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

DOMINION THEATRE

 
 



THE BODYGUARD
(musical)
CONTAINS GUNSHOTS, FLASHING LIGHTS, VERY LOUD MUSIC, FIRE AND SMOKE EFFECTS.
Ends 7th January 2017.
Signed performance: 15th October 2016 at 3pm

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

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

A revival of the 2012 hit at the Adelphi Theatre.

Beverley Knight plays Rachel Marron.

Beverley Knight is currently scheduled to appear at Tuesday to Friday evening, and all Saturday performances. Beverley Knight will NOT appear on Tuesday 27th and Wednesday 28th September; Saturday 1st, Tuesday 18th and Friday 28th October; Saturday 12th, Tuesday 15th and Tuesday 22nd November; Saturday 17th, Friday 30th and Saturday 31st December 2016.

Ben Richards will not appear on Saturday 17th September 2016 and from 24th to 26th November 2016 inclusive.

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.
 


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

 

Theatremonkey Opinion:
(seen at the Evening performance on 27th July 2016)


On this performance alone, Ms Beverley Knight could sing the phone book and the monkey would buy a ticket just to hear that. A true theatrical phenomenon, her performance is unmissable - and this revised version of the show gives her the best possible platform (literally) to work on. Hit after hit is delivered with a vocal to make you simply want to hear each one over again.

In a theatre slightly too big for the production (the set is masked at the sides, to fill a gap) the drama sometimes has a job coming over, even by row J of the stalls where the monkey was. No matter, Mark Henderson's "rock concert" lighting is a triumph, Duncan McLean's video design outstanding and Richard Brooker's sound at an appropriate volume.


Most important Ms Knight gets some excellent support from the surrounding cast. Her "Memphis" alternate Rachel John gets to play her sister this time, with a couple of solos proving another fine performer shares the stage.

 


Bodyguard Ben Richards makes the most of a small role, with a terrible (and fun) karaoke moment. He's best, though, sharing with Fletcher, the lead character's son. Max Fincham (not pictured) the night the monkey saw it, nice job - future lead, maybe.

The ensemble dance up a storm, though the monkey was more than a little worried about one of the lady dancers. She appeared to have a stiff leg and trouble moving. Hope she was OK and just had a cramp.

The story itself remains more than a little bit ropey, but benefits in a way from small edits to the original. Nevertheless, the show is a fun night out for all that, a cut above the usual "familiar songs inserted into a story" and "stage to screen" adaptations for certain. Well worth going out for, instead of a night in front of the DVD.

Oh, and a quick note. The show programme is £8 - and for a change, actually worth the money. Nicely written and excellent photographs. Just saying... other theatres, take note.

________________________________________________________________

From the previous Adelphi Theatre production (Seen at the preview performance on 29th November 2012). Original actors have since left the cast.

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

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

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

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

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

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

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

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

 

 

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

(2 reviews)

Tuesday 2nd August 2016.

We sat in the stalls Row L 21 and 22 (dead centre) and had a great view of the stage with plenty of legroom (6’1”) - but as these are usually sold as premium seats so they should be good. The theatre was full and that’s quite a feat when there’s 2000 seats to fill eight times a week.

Have no doubt that 'The Bodyguard' IS a musical. Great music, great choreography, great costumes, great set and some wonderful performances from Beverley Knight and her ‘sister’. We were jolted into attention on the very opening scenes (now we know what it means when a show is described as ‘hot’!) and stayed almost breathless until the end and beyond that during the splendid encore.

There’s nothing complicated about the show or the story but we’re sure that everyone left the theatre on a high and with a feeling that they had been thoroughly entertained.

Lordship Theatregoers.
_____________________________________________________________________________

I got to the Dominion about 7.15am to get in line for day seats. I was the first one there at that time with the next people arriving at 8, and a few more between 8.15am and 8.30am. By 9am there were about 12 people but the queue did then continue to grow. I'd say there were around 30 by the time they opened up (very promptly) at 10am. Not bad for a two show day as even arriving then, people would've still got something fairly good, albeit more to one side or the other.

As the next two couples in the queue after me were both buying for the evening (my first choice was matinee), I could probably have got there around 45 minutes to an hour later but didn't want to chance it. I certainly didn't mind the early start once I had my front row centre aisle ticket in my hand!

