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The Trusted Independent Insider Listings Guide since 2000.

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About the theatremonkey website

For "Frequently Asked Questions" about London Theatre in general, click here.
For "Frequently Asked Questions" about theatremonkey mailing list, click here.

Who are you? 
Theatremonkey is a Londoner who knows the major West End theatres like the back of his paw. See its' autobiography - a tragic but true story.

Why the name?
Theatremonkey likes to think it is "monkeying about" with a respected institution - the secretive world of London Theatre! The other reason is personal and emailing a large sum to the monkey's bank will reveal it!

Why this site? 
Theatremonkey has spent years talking to fellow audience members and has noticed how often we get a raw deal as customers. From high prices for poor seats, to sitting through a third rate performance of a supposedly ' Top ' show, Theatremonkey compared notes and, using the wonders of technology, put them on this unofficial private fan site.

So what is it getting out of this?
Theatremonkey loves London's theatres and is keen to encourage the world to share the passion. And get the best deal they can when they do.

This site is totally independent, managed by an enthusiastic amateur site owner, and as such says what it likes. Earning the respect of the industry, backed up by affiliate membership of STAR (The Society of Ticket Agents and Retailers) and with millions of visitors since 2000, it also basks in that rather lovely history too.

So it works in the Industry?
Nope, never. Theatremonkey is just ordinary customers who, over the years found their own ways around.

How reliable is its Opinion?
Information on this site is Theatremonkey personal, subjective opinion, based on what has been seen and heard over many, many years it has been theatregoing and running the website. Nobody knows everything and contributors are welcome and strongly encouraged to add to the knowledge here. This site aims to be a place for theatregoers to share ideas and experiences, not be a personal "soapbox" for the owner. Theatremonkey's own opinions "calls it as it sees it" and sincerely hopes not to steer you wrong. Also, please see What Guests say about this website.

Explain your Seat Ratings?
Everyone is different and has their own preferences and opinions on what constitutes good value. For this website, the seats to buy / avoid ratings by the site writers are compiled based on a person five foot six tall, paying full price for a ticket. Recommendations are based on view of the stage, value for money and (dealt with in greater detail elsewhere) comfort - often expressed as the "legroom" factor.

Some folk are confused by the colour codes employed on the seating plans. As one regular reader puts it,
"I take green seats to be the ones that might be worth choosing first, white ones a second choice and red a third because the monkey has a comment to make about them".

And that about sums up the intention of the site. The idea is NOT to grade seats "good, not so good, bad" but instead to highlight those that merit particular comments to be made about them.

The monkey takes a cautious and conservative approach to this charting, and for that reason some comment that tickets are better than the site guide indicated. Great! The monkey is delighted that a reader felt they had experienced "added value" in thier outing. Far better to be pleased than disappointed...and if you are pleased, do share with other readers: contact us.

Can you help me pick between / describe the differences between two seats?
The site offers an overview of every venue, plus as many comments as it receives about each one from other readers. Only you can decide if it is worth handing over your hard earned bananas for a seat, so personal instinct is honestly the best policy! Consider your own needs in terms of legroom, price and whether you are trying to have a special or simple evening out...and the answers should become clearer than even "Mystic Monkey" could help you with!

I'm larger than average, can you help on locating suitable seats?
A page of advice is available by clicking here.

No Fancy Graphics?
The monkey has to be careful about copyright. Where it has obtained permission, it uses graphics. Otherwise it generates its own!

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Seating Plans - not like in the theatre?
Again, seating plans are copyright. To avoid any conflict, Theatremonkey has created its own using carefully written notes from site visits rather than copying in any way existing plans. 

How often are pages updated / what happens if they are not?
Theatremonkey has the ability to update pages at any time during opening hours - and does so whenever it has new information to add. Changes that result from a production closing are usually made late on a Saturday afternoon.

Occasionally, for technical reasons, it isn't possible to update pages as quickly as it would like. In those cases, please excuse outdated / incorrect information - it will be altered as the earliest opportunity.

Pop / Music Venues too?
Long overdue for comment in Theatremonkey's opinion and while being honest about the theatres, why not use the space.

What No Opera Coverage?
The Royal Opera House Covent Garden has a large and devoted following who are often forced by high prices to seek only the affordable seats - Slips at the very top edges of the theatre and the farthest recesses of the Amphitheatre. They know these are at least cheap and offer a way to hear the music and see what they can. The official Royal Opera House website also has an interactive seating plan now, allowing visitors to check the view from many seats all over the venue.

Also, the monkey knows nothing about this specialised art form, so does not feel it can attempt to cover it!

A reader says,
"I must say that the interactive seating plan is is incredibly honest and even lets you know if a head may be in the way.... Oh, and for the record I saw a ballet there from row T of the amphitheatre - and although I was far away I had a great view (I remembered the binoculars!!) the legroom was great but my view of the stage un-obscured and being that far away, you really do appreciate the choreography.(£15 a seat). Also note that there are NO binoculars in the seats so people may be disappointed. this is not mentioned anywhere on the ROH site. Folding paper binoculars are available in the shop for £2 and actually do an alright job!"

"Hoverfly: a life on the edge of the seat" at, or reviews ballet and dance from the specific perspective of one seeking cheap seats, commenting on both the productions and what she thinks of where she sat for them. The blog covers the ROH, Linbury Studio and London Coliseum, among many others.


Why don't you cover the Globe Theatre?
The Globe has a unique and wonderful website which actually allows you to look at the stage from every section of the theatre seating. With coverage like that, a theatremonkey report seems a little unnecessary! Look under "Booking" on their website for this useful information. A seating plan is also available showing numbering.

One reader says of the place, following a first visit,
"must remember next time to get seats in Row A where you can lean forward, or Row E where you can lean back. We were in Row B in the middle on the lowest level which was a great view but the lack of back support was a bit of a problem for us."

