders has Music by George Stiles and Lyrics by Anthony Drewe (the multi award-winning writers of the Olivier award-winning National Theatre hit Honk!, who also created a new score for the international smash-hit Cameron Mackintosh/Disney production of Mary Poppins) with Book by Anthony Drewe and Elliot Davis.





Theatremonkey Opinion:

For the monkey, it was love at first hearing for this show’s 2015 concert CD. Catchy ballads and big production numbers, hilarious lyrics; characters jump right out of the speakers. Thus it was delighted to see the first major London production in almost a decade.

The great news is that sung live, the songs remain solid gold. Even better, the Anthony Drewe and Elliot Davis book is a genuinely engrossing modern fairy-tale.

“Cinderella” in this case is an orphaned young gay man called Robbie (Luke Bayer). He works in a Soho laundrette, sharing the flat above (both owned by his late mother) with his ghastly strip-club-owning ugly step-sisters. His only friend is laundrette assistant Velcro (Millie O’Connell). When the sisters kick him out of the flat and raise the rent on the laundrette, life begins to unravel.

Robbie’s romances are no easier. In a love triangle with married London Mayoral candidate James Prince (Lewis Asquith), and lusted over by George’s sponsor Lord Bellingham (Christopher Coleman) things spin out-of-control at the Sponsor’s Ball as ugly sisters gatecrash and Machiavellian candidate’s agent William George (Ewan Gillies) manipulates things to his own advantage.

Performances are mostly strong. Luke Bayer’s Robbie grows noticeably in confidence, delivering “They Don’t Make Glass Slippers” with feeling and leaving audiences smiling when he finds his perfect fit. Side-kick Velcro (or “crow” – for her frizzy hair) has a surprisingly small role, but Ms O’Connell works it well, particularly in key duet “Wishing For The Normal.”

Best performance of the evening has to be from Tori Hargreaves as politician’s wife Marilyn Platt. Superb timing and characterisation, and a strong voice to match, she holds effortlessly the audience’s attention and sympathy - particularly in some key final scenes.

There’s also nice work in smaller roles from Melissa Rose as bullied campaign assistant Sasha (or “T” – as in “tea, two sugars”), and Christopher Coleman as Lord Bellingham. The latter character works particularly well with Lewis Asquith’s equally sleazy Prince.

Sadly, director Will Keith and choreographer Adam Haigh’s do have a real problem with the transverse (audience on two sides) auditorium layout. “Soho Cinders” is a mildly filthy, camp comedy with belly-laughs throughout, some big colourful song-and-dance numbers, and several intimate solo moments. It begs for the energy to be directed in a single direction at all times – impossible in this theatre.

The cast struggle too often to communicate fully their emotions, having to face one way then the other mid-delivery. Dance sequences likewise are regularly “mirror” events, limiting what both Haigh and the performers can do to interpret the action.

Jack Weir’s lighting design tries frequently to narrow focus on a single character with a too-large five spotlight style highlighting, rather than mitigating, the fact that audiences can’t see facial expressions as the actor is turned from them.

Biggest issue of all is landing the comedy. It was noticeable how jokes worked only when the actors played facing each other. In particular, this hampered the impact of Ugly Sisters Clodagh (Michaela Stern) and Dana (Natalie Harman), who worked hard with fewer returns than they deserved, attempting to cover both sides of the audience and centre stage.

It’s a strong show, but the monkey suspects this venue just isn’t the right for it. Still, it’s an inventive and fun adult evening with great tunes and a tale worth seeing. A grown-up pre-Christmas treat.

4 stars.

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

(1 review)

I was up for the idea of an "adult panto" (Soho Cinders being loosely based on Cinderella of course). I'd also seen both leads in their previous productions and hearing them perform 'Wishing For The Normal' on YouTube was charmed and wanted to see more of them together.

