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

 

LYRIC THEATRE
Shaftesbury Avenue, London



 

THRILLER - LIVE (musical)


The songbook of the Jackson 5 and the late, great spangle-gloved one himself is explored in this discography of his life.

Producers enhanced the show in Spring 2013 by introducing an exciting new opening, featuring new video material and graphics.


Sensational Cleo Higgins (pictured above, photo credit Irina Chira), lead singer of 90s pop group Cleopatra and Will.i.am’s unforgettable contestant on The Voice, is now in the production until June 2015.

“I’m a huge Michael Jackson fan and I identify with him,” said Cleo. “I’m an Eighties baby - I come from the same era. When he died I literally cried every day for a year. His death reminded me how connected I felt to him as a person and musician, but I didn’t recognise how strong those links were until then. My favourite song I get to perform in the show is They Don’t Really Care About Us. I get to feel the energy Michael gave when he sang, when it was recorded. I get right into that zone and I feel every word. We celebrate his incredible legacy in Thriller Live. His songs will never die.”

Higgins, from Birmingham, is one of four lead vocalists who divide up Jackson’s catalogue of chart hits between them.
 

On 1st October 2014, the show celebrated with champagne and cake as it entered the record books to officially become the 20th longest running musical in West End history! It overtook the records set by the legendary stage musicals 'The Sound of Music' and 'My Fair Lady,' who have now dropped forever out of the Top 20.

Thriller Live has played 2391 performances at the Lyric Theatre (as at Wednesday September 24th 2014). It is just 138 performances away from overtaking the record set by the 1993 revival of Grease (which ran 2529 performances before closing) and just 227 from leap frogging the original 1960 production of Oliver! (2,618 performances). In 2015 it will beat the record set up by 'Evita,' which closed after 2,900 performances at the Prince Edward Theatre.
___________________________

Reader RZ cautions,
"Anybody who is in the least bit photosensitive should stay away. The upper backdrop is a star curtain (sometimes animated) and alright, but the lower background is an animated LED board, with a descending LED board and six side LED boards, all of which are animated. This is in addition to a strobe-heavy colour-flashing heavy (think the "Joseph Megamix" lighting on steroids) show. Definitely one to observe the epilepsy warnings on."
 

 

Theatremonkey Opinion:
Not available. Reports are that this is more concert than biopic musical, and when the biography does happen it's short and usually misfiring. Luckily, the songs themselves seem to land in the stalls just fine. Praise for the performances and energy of the dancers - particularly the youngsters taking the roles of the early Jackson 5.

Simply, something which fills a theatre in a difficult time and gives pleasure to fans of the late Neverland One. Not for theatrical snobs or those who require more sophistication from a script or evening out.

 

Your Reviews: Add your own by clicking here.
Important: Some reviews below can contain "spoilers" - please don't read if this bothers you!

(8 reviews)

I saw 'Thriller Live' on Tuesday 13th January 2009 (preview). Some fantastic individual performances, but the show was let down by a pretty ropey audience. People who chat, mobile phones going off, watches beeping every half-hour, drink slurping, sweet wrapper rustling, and people who turn up late. I know this degenerate behaviour isn't exclusive to young people, but the audience were notably young and and clearly ignorant. Theatre staff did nothing. In the end the shushing became a joke in itself because the people who were being shushed at started shushing back.

On the whole the show itself was average. Top marks for the performers, but the production was a touch 'dumbed down' and might only appeal to the kind of casual audience I saw last night. Also, one thing I absolutely hate is when a cast tell me to stand up / clap my hands / spin on my head (and there was plenty of that). No no no! I pay good money to come see YOU perform. This isn't a holiday camp, this should be a world class quality West End production, and I detest solicited attempts to get the audience up and dancing.

Also the programmes were £6! 'Welcome to the West End' the seller said. What a cheek. We see practically all there is to see in the West End but we've never paid £6 for a basic programme. To sum up, it's an evening of music as opposed to a musical (I do appreciate it's not been billed as musical, however it's nothing more that 2 hours 30 minutes of songs cobbled together with a very basic and not particularly informing narrative).

'Thriller Live' could have been innovative,  but it frustrated me because it just felt low quality - both the audience and the production.  

James - Kent
______________________________

Went to see this yesterday (Sunday 18th January 2009, 3.30pm performance). Although I enjoyed it, I didn't feel it was worthy of a trip to the West End, more of a 'go and see it if it's coming to your local theatre' type of thing. I paid £40 and thought it was more of a £15 'at local theatre' show.

