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


Click here for details of "West End Heroes" on 4th October 2015

Ends 5th September 2015

40 dancers are directed in a new staging of this dance show.

A second run following a season at the London Palladium in Autumn 2014.

Michael Flatley and Nadine Coyle DO NOT appear in this production.


Theatremonkey Opinion:
Not available. (from the 2014 London Palladium production): Reports are that this is a "battle of good and evil" with some songs well-delivered by Nadine Coyle, a brief appearance at the end of the second half by Mr Flatley, and between times a lot of Irish dancing. Good looking boys and girls, moving fit to dance up a storm and leaving the audience miles happier than when they went in. Not much substance, but you'll get your money's worth, seems to be the opinion.



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 from the 2014 London Palladium production):
Row H, Upper Circle.

I loved 'Riverdance.' I remember sitting spell bound during the ’94 Eurovision watching it, so I was quite excited to be going to see Michael Flatley’s 'Lord of the Dance' at the Palladium.

Venue – cheap seat in the upper circle, great view of the stage but there was no leg room. It was really cramped and uncomfortable and not the place to sit if you don’t like heights.

From this bird's eye view the dancing was excellent. I was expecting lots of different types of dancing (I am sure there was in the original 'Riverdance' stage show, seem to remember flamenco and tap) but this one was predominantly Irish. A singer, who the night I went was not Nadine Coyle (as I had no idea who Nadine Coyle is I wasn’t particularly perturbed but some people around me seemed a little disappointed) was competent and performed her songs with vigour.

The story, hmmm, was there a story? The first half I really don’t think there was just a pastiche of scenes. However, I think it was a tale of good versus evil, bit predictable (evil all seemed to be wearing black bondage gear and good were soldiers who for some reason decided to dance topless). There were also some robots and a girl with a recorder. Maybe I should have bought a programme and it would have explained it all a bit more.

At the end out popped Michael Flatley, I knew it was him as he wore a white silk coat with MF in gold on the back and he joined the cast for a dance. He can still move well. The encore was a hologram of three Michael Flatley's which I thought was a bit egotistical and then the cast came out again with MF for one more dance.

Beautiful visual spectacle, extremely light on any story. Enjoyed it.


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 Friday at 7.30pm
Saturday at 2.30pm and 7.30pm

Runs 2 hours 10 minutes approximately.


Ticket Prices:

Offers May be available - Click Here

View this information in diagram form


Rows A to WW except "premium seats": £65
"Premium seats" rows J, K and L 13 to 36, M to P 13 to 38: £90
Rows XX to ZZ: £45

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): £65
"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): £45
"Premium seats" rows C to F 13 to 38: £90
Rows J to O (except J and K 6 to 9, 15 to 18, 27 to 30 and 38 to 41): £45
Rows H, P and Q, plus rows J and K 6 to 9, 15 to 18, 27 to 30 and 38 to 41: £29.50

"Day Seats": A very limited number priced £10 in stalls rows A to C and £25 from D back are available to personal callers at the box office before the performance on the day from 10am. One or two tickets per person. The monkey always advises taking both cards and cash in case one is preferred over the other. Check with the box office before travelling if this policy is still in operation.

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:
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 postage or box office collection fee applies. No fee for printing your own tickets at home.



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 an extra selection of £65 seats with an £11.10 (£15.30 on £90, £7.70 on £45 seats) 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 / telephone 0870 830 0200 which offers £65 seats with a £6.50 (£4.50 on £45 seats) per ticket booking fee and £2.75 per booking (not per ticket) service charge. (FREE call if using Calling Plan at your chosen times).

Another alternative is who offer £65 seats with a £6.50 (£9 on £90, £4.50 on £45, £3 on £29.50 seats). 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 Kingdom) offer £65 seats with an £18 (£25 on £90, £13 on £45 seats) 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 "Meal and Show" packages may also be available. The "Flexiticket" Exchange Service, allowing FREE transfer / cancellation (credit note up to 12 months) of your booking up to 3 days before the performance is also available for £2.50 per ticket. Quality and Value hotel / theatre ticket packages are also available. offer £65 seats with a £14 (£10 on £45 seats) booking fee per ticket. 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. offer £65 seats with an £8.50 (£6.50 on £45, £4 on £29.50 seats). NOTE: Seat numbers are NOT available in advance from this company. All seats booked in the same price group will, of course, be together or at the very least be in front or behind each other in the theatre. In the very unlikely event of this not being possible this company will call you and give you the option of cancelling your booking. However if booking in two or more price bands, you will not be sat together. Please DO NOT purchase if this is unacceptable to you, as all tickets are sold subject to this condition. Discounts and "Meal and Show" packages may also be available.

ALSO SEE 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 postage or box office collection fee applies. No fee for printing your own tickets at home.


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. 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
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.

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

Excellent, particularly row A.

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.

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 is very high and the orchestra pit, (when in use) is wide. This means 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:
Top price goes as far back as row WW in all blocks. The monkey would skip rows V to WW at the price unless there is nothing left in the front circle instead. Then, if it must, it would take centre blocks first.

The stage height means those in rows A to D won't see dancers' feet. Row F back should have clearest views. Worth skipping rows A and B unless knees are exciting for you, perhaps, feels the monkey.

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

Prices drop to second in row XX. 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 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:
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."

"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!"

"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."

"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)."