“A6 and 7: “Henry V,” (Chris B). These seats have a side on view of the stage but as they are the front row, they allow for a good clear view of the stage. This is a very unique venue, and you almost feel privileged to be part of such a historical building. They are far enough to the right to avoid looking directly at the large pillar holding up the front of the canopy over the stage. These seats are also raised so you can easily see over the many people standing in the ‘yard’. As it is primarily Shakespeare performed here and most are 3 hours plus, I’d recommend getting a seat and also either hiring a cushion or sitting on a coat etc as the seats are very uncomfortable (essentially wooden boards). I wouldn’t say these seats are perfect by any stretch but you are close enough to hear everything, see most of it, even if from a side view, and of course covered if it rains. Plus they are very cheap which is always good.

Regular reader Taaljard weighs in with, "Sat in the from row of the lower circle, perfect view for "Richard II" in 2015.

Another reader adds, in 2016: 28th May 2016, "The Taming of the Shrew." Yard: It’s simple: Pay just £5 for a standing only ticket. Be 2 hours early to queue for a spot directly at the stage. Be ready to duck from actor’s spittle (almost every performance) or large amounts of fake blood (Titus Andronicus). Yes, it’s somewhat uncomfortable and exhausting to stand for so long, but the immediacy of being so close to (and sometimes in the middle of) the action makes it worthwhile. Experienced "groundlings" bring a little stool for queuing.

Another says,
"I'm a great big fatty, and tall too at 6'3". I notice that you don't say anything about the Globe, or their new indoor theatre the Sam Wanamaker Playhouse. I've found both to be very comfortable if you go for tickets in the front row of whatever section you're in."

Someone adds,
"AA 4 (Romantics Anonymous - December 2017): This was my first visit to the Sam Wanamaker Playhouse and depending on the production, I would certainly go again. I was limited on my choice of seat, so I chose what I thought was the best seat. In fact this seat is excellent. Seating is on benches and I was at the end near the aisle on the front row, which is just above stage height, so you look slightly down on the stage. The seat gave me an excellent view of the stage and the actors were so close, that you could almost touch them. Leg room was adequate for a person my height 5' 10", but someone taller might be a bit more cramped. The seats are functional, rather than comfortable and I was glad to get up and have a walk in the interval."


Why don't you cover other particular London venues?
The reason alas is time, space and cost. The monkey has only limited amounts of all these, and it has to draw a line somewhere. While it would be great to cover more places, the monkey simply can't afford the resources to do so. It would hate to add somewhere and then not be able to monitor changes as they happened. Rather than post information that could be years out of date, it currently would rather not disappoint it "sticks to the knitting" for the time being.

Some venues are now improving things for themselves. A reader writes,
"Cadogan Hall: now have a ‘’view from seat’ function, which enables you to ‘see’ the sightlines to the stage from various seats (As it is primarily a concert venue, I would have thought the most important thing would be the sound, but that is another matter) From a brief view, and my own knowledge of the hall it seemed pretty helpful.

On the venue itself the reader continues,
"As the Cadogan Hall has been relatively recently renovated into a venue, they have been able to pay attention to the seating, without structural compromises – the seats are comfortable and ‘good’ everywhere so they are proud to show them – though I would personally avoid those right down the front, because you either get a fabulous view up a soloists armpit or strain to see the back region of an orchestra"

Another adds,
"We have visited there a few times and have to say that even in the cheaper seats at the back it is very comfortable, nice seats, lots of leg room and also the sound quality is good. That is I suppose, as long as you do not sit behind one of the pillars! They do have a good view from your seat application though, so you know what your getting."

Of the "Little" space at Southwark Playhouse, a reader says,
"Superheroes -Southwark Playhouse, The Little - Superheroes (July 2017),
"There are no numbered seats and you sit where you like. The seating is bench like and I chose to sit in the front row at the end of the row. The theatre is very intimate and from my seat I had an excellent view of the stage."

New Wimbledon Theatre: A reader opines,
"My own personal comments are that at Wimbledon I used to sit as close as possible in the Front Stalls but recently I have found that the front of the Dress Circle is now my favourite. With an ATG Card I can often get significant discounts on those seats, especially at evenings early in the week and at the mid-week matinee. I have only once sat in the extensive Back Stalls (for Matthew Bourne’s ‘The Red Shoes’) and it was horrendous, with my sight lines seriously blocked by normal-sized people in the rows in front of me. Never again! I have never sat in the Upper Circle. Wimbledon is good to see tours of large-scale musicals."

Richmond Theatre: A reader says,
"What's in a name? - middle of Row O in the stalls - sure there is an overhang, but it was not a problem for this performance, or, I imagine, many others. The rake is not wonderful, however, at the point, and I had an exceptionally tall man in front of me, and much of the action is when the actors are seated. So I had to lean a little, but it was worth it. They often have seats in Row O for £13, which is a bargain for a great show like this."

Another opines:
"I once sat in the front row of the Dress Circle near the end and it was very uncomfortable as the row curved sharply and the arm-rests on the seat were pointing towards each other so there was scarcely room for me to squeeze my ample girth into the seat. These days I always sit in the Stalls as close as possible. The stage is rather high so A row requires a bit of neck strain but one gets used to it and again with my ATG Card I often get good reductions for certain performances. I have never sat in the Upper Circle. Richmond has a more specialised programme including pre-West End try-outs (‘The Best Man’ with Martin Shaw being a recent example) and niche productions like Sasha Regan’s wonderful all-male Gilbert and Sullivan operas."


