An Independent Inside Guide to London Theatre and Concert Venues

Seating Plan Diagram

LAYOUT 2
Block AA first twelve rows are again the best in the venue, then avoid what is behind and pick the side grandstand seats in block 2 or 15.

Blocks BB, CC and DD are flat on the ground and worth avoiding. Blocks CC and DD are often actually blocks CC and DD re-named for the occasion!

Legroom is adequate in all seats. Dancing in the aisles is not permitted at concerts, but there is a little space in each row with the seats up!

When the "Central Arena" space is used for performances, there are no seats in the central arena area.

SIDE ARENA

LAYOUT 1
Rows D to K are the prime seats in these blocks as they are high enough to see over the crowd in the central arena. Next take row L. Then row C, M, N, O, A in that order. Row P back cannot see the top of the stage due to the overhang of the balcony above. 

Blocks 1, 2, 18 and 19 are closest to the stage. The viewing angle prevents seeing the nearest back corner of the stage, but rows A to P (rows D to K being the best) in these blocks are better than any seats other than the first twelve rows of block AA. 1 and 19 are at the sides of the stage when extended out too (as most concerts are now). The monkey still likes them for being close to the stage, and the restricted view seats at the very ends of the row are worth thinking about if the discount is big enough too.

A reader says of block 19:
"The seats were brilliant. I was very close to the stage in row E and had noone in front of me as the first four rows were not sold - maybe because the view wasn't as good for this particular concert. Seat numbers 1-12 in every row were also not sold as you could not see from these seats."

Good news that the venue only sell seats with a good view, feels the monkey.

Blocks 3, 4, 5, 6, 14, 15, 16 and 17 are halfway down the arena, offering a fair view, again, any row is preferable to almost all central arena seats. Take rows D to K in these blocks first, then A to C, then L back in alphabetical order.

Blocks 7 and 13 are near the back of the arena. Take these after the first row of block EE. Again, take rows D to K in these blocks first, then A to C, then L back in alphabetical order.

A reader says of  Block 13, Row Y, Seats 33 to 34:
"we found our seats and sat down and the views were okay (bearing in mind everyone was seated at the time). Anyway, the lights go down and bingo, everyone stands up! I'm only 5ft tall, so for the first song I stand on my seat, but promptly get asked to stand down by the bloke behind. For the rest of the show it's a case of sitting on the chair, which probably was no better, crouching on the chair or just getting on with it and enjoying the music. When I managed to see, it looked pretty good. Theatremonkey was right, though - glad I didn't buy two tickets further down as I probably would have been in the same situation, but just a bit closer."

Blocks 8 and 12 are in the far corners of the venue. Take anything in block EE before these, and consider blocks 9, 10 and 11 for a central, if more distant view.

Take rows D to K in these blocks first, then A to C, then L back in alphabetical order. Be aware that you will be looking along the arena to the stage sideways, so if anyone leans forward in your row the view may be blocked.

Legroom is adequate in all seats. Dancing not permitted at concerts, as the stands vibrate. 

LAYOUT 2 
Rows D to K are the prime seats in these blocks as they are high enough to see over the crowd in the central arena. Next take row L. Then row C, M, N, O, A in that order. Row P back cannot see the top of the stage due to the overhang of the balcony above. 

Blocks 2 and 15 are closest to the stage. The viewing angle prevents seeing the nearest back corner of the stage, but rows A to P (rows D to K being the best) in these blocks are better than any seats other than the first twelve rows of block AA, .

Blocks 3, 4, 12, and 14 are halfway down the arena, offering a fair view, again, any row is preferable to almost all central arena seats. Choose blocks 3 and 14 first, then blocks 4 and 12.Take rows D to K within all blocks first, then A to C, then L back in alphabetical order.

Blocks 5 and 11 are in the far corners of the venue. Take anything in block EE before these, and also consider blocks 7, 8 and 9 for a more central, if more distant, view. 

Take rows D to K in these blocks first, then A to C, then L back in alphabetical order. Be aware that you will be looking along the arena to the stage sideways, so if anyone leans forward in your row the view may be blocked.

Legroom is adequate in all seats. Dancing not permitted at concerts, as the stands vibrate. 

When the "Central Arena" space is used for performances:
Layout 2 block seating usually applies.

Rows D to K are the prime seats in all blocks. Next take row L. Then row P back, in alphabetical order, noting that these seats cannot see to the roof or the arena due to the balcony above. This is important if there is (as at the late and much mourned Royal Tournament) any airborne display. Check with the box-office before buying.

Blocks 2 and 15 are closest to the ends of the arena. The viewing angle is just adequate and the prices often make these seats good value. 

For an opera event where staging is geared towards the sides and end of the arena take blocks 3, 4, 12 and 14 before 5 and 11.

