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Seating Plan Diagram

The front stalls rows D to G offer the best seats in the house. Ignore the first and last two seats in each row to get a good central view, but choose most of the rest of these rows first as the best return on your top price investment.

Reader Martin confirms that avoiding the first and last two seats is a good idea:
"I had a terrible seat (H27). Yet, top price DUH! Seeing only 3/4 of the stage and listening to the music coming from the left side did not add up to my enjoyment."
 

A reader reports on row B:
"We sat in row B seats 6 to 9 (the front row) and whilst my 12 year old daughter was comfortable, my elder daughter and my wife who is 4' 11(and a half)" was cramped, so my 5' 8" was very badly catered for!

The show was magical, all the effects were as good as I remembered all those years ago, but from row "B" front stalls you were too low to see the back of the stage and thus you miss some of the effects!

I would strongly suggest that you avoid row "B" totally as if you sit there and are over 4' 6" you wont be comfortable and if you are comfortable you will miss parts of a superb show!"

Reader Chris concurs:
"Our biggest mistake with this show was not to note the seat numbers to avoid. We had 2 seats in row B of stalls (front row), what a nightmare, No leg room at all!!!!!! People next to us were really annoyed especially as these are top price seats!"

as does reader Cheryl:
"I always sit in the stalls as I think you get the best views, but wouldn't sit on the front row again due to a stiff neck!!"

and another reader,
"We were in Row B, which is the first row, I am only 5' 2" and my knees were crushed against a low black wall between me and the orchestra, sit further back for a much better view."

The monkey hadn't previously been aware of this problem - many fans are keen on this row, as reader George says in June 2005:
"I saw recently that you'd changed row B in the stalls at Her Majesty's Theatre to red... I've sat there many times (in 11, 12 and 13 on separate occasions) and I've never had a problem... I'm about 5"7."

and reader Denise concurs,
"When we were sitting in row B seats 17 and 18, they were for me by far the best seats in the house. We have been to the show previously and had royal circle seats H6 and 7, which had restricted viewing especially when it can to scenes where you needed to be looking at the top of the stage, for example the chandelier scene and the angel phantom scene. The seats in row B where amazing as we also felt that the show was very angular and you need to be looking to the right a lot of the show - for example the masquerade scene. At a size 20 I consider myself to be a larger lady at 5ft 4, my partner also being larger and 6ft but had no problem with the comfort of the seats, I might also mention that when the show started I was so engrossed with it that I never noticed comfort really... I did however notice every now and then that my mouth was open, so in short I was very happy with the seats in row B."

another reader, Anne, feels likewise,
"row B seats 13 and 14... The seats were amazing and I was so close to the action, I did not have a problem with legroom or cricked necks. I could see every feature of the phantom's deformity, saw all the fine detail, and felt that the singers were singing just for me, they tended to stand just in front of these seats to sing the big pieces. The flares were startling and I could feel the heat from them, the chandelier was scary, I would recommend these seats anytime."

so does another,
"I was sitting front row centre (B13 and 14) and found these seats to be very good, experiencing no problems at all."

The monkey notes all comments and updates advice accordingly - asking that readers take all viewpoints into account when deciding for themselves. Also, note that B 10, 11 and 12 are sold cheaply as the conductor is in view.

Reader Martin provides the following input on row B seat 12:
"I can say that these are the best seats in the auditorium. You see the the actors very closely, the acoustics are great because you don't hear the speaker sound, only the orchestra. To cover the enjoyment, Mickey Reed is quite short, so he is no problem in your viewing and he fits into the show very much. The only part I got unsatisfied, was during the scene where Phantom and Christine go together on a boat, the first four rows get covered into the dry ice. You see nothing and the temperature gets down ten degrees for about a minute. Nevertheless, very good seats, even £5 down (what a bargain). I'd put seats 11,12,13 as 'green'."