The London O2 arena at the Millennium Dome:
Due to the size of the venue, the monkey isn't planning full coverage at the moment, but will keep the idea under review.
To book, a "choose your own seat" system is available once initial sales have finished at the main venue website Don't forget that seating in the centre of a venue often isn't fixed until the very last second as stages are portable and nobody quite knows where equipment will go - hence nobody has total plans online because crystal balls are in short supply, alas!

The monkey finally took a look in June 2019. It wasn't impressed. Legroom is tight for those over 5ft 7 or so except in the centre ground area, where those up to 6ft should be fine.

For stage at one end events:
At ground centre arena level, the stage is very high - above head height for someone 6ft tall. There is no slope or tier or off-set to any seats, so those more than 10 or so rows back can expect little. Block A row X is about the same as being in row V of the London Palladium for distance to the stage. Once past row D of block B, your chances of really seeing the stars are low.

In the lower tier, level 1 blocks 101 to 118. First, very, very steep, and you enter from the back row and walk down. Rail across the front of row A will be in view for those in A and B, possibly C. Another rail runs in front of row H. If in 101, 102, 111 and 112, choose your entrance door carefully. There are 2. 1 marked, one not. Pick the wrong one, and you have an embarrassing walk along the row. Read numbers on a small sign above each door. Don't bother with the staff - they are rude and don't know anything.

Choosing level 1, you want rows D to F, to no higher than about 64 in block 102 / no lower than 153 in block 111. Much further round, you are miles from the front, and if you are going up the sides, by row N you are a good way from the stage in all blocks. If they have corners of 113 / 118 on sale, front rows of those can be a decent close-ish view of the stage at "stage at one end" events, even if it is behind the stage a bit.

For arena events, again, just go for D to F as closest to the show.

Level 3 boxes are all miles from the stage. Even those closest to it won't get much of a close-up view.

Level 4 is just high and steep. As in, higher than the rear balcony of the Theatre Royal, Drury Lane. Even the front row is in a different post-code, and if the stage is at one end, block 412 is on a different planet.

A reader reports,
" personally I wouldn’t go for the upper tier seating – it is very steep and not particularly pleasant – you know it’s bad when you see people coming down the steps backwards (true I swear!)"

Three other tips:
Arrive 1 hour 20 before the show to clear security searches. Ignore instructions to only put bags and phones in the plastic box before metal-detector. Empty your pockets of ALL metal, including keys. Use the time in line to do this, decanting stuff to the Ziploc bag you have brought with you for the purpose after reading this.

Inside, if they change most toilets to "ladies" for the show, the only gents on level one is near block 108.

After the show, if heading for the underground station, look for the long line to go in, marshalled against the wall. Head instead at a diagonal to your left for the bus station. Once under the bus station canopy, turn right. You can get into the tube station from there.


The London Coliseum
The monkey took a visit in 2015, and noted the following:
Stalls: The circle does not overhang any seats except boxes D to L. Stalls have steps rather than slope between rows, quite shallow but seats are well staggered to see between those in front. Seats also narrower than those in the dress circle. Row Q is in an alcove at the back. No aisles at the ends of rows from D back.
Rows A to D at the outer ends of the side blocks have a private door to them, if you know how to reach it (use the side corridors leading to the stalls boxes, follow round to a big door just beyond them, saves a lot of pushing past in those rows!). From row E back, the seats are right against the wall, so no access.
The "restricted view" seats at the ends of rows are due to speakers / lighting. Only the outermost seats in B and C miss much, the inner two are total bargains usually, felt the monkey. The end one may lose a bit, but has legroom...
Legroom is fine up to 5ft 11 or so, B and C 1 and C 39 have nothing in front. The seats beside them - 3 in B, 1 in C, may also have nothing in front, depending on the production. With nothing in front, those end seats in row B has less legroom than C, as the seats are closer to the orchestra rail.
Stalls boxes A and B have side views and miss the stage edges, as do C and M further back. D to L are in a horseshoe at the back and have a decent view over seats in front.

Dress Circle: Circle above overhangs at row B, can't see surtitles from H back, lose the very top of the stage at J and significant top at L. A very shallow rake to seats, except L, on a high step. C 2 and 51 have nothing in front. D 1 and 53 are angled at 45 degrees to the stage, with no legroom for a quarter of the seat, unlimited for the rest. D1 is slightly better angled. Side block aisle seats nearest the centre block have a little space for one leg to stretch into from row C back. Row L end seats have a step in front of them, allowing longer legs to dangle a bit. Side block seats row A 1 and 72 look past lighting. Close to the stage, though.
Legroom is nil in most of row A, 1 to 3, 15 to 38, 70 and 71 in particular. A 4 to 12 and 62 to 68 are OK to around 5ft 5, even 5ft 7 if willing to use toe-room (not for the monkey, though). Side block B and C, except those with nothing in front are OK to around 5ft 6 or so. Other seats in the main blocks from B to L are comfortable to 5ft 10, K to 5ft 8, at least.
Dress Circle boxes have side views but seem excellent.
A reader says of "Sunset Boulevard" in April 2016, "We chose £75 'restricted view' seats in the dress circle on row C (44 and 45). View was great even is it was off to the side a little bit - didn't miss anything."
Another reader notes,
"“A21 in the front row of the Dress Circle was excruciatingly uncomfortable for 2½ hours of "Boris" without an interval. There is even less leg room than in A row of the amphitheatre at Covent Garden and the effect is rather like being clamped in a vice with no possibility to move one’s body or legs whatsoever.”
At "On Your Feet" in August 2019 a reader says,
"Seats B35 and B36 in the dress circle. These were originally £126.50 each which we certainly wouldn't have paid normally but we got an email dropping the tickets down to £29.50 so bit of a bargain in the end. The view and legroom was great but the seats themselves were really uncomfortable which doesn’t help when the show is a bit slow and doesn’t get going to the second act."
Also "On Your Feet" in August 2019 another reader opines,
"C51 and 52. Great view only missing slight left of stage. Legroom in 52 is a bit tight but as there are only 2 seats in the row and no one behind you can sit sideways and no seat in front of 51 means endless legroom."
One more opines,
"H33: "Man of La Mancha" (May 2019) I originally purchased a seat at the back of the balcony for £15.00, however due to poor audience numbers on the night I went the Balcony and Upper Circle were closed so I was moved to this seat in the dress circle for the same price. Obviously the view of the stage was better and it was easier to see the expressions on the faces of the actors and the seats were were comfortable, but I still prefer the Balcony. The theatre is well raked, but I did not find the leg room very good and I am only 5' 10", so a taller person would have struggled."

