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



Ends 18th January 2020.
Audio Described performance: 6th January 2020 at 7pm
Captioned performance: 10th January 2020 at 7pm
Relaxed Performance (designed for people that have an Autism Spectrum Condition, anxiety disorder, learning disability or if would benefit from a more informal environment): 11th January 2020 at 1pm


Mean man taught a lesson by four (no, it never was three) ghosts.

A new adaptation by Jack Thorne, with Matthew Warchus directing a revival of this Christmas 2017 hit, back for the third year running, by popular demand.

A reader warns that, if bringing children who require booster seats, to arrive early. Apparently, there are not nearly enough to go around. If you wish to buy one in advance, see


Theatremonkey Opinion:

From the previous 2018 run.
(Seen at the preview performance on 4th December 2018). Some actors have now left the cast.

The monkey rarely has time to see any production twice. This exception, though, is worth it.

Warchus has resolved all the issues of timing in the first few minutes, with the actors now chatting amiably with the audience (orchestrating a "Mexican Wave" through the dress circle), passing out treats and gathering together to dance before the show starts in earnest.

The opening scenes now make sense and flow with the same rhythm as the rest. Stephen Tompkinson is a less manic, more isolated and deeper Scrooge than last year, his transition more believable for it. Frances McNamee (Belle) is more adult, less challenging but more in control of all. Michael Rouse as Scrooge's Father cuts a plaintive figure, engendering more sympathy than deserved, perhaps - all to the good.

Returnees Alistair Parker (Fezziwig) and Myra McFadyen (Ghost of Christmas Past) show the others how it is done, a real pleasure to see them again. Oh, and Lara Mehmet (Tiny Tim) steals the entire show...

This now goes up to the full 5 stars from the monkey, who observed two bratty tweenagers, moaning pre-show about everything. Wide-eyed, open-mouthed and giggling with delight just 2 hours later. The pure magic of great theatre. Don't miss it - and remember on the way out to stop by the manager's office and demand it is revived for 2019/20 (you did, well done - editor 2019), you'll thank yourself next year that you did.

(From the previous run. Seen at the afternoon performance on 2nd December 2017). Some actors have now left the cast.
It isn't every day that a ghost greets you with a Waitrose Mince Pie and a Satsuma as you are shown to your seat (and admits to having few takers), but it all adds to the atmosphere of this mostly engaging new version by Jack Thorne.

Things get off to a slightly muddy start, with Matthew Warchus trying to set things too hurriedly - confusing the audience as to whether it's a musical or where it is going. "Once" it is not - nowhere near as smooth or original, and "Cats" it isn't either - Trevor Nunn needs to work with the company on synchronised speaking for sure.

Once we hit Scrooge's school days, however, the show bursts into life, and it's a downhill run for a talented team who come complete with rather good campanology skills.

Rhys Ifans makes a wonderfully isolated Scrooge. His pain at his relationship with a terrific Erin Doherty (Belle) is beautifully portrayed, as are those with beloved sister Little Fan (Melissa Allan) and nephew Nicholas (Tim van Eyken). The core emotions drive the plot perfectly, and Alex Gaumond as both Scrooge's Father and Marley's Ghost are the perfect emotional counterpoint.

There's lovely work, too, from John Dalgeish as loyal Bob Cratchitt, a quiet dignity an example particularly in the funeral scenes. A note too for Alastair Parker as a jovial and true Fezziwig, bringing a huge range of emotions with much success throughout.

Thorne's script has some decent jokes, some genuine chills and plenty of scope that the cast exploit to the full. Well chosen carols - and some beautiful arrangements (a nod to Sam Goble for actual performance teaching), plus a simple but inventive set from Rob Howell finish off a rather lovely seasonal treat.

Probably one that the Old Vic may revive again (it was right - editor, 2018 and 2019), but don't take the chance and see it this time around, feels the monkey. It doesn't think you will be sorry!

4 stars.



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

(4 reviews from the 2017 production. Some actors have now left the cast)

Last night (29th November 2017) I had a wonderful time at the Old Vic for a lovely production of A Christmas Carol.

The Old Vic seem keen to fill every seat to add to the atmosphere (they also hand out free satsumas and mince pies to get the whole theatre smelling of Christmas!) so I was able to pick up a last minute bargain of £5 seats. These were N22 and N23 in the stalls. But I see these are normally on sale for £90 and if I had paid full whack I would not have been happy, since they feel far too low. And I usually target the stalls front rows so am used to looking up at the stage. But here the ‘normal’ stalls are too low for my taste. And also there seems very little rake, if any, in the first few rows, so my shorter companion had a small problem seeing over the hair of the person in front of her. If going again I would aim for the stage stalls or the circle. Since the stage is raised and brought forward, the circle seats are closer to the action than normal.

Andy Wyatt

We fought our way through the crowds to the Old Vic for the evening performance on Saturday 4th December 2017. The tube was horrendous, but we just about got there on time. A lovely greeting, not a mince pie fan myself, although they did look nice, but I was persuaded to a satsuma, which went down a treat.

We were in the back row of the seats on the stage, S49 and 50.Tight is not the word for it, I could only just sit down, and my knees were jammed into the seat in front, but the view from there was perfect. I was concerned at the beginning, I didn't like the entire cast talking at once, but as soon as Scrooge appeared it was just magical. Proper theatre, we cried, we laughed, we cried again. Rhys Ifans was quite brilliant. The passing through the audience of the food was quite a genius comical touch. The ghosts all played their parts very well, and my respect for John Dalgleish grows every time I see him, he may never better the Ray Davis turn, but he really is showing his range to great effect.

Apart from the pain in my knees, which I totally forgot about aver the fist couple of scenes, it was the perfect pre Christmas treat. I can't recommend this enough, one of the best I've seen this year.

We went to see A Christmas Carol last night (12th December 2017) at the Old Vic- are now in a festive mood and ready for Christmas! Loved it. Some lovely touches. Great voices. Great cast. Fascinating production, loved the little surprises! What a strong actor Rhys Ifans is.

We were in the stalls P38 and 39 - my over 6 foot companion had no complaints about leg room, we liked the space around us for coats and bags. We felt totally involved with the performance - obviously, lost a little bit of stage right- but nothing happened there as far as I know, plus we couldn't see the musicians whom I guess were in a box at the right. If I could go back and see it again tomorrow, I would!

In early December 2017, I attended "A Christmas Carol" at the Old Vic. Seat A29 in the Dress Circle was a lovely seat. It was discounted, due to a "reduced view" by a safety rail, but that was no problem. I was delighted to have such a great view at a lower price. I also got snowed on during the production, which was a fun moment!

Sylvia M. Giustina
Oregon, U.S.A.


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.

7pm: 9, 10, 11, 12, 13, 14, 16, 17, 18, 19, 20, 21, 23, 26, 27, 28, 30 December 2019; 1, 2, 3, 4, 6, 7, 9, 10, 11, 13, 14; 16, 17, 18 January 2020.