As I said, Soho Cinders is a loose take on the classic panto, but here the action moves to Soho's Old Compton Street - famous in it's day for being a melting pot of the good, the bad, the ugly and most certainly the sleazy. It is here we find Robbie (Luke Bayer), about to be thrown out of his flat by vile stepsisters Clodagh and Dana. He retreats to the Launderette his Mum formerly owned, which he runs with best friend Velcro (Velcro? Buttons? Get it? Played by Millie O'Connell). But Robbie's life isn't all bad, after all there is a man on the scene... but things aren't as straightforward as they appear...

Not wishing to give much more away, but Soho Cinders takes on a lot. Politics, unrequited love, subterfuge, cynicism and sexism all raise their heads, balanced by tenderness, caring and empathy. Don't forget though, this is a modern take on a classic panto, and you need your villains and comedy relief. The former comes in the guise of the slick PR Guru Prince, the latter comes from Robbie's ugly sisters. The former is an ideal modern panto baddie (you await his downfall with pleasure). I was worried the sisters were going to go too far over the top, but they did have some great one liners and upped the pace when it was needed.

But the highlight of this show for me was the relationship between Robbie (Luke Bayer) and Velcro (Millie O'Connell). Their songs together are charming, theirs is a natural and sweet chemistry. They sing what for me is the best song in the show (the aforementioned Wishing For The Normal... I'm now warbling "Just imagine owning a goldfiiiish" loudly on my motorbike - this is not the first time Ms O'Connell's singing has stuck in my head and led to me embarrassing myself).

On their own, Luke works magic with his rendition of "They Don't Make Glass Slippers" and Millie gets to showcase her acting skills with touching vulnerability and empathy married to tenderly rendered vocals when she takes centre stage.

It might sound strange for a fairly new piece (it originally debuted in 2011), but a key plotline is perhaps jaded (after all, we've had a summit meeting between two heads of state... one with her wife and the other with his husband), so dropping something into the narrator's early speech would lock a timeline into the scene.

I'm also not sure about a central stage for a musical. Songs benefit from being projected towards the audience. With the need to address both sides, it set up some odd staging and positioning of the actors (for example, Robbie and Velcro facing in opposite directions when singing Wishing For The Normal rather than face one another). Dramas work better in this setting, as they don't push against the fourth wall in the same way as a musical.

But don't let this worry you. Soho Cinders is a charming, funny and tender modern take on a classic story. The happy endings are nicely set up (with the final, final happy ending bringing a big smile to my face), the baddies get their just desserts, the songs are catchy and you care about the main characters. To my mind, just what a panto is supposed to be.

Seat Review:
Stalls J11 and J12. Definitely go for these seats. It's a small theatre, so even in the back row you're still close to the stage in the current layout. But the back row has slightly better clearance over the rows in front, J12 in particular benefitting from being at the end and allowing extra legroom (both seats were generous in this respect).


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
Thursday and Saturday at 3pm and 7.30pm

Runs 2 hours 30 minutes approximately, with 1 interval.


No performances on 24th, 25th, 26th, 31st December 2019.
No 3pm performance on 2nd January 2020.
Extra 3pm performance on 23rd December 2019.


Ticket Prices:

Offers May be available - Click Here

Rows A to F and K to R: £37.50
Rows G, H, S, T and V: £27.50
Rows J, W and X: £20

Balcony 1
Seats 3 to 6: £20

"Premium Package:" Include a glass of bubbly and a programme for just £7.50 extra when booking your ticket.


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:
Sales are handled by the venue.

Booking fees per ticket for online bookings:
A fee of £3 per ticket applies, plus 50p restoration fee.

Other Online Choices (with S.T.A.R. genuine ticket agencies):
Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer £37.50 seats with an £8.50 (£6.50 on £27.50, £5 on £20 seats). A postage charge of £1.45 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 £1.99 per ticket. Quality and Value hotel / theatre ticket packages are also available. offer £37.50 seats with an £8 (£6 on £27.50, £4.50 on £20 seats) per ticket booking fee. There is a £1 per booking, not per ticket, transaction fee for collecting tickets from the box office before your performance. Alternatively, if time allows, there is a postage to your home option, costing £2.95 (£4.95 to non-UK addresses) per booking, not per ticket. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.