I felt the first half of the show, when it was the 'Jackson 5,' was a bit amateurish, but the second half was better, they did 'Thriller' and 'Smooth Criminal' well. The actual stage set is just a video screen with a staircase that goes along the back of the stage and the sides, which did look a bit low budget, although the steps did light up! All in all, more of a tribute act than an actual theatre production. If you are more of a "theatre" person then I would not recommend it. With reference to the other review, yes, I found that there were constantly people talking throughout the show, which was very irritating!

Although a staff member said that the show was sold out, there were clearly lots of empty seats, so maybe they only put 75% of the available seats up for sale, so they could technically advertise as "sold out"? The medley at the end was good, people weren't clapping wildly, there was no curtain call or encore, the audience left quite quickly, usually they stick around to see if there is an encore!
________________________________

I saw 'Thriller Live' last night (13th May 2009) from D18 and had two comments. First, the seat was great for seeing the cast and choreography, but some of the side lightboards were cut off by the actual lights. I would note, however, that the show is very loud and that patrons in the front stalls may wish to bring earplugs.

I would also note that anybody who is in the least bit photosensitive stay away. The upper backdrop is a star curtain (sometimes animated) and alright, but the lower background is an animated LED board, with a descending LED board and six side LED boards, all of which are animated. This is in addition to a strobe-heavy colour-flashing heavy (think the "Joseph Megamix" lighting on steroids) show. Definitely one to observe the epilepsy warnings on.

rz
http://roguezentradi.blogspot.com
________________________________

We bought tickets for "Thriller Live" for the same September 2009 date we had booked to see the late Michael Jackson at the O2.

We could only get seats at the rear with our view blocked by those in front as the seats were not tiered and reasons given below: A general comment on ticket availability for all shows is that the theatres put the worst seats on sale first to panic people into buying side seats, restricted views etc. because they think all the others are sold out. When the worst are sold the best seats are put online and they sell themselves with a result that seat occupancy for the most popular shows are 95% sold if not 100% sold out. You naughty theatre owners and ticket agents !!! Its a conspiracy.

Three of the singers were out of tune for the whole show. Two male dancers were practically performing simulated sex in some scenes.

The show started with the story of the Jackson Family rise to fame and then broke apart introducing singers of other nationalities and ages that had nothing to do with the story.
Lastly cast members encouraged the audience to stand up, clap, dance about and hence block the view of a party of disabled adults and children seated behind me.

Politely I asked the row in front to sit down but they wouldn't because they had tanked themselves up in the bar before and during the show interval. I purposely did not stand up in protest at this annoyance yet still managed to appreciate the music (not the singers) for the whole show.

A good night ruined by a shoddy performance and inconsiderate audience members.
If you take children choose the front row if you can afford it but take your earplugs for when the cast try to sing.

Dave the rave
Redcar
__________________________________

Saturday evening, January 29th 2011.

More of a 'tribute show' than a musical. Thought it was expensive for this kind of show with no headliners.

Michael Jackson songs are excellent of course and, though some reviewers object to the standing to sing and clap, I go out to enjoy myself, not sit bolt rigid objecting. Having waited all night for 'Thriller,' what a let down. The number was just bolted on at the end with the singers and dancers just dressed in what seemed anything they could find. Having seen "Man In The Mirror" (at half the price of this last July at Leeds Grand) they were all dressed in white ghostly attire which looked the part.

Finally, a reminder that the lighting is fierce for some, though for me the ears buzzing at the end was more of a problem. One of those shows to see, but for me, only once.

We had seats E7 and E8 - E8 next to the Monkey's Green plan and found to be an excellent choice. Row 7 as there's an AA and BB here. Plenty of leg room and very much close to the performers.

Michael
___________________________________

Hands down the worst piece of dross I've ever endured. And certainly the least "Thrilling" musical I've ever (grudgingly) sat through.

To start.....almost NONE of the singing is even live, which is an insult to the sensibilities. This is not some teenage pop act, where you EXPECT that the "artist" cant' really sing, so it will all be lip-synced. In the West End the very LEAST you can expect is actual live singing. But time after time we saw (from our third row seats) voices coming out when the singer's mouths weren't even open. An absolute travesty. You could maybe, POSSIBLY have a bit of sympathy if there was some palpable sense of humility evinced by the "performers"...but to see these virtually talent-free posers strutting around the stage as though they were putting on God's gift to the West End.....when in fact they were miming along to a very poor musical score, was WELL beyond irritating.

The plot, such as it was, wavered between being laughable and frustrating. There is no repairing this load of rubbish...no "tweaks" that would fix it. You would have to scrap the whole thing and start over. Utterly, irredeemably horrid.