Another side to the debate, thinks the monkey - which has had a further three emails agreeing with Martin, plus this from reader Ashleah Skinner:

"I was in front row (Seat B10) - it is a restricted view because of the conductor - but he was not in my way at all, and B11 was affected slightly although it really wasn't a problem unless your under 4ft perhaps.

The only moan I have is that sound wasn't loud, so you missed parts of the singing, and the final lair boat scene, I missed parts of that. Apart from that it was excellent, and am glad I got an excellent view sold at a restricted price even though it wasn't affected in the slightest. Highly recommended."

Do note that a different, taller conductor could affect the view, of course, and that these seats do have "something you need to think about before buying" and won't suit everybody.

Moving back a row, another reader comments on the conductor and other matters,
"I was seated in stalls row C seat 11, right in the centre... I was right behind the conductor, but as is written elsewhere on this site, he isn't very tall and from where I was seated wasn't much of a problem. On the stage right in front of me was a wooden block which may have contained lighting. This obscured some of the action, but in the second half it wasn't there.

I was so close I could easily see the microphones of the performers. I could also see how Christine and The Phantom enter the mirror, which spoiled the effect for me. Being so close has some advantages. The Phantom's deformity can be clearly seen, and you see the performers' expressions. Christine's interaction with the Phantom when she gives him a ring and kisses him being especially moving.

The lady next to me had an exciting moment (she went oohhhh) when a male dancer was leaping around and his thong showed beneath his costume! She was also excited by the falling chandelier and ducked as it passed over, but I would prefer to be further away. I found myself having to look from side to side on occasions and had to look almost straight up to see the Phantom in the chandelier.

On my first viewing (from the Upper Circle) I remember being amazed when the rows of candles appeared for the Music of The Night scene, but from row C this effect is muted, also the cloud which is so effective from further away obscures the action I reckon rows G and H would be much better, or probably the main green area of the Dress Circle.

I didn't find the seat very comfortable. The leg room was very good, but the back of the seat wasn't very forgiving, it seemed a bit too straight."

Another reader reports from the same row,
"From C6 of the stalls it seemed more overblown than ever. And I would certainly not recommend sitting that close in the stalls for anybody who wants to get the full effect of the production. In fact, I would guess that one needs to be at least in about row F or G of the stalls (i.e. further back than the chandelier) for all the effects to be seen properly, including the appearance of the phantom at the top of the proscenium arch, and indeed to have the elaborately decorated proscenium arch comfortably in one's field of vision."

Rows H to K 7 to 21 are next best as top price investments, then L 7 to 21 if nothing else is left. The rest of the top price seats offer diminishing value for money and are best left in the monkey's opinion.

Reader Sherrie contributes,
"We sat in stalls row "J" seats 3 and 4 and had a really good view of the stage. The overhang starts at row "J" so we were able to see the chandelier but any further back and some bits of the show would have been missed. The seats are a bit old and so aren't as comfortable as some other theatres that have been updated, but we had enough leg room."

Further along row J, theatremonkey reader and seat connoisseur James reports,
"J9 and 10: Excellent seats - not so close that you need to keep moving your head from side to side to see the whole stage but close enough to see facial expressions clearly. The sound is good from here too and the view great. The only downside is legroom - I'm not that tall and even I found it a bit cramped. Having sat in the Dress Circle three times and in the Stalls once, the Stalls are definitely a much better place to see the show from."

A row behind, reader Katie B says,
"had seats K23 and 24 in the stalls and found them very good, saw everything, my cousin is slightly taller than me so she could see the chandelier right to the top. Got the full effect of the chandelier falling too without being directly underneath it! My only gripe is actually about the theatre itself, something needs to be done about the seating, the seats are quite small. If you are a 'larger size lady' like me you get wedged into the seat and literally cannot move until the interval (an American lady in front of me had exactly the same problem) and then feel so stiff afterwards. Even for someone slim you also have to get out of the row to let people get past to their seats in the middle. My cousin is only 5'5" and she said there was not much leg room either. But that is only a little moan, we were so caught up in the show it didn't detract from it, we just had a good stretch in the interval and settled down again for the second half."