1pm: 11, 14, 17, 19, 21, 23, 24, 27, 28, 30, 31 December 2019; 2, 4, 7, 8, 11, 14, 15, 18 January 2020.

NO performances on 25th December 2019.

Runs 2 hours 5 minutes approximately.


Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

"Off Peak" performances - 6th to 18th January 2020:

All seats: £65 except
"Premium Seats" row J 36 to 40, 72 to 76 and K 37 to 40, 72 to 75; J 53 to 63; K to M 54 to 63; L 43, 44, 74, 75; P to R 16 to 21: £125
"Premium Seats" row K 50 to 53, 64 to 67; L 48 to 53, 63 to 69; M 11 to 13, 24 to 26, 52, 53, 64, 65; N 52 to 57, 61 to 65; P to R 12 to 15, 22 to 25; S 16 to 21: £90
"Restricted View" seats K 35, 80, L 36, 37, 80, 81; M 33, 82; N 37, 38, 80, 82, 83; P 36 to 39, 57, 80; Q 57, 80; R and S 56, 57, 80, 81; V25: £55
"Restricted View" seats M 34, 35, 36, 79, 80, 81; N 39, 40, 80, 81; 80, 81: £40
"Restricted View" seats P 82, 83; T6: £30
"Restricted View" seats U8, V26: £20

Dress Circle
Rows A to E, X, and "restricted view" row Y 15 to 22: £65 except
"Premium Seats" row A 15 to 22: £125 including drink and programme vouchers.
"Premium Seats" row A 8 to 14 and 23 to 27 and B 12 to 25: £90
Row E 5 to 8, 29 to 34: £55
"Restricted View" row C 10, 11, 18, 19, 26, 27; D 4, 5, 6, 30, 31, 32; E9; Y 13, 14, 35; row Z: £55
"Restricted View" seats row A 7, 28, 29; B 7, 8, 9, 28, 29, 30; C 5, 6, 7, 30, 31, 32; D 10, 27; E 4, 11, 27; Y 1 to 11, 24, 26 to 36: £40
"Restricted View" row D 9, 18, 26; E 10, 18, 19, 28; Y 12, 25: £30

Upper Circle
All seats: £30 except
Row B 10 to 25; C and D 9 to 14, 24 to 29: £40
Row F 5 to 10, 27 to 32: £20
"Restricted View" row A 3 to 9, 26 to 33; B 2 to 5, 33 to 36: £20
Rows G and H: £12

Rows X and P 15 to 24: £20
Row P 5 to 14, 25 to 32: £12

£65 per seat.

Standing: £8.50

"Peak" performances - to 4th January 2020:

All seats: £67.50 except
"Premium Seats" row J 36 to 40, 72 to 76 and K 37 to 40, 72 to 75; J 53 to 63; K to M 54 to 63; L 43, 44, 74, 75; P to R 16 to 21: £125
"Premium Seats" row K 50 to 53, 63 to 67; L 48 to 53, 64 to 69; M 11 to 13, 24 to 26, 52, 53, 64, 65; N 52 to 57, 61 to 65; P to R 12 to 15, 22 to 25; S 16 to 21: £90
"Restricted View" seats K 35, 80, L 36, 37, 80, 81; M 33, 82; N 37, 38, 80, 82, 83; P 36 to 39, 57, 80; Q 57, 80; R and S 56, 57, 80, 81; V25: £57.50
"Restricted View" seats M 34, 35, 36, 79, 80, 81; N 39, 40, 80, 81; 80, 81: £45
"Restricted View" seats P 82, 83; T6: £35
"Restricted View" seats U8, V26: £20

Dress Circle
Rows A to E, X, and "restricted view" row Y 15 to 22: £67.50 except
"Premium Seats" row A 15 to 22: £125 including drink and programme vouchers.
"Premium Seats" row A 8 to 14 and 23 to 27 and B 12 to 25: £90
Row E 5 to 8, 29 to 34: £57.50
"Restricted View" row C 10, 11, 18, 19, 26, 27; D 4, 5, 6, 30, 31, 32; E9; Y 13, 14, 35; row Z: £57.50
"Restricted View" seats row A 7, 28, 29; B 7, 8, 9, 28, 29, 30; C 5, 6, 7, 30, 31, 32; D 10, 27; E 4, 11, 27; Y 1 to 11, 24, 26 to 36: £45
"Restricted View" row D 9, 18, 26; E 10, 18, 19, 28; Y 12, 25: £35

Upper Circle
All seats: £35 except
Row B 10 to 25; C and D 9 to 14, 24 to 29: £45
Row F 5 to 10, 27 to 32: £20
"Restricted View" row A 3 to 9, 26 to 33; B 2 to 5, 33 to 36: £20
Rows G and H: £12

Rows X and P 15 to 24: £20
Row P 5 to 14, 25 to 32: £12

£67.50 per seat.

Standing: £8.50

Some details may change, the monkey will update as required...

Topp 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: the theatre's own website provide the service for this theatre.
This site allows you to choose your seats from those available.

Booking fees per transaction for online bookings:
£1.50 per booking, not per ticket, transaction fee is charged. Cheaper than by telephone.


Other Online Choices (with S.T.A.R. genuine ticket agencies):
When the theatre does not have tickets available, it is worth trying the Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), which offers £65 seats with a £14.30 booking fee per ticket (£22.50 on £90, £12.10 on £55, £8.80 on £40, £6.60 on £30, £5 on £20 "Off Peak" date tickets / £22.50 on £90, £16.90 on £67.50, £14.40 on £57.50, £11.30 on £45, £8.80 on £35, £5 on £20 "Peak Date" tickets).  Moderate by agency standards, though higher than box office prices, but worth trying! 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 which offers £65 seats with a £9.75 booking fee per ticket (£4.50 on £30 "Off Peak" date tickets / £13.50 on £67.50, £7 on £35 "Peak Date" tickets). A £2.75 per booking (not per ticket) service charge also applies.

Another alternative is who offer £65 seats with a £9.25 booking fee per ticket (£12.75 on £90, £7.75 on £55, £5.75 on £40, £4.25 on £30, £3 on £20 "Off Peak" date tickets / £12.75 on £90, £9.50 on £67.50, £8.25 on £57.50, £6.50 on £45, £5 on £35, £3 on £20 "Peak Date" tickets). 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 £65 seats with a £13 booking fee per ticket (£18 on £90, £11 on £55, £8 on £40, £4 on £20 "Off Peak" date tickets / £18 on £90, £13.50 on £67.50, £11.50 on £57.50, £9 on £45, £7 on £35, £4 on £20 "Peak Date" tickets) booking fee per ticket. A postage charge of £1.45 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 £1.99 per ticket. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available. offer £65 seats with a £13 booking fee per ticket (£18 on £90, £11 on £55, £8 on £40, £6 on £30, £4 on £20 "Off Peak" date tickets / £18 on £90, £13.50 on £67.50, £11.50 on £57.50, £9 on £45, £7 on £35, £4 on £20 "Peak Date" tickets) booking fee per ticket. There is a £1 per booking, not per ticket, transaction fee for collecting tickets from the box office before your performance. Alternatively, if time allows, there is a postage to your home option, costing £2.95 (£4.95 to non-UK addresses) per booking, not per ticket. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.

