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

THE OTHER PALACE THEATRE (formerly St James Theatre)
(and "The Studio")

"Main Auditorium":


Ends 3rd March 2018.

After a successful debut concert performance at the London Palladium last year, Warwick Davis and Kevin Wood are delighted to announce the full-scale production of the British cult musical “EUGENIUS!” at The Other Palace from 22 January until the 3 March 2018.

Written by Ben Adams and Chris Wilkins, “EUGENIUS!” tells the story of Eugene, a teenage boy whose nightly dreams of a distant world of heroes and villains may just be the ticket to him creating his very own comic book movie in Hollywood. Joined by his best friends ‘Janey’ and ‘Feris’, our comic writing genius must discover the true meaning of growing up, finding the superhero within, saving the world from both earthbound villains and possibly those from distant galaxies, and along the way, falling in love.

Making his London theatre debut is American born Liam Forde who will play the lead role of ‘Eugene’. Liam has performed in many shows across America and is looking forward to making his debut across the pond. Joining Liam is Laura Baldwin who will play Eugene’s love interest- ‘Janey’. Laura’s previous credits include UK Tours of “Shrek” and “Betty Blue Eyes” and currently she can be seen in ‘Big Fish The Musical’ at The Other Palace.


‘Star Wars’ legend Mark Hamill will be the voice of ‘Kevin The Robot.’ Mark Hamill is most famous for his roles on screen; in particular, playing the iconic role of Luke Skywalker in the ‘Star Wars’ film franchise. Mark is also renowned as one of the world’s leading voice actors and has voiced a number of character roles including ‘The Joker’ in ‘Batman: The Animated Series’, for which he won a BAFTA. Mark has also guest starred as a voice actor in the internationally acclaimed series, ‘Family Guy’ and ‘The Simpsons’.

Mark said of his part in the production, ‘I am thrilled to be the voice of a character in this new British Musical, and to be supporting Warwick in his new venture. ‘Kevin The Robot’ is a small but important cameo in this nostalgic show which is currently taking London by storm with a brilliant original soundtrack nd story line’.

Producer, Warwick Davis commented, ‘I have known Mark as a friend since first working with him in ‘Return of the Jedi’ in 1981. He’s such a talented voice-actor and I feel very lucky he agreed to take a cameo in ‘Eugenius!’ How did I persuade him to do it, you might ask? Well, it could have been a Jedi mind trick... ‘This is the droid you need to voice.’

Joining them is, Daniel Buckley (“Book Of Mormon”, “Loserville”) as Feris, Ian Hughes (“Guys and Dolls”, “The Lion King”) as Evil Lord Hector, Scott Paige (“The Addams Family”, “Chitty Chitty Bang Bang”) as Theo, Cameron Blakely (“Les Misérables”, “The Addams Family”) as Lex, Shaun Dalton (“Joseph and the Amazing Technicolor Dreamcoat”, “Beauty and The Beast” and “Les Misérables”) as Gerhard, Melissa James (“Bodyguard” UK Tour) as Carrie, Alexander Evans (UK Tour of “Sound of Music”, “Carousel”)as Eugene’s Dad and Alison Arnopp (“Dusty”, “The Tempest”) as Space Diva/Mrs T.

They will be joined by Brian Gilligan, Jacob Fisher, Alex Tranter, Luke Dowling, Rosie Heath, Chloe Chambers and Frances Dee.

The production is produced by legendary “Star Wars” and “Harry Potter” actor Warwick Davis and features the voice of Prince Vultan himself, Brian Blessed. Warwick said, “We are thrilled to be bringing an original British musical to The Other Palace. After a tremendous concert performance at the London Palladium last summer we can’t wait to see the fully staged production. Ben and Chris have written this incredible 80’s inspired score and includes the songs 'Go Eugenius' and 'Comic Book Kind of Love', which recieved popular acclaim last year’.

The book, music and lyrics for ‘EUGENIUS!’ are written by Ben Adams and Chris Wilkins. Award winning Ian Talbot will direct. Ian was previously the Artistic Director at the Regents Park Open Air Theatre for 20 years, for which he received an OBE. He has directed ‘Annie Get Your Gun’ and ‘Lend Me A Tenor’. The creative team is completed by Aaron Renfree who will choreograph, sound design by Gareth Owen, lighting by Andrew Ellis, musical supervision by Stuart Morley and musical direction by Darren Lord. Set and costume design will be by Hannah Wolfe and the show’s design features specially commissioned comic book artwork by Marvel artist, Simon Williams (Transformers, Spider Man, Marvel Heroes, The lncredible Hulk).

