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


Tickets for sold out events, notably concerts, are often offered for sale on online auction / marketplace sites. While sellers may well be legitimate, and abiding by the trading site's purchase codes, you have no way of telling who they are. Inadvertently you could be buying from a tout / scalper. Prices are also very high, and the VENUE HAVE THE RIGHT NOT TO LET YOU IN as it breaches their booking conditions. "Let the buyer beware" is the motto here.

Theatremonkey does not endorse buying from these sources. It does not sell tickets this way, and does not participate in any form of online auction. Links from auctions to this website are not made by Theatremonkey and DOES NOT take responsibility for the legitimacy of the seller or tickets being offered. Please do however use the data on this site to make up your own mind about each deal.


Events Include:

Wednesday 11th to Sunday 29th December 2019 (2019 cast to be announced, but will include Simon Lipkin)

Jamie Wilson, Entertainment One, Ramin Sabi and Belgrade Theatre Coventry present the Birmingham Repertory Theatre World Premiere of:

Written and Directed by Debbie Isitt
Music and Lyrics By Nicky Ager and Debbie Isitt

Every child in every school has one Christmas wish, to star in a Nativity, and at St Bernadette’s School they’ve decided to mount a musical version! Join teacher Mr Maddens and his crazy assistant Mr Poppy as they struggle with hilarious children, unruly animals and a whole lot of sparkle and shine to make everyone’s Christmas wish come true. Featuring all of your favourite sing-a-long songs from the smash-hit films including Sparkle and Shine, Nazareth and One Night One Moment. NATIVITY! THE MUSICAL promises to be the perfect feel-good comedy for all the family.

Written and Directed by Debbie Isitt with music and lyrics by Nicky Ager and Debbie Isitt, NATIVITY! THE MUSICAL is choreographed by Andrew Wright, designed by David Woodhead, with lighting design by Tim Mitchell, sound design by Tom Marshall and musical supervision and orchestrations by George Dyer.

Simon Lipkin will reprise his role as the hilarious ‘Mr Poppy’ for a third year after critical and audience acclaim.

Sharon Osbourne will play ‘President of Parker Pictures,’ ‘Crystal Collins’ - the mother in law to ‘Harry Parker’ who will be played by the inimitable Danny Dyer. Danny is back by popular demand as ‘The Hollywood Producer’ following a roaringly successful Christmas season at the Eventim Apollo last year.

His daughter and winner of ‘Love Island’ 2018 Dani Dyer also returns as ‘Polly Parker’. Completing the star-studded line up is the previously announced Rylan Clark-Neal who will play ‘The Critic.'

Rylan Clark-Neal exploded on to the entertainment scene after appearing on ITV’s “X Factor” in 2012 where he finished in fifth place. Since then, Rylan has rapidly established himself as a popular television and radio presenter. Following winning “Celebrity Big Brother” in 2013, Rylan went on to present “Big Brother’s Bit on the Side” and “Celebrity Big Brother’s Bit on the Side” and was a host on ITV 2’s “Xtra Factor”.  Please note Rylan Clark-Neal will not be appearing at the following performances:
Friday 13th December: 7.00pm
Saturday 14th December: 2.00pm
Saturday 21st December 2.00pm
Thursday 26th December: 2.00pm
Saturday 28th December: 2.00pm
Cast details are given for information only, and cannot take responsibility for any details given.

Scott Garnham will play ‘Mr Maddens’ and Ashleigh Gray will play ‘Jennifer Lore.’ The rest of the cast includes, Andy Barke, Andy Brady, Jamie Chapman, Jemma Churchill, Oscar Conlon-Morrey, Gary Davis, Kade Ferraiolo, Ashleigh Graham, and Helena Pipe.

They will be joined by a cast of 20 children aged 9 – 12 from across the Midlands as the pupils of ‘St Bernadette’s School’. In addition to this, following hugely successful open auditions, the following children from London and surrounding areas will star as students of ‘Oakmoor School’. Sienna Austen, Adelaide Barham, Brian Bartle, Aliya Bashir, Sophia Beswick, Gretel Bradwell, Charlotte Breen, Thalia Jada Charles, Jacob Dennison, Louis Dennison, Maddie Evans, Talia Etherington, Jack Forino, Liberty Greig, May Greta Haywood, Gabriel Illesley, Matthew Illesley, Lily Jackson, Darcy Kelly, Rosie Gell-Marquez, Elliot Morris, Maddison Olatunji, Regan Parker, Bella Perdoni, Aoife Reilly, Azaria Sharpe, Ellicia Simmondwood, Nina Stevenson, Aaliyah White and Sophie Woods. is the official website.