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

Other Independent S.T.A.R. ticket agencies may also 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:
Telephone: 0844 871 7628
Operated by the Old Vic Theatre group's appointed ticket agency, Ticketzone.

Booking fees per transaction for telephone bookings:
£2.50 per booking, not per ticket, transaction fee is charged. This is more expensive than booking online.


For personal callers or by post: Waterloo Road, London. SE1 8NB
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats and enquire about concessionary prices that may be available to them on a dedicated phone line. See Notes. is the official theatre website. A very good auditorium photograph is available here. E-mail the theatre at: 


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.

This theatre also uses "Dynamic Pricing" meaning that some seat prices may increase depending on demand for a particular performance. It can be pretty aggressive, with even cheap upper circle seats hitting top price for a hit. "Book Early" is the monkey advice.


Seating Plan Diagram

Stalls Dress Circle Upper Circle Notes

The Dress Circle overhangs the stalls at row T. It doesn’t affect views of the stage... this theatre has pillars to do that instead.

The edges of the circle extend over the outermost two stalls seats down to row J. They remove a top corner of the stage for these seats from row P back.

A single block of seats face the stage.

Rows A to D are removable, with the stage extending into the space.

Pillars at the ends of row N and interspersing row S disrupt rows and views.

Rows A to H slope down from the stage rather than rise above it.

The rake (sloped floor to help see over rows in front) kicks in at around row J, is greater at L and gets really noticeable around row P.

The front row may be set with seats leaning back to help see up to the usually fairly high stage.

Acceptable for all but the tallest. The monkey found the end of row Q generous, someone 5ft 11 or so may be happy here.

Depending on the production ends of some, if not all, rows back to G may have some seats with nothing in front. N35 usually has nothing in front either.

Further back, where there is a pillar among the seats, the row behind has a gap, meaning the row behind that contains a seat with nothing in front of it. That's usually Q34 and U 6 and 31. V31 also usually has nothing in front.

Choosing Seats in General:
Sold cheap, the front row – be it A, B, C or D is always a bargain. Stage height varies by production, though, so those wishing to see feet (musical dance fans / fetishists) may wish to sit several more rows back.

If used, both rows A and B lean back to allow folk to see up to if there is a high stage. Average value at top price, it thinks.

The fact rows B to H also slope backwards from the stage means that these may not be suitable for shorter people.

Rows K back to M arguably have the best views in the front stalls, considering the rake and height of the stage.

The monkey normally likes central row H back to K, though, for viewing comfort. It could even go further back too, with A in use, to row N to avoid the dip...

Row N has an OK value end of row wheelchair space, with a slight ramp to help see over seats in front.

Rows P to V offer only fair value, being the same price but further from the stage.

Alterations in 2019 re-located some seats to better avoid the pillars. While some bargain discount seats have been lost, those that remain have retained their attraction.

Q3 now has a pillar taking out a strip around 75cm from the side edge of the proscenium arch. Moving the head isn't sufficient to see around the loss, the monkey feels. Additionally, with the wheelchair space in use, a little more may be blocked depending on chair height.

Q35 (successor to the monkey's beloved Q34 - which now has a totally clear view and nothing in front for a row and is thus priced accordingly), hasn't changed much. Still has nothing behind, so moving to beat the pillar is possible without disturbing anyone. You get around a metre of stage, then a 50cm black pillar through your view, then the rest of the stage. Moving your head slightly to one side enables you to follow action behind the pillar. It prefers that to Q3, but accepts it's a personal choice.

Pushing back, there's now no obstruction from pillars in central seats in other rows. Ends of row U still have pillars in view, but are cheap enough to be a bargain.

At top non-premium price, the monkey would still not sit this far from the stage, though, given a choice. Still, take these over Dress Circle row A for comfort if long legged...

If in use, purists may wish to avoid U 15 and 23 and V 15 and 22, with a sound desk nearby. Most won't notice, though.

General Hazard Notes:
Booking before a production opens means you may not be in the front row, as they add them at short notice.

Rows A to D don’t have a rake to speak of, and that negative slope behind them.

Sound in central seats around row J has been known to be less than perfect.

Be aware that P35 is on its own. S 6 and 7, S 33 to 35 and T 32 to 34 are satellites with a gap between them and the rest of the row. Likewise there is a gap between V 13 and 14 and 23 and 24.

Pillars, as discussed above.

Changes for the current production:
The stalls are in similar layout to the "in the round" seasons, with seating on four sides of a stage that cuts through the middle of the usual auditorium. Two main blocks - one facing the usual stage, one on the usual stage, with seating down both sides of the theatre as well.

Action seems mostly to take place at the end nearest the original stage.

To take the blocks one at at time.

Block facing the usual stage (seats J to T 6 to 31, approximately): These seats are simply in the usual place, the only difference being a stage running through the centre of the block. There is NO aisle beside seats next to this stage. This stage is above head height for those shorter than around 5ft 7, and the slope on all rows is very gentle - not really enough to aid viewing, feels the monkey. Seats curve towards the main stage, with rows J to M having to look sideways to much of the action. Staging also puts a lot of action at the other end of the theatre to the main block - row T may feel a little far from it at times. Skip K 16 to 22 if shorter, as you won't see over those in front too well. Legroom is unchanged from usual, except for row J, plus the outermost two seats in rows K and M, with nothing in front. Row J 11 to 22 are low benches with no arm-rests.

Blocks at the sides of the stage: Two sections. One below the stage, one on it.
Section below the stage (H to P 20 to 35 / 80 to 87 approximately): The place to sit, for those who can't afford premium seats, feels the monkey. It was in H80 and was close to the action, perfect view. Basically, rows H to L are in a trench. No aisle at one end, just stage (head height to 5ft 7). Row H has had legroom modified so that it is slightly cramped for those over 5ft 8 in all seats - oddly 24 and 86 have almost unlimited space up to 6ft or so; rows behind to 5ft 9. Nothing in front of aisle end seats on rows J, M and N. The stage is high enough to allow decent views from J to L without a rake (still, avoid if shorter). Rows M to P are on steps, which helps. The restricted views are mostly loss of back corner action, and rails in sightlines. Well-priced for that, the monkey feels. Be aware that this area is a "splatter zone" - expect snow of all descriptions...