Music from ‘EUGENIUS!’ is available on Spotify, Apple Music, Deezer, Google Play, YouTube and all other music services.

Twitter @eugeniusuk

Facebook and Instagram @eugeniusthemusical




A mixed set of exciting one-off events are also scheduled for the next few months, see for details.

"The Studio" schedule:

See for details of productions.

Events include:

Saturday 10th to Saturday 17th March, 2018 at 7.30pm
Saturday matinee performances at 2.30pm
Myth: The Rise and Fall of Orpheus
Ticket prices: £25

Directed by Arlene Phillips
Rock musical Myth: The Rise and Fall of Orpheus, directed by Arlene Phillips and written by Sam Cassidy, will have 9 concert-style workshop performances at The Other Palace from Saturday 10 - Saturday 17 March 2018. The production will be semi-staged and performed by a live 6-piece band.

The show, previously called 27, returns to London with a new title, a revised book and new songs.

Arlene Phillips said: “We were inspired by the recent workshop performances of Andrew Lloyd Webbers Starlight Express and believed this method of presentation would be invaluable to the development of Myth: The Rise and Fall of Orpheus.”

Sam Cassidy said: “It’s true that musicals are not written, but rather rewritten, and this is a fantastic opportunity. In 2016, we opened a completely new British rock musical and enjoyed a very successful 6-week season at the 170-seat Cockpit Theatre. We had great audiences, with many people seeing it more than once, but we were not completely happy with elements of the production. I’ve since looked at the book, revised the storyline, dropped some songs and added new ones. This latest run will give us the chance to see how this new version works with the chance for audiences to give us feedback.”

Myth: The Rise and Fall of Orpheus is a modern retelling of the Ancient Greek tale of Orpheus and the underworld, looking at mental illness and addiction in society and more specifically the rock music business, with a storyline with echoes of the tragically short lives of some of music’s brightest stars, including Jim Morrison, Jimi Hendrix, Janis Joplin, Kurt Cobain and Amy Winehouse.

Myth: The Rise and Fall of Orpheus is a show that’ll break your heart, make you laugh and rock you to your very core.

Cast and full creative team to be announced.

Arlene Phillips (Director)
Arlene Phillips is a showbiz legend honoured as a CBE for her services to dance; she has worked with stars from film and TV, to theatre and arenas, as well as becoming one of Britain’s favourite television judges. Her credits as director: Saturday Night Fever, international productions of Starlight Express, US tours of Joseph and Jesus Christ Superstar, Lord of the Dance, The Songbook of Judy Garland, Brazouka, Strictly Come Dancing Live Tour, The Music of Andrew Lloyd Webber and the Manchester XVII Commonwealth Games. As choreographer: Jackie The Musical, Starlight Express, Wizard of Oz, Flashdance, The Sound of Music, Grease, We Will Rock You, Saturday Night Fever, Joseph, Jesus Christ Superstar, EFX at the MGM Grand, Las Vegas.

Sam Cassidy (Music, Book and Lyrics)
Sam Cassidy is primarily known as an actor. Having performed in musicals before transitioning into television. However, with a burning passion for music, he never could kick his musical theatre itch, but for Sam, it was all about creating new exciting theatre that challenged the status quo of what musicals should be. Myth: The Rise and Fall of Orpheus may be the first show Sam has put out into the world, but it is by no means the last.
Myth is just the beginning.

Twitter: @MythMusical
Facebook: MythMusical
Instagram: MythMusical


Theatremonkey Opinion:

Not available. Professional reviewers are unanimous in their summary that this is a cheerfully batty evening, with catchy songs performed by a lively band and a nice line in both wit and channelling of the 1980s vibe.

The comic book world seems to work, with Cameron Blakely and Ian Hughes picked out for nicely evil work. Hero Liam Forde (Eugene) wins through and wins the audience, his would be girl Laura Baldwin (Janey) is happy - and even if the storyline goes awry trying to knit two threads over the course of the evening the result is pleasing as the show soon catches attention again.

Pure upbeat fun, seems to be the verdict.