In terms of the seat itself (A19) I was really impressed - loads of legroom - there must be about 6ft between the front row and the low wall surrounding the orchestra pit so had a great view - yes I was looking up but not uncomfortably so. SPOILER The podium in the middle (that they use for 'I Will Always Love You') juts out in the middle, SPOILER so means you can't quite see the stage floor in a small area beyond it, but that didn't cause a problem at all. For the rest of row A, beyond the centre aisle seats A19/A20 and possibly A18 and A21 I suspect it wouldn't be noticeable at all. Elsewhere, at 6ft tall and sat up in my seat I could see right across the stage itself, no issue with not being able to see to the back or anything. The lights in front of A15, 18, 21 and 24 did look to be annoying during the songs they're used in so I think you're right to have those seats marked as white rather than green. And finally, yes, the flames were intense - I do still have my eyebrows intact, but only just. They really added to the punch of that brilliant opening performance of 'Queen of the Night' (I don't recall them having had flames when I saw it at the Adelphi)

Inevitably, being that close to the action I felt really involved, and the club scene and the shooting at the Oscars still gave me chills despite it being my third time seeing the show. As did Beverley's performance - particularly on 'One Moment in Time,' but essentially throughout - she's magnificent in the role - just the right amount of attitude and emotion and vocally every line she sings is perfect. Rachel John too was great (my first time seeing her) and Ben Richards was a good Frank. So a good day out - and for £27.50 it was an absolute bargain, especially given the people immediately behind me had paid £40 more.



 

 

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

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

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

Runs 2 hours 25 minutes approximately.

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

Monday to Thursday:
Stalls

Rows B to V except "premium seats" and rows N to V 1 to 4 and 47 to 50: £62.50
"Premium seats" rows J and K 13 to 36, plus L 13 to 36: £95
Rows W to VV, plus rows N to V 1 to 4 and 47 to 50: £52.50
Rows WW to ZZ: £42.50

Circle

Rows A to G (except "premium seats" and "rail in view" seats row A 2, 3, 11 to 14, 24 to 27, 37 to 40, 48 and 49 and B 1, 2, 11 to 14, 24 to 27, 37 to 40, 49 and 50): £62.50
"Rail in view" seats row A 2, 3, 11 to 14, 24 to 27, 37 to 40, 48 and 49 and B 1, 2, 11 to 14, 24 to 27, 37 to 40, 49 and 50): £42.50
"Premium seats" rows C to E 13 to 38: £95
Rows J to M (except J and K 6 to 9, 15 to 18, 27 to 30 and 38 to 41): £42.50
Rows N and O: £32.50
Rows H, plus rows J and K 6 to 9, 15 to 18, 27 to 30 and 38 to 41 and rows P and Q: £25

Boxes
With "packages": £169 and £139

 


Friday and Saturday:
Stalls

Rows B to V except "premium seats" and rows N to V 1 to 4 and 47 to 50: £67.50
"Premium seats" rows J and K 13 to 36, plus L 13 to 36: £95
Rows W to VV, plus rows N to V 1 to 4 and 47 to 50: £57.50
Rows WW to ZZ: £47.50


Circle

Rows A to G (except "premium seats" and "rail in view" seats row A 2, 3, 11 to 14, 24 to 27, 37 to 40, 48 and 49 and B 1, 2, 11 to 14, 24 to 27, 37 to 40, 49 and 50): £67.50
"Rail in view" seats row A 2, 3, 11 to 14, 24 to 27, 37 to 40, 48 and 49 and B 1, 2, 11 to 14, 24 to 27, 37 to 40, 49 and 50): £47.50
"Premium seats" rows C to E 13 to 38: £95
Rows J to M (except J and K 6 to 9, 15 to 18, 27 to 30 and 38 to 41): £47.50
Rows N and O: £37.50
Rows H, plus rows J and K 6 to 9, 15 to 18, 27 to 30 and 38 to 41 and rows P and Q: £27.50

Boxes
With "packages": £199 and £169




 

Day Seats: Up to 30 seats in row A of the stalls, are available to personal callers at the box office from 10am, priced £25 (£27.50 Friday and Saturday) each. Limited to 2 per person. The monkey always advises taking both cards and cash in case one is preferred over the other. Check with the box office before travelling if this policy is still in operation.

Lottery: TodayTix also offer front row £15 "Rush tickets" for EVENING performances only, by lottery. Download the App from www.todaytix.co.uk, unlock the "Rush Ticketing" feature by sharing on Facebook or Twitter, and that will allow you to enter the daily draw to be allowed to buy tickets.
 


All prices include the £1.25 per ticket "theatre restoration" fee.

Some details may change, the monkey will update as required.

 

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:

www.dominiontheatre.com
The site allows you to select your own seats from all those available.

Booking fees per ticket for online bookings:
A £2.50 per booking, not per ticket, handling fee applies for tickets sent by post or held for box office collection. No fee applies for "print at home" tickets.
 