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: 08444 930 650
Answered by the theatre.


Booking fees per ticket for telephone bookings:
A fee of £3 per ticket applies, plus 50p restoration fee.


For personal callers: The Arches, Villiers Street, London. WC2N 6NG
No booking fee for personal callers, except the 50p per ticket restoration fee. This box office is open from 2 hours before performances - roughly 5.30pm usually, on performance days only.


Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats and enquire about concessionary prices that may be available to them on a dedicated phone line. See Notes. is the official theatre website.


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

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


Seating Plan Diagram

Stalls Side Balconies Notes
This consists of a front and rear block of seats, the division being a wide aisle in front of row K.

From row D back, the seats are raked (arranged to help see over rows in front) by means of steps (as in a Circle) rather than a sloped floor.

Rows L to N seem to have a slightly shallower tiering than row P back. 

Seating is a warm "plum" colour that should hide the stains, thinks the monkey!

Pretty generous to all but the tallest over 6ft or so, in all rows except the front one. The tallest should pick K or D1 and 12, as they have nothing in front. D 2 and 11 are 70% clear in front, too.

Rows from L back have an inch or two less, but are still comfortable.

Choosing Seats in General:
If all seats are sold at a single price, monkey advice is rows G to K first, then F, E, D, then A or L back, in that order.

Otherwise, it would normally take F, E, G then D, in that order, seats 3 to 10 being most central.

Moving back in this block, rows H to J seats 3 to 10 offer good views too, being about a third of the way back and just adequately raked to look slightly down on the stage. Before buying in the rear of the front block, though, it might just be worth considering the row behind...

...the front row of the rear block of seats. Row K, as the theatre have named it, is on a wide aisle and looks over the block in front and down onto the stage at comfortable height. The combination of nobody in front, a lower price and extra legroom makes the monkey feel this is the row it would choose. Several readers prefer J, though, as the angle to the stage is felt to be slightly better. The long gap in front of K can be cancelled out by a tall person in J blocking the view, it's been noted.

Moving further back, rows R and S seem a little further from the stage, so when all seats in the section are the same price, try for further forward.

General Hazard Notes:
Row A looks directly up at the low stage. A few may find it a bit of a neck ache, but compared to other theatres, there is little problem, and inventive pricing can often make them pretty good value, in monkey opinion.

The front block of seats consists of rows A to J. Rows A to C are on a flat, one reader felt back-sloping, floor. Though staggered to allow viewing between the seats in front, the shorter visitor - especially children - would probably be advised to avoid rows B and C completely, just to guard against having anyone tall in front of them.

When row A is removed and the stage forms a curve in front of row B, row B 4, 5 and 6 have no legroom, 3 and 7 have less than other seats in that row too, for those over 5ft 5 or so; and all may be blocked by stage lights in front. A sharp look up to the stage is also guaranteed - not great for top price seats, feels the monkey.

In the rear section, the side balconies (well, the lights on the front of them) slightly project out, intruding on the edges of the stage. Only purists will notice that one, though.

Row W (seat 7 in particular) has complaints that a ventilation fan blows on it throughout the performance.

Row X has two extra problems worth noting. A sound desk is normally directly behind the central seats, and behind that is a bar serving drinks and refreshments. This means double noise from technicians both audio and alcohol service proficient. Not an atmosphere the monkey feels it would enjoy watching a show in. At a low price, though, the monkey feels it fair value.

Changes for the current production:
A new layout puts the stage where the front stalls usually is, and builds rows A to J up onto the stage. The result is "traverse theatre" with a bank of seats on each side. This makes the theatre extremely intimate - almost nobody is more than a handful of rows from the stage.