29th July until 30th August 2020

Jamie Wilson presents:


Based on the iconic movie, this sparkling tribute to the universal power of friendship, sisterhood and music tells the hilarious story of the disco diva whose life takes a surprising turn when she witnesses a murder. Under protective custody she is hidden in the one place she won’t be found – a convent! Disguised as a nun and under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own.

Whoopi Goldberg will reprise her starring role as Deloris Van Cartier for the first time on stage with Jennifer Saunders as Mother Superior in a newly adapted production of the smash hit musical.

Goldberg is also a producer of the new production, as she was when the show first debuted in the West End in 2009. The beloved musical has since played a successful run on Broadway and in touring companies around the world. Goldberg briefly appeared as Mother Superior at the London Palladium in 2010.

Brenda Edwards plays Delores Van Cartier at Thursday afternoon performances.

Directed by Bill Buckhurst, choreography by Alistair David, Set Design by Morgan Large, Lighting Design by Tim Mitchell, Sound Design by Tom Marshall and Musical Supervision by Stephen Brooker. Casting is by Stuart Burt.

Original music by Alan Menken, lyrics by Glenn Slater, book by Bill and Cheri Steinkellner with additional book material by Douglas Carter Beane.  Produced by Jamie Wilson and Whoopi Goldberg. Tom Leonardis, Head of Whoopi’s production company, is also on the producing team.

Facebook/Instagram/Twitter - @sisteractsocial is the official website.



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.

Varies by event. See, or for details.


Ticket Prices:

Varies by event. See for details.

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.
Venue Box Office: (Eventim) provide the service for this venue.
This system usually allows you to choose your own seats. For busy events, however, the system allocates seats without an option.

Other Online Booking Options: click here.

Booking fees per ticket for online bookings:
Varies by event. The system / sales team will advise at time of enquiry.

Other Online Choices (with S.T.A.R. genuine ticket agencies): or often have a selection of tickets available for events here.

Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats, though many don't sell tickets for pop events at this venue.


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.
Venue Box Office:
Telephone: 0844 844 4748 or 0844 249 1000
( 0161 385 3211 for Ticketmaster if you cannot use the 0844 number)
Operated by Ticketmaster and Eventim on behalf of the venue.

Booking fees per ticket for telephone bookings:
Varies by event. The sales team will advise at time of enquiry.

For personal callers or by post: Queen Caroline Street, Hammersmith, London. W6 9QH
The venue box office is normally only open from late afternoon (4 or 5pm onwards) on performance days only, and charges the same booking fee as by telephone to credit card purchasers - no fee for cash. In other words, a journey may not save you money!

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers please see notes for details. is the official venue website

"VIP Hospitality" is available at some events. Contact Mark Butler Associates on 020 7603 6033 or visit for information. This is one way of getting special tickets to sold out events, muses the monkey - though it is pricey! 


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

Venue 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.

A new layout, from 17th September 2003 allows the stalls to be replaced with a standing area that takes audience capacity at the venue to around 5000 people.

If "all standing" is used, Stalls tickets will generally be marked "GA" for "General Admission". They are often sold on the Ticketmaster system as "Stalls Standing", just to be clear, though!

This venue provides "view from seat" facilities at for all tickets as you select them, just click on them on the plan.


Seating Plan Diagram

Stalls Dress Circle Notes

The Dress Circle overhangs the Stalls at row Y. The view of the top of the stage is only affected very slightly from row CC back.

When seating is used, the stalls are split into sections by aisles. The front section is divided off by an aisle in front of row N, and contains a central and two side blocks. The rear section from row N to FF has six blocks. Either side of the centre aisle are two blocks. Beside them are two outer blocks. These outer blocks are split into middle and rear sections by aisles in front of row X. Only the centre two blocks have seats in row W.

The stage front is usually flat, so that seats no longer curve around the front of it. There is also often a decent gap at either end of the front rows between the proscenium arch and the start of the seating. The gap means speakers can be put there without encroaching on sightlines as badly as they did before, for those lucky enough to be in the front rows for concerts.

Without seats, a few rails to lean on are provided around the auditorium.

ood throughout the stalls, best in rows A, N and in row X seats 1 to 16 and 37 to 52.

Choosing Seats in General:
Front Section:
Theatremonkey rates front section central block seats in rows E to M particularly worth buying, offering a fine view.
A reader notes the rake had gone in 2014, though, before row M. Then try rows D to A in that order before choosing the inside aisle seats in the side blocks of the front section.