 

 

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

When the box office does not have what you require, the Theatremonkey Ticketshop telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom) offers £62.50 seats with a £13.80 (£20.90 on £95, £11.60 on £52.50, £9.40 on £42.50, £7.20 on £32.50 seats Monday to Thursday / £20.90 on £95, £14.90 on £67.50, £12.70 on £57.50, £10.50 on £47.50, £8.30 on £37.50 seats Friday and Saturday) per ticket booking fee. Slightly higher than the box office, but lower than most agencies. Worth checking if the box office cannot provide the exact tickets you might require. Note that this system will confirm exact seat numbers prior to purchase. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases.

Another alternative is www.seetickets.com / telephone 0870 830 0200 which offers £62.50 seats with a £12.50 (£10.50 on £52.50, £8.50 on £42.50, £6.50 on £32.50 seats Monday to Thursday / £13.50 on £67.50, £11.50 on £57.50, £9.50 on £47.50, £7.50 on £37.50 seats Friday and Saturday) per ticket booking fee and £2.75 per booking (not per ticket) service charge. (FREE call if using BT.com Calling Plan at your chosen times).

Another alternative is Ticketmaster.co.uk who offer £62.50 seats with an £8.55 (£13.10 on £95, £7.15 on £52.50, £5.75 on £42.50, £4.35 on £32.50 seats Monday to Thursday / £13.10 on £95, £9.25 on £67.50, £7.85 on £57.50, £6.45 on £47.50, £5.05 on £37.50 seats Friday and Saturday) per ticket booking fee. A £2.85 per booking, not per ticket, handling fee is also added. 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 KKingdom) offers £62.50 seats with a £17.50 (£27 on £95, £15.50 on £52.50, £12.50 on £42.50, £9.50 on £32.50, £7 on £25 seats Monday to Thursday / £27 on £95, £19.50 on £67.50, £16.50 on £57.50, £13.50 on £47.50, £10.50 on £37.50, £8.50 on £27.50 seats Friday and Saturday) per ticket booking fee. A postage charge of 95p per booking, not per ticket may be applied to bookings made from UK addresses more than 5 days before the performance. Discounts and &;quot;Meal and Show" packages may also be available. The &;quot;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. Quality and Value hotel / theatre ticket packages are also available.

Londontheatredirect.com offers £62.50 seats with a £12.50 (£19 on £95, £10.50 on £52.50, £8.50 on £42.50, £6.50 on £32.50, £5 on £25 seats Monday to Thursday / £19 on £95, £13.50 on £67.50, £11.50 on £57.50, £9.50 on £47.50, £7.50 on £37.50, £5.50 on £27.50 seats Friday and Saturday) per ticket booking fee. 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: 0845 200 7982
Operated by The Ticket Factory Agency on behalf of the venue.

Booking fees per ticket for telephone bookings:
A £2.50 per booking, not per ticket, handling fee applies for tickets sent by post or held for box office collection. No fee applies for "print at home" tickets.
 

 

For personal callers or by post: Tottenham Court Road, London. W1P 0AG
No booking fee for personal callers. Normal fees apply to postal bookings.

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.

www.dominiontheatre.com 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 Dress Circle Notes
STALLS 
Layout:
Vast, 28 rows, 50 seats per row in four blocks, split by aisles.

The rake (sloped floor to help see over rows in front) is very good, aiding the view, particularly from row F back.

The Dress Circle overhangs the Stalls at row K. The top of the stage becomes invisible from row W back.

Legroom:
Excellent, particularly row A.

Z 1 and 50 have nothing in front, though a pillar is to the side of the seat, it doesn't affect the view.

A larger reader opines, "Very comfy and large seats in the stalls for the larger person."

Choosing Seats in General:
Centre Blocks:
Sightlines are clear from all seats in the two centre blocks.

Rows D to H are the best seats in the stalls, once past J, it starts to feel a way from the stage for anything involving drama.

Other seats in these blocks offer fair value for money until you get nearer the last "top price" rows.

Rows V to Z at top price is fairly greedy, considering the distance from the stage. Only the clear sightlines and good legroom allow the monkey to rate them "average" value 

The last rows - VV to ZZ feel far from the stage. The central blocks of these rows are a comparable choice with the rear Dress Circle, if they are available at the same price, feels the monkey.

Manual wheelchair users have three spaces in rows XX, YY and ZZ at the back of the stalls. These do not have the greatest view but are fairly priced. Motorised chair users get put in a seldom used box at Dress Circle level. Transfer to any centre aisle seat is also possible. This is more like equal access in Theatremonkey's opinion.

Side Blocks:
It is worth particularly avoiding the ends of rows A to S, A seats 1 to 10 and A 31 to 34, B 31 to 34, C 31 to 35, D 34 to 38, E 34 to 39, F 34 to 39, G and H 37 to 43, J and K 39 to 46, L 39 to 47, and M to S 41 to 50. These are the ends of the row and the viewing angle is often disrupted by bits of scenery during many productions; anyhow, why should you pay the same as those more centrally seated, argues the monkey.

