An Independent Inside Guide to London Theatre and Concert Venues

Offers May be available - Click Here

Seating Plan Diagram

The stalls are split into a large centre block and two narrow side blocks by aisles.

The centre block offers good value in all seats from rows A to P. One reader notes, however, that there is now a problem with seat A9:
"seat 9 (just in the middle) was right behind the conductor. I couldn’t see nearly anything! It felt like a rip-off".

The notes also continue that:
"The 2 or 3 first rows are too close to the stage."

though in contrast two other readers feels that,

"We sat on the 2nd row. Possibly might have got a better overall view from the dress circle but you certainly felt part of the show being so near".

"Theatremonkey seating plan says A9 is not good due to the view of the conductor but seated just one seat to the side of this I could not see this as being a major problem. The head of the conductor is in view for all Row A and B seats in the centre section for some part, but it's not too bad." 

In July 2007, another reader notes,
"I felt a little sorry for the lady in A12 who did have the conductor’s head in her way. We sat in the stalls Row A seats 13, 14 and 15... The main issue with being so close is that you miss some of the “low-down” action e.g. when the characters are lying down or crouching. I also saw the stage hands 3 or 4 times which wasn’t good!! If I went again, I would sit in the centre stalls about 6 to 10 rows back."

Sounds like the conductor moves around, something to watch for, warns the monkey.

The monkey rated the first three rows highly, but recognises the other comments as equally valid. While it felt rows A to C worthwhile, this is obviously a case for many to make up their own minds! Oddly, when it sat in A9, there was no conductor there...or maybe it just didn't notice a problem...still, live theatre changes all the time and it is grateful for the latest information. Without a conductor, though, maybe it wouldn't be as much of a musical!

Row A seats 4 to 19 have been dropped to second price to allow for the fact you look up at the stage. The monkey feels that those well clear of the conductor are notable value at this price - and A 12 to 17 are the pick of these. Perhaps not suiting those who dislike looking directly upwards, but for everyone else...

A gentle slope begins about row C, and is more noticeable from row E back, though children may still prefer an aisle seat as it won't help them much.

Readers Messrs Colin and Asa Mccarthy-Burton report:
"Our tickets were just off the aisle in the stalls centre block on row E, well what a fantastic view we had!! Lots of legroom and a perfect view". 

Reader Andy says,
"I recommend getting seats as close to the front as possible to really appreciate this show. We were in Row H of the stalls which was perfect."

another reader agrees,
"Seats H7 and H8 were fine."

Another reader comments,
"Sat in seats J11 and 12 in the stalls. Excellent seats. Great legroom, superb view and you are next to the aisle in the centre block which means the animals parade past you at various points in the performance. Once again Theatremonkey's green seat recommendation is spot on. There really is only one place to see this show and that is from the stalls."

Centre block seats in rows H to K are sold as "Premium" - at a higher price. One way to guarentee an outstanding view, if you are happy to pay it, thinks the monkey.

Rows Q to T are fair but far from the stage for the money (worth considering on Wednesday Afternoons), though reader Caroline notes,
"We sat in the middle of Row Q which I would definitely recommend."

Rows U and V at top price may be tending a little more expensive too.

Row W is second price and much more worthwhile than the more expensive row in front, feels the monkey.  The view is average here, but the ambience is miserable.

At third price, row X away from the sound desk looks a better deal. Row X seats 23 to 33, row Y 22 and 23, Z 20 and 21 and ZA 18 and 19 should be avoided as they are around the sound control desk and so have distractions during the production. If you are willing to put up with this, though, the price is fairly attractively reduced by up to £10 savings at all performances in these seats - a welcome move, notes the monkey.

It is also worth noting that Dress Circle rows M and N are the same price as X back - your call, feels the monkey, who feels the Dress Circle view for the same money is far back but has a better rake over seats in front than the stalls do - worth considering if you have younger monkeys in the group.

Wheelchairs have spaces in the side and centre blocks in row P. The view is acceptable. See notes. Transfer is possible to any stalls aisle seat.

The side blocks are narrow and mostly located outside the proscenium arch. The two seats closest to the central aisles in rows A to J are fine, and from row K to P the viewing angle is sufficient to consider these seats over seats farther back in the centre block. Rows R to ZA are little colonies with access ways in front. The view is distant from the stage and the seats feel isolated from the action. Take S to W only if nothing better is offered, and note that from X back they are much cheaper, and perhaps worth a thought if you can't get more central tickets for the money (take Dress Circle rows M and N before these, though).