Blocks 5 and 11 are near the end of the arena. Take these after blocks 2 and 15 choosing rows in the order outlined. The only exception is for opera, where 5 and 11 will offer a better view than 2 and 15 due to staging being geared towards the central area of the floor.

Legroom is adequate in all seats, best in row L. 

REAR ARENA
Blocks 9, 10 and 11 at the back of the arena offer raked seating and a central if distant view. 

Block EE blights the view of the first six rows in these blocks, so choose seats at least seven rows back to avoid the problem. The distant view of the stage is compensated for by the fact you can see over the heads of those in front. 

Choose block 10 as it is the most central first, then blocks 9 or 11. 

These blocks are worth choosing before blocks 8 and 12 if you prefer a distant but more central view.

Legroom is adequate in all seats. Dancing in the aisles is not permitted at concerts, as the stands vibrate. This was the infamous stand that collapsed a few years ago. Theatremonkey still sits here though as it feels after the event the design must have improved...

LAYOUT 2
Blocks 7, 8 and 9 at the back of the arena offer raked seating and a central if distant view. 

Since most rows are are raised above block DD the distant view of the stage is compensated for by the fact you can see over the heads of those in front. Pick seats at least five rows back to maximise the effect.

Choose block 8 as it is the most central first, then blocks 7 or 9. 

These blocks are worth choosing before blocks 5 and 11 if you prefer a distant but more central view.

Legroom is adequate in all seats. Dancing in the aisles is not permitted at concerts, as the stands vibrate. This was the infamous stand that collapsed a few years ago. Theatremonkey still sits here though as it feels after the event the design must have improved...

When the "Central Arena" space is used for performances:
Blocks 7, 8 and 9 at the back of the arena offer raked seating and a central view. 

Theatremonkey prefers these to the side blocks unless it is for an opera event where staging is geared towards the sides and end of the arena. 

Take the rows in the order D to K, then row L back, in alphabetical order, noting that these seats cannot see to the roof or the arena due to the balcony above. This is important if there is (as at the late and much mourned Royal Tournament) any airborne display. Check with the box-office before buying.

Legroom is adequate in all seats. 

This was the infamous stand that collapsed a few years ago. Theatremonkey still sits here though as it feels after the event the design must have improved...

BALCONY
This is the lower tier of the upstairs seating area at this venue, with portable seats. The upper tier, rising directly behind, is called the Gallery. With fixed seats, it is discussed later in this section.

NOTE: SEATS IN THE BALCONY ARE WOODEN AND UNPADDED. THEATREMONKEY ADVISES BRINGING A THICK CUSHION. CUSHIONS ARE AVAILABLE TO RENT ON ARRIVAL, BUT ARE EXPENSIVE AND FAIRLY SMALL, THIN EFFORTS.

All blocks have double rows of metal bars in front as well as a gangway. The view is not badly affected but theatremonkey advises row D back in all blocks before choosing C then B then A in that order.

A reader says of row A:
"I was worried about the view in Block 29 Row A (designated "Very Restricted View" on my ticket) but I'm pretty certain they were the best seats in the house. The bars were no where near being in the way, the angle of view was awesome etc etc. I can't imagine those bars getting in the way for the vast majority of the blocks especially those at the side of the arena."

another reader agrees:
"Block 29, Row A "Severely Restricted" seats where not only not restricted, they also offered an
absolutely fantastic view!"

The monkey would add that it does depend on the way the performances is staged, on personal height and personal preference too - so do be aware that this MAY NOT be applicable to all occasions. Generally, though, it has found readers to be quietly pleased on most occasions.

Blocks 20 and 29 are closest to the stage, then 21 and 28. All offer a good view, preferable to the centre arena below. Blocks 22 and 27 offer a fair view.

Blocks 23 and 26 are at an angle to the stage with a fair view, worth taking before blocks 24 and 25 which are facing the stage but further from it.

Legroom is cramped in all rows except A and E.
 

When the "Central Arena" space is used for performances:
All blocks have double rows of metal bars in front as well as a gangway. The view is not badly affected but theatremonkey advises row D back in all blocks before choosing C then B then A in that order.

Blocks 23 and 26, at an angle to the arena, offer the best view and value in this monkey's opinion for arena events except Opera. Then choose blocks 21 and 23 for a central sideways view, or 24 and 25 for a view down the length of the venue. Personal choice here. Theatremonkey prefers 24 and 25 to see both sides of the show! 

Then choose blocks 22 and 27 over 20 and 29 for a better overall view of arena events.

For an opera event where staging is geared towards the sides and end of the arena, take blocks 21 and 23 first, or 20 and 29 as a cheaper option. Then 23 and 26, 27 and 22 then 24 and 25. Note that most of these seats feel far from the action though, and value for money may not be great compared to the ticket price.