Upper Circle: Circle above overhangs at row B, can't see surtitles from H back. No legroom in any seat for anyone over 5ft 5 except: C1 - 60% clear in front, B 1 and 51 and C56 - 100% clear. A 1 and 43 have no legroom at all. Boxes have similar views to dress circle.

Balcony: High and misses sides or front of stage, depending where you sit. Seats are set high on the old concrete steps, so legroom isn't bad for those under 5ft 6 (just avoid end seats in rows A to C), and row K is good for those up to 5ft 9 plus. End seats in row K - 1, 6, 7, 19, 20, 32, 33, 45, 46 and 51 have no arm rest on the aisle side, allowing further spread.

Reader comments:
"Stalls C5 and 6: "Chess" (May 2018). Found the sound really bad - could not hear the ensemble at all - the first person we could hear clearly was Alexandra Burke, apart from Michael singing Anthem at the end of the first act. The screens were so annoying and were out of sync so I spent most of the time looking down. The camera men were in our way as well. We had the back view of Michael when he was playing Chess. Also felt most of the artists were singing to the cameras and not projecting their voices to the audience. We were able to move to some empty seats in the centre at interval and the sound was better but still could not hear the ensemble clearly - thought they were singing in a foreign language."

"Stalls G3: "Bat Out Of Hell" (June 2017): Regular reader Tonyloco opines: "I was in G3 in the stalls for which I paid £65 although seats almost alongside were £75. There was a slight problem in that I couldn’t see the initial live scenes in Raven’s bedroom properly although they were of course visible in the videos but for me the sound where I was sitting could not have been better so I wasn’t really bothered by the occasional obstructed view."  

Stalls D3: "Bat Out Of Hell" (June 2017): In many ways I loved the seat, felt very up close BUT you did lose any action to the right of the stage which was blocked by a big speaker. Also, couldn't see everything that was going on in Raven's bedroom, though that was often picked up on the screen on the left of the stage.

Dress Circle "Swan Lake": C44 and 45 in the Dress Circle left. Excellent view, very comfortable, and lots of leg room even for me at 6'2".

Dress Circle "Man Of La Mancha": D37. This seat is on the aisle but still has a fairly central view of the stage.  The seats are offset to minimise the impact of heads in front (although I was lucky to have a clear view anyway as the seats in front of me were empty).  Legroom was adequate, even without the benefit of the aisle to stretch your legs into.  I’d be quite happy to sit in this seat again.

Upper Circle K 38: Seat was at near the back, but the view was excellent and there was plenty of leg room. At this performance the Upper Circle was half empty and many people were moving to more expense seats lower down in the Upper Circle.

Upper Circle B 39 and 40: May I advise never to sit in B39 and 40 in the Upper Circle. I don’t know whether this applies to the rest of B row but those two seats were appalling. The people in front of us in the front row were not tall but they badly obstructed our view of the stage whether they sat back in their seats or whether the leaned forward over the front, which they did most of the time, often with their heads rested on the red velvet. I had the choice to book row A or row B and I chose the second row because your book notes restricted legroom in the front row. Well, as far as I could see, the view was totally clear from A row and the legroom looked no worse than it was in B row, which was quite tight. The people behind us in row C occasionally gave the backs of our seats a good kick, which indicated equally restricted legroom and was not conducive to enjoying the show. So if I ever go to the Coliseum again I think I will always opt for the Stalls. I am also usually happy in the Balcony for sight lines and sound – and price – but there are rails obstructing the front rows and it is rather a long away from the stage and a bit vertiginous for us oldies.

Another reader opines generally:
"the central stalls are good, the stage boxes have a one-fifth restricted view but are great for close viewing, the top balcony cheap with bars in the way but a value-for-money view of the stage for £5, and the sound and air-conditioning are variable! The Upper Circle seats are now spaced as well as the stalls, but the front row lacks legroom."

Another reader found box D very cozy.

"Upper Circle Box X: "Chess" (May 2018). We made sure we were on the left side of the theatre so could see Michael Ball's face. The view was very good although quite far away but good seats. The sound was better and they had managed to sync the sound and the screens and the screens seemed smaller and not on all the time. However the ensemble were still difficult to understand though we did hear the odd English word."

Beyond that, the official website is at - and the box office is on 020 7632 8310 (often answered by See Tickets).


The Kiln Theatre (formerly the Tricycle Theatre)
A visit by the monkey in September 2018 revealed the following:

The theatre is a standard "end on" shoebox, with stepped seating in both stalls and circle. The circle overhangs around row K but doesn't affect views from any seat.

Either side of the stage at both stalls and circle level are single rows of slip seats. The slips have a side on view and no space to stretch legs out. Up to around 5ft 6 downstairs, 5ft 5 upstairs. View is sideways and misses the near corner of the stage. Best views are in the seat closest to the stage (practically on it, in the stalls first two seats) and the rest of the downstairs slips, or furthest away nearest the main seating in the circle slips.

In the stalls, rows A to C are flat on the floor, with D back on steps behind that. The stage is below head height to those 5ft 6 or taller, though this will vary by production. Row A has less legroom than rows behind as there is no space to put feet under seats. Cramped for someone 5ft 7 or more. If B is the front row, the same would apply.