On stage section: J and K 36 to 40 and 72 to 76 are directly on stage level. Premium seats with an outstanding view. J has unlimited legroom, K has a wider gap than last year and is also fine - but at the price, J is far preferable, feels the monkey. In the usual "box" spaces, L and M 44, 45, 74 and 75 are also premium. Avoid row L as it isn't raised. Row M are now "high benches" so you sit with your feet on a rail, and lean on one too. Not for the less spritely, but now a decent view. Beside them are two more seats either side. M 40 and 78 appear to be on sale - same holds; the seat beside them, not sold. All these seats are set back behind H and J, further from the action, but involved. The monkey would take seats on the stage first.

Block on the stage, facing the auditorium (J to S 46 to 71 approximately): Far closer to the action than the main stalls, and all seats are tiered, except J on stage level. Row K isn't raised sufficiently behind it, to justify premium seating, but further back it is pretty acceptable, the monkey feels. Legroom is unlimited in J, fine to 5ft 9 in K to R (K60 unlimited with nothing in front), but very tight for those over 5ft 6 in S. Outermost two seats in K, and singles in L and M have nothing in front. Running through the centre of the block is an entrance doorway. The rails provide some decent second price restricted view seats in rows N to S. Otherwise, the monkey would go around 2 seats off the centre - and probably not the most expensive premium seats. It also wasn't keen on the viewing angle from the outermost pairs in rows N to R either - they just felt a bit "behind the proscenium arch" as the walls either side of the usual stage opening seemed to close the angle down a trifle to the monkey mind.

Reader comments for this production layout:
"Stage Stalls M56 and 57: Got for £10 each at a preview. The view was good, but I agree that two seats further in from the aisle would have been better. M57 had a rail that partly obscured the view of the band and the few moments that take place over there. The rail was less intrusive for M56 as it was mostly behind someone else's head. However the offset in both seats wasn't as good as in 52-55, so I would avoid them at full price. I also felt that, particularly early on, some of the staging felt a bit forced and slightly clumsy in getting the in-the-round effect, but this settled down later on and may have improved further during the previews."

"Stalls M6: Billed as restricted view this was a great seat during the £10 previews. I didn’t find any restriction from this seat. (Mark)."

Reader Comments: NOT APPLICABLE FOR "A CHRISTMAS CAROL" (December 2019).
“Row A (when in use): These seats are an amazing bargain at a discount, with absolutely no sightline problems. In fact they offer a significantly better view than any of the boxes, slips, side circles or even the rear stalls."

"C19: "All My Sons" (April 2019). Day Seat was front row, centre. The stage has been lowered to around a metre high; every inch of the stage and set are visible, with plenty of legroom for you and ample under seat space for stuff."

“E15 and 16: “Hedda Gabler,” (Chris B). I can't recommend these seats highly enough. They are central offering an amazing clear, up close view whilst bring far enough back to appreciate the whole stage. And there is as much legroom as you could wish for, which is a welcome treat. Top class seats.”

"F22 and 23: "King Lear" (November 2016). Perfect view and leg room. The front row (row E this time) would have been even better as it had much more leg room and you could get to/from your seat without disturbing others in the row. The stage is low, so no having to look up."

“G21: (November 2009). Fine seat, good view, but could be problematic if someone tall sits in front of you. I never knew that the Old Vic had such a deep stage - it almost stretches as far as Elephant and Castle."

"G23 and 24: for "Design For Living" (September 2010), (Clive – regular reader). Perfect view of the whole stage and very good legroom."

“G26 to 28: "A Flea in Her Ear" (December 2010), (Clive – regular reader). Comfortable seating with good legroom and a good view of all the stage."

"J4 and 5: "Noises Off" (December 2011), (Annie). Good seats, lovely view, reasonable leg room."

"J14: "The Duchess of Malfi" (March 2012). Have to say that the poor rake of the theatre meant I was craning all over the place (as was everyone in front of me) to try to see the many speeches being performed while kneeling or lying near the front of the stage in the final parts of the play. I'm not short and those in front of me were not tall, so there is no excuse but the rake. Normally I suspect J is quite a good row, especially for seeing the full stage and yet seeing faces etc, but tonight I wished I was somewhat further back where the rake seems a little steeper."

"J17 to 21: "Empire State of Mind" (2011). Perfect view of the whole stage and good legroom."

“J19 and 20: “Six Degrees of Separation” (January 2010), (James – regular reader). Good view from here, but without the first few rows in use, I would have preferred to sit a couple of rows further back."

"J32: "All My Sons" (April 2019), (Taljaard). Really good seat with a great view and loads of legroom as it's on the aisle."

“K21 and K22: "Speed The Plow," (March 2008): Excellent view again."

"K 27 and 28: "Present Laughter" (June 2019), (Ronan B.). Got both at £65 although I see on your site that K27 is in the £90 category so maybe I got lucky. Would definitely choose these seats again, the view was perfect and could hear everyone clearly. The most surprising thing was the legroom: it was massive! I'm 6'3" and in the older theatres usually have my knees rammed against the seatback in front (hence always the need to check your site for seat opinions). Here I was able to fully stretch out. My Dad was with me, his legs aren't what they used to be, but he didn't even need to stand up to let people pass, there was that much room. Had a look around and the other rows in the vicinity seemed similar. Well done Old Vic!"

"L 4, 5, 6 and 7: "Six Degrees of Separation”. Seats should be red, possibly also equivalent seats at the other end of the row. The sound in these seats is variable: if the actors turn to the centre or to the other side of the stage they become inaudible. (Not something the monkey has noticed for other productions, but it strongly advises readers to bear it in mind).”

"L11 and 12: "Present Laughter" (May 2019). Excellent - the rake is sufficient here for most people to see and you are close enough to see facial expressions clearly."

"L11 to 14: "Groundhog Day" (August 2016), (Taljaard). Great seats."

"M6 and 7: "Present Laughter" (May 2019). Good view, quite comfy."

"L13 to 15: "A Monster Calls" (July 2018). Great (bought at a heavily discounted price)."

"M8 and 9: "The Real Thing" (March 2010), (James – regular reader). As always, a good rake and staggered seating ensures an excellent view, even if a little bit to the side."

N18 and 19: “A Very Expensive Poison” (August 2019). Bang on centre and excellent leg room. Normally I’d like to be closer, but given the strange angle of the rake in the Old Vic, these seats were perfect.

"N26 and 27: "Cause Celebre" (March 2011). These were very good seats. I'd like to have been a couple of rows closer ideally, but then you're at more of a mercy if taller folk are in front of you; so row N limits the damage from such - but it's marginal."

"N30: "A Flea In Her Ear" (December 2010). Had a perfect view of the stage”

"Row Q: It looked as if (when used) Rows A, B and C were slightly raised, then dipped down from D to about H, then rose again. If you have someone in front of you either very tall, or trying to avoid someone very tall in front, constant head bobbing will spoil your own view".

"Q6: (James – regular reader). Fine view as (for the first time in my theatre-going life) had someone really short in front of me. As the seat off-setting is optimised for the middle of the rows, heads in front could be a problem for all side seats here."