Down the row, another reader comments,
"K9 and 10... provided a very good view, as did all seats in that row, but I think the seats should be down priced from Row N back, as they really are not worth full price. Seats are slightly uncomfortable, but legroom was good. Belonging to the 6 footer club, I have not yet had trouble fitting into seats at Her Majesty’s!"

Seats H 11 to 14 and J 15 to 18 are sold at premium prices. The view is excellent here, whether you wish to spend the extra is totally your choice, feels the monkey...

Reader Cristopher H felt L5 "totally great."

Reader Jamie Coniam reports:
"Managed to get 3 tickets in the stalls row M, seats 20,21,22 - checked out this guide and thought fair value was acceptable. I must say the seats were fantastic, I totally disagree with other reviewers who have said to avoid the stalls, by far the best seats we've had seeing this show. I was worried that the stage would be high and we'd get a crook neck from looking up, but the stage is low and the view was amazing, we couldn't see the chandelier going up once it had passed the Grand Circle, due to the overhang, but that's a small price to pay for such a clear and close view of the cast".

Another reader says,
"I booked seats M6 and M5 in the stalls, solely based on your seating recommendation, and they offered a perfect view of the stage plus ample leg room for the average sized person. I'm 5ft 9". The acoustics were very good also". 

Row N sees the first of the famous pillars appear. No noticeable impact is noted on seats in row N 4 to 25, row O 7 to 25 and row P 8 to 25. Of this bunch, with the new pricing structure, the monkey feels that row N seats 8 to 24 and O seats 10 to 25 offer decent value. The rest of the lower priced seats are dotted among pillars. The view is not classed as restricted, but at second price the value for money is suspect.

A reader writes of N14,
"The sound was much better from row N. I picked up almost every word, the view was much better, especially the effects and scenery. Also being further back meant I didn't have to look from side to side when the action was spread out, and I didn't have to look almost straight upwards trying to glimpse the Phantom in the chandelier. I felt the seat was more comfortable as well, maybe as a result of me not having to crane my neck from side to side and upwards."

Readers Tracy, Simon  and Chris say,
"We were in row P which was just under the Dress Circle but in the middle, the only bit we missed was the chandelier going higher up than we could see; but we saw the Phantom on the top of the building."

A wheelchair can replace stalls seat S12 or users can transfer to any aisle seat. Fair value with a restricted view. About 80% of the stage is visible. Other aisle seats offer better views, but as wheelchair places go, S12 is pretty good - equal to other seats around it. See notes.

Row Q 15 to 20 are in front of the sound control desk. The noise can be annoying. Avoid.

Seats actually behind a pillar go much more cheaply, often sold on the day to the returns queue, as nobody will risk buying them normally. Theatremonkey chooses, in order, O 4 and 29 where the pillars line up with the edge of the stage, affecting only 10% of the view, Q 14 and 21 which have pillars directly in front and can be peered around - legroom is iffy though, S 1,2, 23,24 which all offer an 80% view of the stage, then S 12 and 13 at the edges of the sound control desk, offering a 80% view. Check Dress Circle recommendations too before booking.

Reader "Hoodlum" comments that:
"R12 and was directly behind the dreaded pillar - this must be the worst seat in the house at £22.50. The pillar was dead centre stage and exactly where the main characters chose to stand for most of the performance. I had to constantly crane my neck. The good news is that in the interval I managed to move to Q11. I couldn't say that it was a better view -there was no pillar but for some reason the heads of the persons in front were in the way!

I am a big Phantom fan and I've seen the show 6 times so I didn't mind having a restricted view but for anyone else out there wanting to chance it, I wouldn't sit in that seat if it was my first time seeing the show.