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

(1 review)

Tuesday 20th February, 2018

N1 February 2018 (Eugenius) Seat was advertised as restricted view and cost £15.00. However view of the main stage was more than adequate and not worth paying the extra amount for a more expensive ticket. There is plenty of leg room and as it is right near the door makes it easy to get in and out. On arrival I was told I had been upgraded to K 7, a £35 ticket. However I decided not to take it as it was in the middle of a row. At this point I was told that the rear 3 rows were empty and would I like L 1. Being an aisle seat, it really suited me. However the leg room was restricted, but the view of the stage was good.

What can I say! The show is ideal for people who love Sci Fi and the very simple concept of good winning over evil, with a touch of romance added. The singing and musicians are good, but the music is not memorable and in fact the music to all the songs sounded very much the same. The set is simple, but effective and the costumes suitable for this type of play. The play is in fact quite amusing in places, especially when they are making the film in the second half and the character playing Touch Man speaks in a German accent and is unable to pronounce the words correctly. Hence leading to some amusing situations. The production has its lively moments and there is some good dancing. The character of Evil Lord Hector is played in the vain of a rather weak individual, who believes he has power. Generally the acting is more than adequate and characters are portrayed well. At the end some of the audience gave a standing ovation, sadly I was not one and I was very happy to disappear out into the cold air of Victoria. If you want to chance it, give it a go and get a cheap seat. On the night I went I got the impression a number of people there had seen it previously.



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.

Monday to Friday at 7.30pm
Saturday at 2.30pm and 7.30pm

Runs 2 hours 25 minutes approximately, including one interval.

See for details of productions in "The Studio."



Ticket Prices:

Offers May be available - Click Here

View this information in diagram form for "Main Auditorium" productions.

Rows B to L (except "premium seats" and restricted view seats): £35
"Premium Seats" rows E to H 6 to 18: £39.50
Row A 8 to 18; B 6, 7, 8, 21, 22, 23; C 3, 4, 24, 25; D 1, 2, 24, 25; M: £25
Row N, plus A 3 to 7 and 19 to 23; B 2 to 5, 24 to 27; C 1, 2, 26, 27: £15



See for details of productions in "The Studio."



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:
This venue sells its own tickets.
The site allows you to choose your own tickets in the main auditorium (not the Studio, where seats are unreserved and locations change) from those available.

Booking fees per ticket for online bookings:
A £1.50 per booking, not per ticket, transaction fee applies for postage if required and time allows. No fee for printing at home or collecting on the night at the theatre.

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


When the box office does not have seats available, or you require an alternative choice of seats, the Theatremonkey Ticketshop, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), agency service can offer seats with a variable "per ticket" service charge - £10 on £39.50 seats (£9 on £35, £6 on £25, £3 on £15 seats). More than the box office, but well worth trying as it often has tickets when other companies do not! 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 / telephone 0870 830 0200 which offers seats with a booking fee of £7.90 on £39.50 seats (£7 on £35, £5 on £25, £3 on £15 seats). A £2.75 per booking, not per ticket, handling fee also applies. (FREE call if using Calling Plan at your chosen times).

Alternatively, through Ticketmaster with a sliding scale of per ticket booking fees: of £6 on £39.50 seats (£5.25on £35, £3.75 on £25, £2.25 on £15 seats). A £1 handling fee for your booking on top of that for box office collection of 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 seats with booking fees of £11.50 on £39.50 seats (£10 on £35, £7 on £25, £5 on £15 seats). 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. hotel / theatre ticket packages are also available. charge a booking fee of £8 on £39.50 seats (£7 on £35, £5 on £25, £3 on £15 seats). 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.

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:
020 7087 7900
Operated by the venue.

Booking fees per ticket for telephone bookings:
A £1.50 per booking, not per ticket, transaction fee applies for postage if required and time allows. No fee for printing at home or collecting on the night at the theatre.

For personal callers or by post: 12 Palace Street, London SW1E 5JA. 
No booking fee for personal callers. The venue box office normally opens each performance day at 10am for over-the-counter sales, but check by telephone before making a special journey.

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.

Under 26's can pay to join the theatre's in-house scheme for special ticket offers. Click here for details. is the official venue website.


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 venue is visually amazing. Under a block of apartments, the ground and first floors are glass affairs rather like an advanced version of the "New London" Theatre. A spectacular 28 tonne Italian marble staircase, shipped in 17 pieces to the theatre, is the highlight of a stunning foyer.


Seating Plan Diagram

Main Auditorium

"The Studio" Auditorium


Main Auditorium

(photo credit: Craig Sugden, used by kind permission).

Soundproofed, thanks to multiple doors.