Side block row U back is cheaper, as are extreme ends of rows S and T. The monkey would take the nearest central aisle seats in U first, then V (if centre block isn't available at the same price).

The ends of rows A to M are sold at restricted view prices. The end two seats in rows C to L, and the end 3 in rows A and B all drop to third price. Take G to J first, then J, K then L, then M or F. The distance from the stage lessens the restriction slightly. Then consider E and rows forward - though bear in mind the further forward you go, the less you see. Some may want to take row ZA before rows C, B and A.

Reader "Hoodlum" reports:
We got restricted seats F31 and 32 and it really wasn't too bad. You miss a bit of the action that is taking place on the extreme left of the stage but this only happens in two scenes. The opening and closing, because so many people are on stage. it is thrilling to be in the stalls because you are involved in the action. I had a singer come right next to my seat and tap it with his stick! The tickets cost about £32 - considering full price is £47.50 (then), I felt that restricted view in Lion King was not all that bad."

Another reader comments that they felt the end seats were not really "restricted view", more just cheap because they are at the extreme ends of the row.

Legroom is good in rows E to ZA, adequate in rows A to D, and outstanding in row N seats 1 to 5 and 52 to 60 which have aisles in front.

Stalls Boxes
One either side of the theatre. These have a side view, which one reader is keen on, preferring them to Dress Circle boxes. They are actually above the stalls, not at the same level.

The seating is on chairs, which can be moved around.

DRESS CIRCLE 
Called the ROYAL CIRCLE in this theatre.

The Upper Circle overhangs this at row C, making the top of the stage invisible from row J back.

Aisles split these seats into a central and two side blocks. A reader notes that the two centre aisles have metal bars at the end, affecting the view slightly in row A, seats 12, 13, 25 and 26. The steep rake mean these are not so much of a problem in the equivalent seats of row B.

Reader Michelle warns, though:
"We paid top price for 4 front row (A) Dress Circle seats in the centre for ourselves and our two children. As you state, there is a bar running along the edge here which does slightly restrict the view if sat right back in your seat, but what we found worse was the light gantry which protrudes from the font centre of the dress circle. This comes out so far that short people (like me) and my two children had to sit forward in our seats all the way through (to constant tutting from people behind!) so that we could see the performance otherwise our view of the entire front part of the stage was totally masked. Very disappointing."

another reader noticed it too,
"From Row B seats 27 and 28, the view was extremely good and could see everything clearly. The people in the first row of the Dress Circle may have a problem seeing due to something sticking out the front of the circle."
 

One reader notes that he prefers the view from the front Dress Circle to that in the same priced stalls, another felt that,
"I had a perfect view from the centre of row F. Worth paying top price for". 

Reader Pam Coombs endorses this,
"Our seats were perfect in the centre of Row F Royal Circle, 17, 18 and 19."

Reader Richard Sellens says,
"My view from Row C in the Dress Circle was great and at one point I also had a cast member singing near me!!!"

The central block offers clear views and fair value back to row H. From row J back the view is affected by the overhang of the Circle above. Row P suffers especially from this. If you are a purist who likes to see the very top of the proscenium arch, avoid. Some also feel that rows M to P feel a long way from the stage. Choose rear stalls over these.

A reader comments,
"The seats in row L are comfortable and there is sufficient leg room for even me at 6' 2" but we were so far from the stage we couldn't see faces or expressions and the public involvement with the action is only for those in the stalls so you feel deprived in the circle. When you are quite close in the stalls you can make yourself look at the characters heads and believe in them. From the back of the circle you are mainly aware of the actor working the character which is not the same."

On the plus side, rows M and N behind are now much cheaper, reflecting this.

One reader, though, feels differently. A real fan of row P, his comment is that:
"From row P, they say it is restricted view as during "Can You Feel..." you miss about a minute of the ariel ballet because of the overhang of the other circle above it. I think they are a bit of a bargain, though, as the main actors etc are on stage during this minute anyway. Children will see the ballet from here - it is just taller people will miss out".

The side blocks also offer a clear view from all seats. The first and last four seats in each row, should be avoided or considered last for being on the sides of the block - small children in particular could miss parts of the show from the very endmost seats. The same notes as for the centre block apply about the best rows.

Rows J and K in the side blocks drop a price. The monkey likes the idea of seats J 9 to 11 and 33 to 35 and K 7 to 9 and 34 to 36 in these rows - similar view to the central block, but cheaper and a bit further forward than other tickets at the same price.