On what was originally the stage, row A is at the new stage level, with nothing in front. Behind it, row B has double the usual legroom. Rows C to H have similar legroom to the usual seating, row J has a few inches less - those up to 5ft 9 should be fine though. J 1 and 12 have nothing in front, but sadly J1 is held for ushers use. The problem is that all rows are not raised particularly steeply, meaning that with someone tall in front, you may have to look down the arm-rest space between, and could still miss parts of the stage. Rows A to D are the way to go, plus J12.

If under 5ft 6 or so, really don't go any further back than row C if you can help it on this side at top price. Row G is cheaper than F, so take it - same view, less cash. If willing to accept a little less leg-room and chance seeing over those in front, row J at lowest price is also worth taking over H for the same reason.

In the original main block of the theatre, row K is at stage level with unlimited legroom, and there is no change to the layout or steepness of seating behind it. The trouble is, without the stage being raised, the steepness really isn't enough. The monkey in row R had to look down the arm-rest spaces, even with someone of average height in front it missed some action. It wouldn't go further back than row P, Q at a pinch.

Row S drops a price over row R - take it if you want to be a row closer than row G at the same price on the other side - view is similar. Row W drops a price over row V, and that really will give you pretty much the same view for fewer bananas. All pretty average value, though.


Reader Comments from the current layout:
"A8: "Amour" (June 2019). A fantastic seat right at the edge of the stage, which was on the floor. I am 62 and was able to get this seat at a concessionary rate. Look out for this at all theatres. Needless to say there was plenty of leg room and the seat was very comfortable."

"C1: "Violet" (January 2019). None of the seats in this intimate little theatre are poor and since they have been staging productions in the centre, the seats are even further forward. This seat was 3 rows from the front and I had an excellent view of the stage. The seats are quite comfortable and the leg room adequate."

"J11 and 12: "Soho Cinders" (October 2019).  Definitely go for these seats.  It's a small theatre, so even in the back row you're still close to the stage in the current layout.  But the back row has slightly better clearance over the rows in front, J12 in particular benefitting from being at the end and allowing extra legroom (both seats were generous in this respect)."  /p>

"M10: "Queen of the Mist" (September 2019): Clear view of stage, actors’ faces are at eye level, plenty of leg room, good rake. Getting seats more in the middle of the row would probably have been better, but this definitely was better than being in the A-J stalls in the current traverse configuration."

"P4: I was in P4 which under the new layout is the fifth row from the stage. This was a perfect seat with a nice amount of height to give a view of the whole stage but not so far back as to feel removed from the action. The view was clear although it might have helped that I didn't have anyone directly in the row in front of me. Sound was super clear. The cast did a great job of playing to both sides of the theatre, although it did feel as though my side was getting marginally more of their attention than the far side. The other bonus about this side is that it is the side with the entrance/exit door, so makes for a speedy exit to the toilet or bar. One downside of the new layout, is that you can see your fellow audience across the far side of the stage! Which is annoying when one of them has on a smart watch, which keeps lighting up whenever they move their arm!"

R7: I agree with the monkey here, I found it to be a bit disconnected and far back for this. Definitely one to sit in the front couple of rows, and I definitely felt it was played more towards this side than the other."

Reader Comments: FROM THE PREVIOUS LAYOUT - not relevant to this production.
"Row B: "Lost Boy" (January 2014). The stage has been built out in such a way that if you are seated in row B you are sat staring directly at the wall that supports the stage itself– even if you are above average height. Front row seats (for this show B is the front row) always come with a bit of requirement to look up. However, on this occasion the reward for a cricked neck is an uninterrupted view of the footlights and not much else. At this proximity in terms of blocking your view, the footlights are equivalent to sitting behind a pillar. Thankfully, a quick word with a friendly usher meant that we (and everyone else in Row B) were moved to empty seats elsewhere in the theatre – so the upshot is I can’t say how restricted the view would have been, but it would have been substantial. Moral always be nice to ushers.
Row B is on your warning list for this theatre – but based on my experience then for some productions it needs to be a severe warning. For me, in future if these were the only seats available I would question how badly I wanted to go.
As for the theatre, well I think that it is very bad of them to a) to be offering these seats for sale at all b) to charge the same price as elsewhere in the auditorium, and b) not give any restricted view guidance on their web site."