This is possibly the first "usher's torch free" auditorium in London, thanks to innovative "light up" row letters in the aisle floor, and 'intensity adjustable' downlighting below the aisle wall handrails. Other auditorium lighting can also be changed to glow practically any shade, warming the cool grey walls and enhancing the look of the angular deep red seating.

A single block of seats face the stage. They rise steeply upwards on steps from the stage. A reader feels it worth underlining just how steep the rise is. Not quite stadium, but very close to it.

Up to 8 seats in rows A to F, and 4 from row G back curve round towards the stage.

The audience enter from the foyer to a rear cross-aisle aisle behind seat N1. Either walking behind row N (to the "high number seats") or using the adjacent aisle by seat N1, all then descend (3 steps between each row, except N) to their seats.

The stage area itself is fully adjustable. Walls can be pushed in or out to create "wing" space, and a removable floor can replace rows A and B to create a totally flat open space. Alternatively, a proper stage can be installed. The monkey has currently tested the "flat floor" format, and will add information as the new layouts are revealed by future productions.

Unlike other venues, where seats curve inwards, there is no "knees touching" in any seat - there is space for all to sit back and enjoy the show.

Narrow, short armrests are provided between all seats, further maintaining decorum.

In the front rows A to C, this varies by production, depending how the stage is arranged - see "Changes for the current production" below.

If row A is used, and there is a raised stage, it has an extra inch of legroom compared to other rows. The front row has unlimited legroom if the stage is not raised.

Elsewhere, what needs knowing is that all the theatre's seats are designed to keep the user sitting totally upright at all times. This is essential as legroom is otherwise limited in most seats. The row in front rises with "flat backs" putting the 5ft 7 monkey's legs and feet into the "Z" position when seated. Bolt-upright, with knees one inch from the seat in front and toes held back parallel with kneecaps. That is the position in almost all seats in the auditorium. Not uncomfortable in an empty "test" position for a few minutes, but not yet tested in a full auditorium requiring sitting for an hour or more per act. The monkey welcomes further feedback - contact us.

The only exceptions are seats G1 and 23. These have slightly more legroom (unlimited for the right leg in 1 and the left in 23) as the row in front curves towards the stage.

Seats E 1 and 23 have a centimetre or so of extra space too, on one side.

Row N, consisting of seats that are higher than the others, has extra space for legs to "dangle," but not very much over any other row, the monkey feels.

Seats themselves are adequate for the average width, the largest may (as always) be far less comfortable - though all are kept cool as most seats have individual cooling vents under them.

A reader also noticed that where the row curves, there is a "double armrest" giving extra width.

Choosing Seats in General:
Rows A to F curve at the ends to surround the stage. Further back, the ends of the other rows also angle in slightly. All focus on the stage and the monkey thinks (but has not tested over time yet) that when "wings" are in place, no seat will have less than a perfect view.

Interestingly, seats to the sides have an equal, if not slightly better than average, view of the stage. The feeling of "looking inwards" is heightened, providing slightly more intimacy than those seats "face on" to the stage. From the stage, the actor easily engages even the furthest seats, thanks to the simplicity of the design.

Centrally, there is a reason that the middle of rows D and E are at "premium" prices for views. The perfect height - just above actors' eye level, and taking in the whole stage with ease.

Further back, around row J, a technical gallery spans the auditorium. Not really noticeable, just interesting, feels the monkey. The aim of the venue is "classy, off-Broadway" feel, which (never having been "off-Broadway") the monkey thinks is about right.
More interesting still, rear rows don't feel that far from the stage.

A particular revelation is row N. The back row is raised on a plinth to maintain the "rake" of the auditorium. A sound desk can replace seats 11 and 12 if required. Beyond this, seats numbered from 13 upwards will go on sale 20 minutes before the production, once wheelchair users have been settled. This part of row N can be adjusted to provide up to 6 wheelchair users or up to 3 users and 3 friends with views comparable to anywhere else in the auditorium.

As the staff noted to the monkey, the only reason row N is cheaper is that it gives visitors a choice. The difference in view is negligible. Monkey buying advice (based on very first impressions) is that front rows are simply closer to the stage, and that aisle seats provide a little "wriggle space" and are less claustrophobic for those who dislike long rows.

For views, take rows C, F then G at top price first (or "premium" seats in rows D and E - E first, then D), then simply go forward or back, and inwards or outwards (hokey-cokey style, the monkey cheers), as personal preference dictates - there's little difference, it feels.

The only issue the monkey highlights with the entire venue is actual seat comfort - for which (along with other general views of course) it welcomes feedback - contact us.