In the two front section side blocks, seats closest to the inside aisle have a fair view, but for the same money, choose the central blocks. Depending on the performance, the outermost two seats in rows B and C, three in D and four in E to M may not see into the stage corners with speakers or other bits of set in front. Still, they may be worthwhile if you are trying to sit as close to the stage as possible, and don't mind the slight lack of view. The box office note that rows B to E can also be very noisy if the speakers are often placed here...bring earplugs is the advice!

Rear Section:
Central two blocks rows N to S are worth buying. Row N seats 13 to 38 in these blocks combine good views and extra legroom. The rest of the central blocks offer just average value, try for the front section seats mentioned above first before taking rows T to Z. To be fair to the venue, all rows in the stalls feel relatively close to the stage considering the size of the place, but if all seats are the same price, why not sit as close as possible?

The two front outer blocks in the middle section offer fair value, with exception of the outermost four seats as again they are mostly outside the proscenium with a poor viewing angle.

Even the rear corner blocks are not terrible - ignoring the outermost four seats once again. Again the architecture allows them all to feel fairly close to the stage and, if not able to see performers faces, at least to see more than just a moving matchstick as in other venues.

In all blocks, the last rows, particularly AA to CC can offer particular value at a low price for those like Theatremonkey who feel in need of a bargain. Take these before the back of the Dress Circle for the same money, though watch for row FF 36 to 48 which have the sound desk behind and could be a noisy place to sit. The rest of these blocks are also fair value.

A final advantage is that the corners of the rear section are close to the exits and high number seats are near the ladies toilets, low numbers near the Gentlemen's. These are the advantages. Take these seats only if you really, really must.

Beside the rear outer blocks is a section for wheelchair users on either side of the auditorium. Each has two chair spaces, with two companion seats beside them. These have an acceptable average view, with the advantage of being slightly elevated.

Behind this is space for two rows of 60 people to stand. Arrive early so that you don't have to stand behind the sound desk!

General Hazard Notes:
Seats in the front row may have views blocked by speakers stacked either on the stage front or up the sides.

Seats are not "offset" to see through the gaps ahead as well as they could be - around a quarter rather than half way between.

Sound desk behind row FF seats 36 to 48.

Changes for the current production:

Reader Comments:
"E 1 and 2: "American Idiot" (December 2012).
I saw American Idiot at the Hammersmith Apollo theatre 13th December 2012. We were in the stalls Row E Seats 1 & 2. These tickets were not sold as restricted view but they definitely were. The show has a speaker tower at the front of either side of the stage. This blocked not only the rear quarter of the stage but about a third of the stage (front and rear). This ruined the first half of the show as the staging of the show consists of three focal points and one was situated in the area we were unable to see. Plus there is some upper level staging which we were unable to see. We were lucky enough to move to seats E8-9 in the interval and we had an unrestricted view. I would definitely recommend the show but from central seats."

"K 33: "Kate Bush" (September 2014). (aisle seat) and there is no rake at all anymore in that front section. Plus there was a seat in front of me, which is not on your plan. The rake it seems starts after the gap on row N, though possibly M was a tiny bit higher than the other rows. I think after the referb they had, they must have levelled out the floor then."

Called the
Circle in this theatre

This overhangs the stalls at row Y.

It is divided into front and rear sections by an aisle (and barrier) in front of row G.

The front section is split into five blocks, the rear into six.

There is a low safety rail at the end of each aisle in the front blocks. The monkey has had no complaints about the view being affected by these.

Average in all seats, up to around 5ft 8 in row A. Those over 5ft 10 or so may find all other seats uncomfortable, alas. A reader found seats in row K behind the stairwell excellent, I’ve sat in much worse at 6ft 2, though.

Choosing Seats in General:
Front Section:
Block 9 rows B to F and the six seats just off the centre aisles in blocks 8 and 10 offer the best value in the circle. The rest of the seats in all blocks are fair value. The distance from the stage means a comfortable viewing angle, but Theatremonkey feels for the same price that the stalls blocks 23 and 24 offer better value for money, being closer to the action.

Rear Section:
Rows soar towards space with a dizzying rake, a remnant of this theatre's previous life as a cinema. Theatremonkey generally prefers the stalls rear blocks to any of these rear blocks at the same prices. Circle blocks 2, 3, 4 and 5 rows G (if the barrier is not a problem) to N are preferable to the outermost seats in the stalls, though, but in the circle row O back is a long way from the stage so the rest of the seats are a choice between distance, view and comfort. The stalls is closer and more comfortable. The circle has a wider view of the stage. Theatremonkey takes the stalls, accepting both options are not great.

The outermost four seats in the two corner blocks in the circle 1 and 6 are worth avoiding. Far away in the corners of the theatre the viewing angle is poor and the value worse. As the last seats available take the centre aisle rows L to P then rows G to J before anything else, but prepare for disappointment.