The rake is very steep in this circle making the back row seem a long way from the stage. Since the circle itself is towards the rear of the theatre it feels a long way from the stage even in the front row. Theatremonkey prefers the stalls for the same cost.

Legroom is fairly cramped in row A, acceptable for most in other seats, though choose the stalls if over five foot eight tall. One reader felt that row K was cramped, for example, though another in row L found it comfortable even for someone 6ft 2 tall. 

Dress Circle Boxes
Two either side of the theatre, between stage and circle. They were originally not sold, then just two seats of a possible six were placed on sale at restricted view price.

On the plus side, you pay for what you get - a view of about two thirds of the stage, for two thirds of the price. You may also be joined by cast members fooling about. On the negative side, well, they had a good reason for not selling these seats before, so why are they doing it now? Ask this before buying. The monkey likes the legroom, but is not keen on the view. A reader feels that if you want a box, C and D in the stalls are a better bet.

The seating is on chairs, which can be moved around.

Boxes G, H, J and K are a possible discount choice over other restricted view seats in the Upper Circle or full view seats in the Grand Circle. For those willing to share the box with actors...and lose a little view, the monkey thinks the seats may build a cult following at the new price.

UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.

This circle is very high above the ground and steeply raked enough to induce vertigo in many people. Normally, this is as they make their way down to their seats and most find that, once seated, they become used to the height.

A metal bar runs across the front of this circle affecting the view slightly in row A. 

Double bars at the ends of the aisles affect seats A 14, 15, B 15, 16, C 15, 16, D 14, 15, A 33, 34, B 34, 35, C 25, 34 and D 33, 34 enough to have the price reduced. These seats are average value.

Reader Roxana comments of these,
"We sat in seats 33 and 34, row A of the Upper ( top) Circle. These are marked as partially restricted view ( lowest price ) because they have a rail in front of them. We just leaned on the ( dirty) rail , and the view was perfect, though high up. Not worth it to buy any other seats in the same level at a more expensive price because we had the same view as everyone else. From reading the reviews, it seems as though the viewers who sat in the stalls had a better impression of the play than I did at the top. From up there, we could see layers of dirt and dust on all the wall stucco ornaments and the whole thing looked very shabby. The velvet on the rail was torn to pieces."

As in the Dress Circle, aisles split these seats into a central and two side blocks. The central block offers clear views and fair value back to row G. From row H back the rake angle is noticeably steep and it feels a long way down and also far from the stage. Value for money is still fair - better now row H is cheaper.

The side blocks as usual offer a clear view from all except the first and last four seats in each row, which should be avoided. If paying full price, opt for the centre block as you will get better views for the same cash. The same notes as for the centre block apply about the best rows. Row A 1, 47, row B 1, 2, 48, 49 and row C 1, 49 are felt by one reader to have a "sideways" view of the stage.

The rear rows in all blocks are reasonably priced for those on a budget, but a head for heights is advisable.

A reader notes that if those in the front row lean forward, you will be forced to do so too in order to see the whole stage.

Another reader comments that,

"In the Upper Circle, Row A. I could see the stage easily but I could see rather too much in that the effects were ruined by the fact that you could see how they were created. Given that I was at the front of the Upper Circle, I thought this was appalling. 

You could see the rollers the buffalos were on more clearly than the buffalos themselves. During the river scene, the fish were not visible but the people holding the cutouts and the lights very definitely were. And  the pad onto which the character jumped obvious for the whole piece.

I would certainly recommend not to go to Upper Circle. Seats may be cheaper but they are still a lot of money and these 'errors' reduced my enjoyment considerably."

Another reader says,
"Upper Circle row M seats 36 to 39 - the view was fine."

Legroom is poor in all seats, worst in row A. Those over five foot tall should consider end of row seats on the centre aisle which should provide some respite for one leg anyway.

Standing space is behind a fairly high wall with a bar on top, so is not suitable for children or those under 5ft 6 or so. Reader Chris May stood here, and reports: 

"WHAT A BARGAIN!! I stood in 'position 17' at the back of the Upper Circle and had a marvellous view of the stage. 

After bribing a small boy with a pound to use his binoculars I was able to stand back and watch the fantastic big set pieces that make this show so good unfold before my natural view, and when solo songs and speaky bits happened I could zoom in and look at the faces in detail. The only draw back from the standing tickets are that you are not close to all the stalls action that happens but you still see it all and you have to join in the applause simply for the arrival of the animals. 