It remains to say that R12 (and that's coming from someone who has tried restricted in Chicago and Lion King) wins the prize for the most restricted view. At times I thought of just standing at the back! That would have been preferable. I should also add that at the box office when I bought the ticket the 'kind' lady said "all you have to do is to look to the side" sadly that doesn't solve the problems of the pillar being dead centre stage."

Ask for restricted view seats if you are seeking to have a cheap visit or get in to a normally sold out performance at the last minute. The ones highlighted above are value for money for those on a tight budget with a sense of adventure. They are NOT for the comfort seeker or bargain hunter. In this case you just get what you pay for.

Legroom is adequate for those of average height (around 5 ft 10 or so)  in all seats except row B and restricted view seats Q 14 and 21.

Reader Adam goes further,
"Stalls row H seats 19 and 20 ... the view was superb, and RIGHT under the chandelier, however the worst legroom I've ever experienced! I would never ever sit in the stalls in this theatre again! The backs of the seats are FLAT, not curved, so you cant put your knees anywhere, I was so cramped that my feet were tip-toed and I couldn't get comfy at all, and the guy in front kept telling me to stop knee-ing his chair (as though I had a choice!!). So it really spoiled my experience. At the interval we got moved to row N 27 and 28 which were further back and right at the side, but I had a seat with no seat in front of it, so that was better at least. Ah well."

For those who are taller, reader Mark Hunter (6ft 4) warns very strongly that all stalls seats are VERY uncomfortable. He reports that the modern "flat backs" to the seats mean there is no space to move a leg into (the old curved seats allow taller people to do this) and the arms on the seats also restricted him and prevented a comfortable evening. Mark had aisle seats too - so no help there. The monkey can only suggest end of row seats in E, F, G and N as possible solutions - these have a little space in front where rows do not quite stretch across the entire seat.

Reader Christian Toime comments of seats D9 and 10:
"I was impressed with the leg room, I'm 6 foot and it was ample."

Reader William Cooper says of this theatre, 
"My personal feeling here is avoid the stalls too, they are too close and you do not get an overall view. At top price, go for Dress Circle." 
An interesting point, which should help you decide, feels the monkey.

Another opinion, from Becky of Pontefract is,
"make sure you're sat in the first seven rows of the stalls or the first three of the dress circle. These make lots of difference to the quality of viewing! The last time we had the front row centre and the chandelier was terrifying!"

Reader Katie B (noted earlier) says,
"K23 and 24 in the stalls: the seats are quite small. If you are a 'larger size lady' like me you get wedged into the seat and literally cannot move until the interval. My cousin is only 5'5" and she said there was not much leg room either."

DRESS CIRCLE 
Called the "Royal Circle" in this venue.

The Upper Circle overhangs the Dress Circle at row C. The view of the top of the stage is diminished from row E back, but not sufficiently to affect enjoyment.

The circle is split into central and two side blocks by aisles. 

Choose seats in the centre block row C 12 to 25 then D 13 to 27 in that order. B 12 to 24 is also prime, if the "people leaning forward" note below isn't an issue - it has only happened to one person, as reader Jon reports:
"I was sitting in B21 in the Dress Circle which should have been fine as I'm 5'11" but two people in front of me actually blocked a lot of the view (they also rustled bags to show each other their shopping for large sections of the show). They were asked by the staff to stop leaning forward onto the front of the Dress Circle though, but they still obscured a lot of my view. A child near to me was given a cushion but still had problems seeing properly".

and is one of the unpredictabilities of any theatre experience, alas, notes the monkey, but it felt readers may wish to know in advance that it did happen once!

Follow this with A 13 to 24 at top price or E 13 to 21, depending how much an extra eighth of an inch of legroom matters to you. If you require second price seats, F15 to 22 are next best in the centre block.

A reader says,
"Good seats - A23 and A24 - not much legroom"

Seats A 13 to 16 are sold at premium prices. The view is excellent here, whether you wish to spend the extra is totally your choice, feels the monkey...