December 2011.
___________________________________

Date: Tuesday 29th May 2012
Seats: Dress Circle B18 and 19

The show was rubbish, and something I would of expected to see on a cruise ship. The only saving grace was the dancers as they really do work hard and were the best part of the evening.

Not sure if this was supposed to be a tribute, biopic, song and dance show, gawd knows.... As it was more of a very bad concert people thought they could talk: behind us, in front of us, in fact, everywhere we could hear chatter. Terrible.

Also it is apparent that during a couple of numbers the singer decides to 'mime', which to me is disgraceful during a West-End show and in one called Thriller 'Live'!

The Dress Circle has no rake and it was quite difficult to see the stage. The theatre was very hot and I was sweating more than the performers on stage. No Air-con obviously.

I really am getting to the stage of not seeing many more shows as this experience has proven to me that a lot of theatre owners/producers are not interested in the patrons comfort.

High ticket prices with cramped seats where you can't see the stage, and unbearable temperatures inside the venue.

This is an awful show in an awful theatre...congratulations to the producers of Thriller 'not Live'.
_____________________________________

We saw' Thriller Live' at The Lyric on 29th August 2012 as part of Kids Week. We sat in the stalls E19, 20, 21 and I was initially concerned that it might be too close to the stage. However once the show started it was not a problem and you really get to see the actors expressions and of course dance moves. The only concern that I would have about the stalls is that the rake is very shallow and if you had some very tall people in front you may have a problem. We paid an average of £30 per seat (Kids Week) and at this price the show and seats represented excellent value.

Owwww!

Max G
______________________________________

Seats Row O seats 13 and 14. Due to the shallow rake my 9 year old had trouble seeing some of the action which is a shame as some of the dance moves e.g Moonwalk were lost on him. Also, the audience is encouraged to stand near the start and again at the end so he couldn't see a thing. I was worried the pillar in the row in front would be a problem but it didn't block the view of the stage. Good legroom.

We purchased the tickets as part of Kidsweek but I wouldn't pay full price if taking young children due to the restricted view.

Jack's mum.

 

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.

Tuesday to Friday at 7.30pm
Saturday at 4pm and 8pm
Sundays at 3.30pm and 7.30pm
NO MONDAY PERFORMANCES

 

Runs 2 hours 40 minutes approximately.
 

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form


Stalls
All seats except "Premium" seats, row Q and restricted view: £67.50
Row Q (except restricted view seats): £59.50
Restricted view seats: £37.50
Premium Seats rows F to J seats 9 to 16: £85

Dress Circle
All seats (except "Premium" and restricted view seats): £67.50
Restricted view seats: £37.50
Premium Seats row A 5 to 14: £85

Upper Circle
All seats (except A5 to 12 and 36 to 43; D 5 to 7 and 22 to 24; E 5, 6, 23, 24 and restricted view seats): £49.50
Row A5 to 12 and 36 to 43; D 5 to 7 and 22 to 24; E 5, 6, 23, 24: £37.50
Restricted view seats: £27.50

Balcony
Rows A to G (except centre block A to C 1 and 2, A 20, 21, B 22, 23, C 24, 25 and side block rows E to J): £37.50
Side block rows E to J and centre block restricted view A to C 1 and 2, A 20, 21, B 22, 23, C 24, 25 plus clear view rows H and J: £27.50

Boxes C, D, E, J, K, L: £67.50 per seat; Boxes: A, B, H and M: £59.50 per seat.

 

Family Ticket: buy a best available top non-premium price £67.50 ticket for an adult, and get a ticket for a child aged under 18 for £33.75 at all Sunday to Thursday performances ONLY. A maximum of 2 adult and 4 child tickets may be purchased. The minimum purchase is 1 adult and 1 child ticket, maximum 6 tickets in a single transaction, and the party must be seated together. See www.seetickets.com for details. This offer is subject to availability and may not be available for "peak" performances, the system will advise at time of enquiry. A 10% per ticket booking fee, and £2.75 per booking, not per ticket, handling fee applies.

 

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.
Theatre Box Office:
Shared between two companies at this venue
www.nimaxtheatres.com or www.seetickets.com

With See Tickets: £6.75 on £67.50, £8.50 on £85, £5.95 on £59.50, £4.95 on £49.50, £3.75 on £37.50, £2.75 on £27.50 seats. Pays for the bubble kit, thinks the monkey. A £2.75 per booking, not per ticket, handling fee is also added.

With Nimax Theatres Online: £2.50 on all tickets, except £2 on tickets priced £37.50 or below . A £1 per ticket optional postage fee is also charged. No fee for printing tickets at home or box office collection.