Past row T the distance from the stage compensates for the angle and the view is usually clear, though the closer to the centre aisle, the better - and why settle for a side view when one can pay the same money for centre block tickets?

From row V back, pricing usually makes the first four seats adjacent to the aisle worth considering as average value in monkey opinion - but the closer to the centre aisle the better.

The rest of rows VV to ZZ at third price offer just about fair value - even the outermost corners have their fans.

In summary, it really is only the clear sightlines and good legroom allow the monkey to rate all but the ends of these rows as "average" value. Oh, and even the standing space isn't too bad either...

General Hazard Notes:
The stage can be very high and the orchestra pit, (when in use) is wide. This may mean neck ache for those in row A, plus the odd sensation of feeling like one is sitting on the lip of the Grand Canyon. Not  a reason to avoid, just an interesting feeling this monkey has (similar to the one after too many nuts).

Row XX seats 26 to 38 are in front of the technical desk, and so could suffer noise and distraction!

Changes for the current production:
This show takes place very much centre stage, with the sides having wide screening, to allow for the fact the set doesn't extend the whole width of the stage. Outermost seats are going to feel detached from the action.

Row A are "day seats" and cheap, with unlimited legroom. Go centre block first, though remember A 15, 18, 21 and 24 have lights in front that may dazzle. Fire effects may fry the entire row, too. Take and 8 to 5 / 31 to 34 last; SPOILER ALERT A 5 in particular gets uncomfortably close to the action at one point. SPOILER ENDS. Still at the price, you can't go wrong, feels the monkey.

The "Premium" seats are the centre block seats in rows J to O. L back seem a bit far back for the money, and the monkey feels dress circle C at the same price are superior unless over 5ft 11 tall, in which case stalls will be more comfortable.

Top price from row B goes as far back H, then from P to row V, except at the sides from N. Rows D to H at regular top price seem the best bet - centre block of course.

At second price, the monkey would take W over V for the same view at a lower cost. It also doesn't mind N to V 3, 4, 47 and 48 either.

Prices drop to third in WW. Might as well take these rows over the row in front as you get the same view for less cash, feels the monkey. It might take the "rail in view" circle seats B 11, 12, 13, 26, 37, 38, 39 and 40 for the same third price money, though as they are far closer to the stage...

Purists should be aware a sound desk could exist in front of XX 26 to 38.

Reader Comments:
"Row A: "The Bodyguard" (July 2016). Day seats. Amazing view from the front row as stage is far back from the seats. As long as you don't mind a bit of heat..."

"Row A: was in front row of stalls which is fine, although you miss a small amount of action at rear of stage"

"Row A: I love front row in the stalls at productions like 'Les Mis' and 'Phantom,' but here the stage is way, may higher so you miss a lot of the bottom part of the set and cannot see Killer Queen when SPOILER ALERT she is raised up over the audience SPOILER ENDS - at least not without straining your neck badly! I would recommend sitting at least several rows back if you choose the stalls. Overall, I am glad to have seen it but wouldn't choose to do so ever again."

"A18 and 19: Although these seats are the most spacious I have had the pleasure of sitting in at a west end show, at times these seats are just too close to the stage! As the stage rises and spins over the audience, these seats are directly beneath and all that can be seen is the black underside of the stage. Also, as the action takes places way from the front of the stage you do miss some of the action. However at a show such as 'We Will Rock You,' these seats allow you to make the most of the atmosphere, whilst at times feeling like you practically sat at the edge of the stage."

"A19: "The Bodyguard" (July 2016). Day seat. I was really impressed - loads of legroom - there must be about 6ft between the front row and the low wall surrounding the orchestra pit so had a great view - yes I was looking up but not uncomfortably so. SPOILER The podium in the middle (that they use for 'I Will Always Love You') juts out in the middle, so means you can't quite see the stage floor in a small area beyond it SPOILER ENDS, but that didn't cause a problem at all. For the rest of row A, beyond the centre aisle seats A19/A20 and possibly A18 and A21 I suspect it wouldn't be noticeable at all. Elsewhere, at 6ft tall and sat up in my seat I could see right across the stage itself, no issue with not being able to see to the back or anything. The lights in front of A15, 18, 21 and 24 did look to be annoying during the songs they're used in so I think you're right to have those seats marked as white rather than green. And finally, yes, the flames were intense - I do still have my eyebrows intact, but only just... Inevitably, being that close to the action I felt really involved, and the club scene and the shooting at the Oscars still gave me chills... for £27.50 it was an absolute bargain, especially given the people immediately behind me had paid £40 more."