"D1 and 2: "Lost Boy" (January 2014). Third row from the stage for ‘Lost Boy’. We got these because of your seating plan, btw - they tried to give us row C but I asked to move a little further back, and D1 and 2 was the result! These were the right-aisle (as you face the stage) seats, which the box office told us were excellent. Lots of legroom (more on that in a moment) and close to the stage (the edge of the stage is at eye level, which is not an issue), but with good clearance over the two rows in front. Because D1 is beyond the last seat in row C, this is an excellent seat for someone of smaller stature as it ensures a clear view of the stage.
All seats have good legroom: row K especially so as it is the centre lane/aisle leading to the main exit, but if sitting there I would suggest row L as it gives slightly better clearance of row J at the front of the centre lane/aisle. All seats give a good view of the stage (with the possible exception of the front two rows as they are below the level of the stage so you lose a little at the very front with row C giving the worst views as there is a backward rake that tilts it below row B) as the rake is gradual but gives more than head clearance for each row. Only drawback is occasional train noise overhead, but not enough to cause annoyance. The theatre also has it’s own restaurant, serving up a small, but very good quality pre-show menu."

"D 11 and 12: "Titanic" (June 2016). Sat in D11 and 12 of this rather small theatre which were perfect if, like myself, you get a bit claustrophobic (but like to be at the front) as D12 is end of a 12 seat row with nothing in front of it. Great view from all seats due to one step rake at each row. Would probably avoid A to C as with the high but quite compact stage you tend to get the backs of actors or objects blocking your view of what's happening behind. Seat comfort, couldn't complain."

"D12: "Ragtime" (November 2016). It was on the end of a row with nothing in front of it and I found the seat itself very comfortable for what was quite a long performance (2 hours 45 minutes, with one interval). Row D is the first tiered row and the view is perfect – you are just high enough to see all the footwork on the stage. I like being at the front, but rows B and C (no row A for this production) were possibly a little too close to the stage and are all flat on one level, meaning you need to crane your neck to see the stage and may have people in front of you blocking your view if you are in row B.
This is a long, thin theatre and I think if you sat at the back you would feel quite distant from the stage. By contrast, book a seat on the one of the benches on either side of the stage (tucked away and accessed via a small, steep staircase) and you might find yourself rather closer to the action than you'd envisaged!"

"E3 and 4: "Mythic" (October 2018). I am 6ft tall and had very good leg room and a very comfortable seat too (I wish all theatres seats were this!). I could easily see over the heads of the people in front as our row was one step up. My friend is 5'5'' tall and she had to lean a little bit back in her seat to avoid a neck ache from looking up at the stage but she too agree the seats were really good."

"E10: "Harold & Maude" (February 2018). Very happy with it. This gave an excellent view of the stage with just a tiny bit hidden on the edge of the set. This may not even be noticeable in other productions. The seating in the stalls is arranged in steps, like the New London Theatre, and I had no difficulty seeing over the heads of folk in front. Legroom was good and the seat comfortable. I don't think I would have liked to have sat too far back in this theatre though, as the rear rows did appear to be quite remote from the stage."

"F10 to 12: "Titanic The Musical" (July 2016). These were premium seats - only bought as they were the only seats left - but they did give an excellent view and the addition of a drink and programme was a nice touch, worth the £39 paid."

"G3: "The Mikado" (December 2014). Great seat but legroom might be an issue for tall folk. Squeezing past people in this theatre to get to a seat further along the row is a nightmare! On the plus side, the venue feels very intimate."