One problem is that it is inevitable that when standing you may be next to annoying Japanese girls who don't understand ' no photos' and talk to one another a lot. Be firm with them and, if they don't shut up, make the ushers do some work. Also, due to the cheap (well cheaper) seats being at the back....school groups are inevitable. This cannot be helped so there is nowt you can do."

Notes
Total 2082 seats approx.

Air-conditioned auditorium.

This theatre takes incredible care to make the show accessible to everybody. All the information a disabled visitor could need is available at: http://www.disney.co.uk/MusicalTheatre/TheLionKing/disabledaccess/index.html - in much more detail than the monkey can provide. A brief summary, though, is: Infrared headsets available - 99% of the auditorium is covered by the system, as is the box office; signed and audio described performances occasionally. Large print and Braille programmes available. Braille script also available for reading at the theatre (contact the House Manager for details). Guide dogs can be dog sat, bowls of water are offered to them too. Wheelchair access is down a slope from a fire exit, not ideal but at least users get good seats in the auditorium on row P. Two disabled toilets available - gender segregated adapted toilets - ALMOST UNIQUE IN LONDON!!! Other theatres take note. This theatre gets it right.. Overall this is good going for the West End. For fuller details and to arrange facilities contact the Front Of House Manager on 020 7420 8100. To book wheelchair user and other registered disabled theatregoer tickets call 020 7420 8113. These numbers are NOT available for general bookings.

General theatregoing advice for the disabled is available from: www.theatre-access.co.uk, Artsline 020 7388 2227, email artsline@dircon.co.uk

No food except Ice cream and confectionery.

Four bars; one in the Stalls, Two in the Dress Circle and one on the Upper Circle level.

Two V.I.P. suites - the "White room" and "Red room" are also available for hire.

Toilets at Stalls, Dress Circle and Upper Circle level.

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

An ILLUSTRATED PHOTOGRAPHIC version of this route is available by clicking here.

For mobility impaired audience members, the Society of London Theatre provide a "photo map" - illustrated walking route to this venue from a near landmark and also Waterloo Station (the nearest fully accessible station) on their website www.officiallondontheatre.co.uk, via the theatre's listing page on that site.

On leaving the station, turn right and walk into the large pedestrian plaza that is Covent Garden. If you see a long road with cars in front of you, wrong way.

On entering the plaza space, turn to your left and walk along the collonaded area. If you see Tesco Metro Supermarket or a bank, Wrong way.

Keep walking ahead as far as the collonaded area will allow (it forms the outer part of the market Square). Follow it to the right or cut across it if it isn't raining. At the end of the building is Russell Street.

Walk along Russell Street, to the first crossroads. Take the street to the right, Wellington Street and walk down it. If you reach a street corner with the Drury Lane theatre ahead of you, or see no theatres at all (really!) wrong way. 

Keep walking downhill, crossing Tavistock Street. The Lyceum Theatre is the collonaded building ahead of you on the right side of the road, beyond the "Old Orleans" restaurant.
______________

Also useful to know is that also close to the theatre is Temple Station - Circle Line (yellow) and District Line (green). This is closed on Sundays and some other times, so check before using. 

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

A photographic illustrated version of this route is available by clicking here.

If it is open, then leave the station turning left. If you see the river, wrong way!

Go up the steps and cross the road ahead of you. Keep walking straight on up Arundel Street (the road sloping upwards ahead of you).  Make sure you are on the left hand side pavement.

At the top of Arundel Street is "The Strand" and The Aldwych", a busy road intersection and cluster of buildings. You should not cross the road. Just turn to your left and walk down the Strand. 

Keep going until you come to another busy junction at the end of the buildings. Look to your right and the Lyceum Theatre is on the corner across some busy roads. Use the pedestrian crossings to get to it!

Walk straight on, crossing Great Queen Street. Continue down Drury Lane. Please cross to the other side of the street and continue, crossing over Broad Court and Martlett Court until you come to a four way crossroads.

Turn to your right at these crossroads. Do not cross any street. Just walk ahead down Russell Street. Cross Crown Court and continue straight on, past the Fortune Theatre. Just past this theatre, change to the other side of the road, to the same side as the Drury Lane Theatre. Cross Catherine Street, the one in front of the Drury Lane Theatre. Do not walk down it. 

Walk on to the next corner and turn to your left to walk down Wellington Street. If you come to Covent Garden Piazza, too far.

Keep walking downhill, crossing Tavistock Street. The Lyceum Theatre is the collonaded building ahead of you on the right side of the road.