" Q14 to 16: "Noises Off" (December 2011). Provided a pretty good view with the offsetting, and we were far enough back to take in the whole panorama without feeling too remote. For this production, where the cast run up and down and the action is rarely central but occupies the whole width and height of the stage, I wouldn't have wanted to be too close."

"Q15 and 16: "Rosencrantz and Guildenstern Are Dead" (March 2017). Good view. Not as far back as they sound and raked well enough to see over heads in front."

"Row R: We had problems seeing. The theatre is poorly raked and £45 priced seats is a lot to pay to look at someone's head!"

"S6 and 7: "Rosencrantz and Guildenstern Are Dead" (March 2017): My favourite seats in this theatre. The legroom is very good, and the pillar separates you nicely from your neighbour. Highly recommended."

"S9: "Fanny and Alexander" (March 2018). I was initially a little worried about whether I and my bottom would survive for three and a half hours! However I was pleasantly surprised, in no part due to the fact that I thoroughly enjoyed the play! I didn't need to "stretch" my legs at all as the legroom from my seat was excellent, possibly the best (apart from some front rows) of any stalls in any theatre I have attended. You could even tuck your feet under the seat in front of you even if no-one was actually sitting in the seat. Well designed seating by the Old Vic is all I can say! I see that a few other people have also commented on the excellent legroom in row S!
Seat comfort was also good and my bottom survived the evening! One thing I didn't like is the absence of a centre aisle in the theatre. I didn't like this at all as people sitting in the middle of the rows had to clamber pass many others to get to their seats. Perhaps just a small point but one I felt worth mentioning."

Regarding the view from the seat, it was fine though distant - I generally prefer to be up close to the action! The theatre (the stalls at least) was full but I had no difficulty in seeing over the heads of the people in rows in front of me - the rake in this part of the theatre is pretty good. The row starts on seat S6, but despite being towards the side of the auditorium you had a good view of the stage only missing a tiny amount at the edge, hardly noticeable for this play!"

"S15 to 17: "Kiss Me Kate" (December 2012). Row S is a fair way back, but we had bought discounted GILT promotion tickets, so 'only' £35 each, and the rake was sufficient for a decent enough view at the price. But, most notably, I thought we had an amazing amount of legroom in these seats. Probably because the backs of the seats didn't extend down close to the floor, I was able stretch out my legs fully under the seat in front of me, and also cross my legs without resorting to contortionism - a rare treat."

"T16: "Six Degrees of Separation" (January 2010). Seemed quite distant, and at top price I would recommend going for something further forward. Was a steal at what I got it for though”.

"T26 and 27: "The Tempest" (July 2010). The rake this far back is good, the view was fine and I did not find it at all distant. The legroom in this particular row is excellent."

"T 30 and 31: “As You Like It” (July 2010), (Clive – regular reader). The legroom was good and the view also good, if slightly obstructed by a tall theatregoer in one of the seats directly in front. However as this was only one seat it was easy to adjust the view slightly to one side."

"U5: "Girl from the North Country" (October 2017), (Roger). This was classed as a restricted view seat, as there was a slim pillar, which cut the centre of the stage in two parts, but not a problem, if you did not mind moving your head from side to side occasionally. Another benefit with this seat was it was on the aisle and near to the back of the theatre, which meant it was very easy to get out in the interval to use the toilet, a very important point as they are limited and there are often long queues. There was a good very of the stage and plenty of leg room, if you don't mind getting up for people to walk along the row. Another real benefit was the cost of the seat was only £16. A real bargain for a stalls seat in a West End theatre"

"V 22 to 24: "Groundhog Day" (August 2016). What a wonderful website! Thank you. I absolutely always consult the guru theatremonkey before I buy a ticket. Stalls seats V22-24 were spot on. No pillars, nice rake, top and bottom of stage visible. £30 tickets worryingly cheap (for this show) but actually fantastic."


Stalls Boxes 

Two large boxes either side of the stage at stalls level.

Good on movable chairs, and on the (uncomfortable) ledge.

Choosing Seats in General:
Normally, it is reported that boxes will not be sold. Should they be available it will only be to personal callers at the box office, where any drawbacks can be explained to them.

Value is poor at top price, not much better at second price, better if at bottom price. Choose the centre stalls – or any other central seat in the main auditorium - first.

General Hazard Notes:
The view from all boxes is angled.

At the very least, the rear quarter of the stage not visible.

Lighting / sound fixtures may further affect views.

Changes for the current production:
Removed and incorporated into the stage stalls.

Reader Comments:
"Olivier Box: I was sold four tickets for "The Philadelphia Story" (summer 2005) in the Olivier Box. I was told it seated five so was pretty sure we wouldn't have anyone with us. We were sold seats 4 to 8. When we arrived we were surprised to find another couple with us in the box who had been shown to the only two seats with any decent view at all by the usher. I went to find her and it was all sorted out OK and they were moved to the front of the box with a very sideways view of the stage.

We then found that only one of us got any sort of decent view (seat 8). One of us had to sit on a very uncomfortable ledge behind and the friend in seat 7 had a very restricted view. My poor boyfriend couldn't see a thing as there was a pole in front of him - he ended up sitting behind the other couple and we wished we had kept quiet and taken the (supposedly worse) seats ourselves.
My point is that there is no way this should be sold as a box for six people. Four at the maximum. At a price of £40 per seat I would rather have had the discomfort of the rest of the theatre. I only took the box because it was a sell-out. When I rang the box office to complain I was told that they normally don't sell the boxes and only opened them up because it was a sell-out. However I wasn't told this on booking. Just warn your readers to steer clear of the box if they possibly can".



The Upper Circle overhangs the Dress Circle at row C. Row E misses the top of the stage.

A central block, interspersed with pillars in row B, faces the stage.

Three rows of seats extend along the sides of the theatre between the circle and stage.

Fine in almost all seats for all but the tallest (over 6ft) in rows B, C and D; uncomfortable for those over 5ft 7 or so in rows A, E, S and X for everyone.


Choosing Seats in General:
Centre Block:
In the central block row B seats 12 to 25 offer the best view and comfort, followed by row A 9 to 27, and C 13 to 17 and 21 to 24. It is worth choosing prime stalls over the Dress Circle however for comfort, view and proximity to the stage.

Central block seats designated restricted view are row A 7, 8, 28, and 29; Row B 7 to 9 and 28 to 30; row C 5 to 8, 11, 19, 26 and 29 to 32; row D 4 to 8, 9, 10, 17, 18 and 25 to 32; row E 4 to 11, 18, 19 and 26 to 34.

Of these, row B seats are least affected - looking through a safety rail or three - and are worth considering if the Dress Circle is a must and you need more than one seat on a budget.

Restricted view row C 19 and 29 and E 4 and 26 seem slightly expensive, and the monkey gives them an "avoid" rating as a result – cheaper, the view would have made them a bargain.