Other Online Choices (with S.T.A.R. genuine ticket agencies):

When the theatre does not have the tickets you desire available, it is well worth trying the Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), which offers £67.50 seats with a £10.20 booking fee per ticket (£7.50 on £49.50, £5.70 on £37.50 seats) - moderate by agency standards, though higher than box office fees, worth trying as they often have an alternative choice of seats available! Note that this system will confirm exact seat numbers prior to purchase. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases.

Another alternative is Ticketmaster.co.uk who offer £67.50 seats with a £6.40 booking fee per ticket (£4.70 on £49.50, £3.55 on £37.50 seats) until 19th April 2014 / £67.50 seats with a £6.75 booking fee per ticket (£8.50 on £85, £4.95 on £49.50, £3.75 on £37.50 seats) from 21st April 2014. A £3 per booking (not per ticket) handling charge is also added for ALL transactions. This system allows you to choose your own seats from the selection the company has available.

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer £67.50 seats with an £18.50 booking fee per ticket (£23 on £85, £13.50 on £49.50, £10.50 on £37.50 seats). A postage charge of £2.25 per booking, not per ticket may be applied to bookings made from UK addresses more than 5 days before the performance. The "Flexiticket" Exchange Service, allowing FREE transfer / cancellation (credit note up to 12 months) of your booking up to 3 days before the performance is also available for £2.50 per ticket. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

Lastminute.com offer £67.50 seats with an £8 booking fee per ticket (£10 on £85, £7 on £59.50, £6 on £49.50, £4.50 on £37.50, £1 on £29.50 seats). NOTE: Seat numbers are NOT available in advance from this company. All seats booked in the same price group will, of course, be together or at the very least be in front or behind each other in the theatre. In the very unlikely event of this not being possible this company will call you and give you the option of cancelling your booking. However if booking in two or more price bands, you will not be sat together. Please DO NOT purchase if this is unacceptable to you, as all tickets are sold subject to this condition. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

Londontheatredirect.com offer £67.50 seats with a £10 booking fee per ticket (£12.75 on £85, £9 on £59.50, £7.50 on £49.50, £5.50 on £37.50, £4 on £27.50 seats). Collecting tickets from the box office before your performance is free, OR, if required and time allows, there is a postage charge option of of £2.95 (£4.95 to non-UK addresses) per booking, not per ticket applies to all bookings. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.

ALSO SEE Tickettree.com for great value "hotel and theatre ticket" packages.


Independent S.T.A.R. ticket agencies may offer an alternative choice of seats.

 

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.

Theatre Box Office:
Shared between two companies at this venue
Telephone: 0870 830 0200
(FREE call if using BT.com Calling Plan at your chosen times)
Operated by See Tickets on behalf of the venue.

OR

Telephone: 0844 482 9674
Operated by Quay Tickets Agency on behalf of the venue.

Booking fees per ticket for telephone bookings:
With See Tickets: £6.75 on £67.50, £8.50 on £85, £5.95 on £59.50, £4.95 on £49.50, £3.75 on £37.50, £2.75 on £27.50 seats. Pays for the bubble kit, thinks the monkey. A £2.75 per booking, not per ticket, handling fee is also added.

With Quay Tickets Agency for Nimax Theatres: £2.50 on all tickets, except £2 on tickets priced £37.50 or below. A £1 per ticket optional postage fee is also charged. No fee for printing tickets at home or box office collection.
 

 

For personal callers or by post: Shaftesbury Avenue, London, W1V 7HD
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 0844 412 4648 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the See Theatres phoneroom helpdesk in London. See Notes.

 

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

Theatre 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.

Seating Plan Diagram

Stalls Dress Circle Upper Circle Balcony Notes
STALLS 

Layout:
The Dress Circle overhangs the stalls at row N. The top of the stage is visible in all rows except Q and R.

A single block of seats face the stage.

Pillars intersperse the seats in rows N and Q.

Legroom:
A
bout adequate in all seats, better in row AA and (with a compromised view) in row E seats 1 and 24, since these seats have nothing directly in front of them.

Choosing Seats in General:
The high stage often makes rows AA to A a bit of a neck strain for the shortest. At top price, some may wish to sit elsewhere.

Rows A to C normally offer acceptable views of the stage from all seats. The central seats offer a slightly better view - thus they are the best value.

One reader also noted that in row C she had a larger person in front...and thus missed some "centre stage" happenings. Though the monkey hasn't had the same problem, it feels that some may wish to know that the rake here isn't perhaps as good as it could be!