Reader Lizzie says of the edges of this circle,
"We sat in the Royal Circle rows A and B (couldn’t get 6 tickets together) and although one or two parts of the performance are out of view when they go to the far side of the stage generally good seats"

Slim pillars appear in row E. Only a few seats in rows F to H are badly affected enough to be designated restricted view (see later). Of the rest of the seats, pick row F 15 to 22, then F 10 to 12 and 24 to 26. Choose G 16 to 20 then H 16 to 19 next. The rest of the seats are below average value and consider them only if stalls are unavailable.

In the side blocks at top price choose B and C 7 to 11 and B 25 to 29 and C 26 to 29. Then D 9 to 12 and 28 to 31, and E 7 to 9. Take stalls before choosing these seats though. Ignore the ends of rows, as the discounts do not justify the strange viewing angle. Good value may be had from row E 25 to 27, F 7 to 9 and 27 to 28, G 7, 8, 27, 28, and row H 7 and 27.

Reader James in Finchley comments,
"Sat in Dress Circle D7 and D8 for Phantom. I was lucky enough to get a £25 offer - there is no way I would pay full price for these seats. I found the viewing angle quite peculiar and I missed quite a bit on the right of the stage. People kept leaning forward which obscured the view from time to time and the overhang cut off a few bits at the top which would have been nice to see, although not essential. Also, the Masquerade scene which is usually quite a spectacle is not best viewed from here either."

Another demonstration of how the whole show isn't visible from all seats at all times, feels the monkey.

Of the designated restricted view seats, theatremonkey nominates row H seat 23 as best in the house. With a little sideways movement 99% of the stage is visible from here. Also try H29, H5 and F31. The other seats truly are poor, try the stalls restricted view seats noted; or be prepared to see what you can and just enjoy the music if you take anything else in the Dress Circle.

Phantom fan and theatre observer William Cooper feels that, "With regards to the Dress Circle , I recently fed my addiction with another Phantom fix from dress circle seats E13 and E14, the view was not particularly special as it was a last minute (relatively- THIS IS Phantom) booking. 

That said however, I have paid top price for far worse seats in the past and there wasn't really a problem with people leaning forward in their seats - it certainly wasn't enough to diminish the performance.

I was however outraged by the over-excited Welsh ladies next to me who insisted on commenting 'He comes from Swansea' every time the Phantom appeared and rustling their sweet packets all through 'Music of the Night' If I didn't know the words by heart it would have been unacceptably distracting."

The monkey thought it rather nice that the Phantom had bought his mother and aunt tickets!!

Another opinion, from Becky of Pontefract is,
" make sure you're sat in the first seven rows of the stalls or the first three of the dress circle. These make lots of difference to the quality of viewing! The last time we had the front row centre and the chandelier was terrifying!"

Another reader writes,
"I fell in love with this production upon first seeing it in April 2003, when I sat in the royal circle seat A27. I did not find the legroom too restricting ( I am 5'11"), and the view was spectacular, so close to all the action and with a clear sight of everything, without having to lean forward at all.

When I recently returned to see this production again however, I sat just one row back and a couple of seats over from where I had watched from the first time. I sat in row B, seat 32, (also top price seats), and the difference in view from this slight shift in position was dramatic.

There are many important parts of the Phantom of the Opera that occur at the front and to the left (from the observers point of view) of the stage. These include the opening, with the Vicomte du Chagny sat in that position, many important conversations between characters frequently occur in this position, the Phantom shows Christine the image in the mirror in this location, stairs to 'down below' open up here, and the phantom disappears into his chair at the end here.

From these seats, I could hardly see any of that, and this grossly impeded my enjoyment of the performance. To make matters worse, the people in row A in kept leaning over to see, and infringing more upon the limited view we had. It was only after the interval that this stopped, as we specifically pointed it out to an usher, who I must say was very professional.

The similar seats at the opposite side of the auditorium are not full price, yet I feel from the side I refer too, the view must be affected more. These seats should not be full price, perhaps not even second price. Do not sit here if you can avoid it!"