"G5: "Oh Come All Ye Divas" (December 2016). Not one, but two, side spotlights reflected from the highly polished side of the grand piano and sent beams of blindingly bright light straight into my good eye, to the extent that I spent most of the show with one hand in front of my face shielding the light. Apart from that, G5 was perfect."

"M6: "Yank" (August 2017). Lovely seat, with a nice clear view. Able to take in all the stage."

"P4: "The Woman in White" (December 2017). This seat was good, there’s good rake and you are a good distance to be able to see everything clearly whilst still being able to see facial expressions."

"S1: "The Woman in White" (December 2017). An aisle seat, which was nearer the stage than the seat I moved from. On the other side of the theatre, so easier to leave at the interval and end of the show."

"W12: "The Woman in White" (December 2017). The seat has a good clear view of the stage and although it is only a small theatre you feel a distance from the stage. However, the leg room is good, but I would advise an aisle seat on the other side of the theatre, as it is easier to get out in the interval and at the end."


Stalls Benches
Either side of the front stalls, two raised alcoves containing benches.

There is only one row in each bench area.

Seat 1 is fine - nothing in front. Every other seat is tight, even for a midget - if 5ft or less you could sit here just about... but won't be able to see over the wall in front.

Choosing Seats in General:
If sold, they are often a cheap option for the tiny. At second price or above, there are better seats available.

The seat furthest from the stage has the best viewing angle, the one closest has legroom but misses the near eighth of the stage and quarter of the rear stage.

Changes for the current production:
Not on sale.


Stalls Alcove
On the side furthest from the entrance door, and at the end of the "cross aisle," this is a niche in the wall, under a staircase, with a low wall in front of it.

Normal chairs, so no problem.

Choosing Seats in General:
If sold, go for seat 1, furthest from the stage and nearest the aisle.

General Hazard Notes:
About half the stage is missed from here.

A bit of a strange place to sit, cut off from the auditorium yet part of it. Odd. Not somewhere the monkey recommends.

Changes for the current production:
Not on sale.


Reader Comments:

Above the stalls, along the longest side walls run narrow balconies. These overhang the stalls aisles, and so do not interfere with the view from the seats beneath.

Seats are arranged in single file, one behind the other, and are not raked.

Good in all seats.

Choosing Seats in General:
Around a fifth of the nearest side of the stage is not visible from these seats. Factor in the problem of those in front of you leaning outwards to see more, and anyone seated here may have a hard time enjoying the well as needing an appointment with a physiotherapist at some point!

If you must, then take the seats nearest to the stage first - but be aware you won't be able to lean out without attracting moans from others seated behind you. On the other hand, if you take the seat furtherst away, you will have to lean a long way over to see that missing fifth of stage.

Wheelchair users are seated in Balcony 1. The monkey isn't sure how a user would see very well from this position, though - a plinth or cushion may well help here.

General Hazard Notes:
A low bar runs across the front - the view is not affected in the least by it... but to see anything, you lean outwards over the edge - makes a change from leaning forwards, felt the monkey. If somebody ahead of you is leaning too far, you see less.

Seats are not raked to see over those ahead.

Changes for the current productions:
Four seats in balcony 1 are on sale. You sit sideways to the action, meaning turning your head as if looking out of a side car window. Still, at bottom price you could do worse, and it is closer than other tickets for the same bananas. If stalls J1 isn't available, maybe worth a glance.

Reader comment for the current production:
"There was one lady sat on the balcony. She kept having to lean over a lot. I think the balcony will be hard work for shows using this layout."

Reader Comments:
Seats 1 to 4: overlook the stage."


Total 276 seats.

Air conditioned.

Wheelchair access is flat from the foyer to the viewing position in Balcony 1. The entrance door is wide, and the disabled toilet is close by on the same level. The only problem is that part of the street outside is cobbled, making pushing harder. Steep stairs down to the auditorium may make access for transferees difficult. Guide dogs are welcome. 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. The listing is under the old name - New Players Theatre. During office hours, theatre administration staff can assist with disabled bookings ONLY on 020 7930 5868. Please DO NOT use this telephone number for any other purpose.