The first and last three seats in rows E to M are outside the proscenium and the view directly ahead is of the wall. If asked to pay top price for these seats, choose those situated more centrally in the row.

From row O back, some seats are behind a pillar. Choose these over similarly priced seats in any of the three circles for greater legroom. The price is fair for the view - BUT accept the view is not as great as it could be.

General Hazard Notes:
Row O 3, 4, 14 and 15; Row P 1, 2, 12, 13; Row Q 1,2, 11,12 and row R 1,2, 4, 12,13 have commanding views of pillars supporting the circle.

The rake (slope of the floor allowing folk to see over those in front) isn't as steep as it could be - shorter folk suffer in the last six rows at least.

Changes for the current production:
Rows F to J seats 9 to 16 are "premium" seats. Unless a recipient of the late Spangly one's will, monkey would sit a row ahead, behind, or in seats beside them. The view just isn't worth the extra, it feels.

Rear stalls are the same price as front ones, with the back row a mere two pounds cheaper... skip the interval ice-cream for a seat further forward, is the monkey feeling.

Reader Comments:
“Row BB: I had one of the runners up in Britain’s Fattest Man contest next to me, and the out-and-out winner just one seat along on the other side. Heaven knows how uncomfortable both of them must have been feeling!"

“BB5: “Cabaret” (2007) (A 6ft 6 tall reader). Second row from the front. Excellent view, legroom adequate. Being so close to the stage means that you get a lot of eye contact with the performers. This could be a positive or negative point given the nature of parts of this production, particularly when the Emcee (James Dreyfus) is on stage. Some people around me were clearly horrified to be addressed directly from the stage, others appeared to love it. You take your choice!"

"Row A: (Anthony). Strangely enough, this is actually the third row from the front. The view was good, we did not have to crane our necks to see the floor of the stage and although it might have been better to sit further back I am glad we did not because of the poor rake at this theatre. One further thing worth mentioning is that from where I was sitting the sound balance was undoubtedly the best of any musical I have even seen in the West End."

“Row B: (Paul). "I sat in row B the first time in seat 9 and 10 and the second time 6 and 7, and both were great. Did not miss a thing!"

“Row C: (Liz). It felt like the TV had come to life.”

“C15: A little too close to the action."

“D18: “Thriller Live” (rz). Was great for seeing the cast and choreography, but some of the side lightboards were cut off by the actual lights. I would note, also that the show is very loud and that patrons in the front stalls may wish to bring earplugs."

"E7 and E8: “Thriller Live” (Michael). E8 is next to the Monkey's Green seat on its plan, and we found it to be an excellent choice. Row 7 as there's an AA and BB here. Plenty of leg room and very much close to the performers."

"E12 and E13: Perfect view, good leg room compared to many other West End theatres, and just about the right distance from the stage."

"E18 and 19: “Cabaret”. The legroom was good (best I’ve had in a while), but the fabric of the seats became annoying on a hot summer evening. The view was good but set pieces sometimes obstructed my view."

"E19, 20, 21: “Thriller Live”, (Max G). I was initially concerned that it might be too close to the stage. However once the show started it was not a problem and you really get to see the actors expressions and of course dance moves. The only concern that I would have about the stalls is that the rake is very shallow and if you had some very tall people in front you may have a problem. We paid an average of £30 per seat (Kids Week) and at this price the show and seats represented excellent value."

"Row F (end): (Lynne Hill). Good, but slightly sideways, view of stage, although having to look upwards doesn't help the experience!"

"K10 and K11: (James). Was lucky not to have anyone sat directly in front as a fairly shallow rake would have meant an obscured view. However, I was fortunate and could see clearly. I could see the whole stage clearly without turning from side to side and the sound was great too."

“K17: Good with excellent sightlines.”

“Row N: (Anne). Our friends in the centre of row N had difficulty seeing over the heads of those in front."

“Row O: … and backwards are most certainly not worth £42.50. At all. Good legroom though."

"Row O 13 and14 ("Thriller Live") ("Jack's Mum): Due to the shallow rake my 9 year old had trouble seeing some of the action, which is a shame as some of the dance moves e.g Moonwalk were lost on him. Also, the audience is encouraged to stand near the start and again at the end so he couldn't see a thing. I was worried the pillar in the row in front would be a problem but it didn't block the view of the stage. Good legroom. We purchased the tickets as part of 'Kidsweek' (seasonal offer where child tickets are free - editor) but I wouldn't pay full price if taking young children due to the restricted view."

 

Stalls Boxes

Layout:
Either side of the stage.