"A26, 27 and 28: I thought I had scored great tickets when I got A26, 27 and 28. The show was phenomenal, but now I know why those seats were available. To look up at the stage, I was constantly craning my neck. When the front part of the stage lifted up and out overhead, I had to crane my neck upwards and still then it was hard to see with the stage “surfboard” overhead. Plus, during the intermission, a theatre employee set up at the foot of the aisle to sell ice cream. People were congregating, chatting right in front of us, so when others walked by they had to cut right in front of my long-legged husband who was sitting on the aisle in A28. After several instances of crunched toes, he just got up to stand at the stage, way out of the way until “ice cream-boy” was done selling. If I had know now what I knew, I would have tried to get seats a tiny bit further back."

"B 16 to 19. (Daniel). The stage was slightly above head height but it didn’t matter at all. As these seats were central we could see everything clearly, whether at the front or the back of the stage, and didn’t have to strain our necks in any way at all. Whilst obviously not as good as seats a few rows further back they were still really good, comfortable seats. The advantage of being so close was you could really see the actors particularly well as you’re so close to them (the band is in the wings so the front of the stage is right in front of you). It was enjoyable to see all their facial expressions. And you almost feel part of the show at the board table rotates above your head."

"D 8 to 11: These seats are fantastic as they are so close to the stage and you can see the actors really well. The only downside is the noise as the front rows are close to the speakers. It can be too loud, but I don't mind the noise and loved the seats!!!"

"D12 and 13: Leg room great, view great."

"E12 to 17: (Mandi). which were fantastic although the band was noisier than when we were in the dress circle! Fantastic for me but my mother in law was a bit shocked at first!"

"H 43: "The War of the Worlds (February 2016). Excellent view, but my god it's a barn of a place."

"J41: (Kirsty). According to your plan is in red, but I really liked the seat. Sure I was at the side, but I could still see everything that happened onstage and if I was offered this seat again I would take it. I could see all the actors expressions clearly, but the only thing I may have missed out on was seeing the very left hand side of the stage where nothing really happens anyway, LOL."

"K26: "War of the Worlds" (February 2016). An excellent seat with clear view of the whole stage. Only potential issue is the limited rake, so a tall person in front would be a possible problem. Leg room is good."

"L21 and 22: "The Bodyguard" (August 2016), (Lordship Theatregoers). (Dead centre) and had a great view of the stage with plenty of legroom (6’1”) but as these are usually sold as premium seats so they should be good."

"M25: "War of the Worlds" (February 2016). I have no complaints about the view from this seat. This is on the middle aisle and a good distance from the stage. The overhang starts here, so I imagine rows, N and P would have good views too. Theatre Monkey advised avoiding the seats at the right at the sides and I'm glad I did as the venue is wide, not everyone might be bothered by this, but it is a fair warning. Leg room is decent, seats could do with an upgrade though, not the most comfy I've sat in."

"O 25: an aisle seat, should be in green - you can see and hear everything."

"Q11 and 12: (Teresa Gustafsson). Got full price tickets (£60) for £30 at TKTS -  Q11 and 12. We had a perfect clear view of the stage, although at a slight angle, and we sat close enough to see the actor’s faces! The music was really too loud though and sometimes you couldn’t even hear what they were singing."

"R33 to 35: (Ali). We had stalls, row R 33-35. Legroom was possibly the best of any theatre I've been to so far, and the seats were wide enough for any 'fat bottomed girl' (like me!)."

"U39 and 40: "Evita" (September 2014) (Bob Pickett). Excellent seats, especially U39 as it sits on the right side of the row (left side of the Stalls), on the aisle so gives an uninterrupted view of the stage. Like all the seats at The Dominion, they’re spacious and comfortable (though the odd fidget is required during longer productions). Rake is step enough to clear heads, the entire stage is visible and you are close enough to clearly see the actor's expression."

"Rows W and X: "White Christmas" (December 2014). Even near the back, it was still a good view and with good leg room."

"VV 11 and 12: (Jackie). Got a deal at £23 per ticket in January 2012. Quite a long way from the stage - and the top was not visible because of the overhang from the circle - but I don't think we missed anything. The rake is good and the seat space much better than a lot of other theatres, I'm 5ft 9 and fitted in comfortably. What was even better was rows Y and Z were completely empty so we had an unobscured view of the stage."

"VV 15 and 16: (Cristopher H). The view was fabulous."

"Row WW: (William Cooper - regular reader). The height of the circle above and the rake of the stalls gave a clear, if distant, view. This meant that, although these seats were bottom price, they were at least comparable to second-price rear stalls at other popular musicals. That said the bottom price of £27.50 (now £32.50 / £39.50) is fairly similar to second price for other big shows."

"YY 49 and 50: (Kevin). I was a little apprehensive before going as these particular seats are given a red rating on theatre monkey (changed now - Editor). They are situated at the rear of the stalls on the left hand side, however I was pleasantly surprised at our position and the good views of the stage. There was no restriction of our view. If you are looking for a cheaper ticket price, still with good views and comfort, then these seats are the ones."