D9 is average value at least, as unlike the others, you don't have to pay AND lean in this one. The other pillar restricted seats in C to D are also pretty good (as are those in E for the under 5ft 6 brigade) but do remember seats on the stage with similar issues are closer to the action for the same money.

Row E is expensive in unrestricted seats between 10 to 28. Cramped, and the back row at top price, it isn't a total "avoid," but it isn't great value. E 13 to 16 and 21 to 24 are pretty much the pick here. Consider rear stalls for comfort or front Upper Circle for closer view (with bar, though) at the same cost.

Side Blocks:
Rows X, Y and Z are designated restricted view due to a combination of pillars and a viewing angle that makes between a fifth and a half of the stage invisible.

Theatremonkey likes to mooch in Y seats 17 to 20.

Row Z 16 to 21 are the same price as Y, and are both second price and second choice as these are fair rather than bargain value alas. On the other hand, there's a pair of cheap seats right next to them in row Y - fair or just about, for view if not comfort.

The short legged will also find row X 15 to 22 good value after Y and Z. The view in these seats, and comfort is not great, but the value is good enough to justify the choice.

General Hazard Notes:
Supporting pillars affect the view from some seats in row C back.

Row E cannot see the top of the stage.

Double height bars at the ends of the aisles obstruct the view of the first three seats in each row of the centre block.

Changes for the current production:
Central rows A and B are "premium." Good seats nearby, but may suit the wealthy in pocket and shorter in leg. If wealthy and tall, take stalls, though - just not the ones in front of the monkey, please...

Seats at the ends of rows B and C very fairly priced, it feels. A front dress circle view for the same price as an upper circle seat can't be bad.

Much of row E is at top price and only the centre is really felt fair value.

At the sides, row X and part of Y are top price. Avoid X if taller - you will pay a lot for little legroom. The ends of Y at third price offer a way to be close to the action for less cash.

Reader Comments on this "In The Round" layout:
"A29: A lovely seat. It was discounted, due to a "reduced view" by a safety rail, but that was no problem. I was delighted to have such a great view at a lower price. I also got snowed on during the production, which was a fun moment!"

Reader Comments:
“Row A: "Mood Music" (May 2018). The huge thrust staging causes big problems with sightlines.... we were sat in circle row A and the hand rail and lighting bar are a huge issue, we moved to row B after the interval and it was still an issue you would need to be in rows D back to avoid it I think."

"A20: "Present Laughter" (June 2019). This is my favourite seat in the Old Vic. It is central in the front row with reasonable leg room and gives an excellent view of the stage."

"Row B: (Julian Taylor). Plenty of leg room and an excellent view of the stage."

"B8 and B9: "Hedda Gabler" (September 2012). ‘Restricted view’ £21. We were really pleased with the seats, I was a bit worried as they are less than half the price of the £50 tickets next to us but despite the small bar we thought they were very good value for money and I would definitely sit here again. The seats feel really close to the stage and the central block of the theatre doesn’t have much of a curve so we weren’t to the side at all. The view of the front left part of the stage (about 10-15%) is partially obstructed by the small bar however not much of the play takes place here and occasionally we just had to move our head slightly to get a full view."

"B28: "No's Knife" (October 2016). One of my favourite seats in all of London theatres. An absolute steal at its usual £21. The safety rail is so thin and becomes practically invisible. Only prominent over a tiny corner of the stage. I never sit anywhere else at that theatre."

“C18 and 19: “Richard III,” (Chris B). The circle feels quite distant from the stage but does offer a very nice raised up overview of the whole performance. As with most of the seats at the Old Vic, there is legroom to spare. C18 is classed as restricted but in reality there is roughly a 5 inch wide pillar in front of your seat that is very easy to see around, especially if you can lean slightly over to the person next to you. And you get a discount on the ticket price.”

“C26 and 27: “Kiss me Kate,” (Chris B). The view is excellent from C26, clear and almost uninterrupted (a very small slice if the very right hand side of the stage is missed, although this doesn't detract from Kiss me Kate), if a little far from the stage to truly engage. And only marginally restricted from C27. There is a pillar in front of that seat, only about 6 inches in diameter that is quite easy to see around if you lean slightly. And the vastly cheaper price certainly sweetens the deal. There is plenty of legroom too, as with most of the seats at the Old Vic.”

"C30 and C31: (David Bone). As well as the pillars in the circle, at the front of the access aisles there are metal crash barriers, I guess put there as a safety measure to prevent the late comer who is running down the steps to get to his seat at the front of the circle from slipping and ending up in the stalls (!). Anyway, from our seats one of these crash barriers was right in front of us, breaking up our view of the stage. It wasn't a prohibitive problem but I wouldn't have accepted these seats at the price had I known."

"D9: "Noises Off" (December 2011), (Taljaard). At £15 it was a real bargain. About 2% of the right hand side of the stage was blocked but very little of the action takes place there so it was not a problem."

"D10: "Groundhog Day" (August 2016). Really great view despite a very slim pillar, didn't feel that I missed anything at all. My sisters seat D9 was even better, the pillar didn't give any obstruction at all! Would definitely rate this one as green for value, and even D10 because at £16 they are an absolute bargain."

“D17: At second price. It is rather interesting place. The Pillar is in the view, but not in front of you (It would be if you sit in D18). To avoid it, you have to lean to your left little bit. If the play is not "action based" and the set is extremely simple I thought I got a good deal. Not sure though if there was some action to your right how you would feel. Anyway, to sum it up. Annoying rather than fatal. So, don't dismiss it, and give it a good thought. The legroom is good/very good. I am 5' 10""

"D25: "Sylvia" (September 2018). Billed as restricted view due to a slim pillar, I paid £25 for this seat for Sylvia. I see for the next show it is priced £30, and the seat one over priced double that at £60! I know you can't link to pictures on your website, but the stage isn't actually obstructed by the pillar in normal stage setup. I think the red rating is unfair, and for a clear view should be neutral or green! I'd definitely sit here again."

"D25 and 26: "Rosencrantz and Guildenstern Are Dead" (March 2017). Pillar was more obstructing in D26, but view good overall."

"E22: "King Lear" (November 2016), (Taljaard). Good seat but it was quite warm in the theatre."

"E24: "The Caretaker" (April 2016), (Taljaard). Very good view and most comfortable."

"Row X: "Noises Off" (November 2011). Two seats were £35, the others £20 because they were apparently restricted view, though there was nothing to spoil anyone's enjoyment. My one complaint though is that my hearing is starting to deteriorate and a missed a lot of the dialogue - partly through the laughter and partly because the acoustics were not that great. If your hearing is poor, sit near the front or buy a hearing aid!!!"