Called the CIRCLE in this theatre.

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.

Good, but less row A and behind the stairwell wall in row L seats 23 and 24. Those under 5ft 6 or so will be most comfortable in this pair.

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."

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

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.

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. 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.

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 F 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 G, though.

The two seats at the end of each block in rows A and B are second 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 O are second price. M to O have to be second choice for the money, the monkey feels. A 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.

Rows P and Q are just about average at third price, with Q at third price a similar very average deal. The monkey would take Q over O, once the cheapest seats in H have gone, given that you are far closer to the stage for a much lower price - even if the rail is in the way and the legroom not quite up to the level you might expect.

Oh, basically, the rear circle from H back (except the "restricted view seats") is very average for this, the monkey feels.

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
Two, one either side of the circle, between the circle front and the stage.

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:

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."



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. (020 7927 0929 10am to 6pm Monday to Friday, 12 noon to 6pm Bank Holidays) and has comprehensive details,  also Artsline 020 7388 2227, email 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.

Central line trains will not be stopping at this station until December 2015. Exit 3 in front of the Dominion Theatre is also closed until this date. You will need to exit onto Oxford Street. Look to the right on leaving the station, and cross Oxford Street ahead, turn right and cross Tottenham Court Road to the theatre.

The escalators from the platforms end in a rectangular underground area. Take exit 3 in the very far corner of the rectangle, 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 to it, turn right and walk to the corner, the theatre is ahead of you to your right at the junction.


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


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.


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



Sunday 4th October 2015


Christopher Biggins, hugely popular star of musical theatre, screen comedies, panto dame extraordinaire and one of Britain’s best-loved TV personalities, is the larger than life host of the 2015 West End Heroes gala concert.

Following the phenomenal success of West End Heroes last year, which saw the casts of many of the biggest West End musicals unite with the finest UK military bands and musicians in a stunning performance that raised £78,243.01 for the Help For Heroes charity, the Dominion Theatre is to once again host the event.

Biggins will oversee proceedings and also perform in several big song and dance numbers that are being kept a secret until the night! He said today: “I’m delighted to be able to give my support to West End Heroes by hosting what I know will be a marvellous evening, with some wonderful surprises. It’s a wonderful way for the West End to show their appreciation for all that our lovely service folk do for us and to support such a worthy charity.”

West End Heroes will again unite the country’s top military musicians with even more West End performers and productions in a dazzling showcase of show-stopping numbers, unlikely song mash-ups and stunning choreography and precision drilling.

The West End casts of Elf The Musical, and Zoonation’s Into the Hoods, will join musical theatre and West End favourites Bonnie Langford, currently appearing in EastEnders as Carmel Kazemi, and Mazz Murray currently starring in Mamma Mia! who will make special guest appearances. They will be joined by classical crossover sensation Charlotte Jaconelli, and recent Britain’s Got Talent magician extraordinaire Jamie Raven.

The involvement of more West End casts will be confirmed in the coming weeks.

Returning to form the centrepiece of the gala and under the baton of Squadron Leader Piers Morrell will be The Central Band of the Royal Air Force, which is widely regarded as one of the finest military bands in the UK and incorporates the celebrated RAF Squadronaires Big Band.

West End Heroes will once again be generously supported by many TV and theatre stars and will feature line-ups from current and past West End Shows. There will again be a performance from the West End Heroes Choir – made up of people working behind the scenes in the West End. More cast will be announced in the coming months.

For some, recovery can be swift – for others, it is a life-long journey with changing needs along the way. Help for Heroes aims to support this process however long or short it may be.

Bryn Parry, Co-Founder and CEO of Help for Heroes said: “We’d like to thank West End Heroes for their dedication towards raising such an amazing amount for Help for Heroes over the past two years. We’re thrilled to work with West End Heroes again in 2015 and look forward to an another fantastic event at the same time as raising a significant amount of money to help our injured Servicemen and women and their families.”

Help for Heroes offers comprehensive support to those who have suffered life-changing injuries and illnesses after serving our country. This support is provided through grants direct to our Heroes and their families, grants to other charities and through four Help for Heroes Recovery Centres across the UK. A study in September 2014 by Help for Heroes and the Royal College of Psychiatrists found that 75,000 men and women may need long term support following the recent conflicts in Iraq and Afghanistan.

The Creative Team for For West End Heroes 2015:

Director: Tim Marshall
(Festival of Remembrance, Royal Albert Hall)

Musical Director: Squadron Leader Piers Morrell
Director of Music, RAF Central Band

Musical Supervisor: Stuart Morley
(We Will Rock You; Night of a 1000 Stars)

Choreographer: Matt Flint
(So You Think You Can Dance; Strictly Come Dancing)

Assistant Director: Carole Todd
(Carnaby Street, Dreamboats and Petticoats)

Design: Tim Soden
(The Lion King; Calendar Girls)



Performance Time:

Runs 2 hours approximately, including one interval.


Ticket Prices:
£176.25 (VIP), £91.25 (Premium), £68.75, £48.75, £33.75

VIP Ticket includes pre-show drinks & canapé reception in VIP area, West End Heroes brochure & access to post show reception.

Premium Ticket includes Champagne on arrival & West End Heroes brochure.

A £2.50 per booking, not per ticket, handling fee applies for all purchases except "print at home" or personal visit to the box office.


Box Office for this Event:






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