Legroom is fine for those up to 5ft 11 or so in all other rows B to K. K has considerably more with a wide aisle in front, suitable for any height. Legroom in L to N is cramped for those over 5ft 5 or so, and no space to put legs under seats, either.

The steps between rows in C back is not that great, but fairly sufficient. Best views are from around F to J. Do note, though, if shorter that off-set between seats, to see round those in front is excellent in B, F and J, and acceptable from L back, but seats are almost behind each other in other rows.

Seats L1, N1 and N15 have nothing in front, L15 is 60% clear in front.

In the circle, legroom is limited in A - cramped if over 5t 6 or so, and oddly even less in B due to a wooden runner at floor level. Rows C back have decent legroom up to around 5ft 10, and the steps between rows are moderately high, ensuring a good view. The monkey was impressed by C to E, noting only that E may feel a little claustrophobic as it is in an alcove at the back. Still great seats, it thinks, for view, comfort and price.

A reader says,
"Stalls H12: Close to stage, OK rake, good legroom, so all in all a good seat. It’s a fairly intimate theatre so almost every seat in the stalls would be good, I imagine."


Alexandra Palace Theatre
(based totally on "first impressions" in March 2019). Feel free to give an opinion, contact us.

The circle does not overhang the stalls, and nor do the side galleries. The stage is a flexible space that can be widened to almost the width of the room and brought forward, or left in proscenium layout.

Note that rows can be removed and added in both the stalls and circle slips SL and SR.

Divided into front and rear sections by a cross aisle behind row K.

The blocks are divided into a wide central block and two narrower side blocks.

Rows AA to K are on an unraked (no slope) wooden floor. They are fixed chairs with arm-rests, and are not off-set very much behind the row in front.

The stage is above head height to someone 5ft 9 or so. Those more than two rows from the front will struggle to see past heads.

Side block seats are mostly outside the proscenium arch. Sit in the central aisle seat and no more than two off the aisle for the best of the views here.

Legroom in this section is fine for those even 6ft and over – just hope you don’t sit behind someone of that height, is the rule.

The rear section from rows L to U are a fairly well stepped grandstand section reaching almost to the height of the circle front. The view does not feel to far away from any seat.

Seating is comfortable, quite wide theatre seats. Row L is on the cross-aisle with nothing in front and unlimited legroom. In other rows M to T, there is legroom in all seats to around 5ft 11, and seats 6 and 25 in rows M to T have nothing in front.

Row L is on the same level as rows in front, with M only raised a little behind it. Monkey advice is to take rows from N or even O back, to see over the heads of those in the front section. Centre block first, though sides are acceptable here.

The main section is at the back of the theatre, above and behind the stalls. Between the front of the circle and the stage runs a single row of side slip seats, hugging the side walls of the theatre.

In the main section, the seating is standard theatre style on steps. Legroom is acceptable in all seats to those up to around 5ft 8 at least, and the view is good, if a little distant from rear rows.

In the side blocks of the main section, the back row feels almost like a private box, tucked quite firmly into the corner.

The monkey would take any seat in the main section, as rails are few (just on the ends of rows from D back) and there appear to be few sightline issues.

Down the sides of the theatre, the slips, you will need to look sideways to see the show, and those closest to the stage will miss action to the near side.

The slips alternate between those on the circle floor, with 9 seats in a row, then 6 seats in a raised booth above circle floor height, then another 9 seats, and another raised booth and another 9 seats.

Within the raised booth, the thick safety rail at the front restricts sightlines more than seats at the lower level.

At the lower level, the spacing seems sufficient to see around the raised booths. Be aware that if seated at the end of the lower level rows, the seat closest to the stage each time may have a safety rail in the eye-line, which is pretty irritating.

Legroom in all seats will start to feel cramped to those 5ft 6 or more – end seats will allow you to move your leg sideways, though.

Slip seats are used or removed depending on staging and whether lighting is placed there.

The theatre is equipped with lavish toilet facilities leading off the main foyer. You therefore do not need to use the first (crowded) toilets that are encountered if entering via the main doors of the East Court entrance (to the left of those doors as you go in).

Signage isn’t great, so be aware that from South Terrace, pedestrians go through the car park and either in via East Court Entrance to the left of the car park area as you enter it, or direct to the theatre entrance located around the side of the building at the far corner (if that North Foyer entrance is in use).

Troubadour Theatre, Wembley Park
This is a massively flexible auditorium seating up to 2000. There is no air-conditioning, just air-cooling.
The monkey has so far only seen the main "end on" layout. Banks of seats, divided into front and rear sections by an aisle across row N. Further aisles split each section into centre and two side blocks. The aisles are flexible, but seat numbers stay the same no matter the configuration, apparently.

All seats are padded, with cup-holders, but no arm-rests. Legroom is good for anyone up to 6ft in all seats except K 1 to 4 and 51 to 54 which have rails in front and less space. There is unlimited legroom in the front row, and the cross-aisle row N, plus ZE 11 to 13 and 42 to 44; row M 1 to 4 and 51 to 54 has an extra two inches or so of legroom compared to the rest. In the front section, the outermost two seats of the three rows behind the front row may also have nothing in front.

The front rows as far back as row B are NOT raked (tiered to see over the seats ahead). They are also only off-set around half an inch. The stage is usually above head height to someone 5ft 10 or so to compensate. All other rows are tiered with around a 10cm difference in height between each row. Seats are not, however, off-set at all, so you will be directly behind the person in front. The only exception is in K 1 to 4 and 41 to 54 and T 23 to 32 which have safety rails in front. If over 5ft 7 tall, row T has a fine view and legroom is also good. Skip row K as the rail will interrupt all views and even if 6ft tall to see over it... you won't be comfortable.