If they are not discounted, the other seats worth avoiding in all blocks are rows X to Z for being closer to Hammersmith Flyover than the stage. Take these last when all other seats have gone unless they are cheaper.

Standing place tickets will generally be marked "GA" for "General Admission". They are often sold as "Circle Standing", just to be clear, though!

General Hazard Notes:
Smaller children may find the sloped wall at the front of the circle a little high to see over if in row A or even B for the smallest. Those over about 5ft tall should be fine.

The barrier in front of row G may annoy some shorter people.

Row K seats 11 to 13, 24 to 26, and 64 to 66 and row L seats 54 and 55 are behind stairwell walls. These restrict the view for those under five foot seven. Avoid.

Changes for the current production:

Reader Comments:
"B65: "Kate Bush" (September 2014). Right at the far end and red on your diagram. Keep it red, overall the view was good but part of the stage was obscured by speakers hanging down. I appreciate this is not always going to be the case but if you have the choice (I didn't - only got the ticket last week) why risk it? I wouldn't have expected this to be a problem for a £135 ticket! You do see almost everything ( mostly it was part of the backdrops that were obscured) and if the performance was more fixed towards the front of the stage as more traditional concerts are then it would be a negligible problem. Bear in mind also if the people in front lean forward that's a huge chunk of the stage gone. Leg room was ok but i was on an aisle so I could stretch slightly to the side, not much width though. So whilst Kate and her overall show was fabulous enough to not have these aspects annoy me too much I would not choose this place again. On the plus side, you can see where the money has been spent for the refurbishment of the venue - it looks great!"

"D53 and 54: "Nativity" (December 2017). As a rule I prefer the Circle for musical theatre but, in this venue, the Circle is a VERY LONG WAY BACK. Fine for concerts but, for a musical, way too distant. Plus these were the same (high) price as the Stalls. Great rake however. Will sit in Stalls for another similar production."

"K64: "Kate Bush" (September 2014). Just behind the stairwell. You have it rated red for lack of legroom, but I am 6’2” and legroom was excellent, I’ve sat in much worse. Think same would be true for the two seats next to it, 65 and 66."

"N62: "Nativity" (December 2017). Too far back to see facial expressions, felt a bit isolated from the action back here. It’s just too big of a venue for a musical, definitely needed to be closer."

"O79 and 80: (Robbie). I was quite worried about these (as they are right in the very corner of the circle in a place) I thought the seats were O.K. I could see very clearly. The circle isn't really that far from the stage either, the centre blocks would be better but I think wherever you sit in the circle you will have a good view, as all seats are one higher than the row in front. This means that the person in front of you does not block you from seeing like it would do in Wembley in the flat floor seating."

"S21: "Nativity" (December 2017). A good seat, with a clear view of the stage and plenty of leg room and a bargain for £25. However, it was very high up and might not suit people who suffer with Acrophobia. For people of average height there was plenty of leg room, but those who are taller might find themselves a bit squashed. The seats are well ranked, however it was a long way from the stage and although you could see all the action, you could not really see the faces of the actors very clearly. At this venue there are also insufficient toilets for the gentlemen and queuing was an issue during the interval, especially as there were a lot of young children in the audience."



Total 3341 seats, with 298 standing places are also available, 120 in the stalls, 178 in the Dress Circle, should the box office choose to sell them. When all stalls seats are removed, around 3000 standing places are created, taking venue capacity to about 5000 in total. 

Not air conditioned.

Guide dog sitter available and some signed performances. Wheelchair access is via a fire door and over a small ridge to a 12% ramp into the stalls. One adapted toilet. Theatremonkey rates facilities as "trying very hard to do the best they can" in this venue - rare and praiseworthy in London. 

For more information, and to make bookings, wheelchair users can call 020 8563 3806 for booking and access information and details of any concessionary prices available to them. Please DO NOT use this number for any other enquiries.

Fuller details are also available at, 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.

No food except ice cream and confectionery / popcorn. A reader notes that hot-dogs are also available.

Two bars, Stalls and Dress Circle.

Toilets on both stalls and circle levels at the sides and back of the auditorium. 


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

Getting to this Venue
Find this theatre on a Street Map
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Hammersmith - District Line (green), Hammersmith and City Line (light purple), Piccadilly Line (dark blue).

On leaving the station, look for the flyover. The theatre is almost under it on the other side of the roundabout.


9, 9A, 10, 27, 34, R69, 72, H91, 190, 211, 220, 267, 283, 295, 366, 391, 415 all to the nearby bus station.


Car Park:
Adjacent to the theatre, under the flyover.
Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here










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