"X19 and 20: "Sweet Bird of Youth" (August 2013): We moved to these after the interval because they were empty. These have a better view than the seats further along the side, as you don't need to lean forward to see the whole stage, although it's still slightly to the side. They're not a bad cheaper alternative to more central Dress Circle seats. The view is better than the ones at the back of the stalls in the same price band."

"X22 and 23: "Sweet Bird of Youth" (August 2013): Bought these as under 25 tickets so only paid £12, for which they were great value. *But* if you sit normally in your seat, about a third of the stage is obstructed by the barrier. There is a cushioned arm rest on the barrier, so you can lean and see the full stage, but it's obviously not ideal. *We moved up to X19-20 after the interval because they were empty*"

“Y1 to 3: the view from the seats is ok, but a little moving about was needed. I wouldn't suggest those seats (we actually had Y2/3) for a play etc as about half the stage is 'missing' but for cabaret happening centre stage, they are great value.”

"Y16: £20 plus £2.50 booking fees. I wanted to buy a better seat, but this was the best available. I have to say that I was very pleasantly surprised with the seat. I am not sure how things might be for other plays with too many actors and/or bigger set, but for my one, the view is very clear. It is true that you sit little bit sideways, but not really a big deal. However, a word of caution. I think the lower you get, the worse will be, because the angle gets smaller. The worst will be those near the pillar. Legroom is O.K. (I am 5ft 10/11). Overall, taking the price into account, very good seat."

"Y28 and 29: "Hedda Gabler" (September 2012). These are amongst the strangest theatre seats we have ever experienced. They are akin to bar stools, sitting very tall (they have an inbuilt footrest!), meaning that if you are a shorter theatregoer (like my wife who is 5ft 1/2in tall), your feet cannot touch the ground - or indeed the footrest, meaning you have to support yourself on the back of the seat in front.

The seats also aim slightly away from the stage! This, combined with the horseshoe shape of the theatre, means you lose sight of perhaps half the stage unless you lean well forward onto the (cushioned) rail in front of you. But to do this you would need the agreement of other sufferers in that section.

For the second half, we transferred to the row in front as it was empty and the view improved considerably. But you still lost sight of about a quarter of the stage.

These seats are only to be considered if subject to a substantial discount (like the £10 per seat offer we found), but even then the dire viewing angle has to be strongly considered before purchasing."

"Z19 and 20: "Fanny and Alexander" (February 2018). High bar-stool-style seats. I know lots of people don’t like these but I find the legroom great and the seats comfortable. We didn’t lose much of the stage and the price was fantastic. And the height is great if you’re a bit short (as my companion was!)."


Dress Circle Boxes

Two large boxes either side of the stage.

Normally, it is reported that boxes will not be sold. Should they be available it will only be to personal callers at the box office, where any drawbacks can be explained to them.

Good on movable chairs.

Choosing Seats in General:
Normally, it is reported that boxes will not be sold. Should they be available it will only be to personal callers at the box office, where any drawbacks can be explained to them.

Choose seats 4 to 7 in all boxes for the best of the poor angled views of the stage.

Value is poor at top price - avoid totally; much better at a heavy discount (bottom price). Choose the centre stalls – or any other central seat in the main auditorium - first.

General Hazard Notes:
The view from all boxes is angled.

At the very least, the rear quarter of the stage not visible.

Lighting / sound fixtures may further affect views.

Changes for the current production:
Benthall Box is used for the orchestra. Atkins box is close to the action, but seats 1 to 5 may be very cramped for those over 5ft 6. 7 to 12 are a raised bench, so those willing to dangle or almost stand will be happy here. Skip row S unless short - the view is fine if you are, excruciating if not. 7 to 12 look down at a sharp angle on the stage. Not a bad bet if you have to see the show and there's nothing else left, though.

Reader Comments:


Called the LILIAN BAYLIS CIRCLE in this theatre. Named in honour of the dynamic Old Vic manager. This lady believed in bringing quality theatre to the masses at affordable prices; Theatremonkey salutes her.

This circle is high above the ground.

Like the Dress Circle a central block faces the stage.

Two rows of seats extend along the sides of the theatre between the circle and stage. These are concrete steps converted to benches by padding, and without anything except a rail to lean on in row X.

Standing places are allocated behind the side block rows.

Stretching it to reach "adequate" in all seats for those over 5ft 6, worst in rows A and X.

Go 10 or more seats in from the aisle for maximum legroom - around an extra two inches, in all rows A to F.

Good news is that 2019 renovation work now gives rows G and H legroom adequate for those up to around 5ft 8.

Row X has least legroom. Row P is higher off the ground, so those under 5ft 6 may find feet dangling, and the taller may feel able to half stand. It is possible to turn sideways facing the stage in Y 1 and 36, creating extra legroom. Also in Y18 and 19 - except you'd be facing the wrong way...

Choosing Seats in General:
Centre Block:
Row A seats 12 to 30 are normally sold at third price. If the bar, legroom and height don't bother you, they are worth thinking about as the alternatives to identically prices restricted view Dress Circle seats.

Row A seats 3 and 33 are a fair restricted view choice only if legroom is not an issue; otherwise: avoid.

Behind that, Row B seats 10 to 28 offer the best view here, followed by row C 10 to 28. At third price though, consider paying a little more for the rear stalls first if legroom is a priority. The monkey picks the stalls on this one.

Rows F and G feel a long way from the stage in the monkey opinion. It would take G first for legroom. Row H, added in 2019 is also decent - the only problem being that with the stage extended to stalls row C or so, anyone leaning will block the view of those seated here. On the other hand, with nothing behind, it's possible to sit on a coat to boost height.

Side Blocks:
Row X is the front row, P the central and S the standing positions behind P.

All seats are designated restricted view with between a fifth and half of the stage not visible - and the bars don't help.

Seats 15 to 23 in all rows are a bargain bin choice - choose row P - or S for a tiny bit more comfort if you don't mind standing.

Those on tight budgets should look at side blocks if the purse is not stretching further. Rails and tight viewing angles make the last few seats in every row distinctly average value.

General Hazard Notes:
A bar runs across the front of the circle, affecting the view slightly in rows A and X.

A double height bar is found at all aisle ends. Pedants might want to avoid the aisle seat (and two next to them) here.

Less comfortable, narrower, seating is used in the centre block of this circle than elsewhere in the auditorium.

Spotlight equipment can replace G 21 to 23. Purists might like to avoid G 20 and 24 and F 20 to 24. Most won't notice, though.

Side seats are "bench style" without backs - arrive early to stake out your portion

Changes for the current production:
A lot of new pricing for 2020. Central row A is fourth price due to the rail. Centre is fair for the short-legged, but the monkey would go back to row C or D 15 to 23 for a view without the rail at the same price.

Central B, and parts of C and D go up to third price, the monkey would again take the cheaper seats behind.

Ends of A and B are restricted view, ends of F have a clear view, and all are fifth price. Monkey would probably go for ends of B (A if shorter) then F. It would also consider the row P then X slips closest to the centre block for the same cash once they have gone.