For the configuration the monkey saw, with a standard stage at one end, in the front section it would skip the outermost four seats in the main centre block rows AAA to M, and also miss the two tiny extra side blocks K to M 1 to 4 and 51 to 54 if possible. A sound desk in central J to M won't worry anyone, but be aware the entire centre block in the rear section will look over it and see the staff at work. Note that there is NO aisle beside the outermost seat numbers - usually 1 and 54 in any row from A back to M. They are against a railing.

In the rear section, the view is better from even the back row than the seating plan suggests. Pretty close - think about the rear of the Palladium dress circle for comparison. Take a row where the price drops and you won't have any difference in view but will save cash. The only seats it would miss are the outermost 6 seats in all rows except maybe ZD and ZE which are discounted heavily enough to make them worth considering at bottom price. You will lose the rear corners of the stage from all of these. The extra legroom seats at ZE 11 to 13 and 42 to 44 are well worth a look if you don't mind folk using the aisles during the show. Do also note that there is NO aisle beside P to ZE 1 or 54. They are against a railing.

A restaurant and bar on site will also be worth using as they open and are developed, the monkey feels. Oh, and they have 36 toilets for ladies and 2 adapted toilets and promise no queue...

Troubadour Theatre, White City
A reader reports in August 2019:
THEATRE 2: Seats weren’t very comfortable, and the show was only 50 minutes long! They looked like they'd be more comfortable than they were -standard modular flip-up seats with padding and a heavy duty woven cotton covering. I even tried out the booster seat which was a hard plastic shell - now THAT was uncomfortable! However the 4 year-old seemed quite content for the duration.

Auditorium quite warm despite it not being a hot day, only around 21c.

Seats in modules of 4 so between each module there was a little bit of extra space (around 2 inches) between the seats. The gap seemed to be in between seats 23 and 24, then 27 and 28 and so on. Again the seats weren’t staggered but our row J seemed a decent height above row H, however as the seats in front of us were empty I can only assume that the rake would give decent a view. Legroom was good, looked like there’d be just enough room for someone to get past without having to stand up.

They had booster seats for the kids.

Like you reported at Wembley an aisle between row M and N. From N back the seating was in a large central bank with a section on each side. The front section from A to M was one solo bank of seats from around 1 to 35. It appeared that row A was a lot lower than row B and the following rows. B,C,D,E were all on a very shallow rake, then the rake was bigger from F back to M.

Staff very friendly and helpful. 16 toilets in the Ladies and around 8 sinks, with handwash AND hand cream! Irritating 3 inch step up just inside the entrance door to the ladies loos area and then again back down by the exit which is likely to lead to a few stumbles. A small ramp would be far better. They had a separate wheelchair accessible loo with direct access from the foyer.

Nice looking bar with trendy (and probably v. expensive) popcorn on display.


The Roundhouse Theatre

In June 2012 reader Chris B reports of "Twelfth Night,":
Circle A14 and B14: Excellent clear view of the extremely expansive stage. You feel very close and the view is slightly side on but this makes no difference. There is a safety barrier just to the right which can easily be seen around and doesn't impact view. There is plenty of leg room, especially with both seats being an aisle seat."

The monkey took a look in late 2018 and noted that the circle is pretty tight in almost all seats for those 5ft 7 and above, except aisles and a few seats with nothing in front in the central block. Seats C, D and E 1 look through metal railings if the stage is at one end of the venue - but the advantage of having nobody in front and being close to the stage makes them worth considering. Also, seats on that end of the circle have a side aisle. If you are on the highest numbers the other side, it doesn't - and it's fairly hard to exit the place as it is.

Standing, the monkey noted that the vey sides of the stage didn't attract standees until late, and that the pillars closest to it seems to provide decent leaning spots. Otherwise, it is one heck of a crush and you won't see much from a third of the way back or so, it feels.

Queen's Theatre, Hornchurch
A quick visit in 2018 showed that it's two blocks, with a wide aisle behind row D, a tall rail directly behind it. There are steps between each row, but the steps are around 5cm, so fairly shallow. Legroom is good to 6ft in all rows, including the front row, and unlimited in row E. The stage is below head height to anyone of 5ft 5 or more. It is a wide stage, so expect to look sideways from central seats, and across from those off centre in rows A to D. Moving back, the rail is in view in rows E to H, but doesn't affect sightlines that much. The monkey would probably go for D forward or J back, though. Further back does feel distant from the stage at about row L. The sound desk will bother nobody on row R. Sit anywhere, with B to D 4 off the aisle inwards the green area, feels the monkey.

The Shepherds Bush Empire:
A reader contributes
"Stalls: I generally find the view not that great unless you manage to get right up the front - although there are 2 possies either side of the bar with a step that accommodates around 2 people each... so if you managed to grab that spot you would have a great view.

Level 1: I much prefer level 1 and some of the best spots are around the sides where there are 2 rows of seating and behind them a sort of wall with a leaning bar - all give unrestricted views and allow you to stand up and dance (and easy egress to the bar/toilets)."

Sadler's Wells Theatre:
A reader says,
"C8 and C9 in the stalls - bagged a couple of returns due to the snow, as it was sold out.
Production: Sleeping Beauty, January 2013.
Not much rake. The seat in front really was 'in front' - i.e .I was looking directly at the back of someone's head, whereas usually in the stalls you are peering through a gap where people's shoulders meet. The seats in front were positioned same as mine, I had to swivel left and right to see certain parts of the action on stage - not very good considering the £55 price tag per seat.
I would recommend that patrons book the row behind - Row D. This is stepped up on a higher level and provides a clear view of the stage unhindered by people's heads! Same price I believe.
Beautiful production, wouldn't have missed it for the world. But would rather not sit in these seats given the choice!"