"Standing Space: (Hannah). We had standing tickets (£15 on the day). They are at the back of the stalls, give an excellent view and plenty of room to rock out if you so desire. Worth it if you are cheap and have good legs. (Physically, not aesthetically, the monkey notes)."

 

DRESS CIRCLE 
Called the CIRCLE in this theatre.

Layout:
Vast tiered affair. split into front and rear sections by a wide aisle running between rows G and H. 

The front section is split into four blocks by aisles.

The rear section is split into five blocks by aisles. The centre block in this section has stairwell gap at the front of it.

Legroom:
Good in most seats for those up to around 5ft 10 or so, even 6ft in row G, but less row A and behind the stairwell walls in row H, plus row L seats 23 and 24. Those under 5ft 6 or so will be most comfortable in these seats.

A larger reader opines that "Circle area seats seemed slightly smaller than the stalls, but still acceptable." Another remarks,
"Row A seats 34 to 36. I'm 6ft 2. I had plenty of room, maybe not as much as the other rows up there, but I could still get comfortable without any problems."

The curve of the front circle wall, and the way the outermost 3 seats in rows A to C curve back away from the circle front, gives extra legroom in them all. Row A gets about an inch more, the rest a little more than that. Helps those up to about 5ft 8 or 9 in row A for sure.

Another adds, "Legroom acceptable for 6ft2 in row E."

Row B 1 and 50 have nothing in front.

Row J 7 and 40, K 7 and 40, P 7 and O 7 have a bit more space for one leg to move into, on the aisle side of the seat.
 

Choosing Seats in General:
Front Section:
The centre two blocks - rows A to G seats 13 to 38 offer the best views in the house.

Once centre section seats have gone, the two side blocks, except for seats 1 to 4 and 47 to 50, are preferable to seats in the side blocks of the stalls. This is due to a better viewing angle to the stage, feels the monkey.

Rear Section:
The rear block betrays this theatre's cinema origins. It is easy to imagine looking at a ten foot tall Julie Andrews on a screen from here (the Dominion ran the movie 'The Sound Of Music' for ages) but a regular height actor on a stage is different.

Entry to these blocks is up a gantry like set of stairs from the circle foyer. Naturally, the front block inhabitants get the level access - still, come the revolution…

The rear block is split into five segments. At the sides, H to K seats 1 to 7 and 40 to 46 are last resort at top or second price. When more keenly priced, they are fair value, feels the monkey. Be aware of brass rails at the ends of rows J and K beside 1 and 46. Not in the way much, but there all the same.

At any price, rows L to Q seats 1 to 7 and 40 to 46 are final picks unless you really, really need to see a show. It is bad enough being far away from the stage without being stuck in the corner too. Surprisingly, the other three more central blocks are pretty decent bets for a clear if distant view at second price or lower, though.

The rake is very steep from Row L back, however, making these rows feel a long way from the stage, though strangely closer than equivalent stalls. Taking row L and N seats 8 to 20 and 27 to 39 is the most acceptable if the stalls is full. 

Row O back is equivalent to the rear stalls, with added vertigo! Avoid if you dislike heights. Otherwise, both it, and rows P and Q are comparable to stalls bottom price seats in rows XX to ZZ. All three are slightly closer to the stage than the stalls equivalents, too, and see better over heads in front as they are raised on steps. If you can get row O at bottom price, worth a look, feels the monkey.

General Hazard Notes:
Row A: "My wife and daughter, both 5ft 6ins, had problems seeing the front of the stage and constantly had to lean forward."

Safety bars at the ends of the aisles do not affect the view, though pedants might want to sit one seat off the aisle to avoid them, if they feel like it! The two seats nearest the safety bars have been reduced in price (and A1 taken off sale) to allow for the problem - good response, thinks the monkey.

Rows A to G seats 1 to 4 and 47 to 50 may find that boxes and a set of stage lights interrupt the view.

The very ends of row H have a metal bar in front.

Double height safety bars in front of rows H to K seats 6, 7, 8, 9, 15, 16, 17, 18, 27, 28, 29, 30, 38 and 39.

Brass rails at the ends of rows J and K beside 1 and 46.

Steep rake and distant views from row L back.

Row L has a stairwell wall in front of seats 23 and 24. Annoying for viewers in seats either side and in the row behind. Legroom is also affected.

Changes for the current production:
Centre block rows C to E are "premium" priced. The monkey would take these over stalls (unless over 5ft 11) for view. Taller folk will find stalls more comfortable. There are equally good and cheaper seats available in rows B and F, though.