Boxes seat 3 people.

Legroom:
Acceptable as they have movable chairs.

Choosing Seats in General:
A moderate view, hovering at average value. Choose Dress Circle boxes L and E first – the height and distance from the stage improves the viewing angle.

General Hazard Notes:
Nearest corner of the stage isn’t visible.

Changes for the current production:
None.

Reader Comments:
None.



DRESS CIRCLE 

Layout:
The Upper Circle overhangs the Dress Circle at row C.

A single block of seats curve tightly towards the stage.

Pillars intersperse seats in row F.

Legroom:
S
lightly cramped in many seats, better in the front rows except B. Readers rate row A and one rated legroom in row D as "great" - the monkey felt D "average," though.

Choosing Seats in General:
A clear view of the stage is offered from most seats in rows A to E if taller than 5ft 7 or so. Shorter folk suffer from the shallow rake here.

Worth avoiding are the first and last three seats in rows B and C, first and last four in row D and first and last five in row E because they are angled toward the stage, with a lesser view of the edges for the same price!

Row G seats 3 and 10 and row H seats 4 and 11 are directly behind pillars. Other seats in these two rows are ambitiously marked as top price. These rows should be ignored unless a real discount is offered.

If considering a seat behind a pillar, choose the stalls first for greater legroom, although the value is not too bad here.

General Hazard Notes:
The two seats on the ends of row A often have lighting clamps in front.

The monkey received one comment from a reader complaining about people leaning forward in row A and obstructing the view for those in row B.

The curve of the circle cuts off the front of the stage for outermost seats in all rows.

The seating tiers are shallow, not much elevation over the row in front.

The view from row F back is compromised by pillars supporting the circle above.

Changes for the current production:
Row A seats 5 to 14 are "premium" seats. Comfortable, sure, but only 10 to 14 are really the very best, it feels - and a row behind has similar views but less legroom. If wealthy and with people wanting a higher view, 10 to 14 are worth looking at as they avoid the problem of a shallow rake in the same priced stalls seats. Shortest patrons may find the wall ahead a slight issue, though, if sat back in their seats.

Reader Comments:
"A3 and A4: The seats were excellent, perfect views."

“A10 and A11: I have absolutely no complaints at all. All I would say was that when we returned to our seats after the interval not one person got up to let us pass!! No manners at all!"

“A15 and 16: “Thriller Live,” (Chris B). The view from these seats is amazing, you can see the whole stage clearly with no restrictions (being the front row) and feel very close to the action. The sound is top notch and great for all the MJ classics. There is plenty of legroom too, I can’t recommend these seats highly enough. Don’t forget your dancing shoes!”

"B6: (Chris May). Seat was fine, view was fine, until fat man in front leans forward."

"B18 and 19: The Dress Circle has no rake and it was quite difficult to see the stage. The theatre was very hot and I was sweating more than the performers on stage. No Air-con obviously. I really am getting to the stage of not seeing many more shows as this experience has proven to me that a lot of theatre owners/producers are not interested in the patrons comfort.

High ticket prices with cramped seats where you can't see the stage, and unbearable temperatures inside the venue."

"C5 and C6: The seats have to be the worse we have ever sat in. Thanks heavens we only paid half price. It was impossible to see over the person in front."

"C13 and 14: (Cathy). Yes, we had a perfect view, but these have to be the most uncomfortable West End seats ever (other than the Upper Circle at the Palladium !). The upholstery was shot - so effectively sat on a wooden board the whole time"

"C22: Poor view due to the curving front of the balcony cutting off the left hand edge of the stage. I also couldn't see the centre of the stage due to the head of the person in front of me and had to keep moving from side to side."

"D7 and D8: I can't believe they charge £55 for these seats. The circle is so poorly tiered that, unless you're on the front row, you have no clear view of the stage and have to keep ducking and diving to see around the person in front of you. However, for £25 (discount offer), I suppose I can't complain."

"D 16 to 20: Not the best seats in the world but not bad for £17.50 (discounted) I suppose. It is quite a restricted view past about seat 19 onwards and the Royal Circle is rather an odd shape – like an inverted horseshoe almost, so it gives the impression that you are quite a way back from the stage, however the leg room is great."

"Row E (centre): I had a badly obstructed view of the stage because of the heads of two normal-size people in front of me, thanks to the absence of a reasonable rake in the seating”

 

Dress Circle Boxes

Layout:
Four on each side of the theatre at Dress Circle level between the stage and Dress Circle against the side walls of the auditorium.

Six boxes seat three people each, two boxes (D and K) have either two, three or four seats each, depending on production - being narrower, two seats is the preferred configuration though.