Readers the Johnson family comment that:
"We sat in the Royal Circle and found the seating cramped and the view inferior to a good Stalls seat."

On a particular seat, a reader comments that:
"I've seen the Phantom only once and from a terrible place in the Dress Circle row G seat 14. Being 1m 84cm tall I had to bend to see the chandelier and the phantom when he was inside it. Besides it feels very far. I don't suggest seeing it from this row. An exciting piece of theatre though."

to which someone else replies:
"I was in Dress circle row G seat 14, the same seat where another correspondent who is 1.84m tall said he had to lean forward to see the Phantom in the chandelier. Well, I'm 1.73 and could just about see him without leaning forward, that is until the chandelier moved higher. 

He also said it seemed far away. I have seen Phantom twice from the Upper Circle, and where I was on Friday seemed nearer, although I must admit it would have been better if I could have got a centre seat in the Upper Circle, but the best I could get from the web site was row C seat 5 which I thought too far from centre. maybe I should have rung them but I booked out of hours. I think I heard the words clearer this time although there were the usual people who can't sit still, paper rustlers and talkers!"

A debate to run, thinks the monkey...

Reader Denise notes,
" Royal Circle seats H6 and 7, had restricted viewing especially when it can to scenes where you needed to be looking at the top of the stage, for example the chandelier scene and the angel phantom scene."

This lady preferred the edge of row B stalls over these.

Legroom is slightly cramped in all seats, worst in row A, a little better in row H.

UPPER CIRCLE
Called the "Grand Circle" in this venue.

The balcony is above and behind the Upper circle and does not affect the view from any seat.

A metal bar runs across the front of the circle, slightly intruding on the view in row A. Reader Chris Rouse comments:
"I was sat in seat 21 of row A. The balcony ledge only comes up to just under waist height, and there is a narrow bar which comes up slightly higher. I could see all the stage perfectly clearly without leaning forward at all (and I'm only average height - 5ft8"). The bar only obstructed the view of the orchestra pit which was hardly a problem. In fact, I think it's far preferable to have a ledge/bar below the view of the stage, than be behind a row of people who could be more of an obstruction."

Those shorter than Chris may still have a problem, though, feels the monkey. 

Reader Jamie Coniam adds,
"We sat in the Grand Circle in the front row and didn't find the bar an obstruction at all. although we are both over 6ft tall, which no doubt helped."

Depending on your height, the monkey hopes the shorter person will find the above opinions helpful.

The Upper Circle is split into centre and two side blocks by aisles.

The centre block rows B to E offer good value for money as they have a clear view of the stage and seem close to the action. Choose these above stalls seats unless legroom is a factor. The rows behind also offer fair value for money.

Reader Jamie Coniam reports,
"D 12,13,14,15, very good seats, with a better view than the more expensive seats we had on another visit."

another reader reports,
"We booked four seats in Upper Circle seats E15 to 18. The view of the stage was excellent, as was the view of the top of the theatre, we had a great sight of The Phantom during his performance in 'The Gods'. The leg room was more than adequate, I am 6ft2 and had no trouble at all. The only gripe is I had to move from side to side to see the centre of the stage, due to a tall gentleman sitting directly in front of me, but this must have applied to those sitting behind me due to my height."

an occasional problem indeed, feels the monkey, now that everyone seems to be getting taller!

In the side blocks the closest two seats to the centre aisles - rows B and C 10, 11, 27 and 28, and rows D and E 8, 9, 25 and 26 offer good value. Next try rows F to K 7, 8, 24 and 25. 

Reader B Groot reports,
"Bought tickets F24 and F25 in the upper circle - seat F24 was good value and plenty of leg room as no seat in front. F25 had more restricted leg room. Both had good views except for the very bottom left corner of the stage - but as Christina's dressing room is on the right and most of the action takes place in the middle or to the right, very little is lost. Good view of the Phantom when he is high up."