The two seats at the end of each block in rows A and B are third price. Seats B 11, 12, 13, 26, 37, 38, 39 and 40 are decent bargains, the monkey feels. The saving per seat compensates for the rail, it feels.

In the rear block, row H is discounted to allow for losing the front of the stage, and outer 2 seats in each block in rows J and K for more rails in view. Again, the monkey rates the fourth price seats in row K a bit of a bargain with the saving making up for the rail.

Other seats in rows J to M are third price. Fair, the monkey feels, except that M is long way back for the price. Still, a better pick for the short than similar price stalls, it thinks. The tall will again find stalls more comfortable, though. It would save a bit by taking N before M at fourth price instead or...

Rows P and Q are the cheapest in the place by far. If you are going to be in the back of the theatre, you may as well pay least, so take these rows before anything from N, really. The view isn't that different.

 

Reader Comments:
"
A 26 and 27: "Evita" (September 2014). On the centre aisle. Wonderful seats for us as we are both tall (5’7 and 5’10). We only had to lean forward very slightly and we don’t often loll right back in our seats anyway! Even sitting fully back, we only lost a very little of the front of the stage and this only mattered in one song that I noticed. It made for a really good view – we could see nothing but the stage itself and that made you feel very involved in the performance."

"A 34 to 36: I'm 6ft 2. I had plenty of room, maybe not as much as the other rows up there, but I could still get comfortable without any problems. My wife and daughter however, both 5ft 6ins, had problems seeing the front of the stage and constantly had to lean forward."

"A 34 to 36: I was worried about booking these seats as I had read on the website that there was restricted legroom in this row for people over 5ft 6, and I'm 6ft 2. I booked them anyway because my wife really wanted to sit there. I need not have worried as I had plenty of room, maybe not as much as the other rows up there, but I could still get comfortable without any problems. My wife and daughter however, both 5ft 6ins, had problems seeing the front of the stage and constantly had to lean forward. Fortunately the seats behind them were empty so it didn't cause any problems."

“B 20 and 21: “We Will Rock You,” (Chris B). These seats offer a good, unobstructed view of the whole stage and are easily high enough to see over the front row of the circle. The stage feels very wide and I think being raised up helps the appreciation if the entire stage. The circle feels fairly close to the stage too so you can see everything clearly. There is sufficient legroom too, can’t complain about these seats at all, they’re great.”

"C 10 to 12: on the aisle side of the right-hand side block of the Circle. Tickets through Kids' Week so my daughter's ticket was free as opposed to the £62 for ours. The aisle bar was definitely in view from all three seats and although I got used to it I'd say its something to be aware of. My wife (C12) thought it was quite restrictive. The general view of the stage was good with nothing out of sight at all although when the cast were at the very front of the right-hand side of the stage I could only see them from the waist up. Rake is OK and legroom was fine for me at 5'6" and the sound was fine. I'd say fair value only at full price for these seats. In the interval I had a look from C13 on the other side of the aisle and found it much better, with the aisle bar out of play. I'd go for this block in future in preference to where we sat."

"E 30 and 31: Legroom acceptable for 6ft2. Previously seen the show from the stalls and I think the best seats in the house are probably in the Circle first few rows, in the middle."

"E 31 and 32: I knew in advance these seats would be good based on this website...thanks. The view was excellent. We could see ALL the action and even see the band, a real bonus."

"K 14: A good view throughout, able to see everything, even when Killer Queen is on her revolving stage platform thingy. Some might think the stage is a little far away but for me it was a reasonable distance. Notably I remember seeing 'Jersey Boys' in the very top circle and found the stage to feel a lot further away than I did in this theatre. Leg room was fine for me and I'm average height."

"K 27 and 28: "Evita" (October 2014). Took these as you had advised that these are good value, which is true. These seats are classed as limited view due to the rail at the bottom of the aisle, but from K 27 the rail is entirely out of line with the stage and from K 28 it obstructs the front corner only, to a low height - my companion said the latter was not a problem at all. A definite bargain compared to other seats nearby."

"Row N: We were initially issued tickets for row N on the circle. There was nothing wrong with these seats at all as the circles' seats were reasonably steep so there was not problem with the view no matter where you sat. The theatre was very empty so we were able to move the entire group right to the front row of the circle on the right hand side (as we faces the stage). There was nothing with these seats either but if you sat right on the front row then the edge of the circle may be in your view and may miss some of the action on the front of the stage if you don't lean forward."

"N1 and 2: tickets were purchased as a part of an organised weekend 2013 theatre break, so we had no option but to accept the allocated seats. Not a great deal of legroom for taller people, but adequate for those of us who are vertically challenged. Tiers are quite steep, ends of rows can by definition result in some loss of viewing action on the stage, we didn’t feel this was the case."