Legroom:
Acceptable, as movable chairs are used.

Choosing Seats in General:
All boxes offer good value at third price, average at second, considering the restricted views.

These are worth choosing for comfort over the rear stalls and Upper Circle at the same price. Pick boxes L and E first, then D and K, I and C and B and H in that order. price, the monkey would skip B and H, perhaps, unless legroom is required.

Boxes E, D and C can take a wheelchair each. Wheelchair users should take box E first, then D then C.

General Hazard Notes:
The edges and back corners are missed.
 

Changes for the current production:
All boxes have 3 seats, except B and H, which have 4.

Reader Comments:
None.



UPPER CIRCLE

Layout:
The Balcony overhangs the Upper Circle at row C. Views are not particularly affected by it, though E back can feel claustrophobic with a low ceiling.

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

Row A extends a long way down the sides of the theatre towards the stage.

Pillars intersperse centre block row D.

Legroom:
Confined in all seats, worst in row A.

A little more space is offered in row B seat 11 and row C seat 10 which have the seat in front slightly offset, leaving a small gap.

Choosing Seats in General:
Centre Block:
Clear views of the stage from all seats in rows A to C. Take B or C, and avoid A unless a housemate of Snow White’s.

The view from row E back is compromised by pillars supporting the circle above. Those seats directly behind it are very cheap... but there are better views from the Balcony above for the same money, the monkey feels.

Normally the rest of the seats in these three rows are usually cheaper. Only row E 13 to 16 should be considered, skip rows F and G and try for further forward for the same money.

Side Blocks:
An odd viewing angle is noticeable in all seats.

Row A is worth missing for legroom.

Row A seats 1 to 12 and 36 to 47 extend along the side of the theatre, above the boxes. The viewing angle is poor and these seats should be ignored unless you really MUST get into a sold out performance, in which case they will be the last to go and are worth asking for. Cramped, side view, have to lean forward to see much...

Further back, choose the seats closest to the centre aisles in rows D and E only if you must, and they are cheaper than central block.

If seats here are cheap they just hover into "fair value" range, feels the monkey... but really only just. It opts for a good box then a seat in the rear stalls first, or saves money by paying less for central Balcony seats in the level above.

General Hazard Notes:
Legroom, particularly row A. So poor it is repeated again here...

Seats at the outermost ends of the row may also have rails or equipment in view.

Row E seats 10, 11, 18 and 19, and rows F and G seats 5, 6, 12 and 13 are directly behind pillars.

There are no aisles at the extreme ends of any row in the side blocks. Claustrophobics may like to avoid these!

Changes for the current production:
The centre block back three rows are not cheaper. Skip them.

Reader Comments:
“A32: (Sam). I know this site is strongly recommending against them, but I just wanted to add a first-hand experience. I am 174cm tall (around 5' 10''). If you are around that height DO NOT sit in those seats AT ANY COST. The view is not awful, but the legroom is CATASTROPHIC!!. I survived the show only because the seats near me were empty, so I sat the whole show sideways".

“D10: “Smaller” (April 2006). Just thought I'd let you know about my recent experience. It was hell! I purchased seat number D10 in the Upper Circle for a performance of "Smaller" (April 2006). Oh the irony at even mentioning the name of the play! Unfortunately, the seat I sat in was not the one I had paid for. I found that I had to sit sideways, not only due to the non-existent leg room, but also due to the seats being extremely narrow.

As a slightly broader theatre-goer (size 18 and 5ft 8), I never expect to be sitting in a seat that is vastly wider than myself, but i do expect to be able to fit into the seat. Imagine my mortification to find that I couldn't! I initially tried by sitting sideways, but found this unbearable as there was no leg room and both seats either side of me was occupied. in the end I spent the first half of the play standing at the back, and managed to find an unoccupied aisle seat to sit in for the second half, which I still had to sit in sideways but was able to stretch one leg out into the aisle. However, I now find that I have bruises on my left leg which was unfortunately wedged against the seat in front.

As the two leads of the play I saw were both role models for the larger lady, I would be amazed to discover I am the only person with this complaint. It is debatable whether Alison Moyet would be able to squeeze into the seat, while Dawn French wouldn't have a hope! I have been told that if I had purchased a seat in the stalls or Dress Circle I wouldn't have had this problem. Unfortunately, I couldn't afford these, so am in effect being punished for being overweight! Isn't it about time theatres realised they need to update their seating arrangements for the 21st Century audience?!"

“Row E: Perhaps not the best seat to comfortably enjoy a show from especially when knees are jammed hard against the seat in front."