Another reader notes that the back row of the upper circle is further away than most top balcony seats in the west end. A VERY distant, though clear view, from up there.

Another reader says,
"I prefer to sit in the first circle instead of the stalls, as being further back makes it easier to see action on all parts of the stage at the same time, which is often important e.g. when two dancers separate and go off and do twirly stuff (that's a highly technical term!) independently, and in ensemble pieces covering the whole stage. With dance I think it's less important to be up close to get a good view of the details of individual performers. Seats there have a decent rake and only the mini-est of midgets will have his view blocked by people in front.

And despite this theatre attracting a noticeably more petite audience than others (plenty of amateur dancers, no doubt) the seats are comfortable for those more suited by nature to the bar than the barre, and have plenty of leg room.

If you book 2 or more productions in a single transaction, the Sadler's Wells / Peacock Theatre multi-buy discount may apply, see for details.


Theatre Royal, Stratford East:
A reader says,
"The Theatre:
What a lovely old theatre. Keeping the local paintworks in permanent employment producing untold gallons of red paint, the Theatre Royal Stratford sits in the middle of a lot of new buildings, giving little clue of what awaits inside. And inside is a little gem of a theare. Photos of old productions dominate as you would expect, but going into the playhouse itself you find a lovely old theatre, which is tall but at no point is anyone far from the stage, making the performance an intimate one.

We would quite happily come back here to see more shows.

The Seats:
We had seats D1 and D2 in the stalls. Deliberately chosen, as D1 has a clear view of the stage with no seat directly in ahead of it from the front three rows. Ideal for those of a shorter stature.
The first few rows do that odd thing of sloping gently backwards so the rows in front are actually higher than those behind, but the tilt of the seating means that you get a decent view. As I said in my comments about the theatre, it would not be possible to be far from the stage, so a reasonable view should be possible from just about anywhere.

Row A look like a good choice to see a show. There is a good space between seats and stage (handy in ‘Fings’ so some of the performers can flirt with the patrons) and as the seats tilt back a little, neckache should not be an issue.

The Food and Drink:
It is always nice when you get the chance to dine at the theatre. And we enjoyed the fare at the Theatre Royal Stratford East enough to say we’ll come back and use it as a restaurant if we are in the area!

Aside from standard burgers, jacket spuds etc., they feature a small Caribbean menu. I had the Curry Mutton, my wife had the Jerk Chicken and we had a side order of Macaroni Cheese. And it was all delicious, spiced just right and the Mac ‘n’ Cheese was thick enough to slice!

Drinks were courtesy of Blue Moon, Kozel and Addlestones Cloudy Cider. They have a fair selection of bottled drinks, plus enough of a range of draught drinks (though no handpump, unfortunately)

Interval ice-cream is Loseley – enough of a reason to go along in my opinion!"

Another reader says, in May 2016,
"The Government Inspector:" Next to the rather decrepit Stratford Centre, this is a little gem of a theatre. Richly decorated, nicely furbished. B was front row, I believe. Very good legroom and view. The seats are not very wide, however, if neighbours are a bit on the large side it can get squeezed."

The monkey would add that there's also nothing in front of A1 and C1 has space for one leg. Rows slope backwards from the stage from the front row (A or AA) to D, and A and AA are on the same level if in use. The stage height and offsetting of rows do compensate for this, though. Legroom is OK up to 5ft 10 or so, and feet can go under seats in front.

The dress circle has no legroom at all in any seat, so give it a miss if possible if over 5ft 5 or so.

In the upper circle row C has most legroom, then B, then D and E. Row A is cramped if 5ft 5 or over. End seats are comfy as you can turn sideways into the aisle.


The Young Vic Theatre (main auditorium):
Bench seating, but a generous space allowed per person. Using the "In The Round" layout, the monkey noted that legroom is OK in the stalls - unlimited in row A, up to 5ft 10 or so in other rows except the back row, which is raised and the audience puts feet on a rail in front. Here (row D when the monkey went, but changes by production) those up to 6ft should be fine. You get a better view thanks to the extra height, too. The only other note is to try and avoid seats where the rows "turn a corner" as they share legroom with next person along.

Upstairs, two rows. Aisle end barriers and rails at the front don't affect views much. Those up to 5ft 7 should be OK in the front row, but go for the end aisle seats where the theatre turns a corner for an inch more legroom. Back row is cramped in all seats for those over 5ft5 or so. It looks like there's room... until you put the seat down to sit on it...

When in "end stage" rather than the usual "in the round" layout, the downstairs area is split into a central and two side blocks, sometimes with two rows of two seats outside of that in the front corner, angled to the stage. All seats are tiered, with steps between. The front section runs from row A to C, with a wider aisle in front of D and a rail in front of the side block row E seats.

Side block rows A to CC are worth skipping at top price, as they have a side view and may miss action at the corners. The very cheap extra seats provide exactly what you pay for - up to 75% view, again depending on how the production is staged.

Row H is the dividing line across the entire width of the stalls. That gives 2 seats on the two centre aisles unlimited legroom. Elsewhere in the area, legroom is adequate to 5ft 9 or so, more in the pairs of "extra" seats in the corner, which are raised benches allowing "dangle" space.

Behind row H, from J back to M the rows rise steeply, decent views. Row M is just below the level of the first balcony. Again, legroom is pretty reasonable, as in rows ahead, and the view is fine everywhere.

The first balcony itself is unchanged, except that only the rows behind the main seating block, plus part of the rows at the side are used.

The Menier Chocolate Factory
A reader says, in September 2017: "A 16 in September 2017 (Adrian Mole, The Musical). A great seat in the front row of the stalls. New patrons to this theatre should be advised seating is in the form of benches, which are very comfortable. As it was at the front there was plenty of leg room and the view of the stage was totally unhindered. The cost of the seat was £45, but be aware if you book early enough or for a preview standard seats as these are called are considerably cheaper. Having experienced the front row in this theatre I would not sit anywhere else."