Legroom is cramped in all rows except A and E.

GALLERY
This is the upper tier of the upstairs seating area at this venue, with fixed seats. It is high and steep, not suitable for those who dislike heights.

Rows A to C in all blocks are equal to rows in the Balcony in front. Rows from D back feel far away from the stage, and the view from row H back may induce vertigo. Metal posts at the ends of all rows affect the view slightly.

A reader says of block 40 row A:
"The seats have a cushion for your backside but not for your back so you don't really want to lay back on the chairs - but most people stood the whole way through it anyway, so that wasn't a problem!

I also noticed that their are many stairs to climb before you get to your seats. You also have to walk down stairs once you are in your seating area and these are very steep. It is also a longer walk to your seats if you sit in blocks 40 or 49. I would say these are the best seats to choose, though, for being closest to the stage. 

Out of the 4th level gallery tier seats I would choose one of these blocks before any others, and row A is the best row to sit in as there is plenty of room. If the seats are more expensive in the 3rd level balcony tier, and the seats you have are in the last row of these blocks, then I would choose to sit in a 4th level gallery tier 
block row A if they are cheaper. I know that for the concert I went 
to, the row in front of us paid more , so we were all quite fortunate to get about the same view for less money".

From row D back supporting pillars affect the view from many side block seats. These seats are often unreserved so arrive early. If they are being sold with designated numbering, avoid or choose very carefully and question the box office closely. 

A reader notes that:
"If there is a wall / pillar obstructing your view in the 4th level gallery tier seats, they made sure they put you were you can see without having a obstructing view, which is good. This means that only half of every block is actually sold for ticketed performances"

Blocks 43, 44, 45 and 46 face down the arena and do not suffer the same pillar problem. Blocks 43 and 46 are at an angle to the sides, 44 and 45 face straight down the arena. 44 and 45 feel slightly closer for some reason and offer a better view in this monkey's opinion.

Legroom is cramped in all seats, best in the unreserved block row A.

When the "Central Arena" space is used for performances:
Rows A to C in all blocks are equal to rows in the Balcony in front. Rows from D back feel far away from the stage, and the view from row H back may induce vertigo. Metal posts at the ends of all rows affect the view slightly.

From row D back supporting pillars may affect the view from many side block seats unless the event takes place in the centre of the arena. These seats are often unreserved so arrive early. If they are being sold with designated numbering, avoid or choose very carefully and question the box office closely. 

Blocks 43, 44, 45 and 46 face down the arena and do not suffer the same pillar problem. Blocks 43 and 46 are at an angle to the sides, 44 and 45 face straight down the arena. 44 and 45 feel slightly closer for some reason and offer a better view in this monkey's opinion.

Notes
Seating capacity varies widely depending on the performance being staged. Earls Court now claims between 16,000 and 19,000 seats can be made available; with between 11,000 and 17,500 being the "average" capacity.

Not air conditioned. Seating in the balconies and the stalls under the balcony overhang, get very hot as heat rises and is trapped. Take layered clothing to events.

No hearing loop and only a few events are signed. Guide dog sitter available. Wheelchair access is good with lifts as appropriate. Places in the first balcony - quality of view varies by event. Adapted toilets. Fuller details are available by calling the box office.

Do not bring a camera or recording equipment to the show. It will be confiscated at the door. You could well be searched and 'frisked' too. If they find concealed equipment by doing this, your ticket will be cancelled. The whole risk is pointless anyway as, even with a flash, pictures will often barely come out. Since a concert programme is often the price of a disposable camera, monkey advice is to buy the programme.

Choice of restaurants, bars and snack food stands.

Toilets at all levels.
 

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

From the Piccadilly Line platforms follow the signs to a long tunnel leading directly into the centre foyer. If this tunnel is closed, or from the District Line platforms, exit the station and cross the road. The centre is ahead of you.

Reader Lauren Hurtley notes that:
"If you stay on one further stop to West Brompton you are directly outside the venue when you leave the station.

Loads of people always get off at Earls Court tube and have a little walk to make, but West Brompton is literally 10 steps from the edge of the venue and only an extra minute or so on the Tube"

Fair point, feels the monkey, whose only comment is that it is worth checking whether the station is open on the day, and also whether Earls Court will allow entrance to your event through the Brompton Road doors at the venue (they sometimes don't, for security reasons, though you can exit that way.)

Traffic near the venue on event days make this option a bad one unless you have three hours to spend wending your way through. The seating capacity of a London bus also cannot cope with the number of users wanting to board. The monkey advises the underground where possible. 

On leaving the car park turn right and walk uphill to Old Brompton Road. Turn right, cross the bridge and cross the road to Earls Court centre. Remember, you are entering by the Brompton Road doors, exit the centre the same way or face a long walk from the other side of the complex to your car.