 

BALCONY

Layout:
The balcony is split from row E back into three blocks, centre and two sides.

Legroom:
Poor in all seats, row A the worst.

Choosing Seats in General:
Seats here are high above the ground, but not vertigo inducing.

Views from almost all seats are clear, except for the first and last two seats in rows B and C. C2 and 24 are officially "restricted view," the others are just to be safe. The monkey doesn't condemn particularly, just notes that other options might be better...

Row F back feels a very long way from the stage - skip G back if possible unless cheaper than rows in front.

When all seats are the same price, choose centre block A to G over sides for the best view and value. Then take the seats just off the centre aisle in E to G before central seats in row H, then aisle side block H, then centre block J or side block aisle J depending on personal preference.

With two or more price bands, take front central seats first, then those side block seats just off the centre aisle in rows E to G, before accepting centre block seats further back than row E.

General Hazard Notes:
In the rear side blocks there are no aisles at the extreme ends of the row. Claustrophobics may like to avoid these!

A rail tucked behind the end seats in row C upsets some in row D7 and 20.

C2 and 24 are “restricted view.”

Changes for the current production:
The end pair of seats in rows A, B and C is cheaper. B and C are worth a look, feels the monkey. Further forward, even if you do miss the side stage action.

Ignore central F and G at second to bottom price - you may as well save a few pounds in the rows behind for the same view - or explore the side blocks where centre aisle seats will give you similar views for less cash.

Rear central rows H and J are just about "fair" value, sides a little more expensive considering the view. Not for the vertigo sufferer or comfort seeker, though.

Reader Comments:
"D7: Has a safety rail in front (running around the back of row C and turning into a handrail to go down to the steps to row C) making it a quite restricted view splitting the stage in half, I imagine its the same for D20 the other side."

 

 

Notes
Total 959 seats.

Air-conditioned auditorium.

Infrared headsets available, Guide dog sitter available, or dog can remain with owner if the owner is seated in a box - boxes E, D and C can take a wheelchair each. Accessed via level ground through a fire exit, the 'Royal Entrance' apparently. The adapted toilet is next to the Royal Entrance. A fair stab is made at the Lyric. Fuller details from Nimax Theatres on 0844 482 9677 (10am to 6pm, Monday to Friday) or email access(insert the @ symbol here)nimaxtheatres.com. 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.

Four bars; Foyer (for Dress Circle), Stalls, Upper Circle and Balcony.

No food except Ice-cream and confectionery.

9 Toilets; Stalls 2 gents 3 and 1 cubicle respectively, 2 ladies 2 cubicles in each; Dress Circle 1 gents 1 cubicle, 1 ladies 6 cubicles, 1 Unisex Disabled; Upper Circle 1 gents 2 cubicles, 1 ladies 2 cubicles

 

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

Getting to this Theatre
Find this theatre on a Street Map
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Piccadilly Circus - Piccadilly (Dark Blue) and Bakerloo (Brown) lines.

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.

Walk through this tunnel and take the first staircase to your right, marked "Shaftesbury Avenue", take the stairs up to the street.

At the top of the stairs, take a very sharp "U Turn" through 180 degrees to your left. Look forwards and upwards for the huge "Sanyo" sign. Walk forwards towards it.

The busy road to your left is Shaftesbury Avenue. If you see the Prince of Wales Theatre, and Trocadero centre, wrong way.

For the Lyric Theatre cross the road and turn to your right, walk under the covered area where the cash ATM's and street artists are. Walk straight on, crossing Denman Street, Great Windmill Street, Archer Street and Wardour Street. The Lyric is the first theatre on Shaftesbury Avenue.

 

Buses:
14,19,22B, 38,53,88,94,159 To Shaftesbury Avenue.

 

Taxi:
A rank for Black taxis is at Charing Cross Station - a long distance from the theatre. Best chance of hailing one is in the street outside.

 

Car Park:
Newport Place, China Town. The "Theatreland Parking Scheme" may be available. Call Q-Park car parks on 0870 442 0104 or see http://www.q-park.co.uk 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 24 hours using this scheme and it is endorsed by the Society of London Theatre.

For a full list of car parks and theatres that participate in the 50% off theatreland scheme see http://www.q-park.co.uk.

Denman Street - NOT in the discount schemet. Turn to your left as you leave the car park. If you see the Piccadilly Theatre, wrong way. Walk to the end of the street and turn left. Walk straight on, crossing Great Windmill Street, The Lyric is the first theatre on Shaftesbury Avenue.

 

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


 

 

 

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