G and H are sixth price, and you can't go wrong for £12, feels the monkey. Take them before the end slips in B for the same cash. The side slip seats will get a pretty decent view of the action, though be aware that the stage lighting may feel a little "in the way" at the height.

Reader Comments:
“A16 and 17: "The Crucible" (August 2014 - "In The Round" layout, though seat location did not change). Do not consider these seats if you are over 5 feet six. The leg room is non existent. These seats are directly facing the stage, with the safety rail in front. This wasn't an issue for us as we could watch the action underneath the rail but it might be for someone taller. Also the seats were just too high and too far from the stage."

"B14 to 17: Perfect seats.”

"B19: 'Cause Celebre' (April 2011). Right in the middle, I was quite happy with the seat. Leg room was adequate, and the seat comfortable. You get an excellent view of the stage --- of course, one is a bit far away from the stage, but I didn't feel that distracted from my enjoyment in any way. I would choose that seat again. I certainly don't think the front row of the upper circle is worth the extra £10 GBP charged! In short, Theatremonkey's coding of B19 as a green seat was spot on."

"C16 and 17: "Rosencrantz And Guildenstern Are Dead" (March 2017). We thought they were fantastic seats for the price. (£30, not cheap, I know, but the Old Vic costs a fortune!) Clear view, right in the centre, no obstructions, easy to see and hear everything. (My partner thought the seats were a bit snug but I think that says more about him than them...)"

"C33: "Electra" (October 2014 - "in The Round" layout, though seat location did not change). Glad I chose this seat rather than the rear stalls one offered by the box office at the same price - there was a great big tree 'planted' right where my eyeline would've been! I'm not a fan of the Old Vic in the round and in this case I found that those in front row slips who chose to lean forward over the rail blocked even more of your view of the right hand side of what's now 'the stage'. But for the more centrally placed action and that on the left, this seat was fine. There's also a bit of space to your right to dump your bags if you need to - useful where the legroom is a bit tight!"

"C33: "The Master Builder" (February 2016 - standard stage layout). It's an end of row, which was a real bonus as the leg room is really really tight (even for me at 5' 5'') - but I was able to sit sideways quite comfortably. You only lose the very bottom right hand corner of the stage and, as the action entered mainly from the back of the stage, you didn't really lose anything. People around me were courteous with no leaning forward, so I was quite happy. Not much to add as a seat review for the website that hasn't already been said by another reviewer. Yes, room next to and behind seat to stash coat/bag etc. and excellent for a quick getaway at the end!! (was actually on the tube within 5 minutes of the final curtain call)."

"X 13 and 14: "The Caretaker" (March 2016). I tried seats X13 and 14 in the Upper Circle. With a little leaning I had a good view of the whole stage and it didn't seem as high as I've experienced in other theatres. However, these were the most uncomfortable theatre seats I've ever sat in. It's a bench seat with no seat back just a thick metal bar that the row behind might use to put their feet on (my husband even got kicked in the back at one point). Our feet didn't reach the floor (my husband is 5 ft 9) so it's leg aching as well as back aching and it's so cramped there's no room to pass, so the line has to evacuate to allow latecomers to sit down making it pointless to arrive early and grab your portion of the seat. Some around us left at the interval and some opted to stand as it was "too painful to sit"."

"X 15 and 16: "Rosencrantz and Guildenstern Are Dead" (March 2017). The seats are advertised as restricted view, but we often go for these sorts of cheap seats in the West End, often finding them fantastic value for money. The seats are small (with no backrest) but the view of the stage was initially what we’d expected - fairly decent, with part of the floor out of sight. However, once the play started, the people to the stage-side of us leaned so far forwards, with arms extended that it blocked our view entirely. We could not see the stage AT ALL and had an audio performance only. Not what was advertised, nor what we paid for. If you have normal theatre goers in those seats, who are respectful of those around them, I suspect the seats would be OK. As it was, we didn’t see anything of the play and we were gutted. Personally, I’d pay a bit extra and not take the risk - the Old Vic weren’t particularly interested in our experience when we contacted them. I’d appreciate something being put on Theatre Monkey as a warning to others. At least then they can make an informed choice about these seats. (We’d checked with you prior to buying too!)."


Total 1067 seats.

Air-conditioned Auditorium.

Guide dogs can be dogsat by staff.

Wheelchair users have access via a side door on Waterloo Road, to decent seats in the stalls. Also down to the theatre cafe / bar and an adapted toilet cubicle. Access to another adapted toilet is also available through the corridor leading into the stalls boxes. More information from the theatre box office on 0844 871 7628 / 18001 0844 871 7628 (textphone) / 18002 0844 871 7628 (hearing person). Operated by the Old Vic Theatre group's own phoneroom from 9am until 7.30pm Monday to Friday, 9am to 4pm Saturday and 9.30am to 4pm Sunday.

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.

Limited basement cafe menu, plus ice cream and confectionery in the auditorium.

Three bars; Stalls, Dress Circle and Upper Circle.

6 toilets; Stalls basement 1 containing 2 cubicles and 7 urinals, 1 containing 11 cubicles and 1 changing space, 1 unisex disabled, 1 containing 1 cubicle; Upper Circle 1 gents 2 cubicles, 1 ladies 7 cubicles.


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Getting to this Theatre
Find this theatre on a Street Map
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Waterloo - Bakerloo Line (brown), Jubilee Line (silver gray), Northern Line (black). Also a main line station.

This station has multiple exits, not clearly marked, so be careful! The best route is as follows:

From the platforms, follow signs for the "Waterloo Road" exit.

On leaving the glass doors, turn right. You can see the corner of the theatre - it is on the opposite corner of the next crossroads you come to. Just cross the road and walk to your right.


If, in error, you left by the "South Bank" and / or "Shell Exit" and / or "York Road Exit" from the platform to the surface, you will be on York Road.

Cross the road and turn to your left. Walk to the corner and take the next turning, a grotty street called Morpeth Road. Walk up it. At the very end, turn right. Walk on and you will come to the station exit you wish you had taken!

You will now be able to see the corner of the theatre - ahead and on the opposite corner to the left of the next crossroads you come to. Just cross the road and walk straight on to reach it.

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, via the theatre's listing page on that site.


1, 4, 68, 176, 188, 501 all stop nearby.


Car Park:
Parking on street after 6 pm, or hike from Coin Street. From this car park turn left. If you come to the back of the National Theatre and London Television Studios, wrong way.

Change side of the road and at the corner, turn right. Change side of the road. Keep walking until you come to a large roundabout with a circular building in the centre of it. Follow the pavement around and take the first turning on your left, Waterloo Road.

Walk straight down it, crossing a traffic access road in front of St John's Church, then crossing Exton Street, Alaska Street and Sandell Street. 

The theatre is on the opposite corner of the next crossroads you come to. If instead you come to the front of Waterloo Station, wrong way.


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