 

After that, the two seats next to these are fair value, in the monkey's opinion. A reader however, feels differently: 

The monkey felt that since these seats are 33% cheaper than those in the centre, to account for the loss of view, they were average value, you got what you paid for. The same goes for the rest of the seats in that row (all restricted view and priced accordingly). As a collection of all experiences, though, the monkey is proud to always put a reader's view, and hopes it will help everyone else to decide for themselves, based on more information than the box office staff can generally provide.

Reader William Cooper feels that, "People leaning forward is a definite problem in the Upper Circle, but these seats (especially in the centre block) beat the proverbial out of the Balcony."

Reader Edward Bernstone reports that:
"I sat in seats 18 and 19 of row A in the Upper Circle. They were very good seats as the bar was only slightly blocking our view. 

I was  rather annoyed when a man came to the front of the Circle and told every one to lean back. I just ignored him, because if I had lent back half the cast would  have been beheaded by the bar."

This debate will run continuously, thinks the monkey - and other views are always welcome!

Another reader notes that: 
"We were in Row H seats 15 and 16 which were good seats to view all the action."

Reader James F says,
"had great seats in the upper circle (H17 and 18). The only tiny problem with view the seats is that you can’t see the head when the Phantom enters (2 second obstruction), at the start of Act 2 and the chandelier blocks the phantom for a few seconds when he is at the top of the stage at the end of Act 1. Legroom is poor but manageable (I’m 6”1 and it was a small problem, but easy to forget about when watching the production)."

The rest, almost all designated restricted view, suffer a strange viewing angle with the set in the way and are only recommended if the best restricted view seats in other parts of the theatre are sold out or too expensive.

Reader Andy B says,
"I sat in the Upper Circle. Terrible sightlines and no legroom. I was so far away from the stage that I felt like I couldn't be further away from the action. Not that there was much action coming from the unengaging acting and plot."

and so the debate runs onwards...

Legroom is poor in all seats (as readers James F and Andy B attest above, though another 6ft2 reader feels differently), worst in row A

BALCONY
Above and behind the Upper Circle. The location makes it feel far from the stage and tucked away, but not high enough to induce vertigo.

THESE TICKETS ARE OFTEN BOUGHT BY TOUTS / SCALPERS FOR RESALE. THEY ARE THEN PASSED OFF AS DRESS CIRCLE SEATS. DO NOT PURCHASE FOR MORE THAN FACE VALUE. THEY ARE NOT WORTH IT.

The circle is divided into two centre and two side blocks by aisles. Best seats are rows B and C 7 to 24. Then A 7 to 24 due to bars and legroom.

Side blocks A to C 2 to 6 and 25 to 29 and A 30 are adequate (row A problems also apply here); rows D to F feel isolated and far from the stage.

These seats used to offer a cheap way of seeing the show for those on the tightest budget. The view isn't good, but the bargain basement price reflects this strongly. Now they are VERY overpriced and should be avoided unless seeing the show is important enough to you, but be prepared to compromise on both view and sound quality - as well as a feeling that the tickets are at least £5 too expensive.

Reader Teresa says,
"I sat in the middle of the first row of the balcony recently (2008) and I saw everything! I can really recommend that seat. The first time I saw 'Phantom' I sat in the stalls with the roof over me and, even though the sound was great and I saw everything on the stage, I still like the balcony better because you see all the action that goes on over the stage and, the best of all - you get to see the chandelier falling :)"
 
Reader William Cooper provides a sound opinion,
"Another word of advice, steer clear of the balcony. Compared with similarly priced seats in other theatres the view from here is very distant and the rake appalling. On top of this, you could get better sound quality listening to the show from the bottom of a lake in a biscuit tin. I definitely recommend paying a bit extra for the Upper and Dress Circles."

This is backed up by another reader who complains about missing half the show from up there. The sound problem, though, was addressed in 2008 when a new system was installed.