No food except bar snacks in the auditorium, but a full restaurant is available adjacent, open until 2.30am with live music on many nights.

In 2019 a reader says, "Speaking of the bar, the one at this theatre must deserve a special mention? It's more like a pub than a theatre bar, massive and with actual beer on taps, not just in bottles."

Two bars, Rear stalls (opening into the auditorium) and foyer.

3 Toilets in all. 1 ladies, 1 Gents, 1 unisex disabled.


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:
Charing Cross - Bakerloo (brown) and Northern (black) lines or Embankment - Bakerloo (brown), Northern (black), Circle (yellow) and District (green) lines. Also Main rail network terminus.

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

Take the right-hand staircase up to street level. At the top of it, you should see a semi-pedestrianised street sloping downwards to Embankment underground station. If you see instead a very busy road, the Strand, with Brook Street Employment Agency to your right, turn around and face downhill instead - you took the left instead of the right hand side stairs.

Walk downhill a very short distance, looking up and to your left for a silver, semi circular sign with "The Arches Shopping Centre" on it. 

This juts out over the street and marks the entrance to the tunnel where the theatre hides. At street level, a small sign to the right of the tunnel entrance confirms that you have the correct place.

Below the silver sign is a wide, brownish, sloping path into an area of small shops and restaurants - all snugly tucked into this railway arch beneath the station bridge above.

Walk almost to the end of the shops, and the theatre entrance is to your left.


Embankment: Leave the barriers and turn left, exiting to look up a semi-pedestrianised street sloping downwards to the underground station. If you see instead the river, go back and use the other station exit.

Walk uphill a short distance, looking up and to your left for a silver, semi circular sign with "The Arches Shopping Centre" on it. The theatre is inside - as per directions above.


3, 11, 12, 15, 24, 29, 53, 77, 77A, 88, 159, 170, 172  stop nearby.

A reader notes that the 15 route compliments it's modern buses with a small number of Routemasters (or, to the non-Londoner, the ones they've all seen in pictures with the open bit on the back). Sadly these days the conductor will run a scanner over your Oyster rather than punch your ticket. Getting off at the station I rang the bell to stop the bus by pulling the wire than runs along one side... and got off grinning like a fool in the middle of a nostalgia trip!"


A rank for Black taxis is at Charing Cross Station - a short distance from the theatre up hill via Villiers Street. Best chance of hailing one in the street is to walk down the tunnel to Northumberland Avenue and / or on to the Embankment.


Car Park:
Spring Gardens. On leaving the car park walk into Trafalgar Square. The first major road you come to is Whitehall. Cross it, and head on round, crossing Northumberland Avenue and continuing past Waterstones bookshop. Bearing to your right, enter a busy street called the Strand.

To your right will be Charing Cross Railway Station. Don't be tempted to enter it, just stay outside the railings and walk past it (mind the taxis as they enter and leave). 

Keep going to the far side of the station. At the corner of it, to your right, is Villiers Street. The Brook Street Employment Agency ahead of you on the corner will confirm it - don't walk any further than this blue fronted landmark!

Villiers Street  is semi-pedestrianised and slopes downwards to Embankment underground station. Turn right into it, and walk around the stairs set into the centre of the street - they lead to the underground station, and nowhere else. 

Walk downhill a very short distance, looking up and to your left for a silver, semi circular sign with "The Arches Shopping Centre" on it. This juts out over the street and marks the entrance to the tunnel where the theatre hides. At street level, a small sign to the right of the tunnel entrance confirms that you have the correct place.

Below the silver sign is a wide, brownish, sloping path into an area of small shops and restaurants - all snugly tucked into this railway arch beneath the station bridge above.

Walk almost to the end of the shops, and the theatre entrance is to your left.


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







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