The monkey notes this refers to the standard "end on" layout, and that this venue has many other variations as required.

For "Barnum" in December 2017, seating is "in the round," and a reader says,
"Seat D 71, which was in the back row (Barnum). However, each block was only 4 deep. I purchased the seat at the preview price, which meant it was slightly reduced and I would certainly do that again. For those that do not Know the Menier Chocolate Factory, the seats are not individual, but part of a bench. From my seat I had a very clear view of the stage, which for this production was in the centre. Leg Room is adequate, but I think an aisle seat is better. It is a small theatre and for this production, everybody is very close to the action."

And finally.... just for fun...

Chichester Festival Theatre... A reader commented, for "Gypsy" in 2014, "We were in N25 and 26. The new seats were very plush and very comfortable. We were almost straight on looking at the stage. I have to say we felt somewhat distant from the action and this impacted on our feelings for the show." just in case anyone is interested!


Theatremonkey: A Guide to London's West End. The book of the website.
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For enquiries from the media / anybody wishing to contact the author, or the book retail or wholesale trade for bulk purchases, please contact:

The office is unable to deal with these enquiries directly.

Is there a New York and Broadway version of this site?
Not by theatremonkey, no, though it sells tickets via with agency booking fees. Some sites exist that offer much of the same type of information. Telecharge ( offers a computer generated "view from your seat" facility when buying for some venues. Not as helpful as it sounds, but the images are there. offers some comments about seating, highlighting the best seats by price. also passes a comment or two about where the best seats are in the house on each "about the theatre" page. offers a public forum to post opinions of seats they have had as doe For simple listings and disabled access advice, and are also helpful. offer independent, objective, and comprehensive information that allows users to get the best seats, the best prices, and the best service on Broadway tickets and more. has a short guide mentioning some big Broadway musicals (and comparing deals with West End ones where applicable. like theatremonkey's "current special offers" page, lists local discount offers to Broadway shows and how to obtain them. It also has "advice" seating plans too.  is a useful list of discount sources for Broadway. lists the shows likely to be available at Broadway's TKTS Half-Price Ticket Booth for the week. and offer donated tickets to sold out shows at high prices, with the funds going to charity. lets you take a chance to be allocated a random seat for a random show at a discount.

The book, "The Back Stage Guide To Broadway" by Robert Viagas published in October 2004 is also worth a look. It contains many useful tips and hints, plus a VERY brief guide to best / worst seats in theatres (sounds familiar!). For seating plans, "Seats - 150 seating plans to New York Metro Area Theatres, Concert Halls and Sports Stadiums" by Jodé Susan Millman (Applause Books) may prove helpful. stock this one.

Deadly sharp re-written versions of shows are available at:


You decided to sell theatre tickets on this site?
Yes. The monkey finally capitulated.

Theatremonkey Ticketshop is run by LoveTheatre - a STAR member. The monkey agreed to start selling tickets because it was satisfied that the company meets it's own very high standards of customer service and conduct.

It may not be the cheapest option - and the monkey will never shrink from saying so; but often offers and availability are unbeatable, backed up by a high quality sales team. The monkey hopes guests will be happy with this feature.

LoveTheatre are open Monday to Friday 10am until 8pm (Saturday 10am to 6pm, Sunday 10am to 4pm) on 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom). (quote "theatremonkey ticketshop" when calling), and online at Theatremonkey Ticketshop

Other ticket agencies are also mentioned on this site. All are S.T.A.R. members offering a choice of genuine tickets backed by "fair trading" policies.


The phone number for my theatre is different from others I've seen on leaflets / listings elsewhere?
Theatres use central telephone rooms to take bookings, rather than operating small box offices within each individual venue. This means that when you dial a particular theatre, you get put through to a single office owned and operated either by the individual theatre chain or by an agency on their behalf. Sometimes the phones will be answered using the brand name, rather than the individual theatre name. Theatremonkey always lists the most appropriate telephone numbers, though, and never knowingly provides details of sub-agencies in place of contact details for the the actual central phoneroom acting on behalf of the box office.


Why Can't you comment on ticket availability?
Simply, the monkey is a regular theatregoing member of the public and is not privy to box office information. 

Unlike Broadway, London is secretive and does not reveal anything publicly about how well a show is doing.

The best way to find out about availability is to call the box office direct and ask. Mention specific seat numbers and see if they can offer them to you. Even ask directly if seats go to Leicester Square TKTS to be sold at half price. They will often tell you.

Leicester Square TKTS booth post their day's ticket availability online, and for up to a week ahead. Go to, and look to the "What's On Sale" option in the top menu.

Overseas visitors might also try using the online ticket agency systems to see what they are offered. The monkey notes, however that on occasion these systems only offer poor quality tickets. An international phonecall can prove a good investment.


Where does Theatremonkey sit when it goes to the theatre?
Wherever it can get a cheap seat! Seriously, given the choice the monkey likes either the front row of the stalls, or the ends of rows where there are no seats in front so that it can stretch, or aisle seats with a bit of space. This is personal preference, nothing more.

What are the Theatremonkey Opinions?
The opinions are currently just that. A reflection of the views of an ordinary ticket buying member of the public who chooses to comment on a show they have seen.

They are NOT written or drawn from professional critics (unless stated) or by anyone connected to the industry or who is biased by being "star-struck" or having a personal agenda. 

Those who contribute and / or compile the Opinions (the monkey and a small group of others) follow a code of reviewing only the work on the stage, free of influence from past performances, whatever the medium.

Readers are always welcome to add their comments too. Contact Us



Can I post information from Theatremonkey on my own website?
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