"P 17 to 20: Great Seats!!! Could see everything super clearly and highly recommend. Got a discount on these seats using the London Theatre Bookings Ticket agency booth on the edge of Leicester Square. (A genuine and good agency outlet, the monkey notes.)"

"Q 20 and 21: For back row, the view is amazing and the sound is VERY loud. Can see every detail and action. Wonderful legroom and extremely comfortable seats. Love it at the back, can get up and dance if people aren't in standing. Cheapest seats, worth it."

Q 29 to 33: (Pip). Basically, they're almost central! So you have a good view. For a back row you can see everything and anything, even facial expressions. I was shocked! And only £30 (or £28 depending on the day) when we saw it in 2009! They were extremely comfortable, and had acceptable legroom (I only had to stretch my legs once at the end). More expensive than any other show, but totally worth it and for cheapest seats will be pleasantly surprised."

 

Dress Circle Boxes
Layout:
Two, one either side of the circle, between the circle front and the stage.  Each seats 4 on movable chairs.

Legroom:
Good, as seats are movable chairs.

Choosing Seats in General:
Poor views. Nobody should bother with these unless all seats are taken and you really want to see the show.

Motorised wheelchair users get stuck with these seats, alas. 

General Hazard Notes:
The nearest fifth of the stage not visible.

Changes for the current production:
None. Sold only with a package.

Reader Comments:
"Nederlander Box: "White Christmas" (December 2014). Right hand side of the Dress Circle. First thing to say, the box has a private bathroom. Let me say that again, A PRIVATE BATHROOM. And a lovely handsome young man (Oliver) at our beck and call who took us to our box, took drinks orders and showed us to a secret quick exit afterwards. And did I mention the PRIVATE BATHROOM?

BUT, BUT, terrible sight lines, lost half the stage. Worst of all, we had a massive speaker an inch away from the box, blasting Irving Berlin ballads into our eardrums until our eyes watered. The tap dancing (the best thing about the show) sounded like anti-aircraft gunfire in our box. On the plus side, I will never need my ears syringed again as the deafening sound has utterly blown away anything resisting its onslaught in my Eustachian tubes.

So avoid this box unless you are with someone who is already half-deaf or who has bladder issues in which case, this is possibly theatrical nirvana."
 

 

 

Notes
Total 2001 seats

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

Infrared headsets available. Signed performances occasionally. Guide dogs allowed in auditorium or dogsat. Unisex disabled toilet. A platform lift from foyer to stalls is available for wheelchairs. The box office advise that, "It is very important that customers book through our access line on 020 7927 0929 if they require use of this lift. This is because it takes a few minutes to use and so we monitor how many people are using it to maximise our customers’ experience (don’t want anyone missing the start of the show due to a big queue for the lift) and also to abide by safety procedures with evacuations etc." There are places at the far ends of rows XX, YY and ZZ. Alternatively, motorised wheelchairs have to use a restricted view box. Poor view. www.dominiontheatre.com (020 7927 0929 10am to 6pm Monday to Friday, 12 noon to 6pm Bank Holidays) and  www.artslineonline.com has comprehensive details,  also Artsline 020 7388 2227, email artsline@dicon.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 reports in early 2007,
"Elizabeth and Rachel at the Dominion theatre's disabled enquiries were excellent. Despite going with a coach company (as part of a group) they reserved a space for us with no trouble at all, with instructions that on arrival to make ourselves known to front office staff. Many thanks to the Dominion theatre."
 

Food is ice cream, confectionery, hot dogs, burgers and milkshakes.

Four bars. Two each at stalls and circle level.

Nine toilets. Stalls 2 gents 2 cubicles each, 3 ladies 2, 3 and 4 cubicles respectively, 1 disabled unisex; Circle 2 gents 2 cubicles each, 2 ladies 4 cubicles each.

 

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

Getting to this Theatre
Find this theatre on a Street Map. The theatre is actually above the arrow, near the London Underground sign at the centre of the map.
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Tottenham Court Road - Northern (black) and Central (red) lines.

The escalators from the platforms end in a large underground area. Take exit 3, and it will bring you out almost in front of the theatre.

If you exit the station and see instead Oxford Street shops ahead of you, cross the road, the theatre is ahead of you to your right at the junction.

 

Buses:
7, 8, 10, 14, 14A, 22B, 24, 25, 29, 38, 55, 73, 134, 176 all stop nearby.

 

Taxi:
Hail one in the busy street outside the venue.

 

Car Park:
Great Russell Street. On leaving the car park, change to the other side of the road turn to your right and walk towards a very busy shopping street. If you head up a quiet sidestreet, wrong way. 

At the corner turn to your left, the theatre is straight on. If you cross Bedford Avenue, wrong way.

 

This theatre does not participate in the "Theatreland Parking" scheme, so there are no discounts available.

 

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

 

 

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