Legroom is poor, especially in row A.

Notes
Total 1209 seats.

Air-cooled auditorium. One reader in the Upper Circle suggests a light jacket as it was rather efficient!

Infrared headsets and dog sitters available. Some signed and audio interpreted performances. Three wheelchairs can park in stalls row S or users can transfer to any aisle seat. Access is through a fire door with level access to the seat. Adapted toilet near seat at fire exit. A theatre which tries. Specific information from www.seetickets.com or 0870 895 5505 or e-mail customer.relations@rutheatres.com.   

Reader Jamie Coniam says:
"I must comment on the helpfulness of the theatre staff, as my grandmother uses a wheel chair, we were approached on entering the theatre by staff and taken round to a side door, shown the disabled toilets and taken to our seats before the crowds came in.

Our interval drinks order was taken and a selection of gifts from the kiosk was bought round to our seats of which nanny bought ............the lot!!

We all thoroughly enjoyed the show and when the crowds had dispersed the staff bought out our wheelchair and had a good old natter with nanny asking her what she thought of the performance. 

Customer service at its best!"

Food: Ice Cream and confectionery available. Also bookable in advance (redeem voucher on day of performance to collect) is a food container called a "Royal Box" (nothing to do with sitting in a box in the theatre!) containing a selection of canapés for consumption in the bar or at your seat. A half bottle of champagne is also available as an optional extra with the box too - for those over 18 only, subject to usual licensing laws. Click here for more information.

Three Bars, Stalls, Dress Circle and Upper Circle.

10 toilets in all. Stalls 1 gents 3 cubicles, 3 ladies 8, 2, 2 cubicles; Dress Circle 2 ladies 3, 2 cubicles; Upper Circle 1 gents 2 cubicles, 1 ladies 4 cubicles; Balcony 1 gents 2 cubicles, 1 ladies 2 cubicles.

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

The escalator from the platforms ends in a large circular underground area. 

After leaving the barriers, turn to your left, and follow the curve of the barriers around until you see an exit to your right with the sign "Subway 4" over it. Walk under this sign.

Keep walking through this tunnel and ignore the first staircase marked "Shaftesbury Avenue". Continue along the tunnel passing the "Trocadero" doors, and follow it as it curves past another set of doors. Follow the arrow on the sign ahead of you that says "Eros" (the tunnel continues to the right). 

In this new section of tunnel, take the stairs ahead and to your right up to the street.

You will emerge near the Criterion Theatre. Walk ahead of you. If you see two roads - Piccadilly and Regent Street - with a "Zavvi Record Store" shop between them..., wrong way. 

You will come to a busy road, Haymarket. Railings prevent you crossing it. A large statue of horses is to your right. Turn to your right and walk down Haymarket. 

Cross Jermyn Street, continue walking downhill. Pass the Pizza Hut, cross St James's Market and Norris Street and pass the UGC cinema Haymarket. Cross Charles II Street, and the theatre is there on your right.

If travelling from Oxford Street or Shaftesbury Avenue you will be able to leave the bus on Haymarket itself. Do so at the second stop in the street.

Call Westminster City Council car parks on 0800 243 348 or see www.westminster.gov.uk/carparks for details. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost. Spaces CANNOT be reserved at these prices, so choose whether you would prefer to book and pay more, or use this scheme.

If you choose the "Theatreland Parking Scheme", you must get your car park ticket validated at the theatre's box office counter (the theatre attendant will insert the car parking ticket into a small machine which updates the information held on the magnetic strip on the reverse, thus enabling the discount). When you pay using the machines at the car park, 50% will be deducted from the full tariff. You may park for up to 72 hours using this scheme and it is endorsed by the Society of London Theatre.

For a full list of car parks that participate in the 50% off theatreland scheme here see www.westminster.gov.uk/carparks/theatreland.cfm, and for a full list of theatres that participate in the scheme see www.westminster.gov.uk/carparks/theatres.cfm.