General Hazard Notes:
That legroom really is an issue for many.

Handrails at the end of each row back to D won't affect sightlines but may irritate purists.

Row A to C extreme end seats may find an actor’s back to them, depending on staging.

Changes for the current production:
The front row is A.

The outermost pair of seats A, and the end seat in B is not on sale.

The ends of A and B, the outermost pairs in C and row N are the cheapest in the house. Unless wanting the extra inch of legroom that N allows, take C to A first for the best angle, as you may as well be closer to the front.

The rest of row B is next price up, same price as L. No advantage taking one over the other, and the monkey would take the closest, or go for the extra inch of legroom in N.

"Premium Seats" are the centre of rows E to H. The monkey would go around them. Same view, cheaper.

Take second price M over top non-premium L, and lowest price N over second price M for the same reason. Broken record, the monkey knows... but still...


Reader Comments:
"Theatre: Why didn’t the powers that be make the seats more comfortable when they had the luxury of a new build? There is no legroom, except for seats G1 and G23 where the end seats of row F curve inward. Admittedly, the view is exceptional from every seat, but I don’t want to be thinking about my knees during such a wonderful performance. We’ve seen some great productions, but the legroom is always a problem."

"A7:  "You Can't Succeed" (September 2015), (thespyinthestalls). Right next to stage but low stage in this performance was fine. This seat is sort of where the row curves around so can feel a little tight in leg room."

"A13: "The Wild Party" (March 2017). Stage is quite low so this is a great seat! Good clear view of everything although did need to look up."

"A25: "Bully Boy" (October 2012), (David Hurrell). I had seat A25 at the end of the angle that rounds the stage. In addition to insufficient leg-room there are two other disadvantages: 1) The seat is very side on and so close to the stage that one's view of the action can be obscured by staring at a character's back and 2) one suffers from the glare of the lights. The management would do well to shorten the angles."

"Row B: 'Daddy Long Legs' (November 2012), (David Hurrell). I noted that the seats at either end of Row A that stood at an angle to the stage and about which I adversely commented to you in my review of 'Bully Boy' in October 2012' have now been removed, leaving just the 10 seats facing the stage. Needless to say the seats at either end of row B now have marvellous leg-room - just waiting for a daddy long legs in fact! (May of course not happen for every show, editor)."

B15: "Eugenius!" (January 2018). Got for £10 (via London Theatre January Sale). I had to walk down a rather steep staircase to get to my seat. The seat is central and gives a unobstructed view of the stage. I found the seat uncomfortable due to very limited leg room (I'm 6ft /1.8m tall) as the tips of my toes rested against the back of the chair in front (i.e. the "Z" position as mentioned by the monkey) but there was about 2cm-3cm of space in front of my knees at least. Good view of the stage but I did get a neck ache from looking up all the time. Also, the stage lights did hit me in the eyes often. I noticed a lot of people complaining about how hot it is in the back rows whereas in row B it's was just warm whenever the lights hit me. Note: There is a gap in the floor where the chair in front starts and this is where my bottle of water fell through (but was easy enough to recover at the interval)."

"C 6 and 7: "“My Mother said I Never Should" (May 2016). I went with my daughter to “My Mother said I Never Should” as my first visit to this theatre. We both really loved the theatre. I rather like smaller open theatres with low stage such as this, the Charing Cross (just seen Titanic) and others. We were in seats C6 and 7 just on the side and had a great uninterrupted view of the stage, the rake is such you see over the heads of those in front from memory, so no issues there. I liked these seats very much and I don’t usually like seats this close to a stage.
You pass comment that the seating is steep – perhaps you should emphasise that a bit more – it definitely looked steep from where we were – not 02 steep, but steep enough. My wife doesn’t like being in steep seating she feels dizzy and I don’t think I’d risk seats beyond row F if taking her.
You asked about seat comfort, I thought the seat comfort was fine as far as I can remember. They are upright as you say but it didn’t make it uncomfortable. I do tend to sit far back in theatre seats and upright anyway though. I also didn’t find the legroom a problem at all, perhaps again because I tend to sit back in the seat. It’s not generous but my knees/legs weren’t touching the seat in front sitting straight forward – I’m 5ft 10."

"D21 to 25: "Big Fish" (November 2017). As you note, poor legroom throughout. But worth noting (for ladies/gentlemen-of-a-certain-age) that you are right by an exit leading to the toilets. For some/many patrons, swift and easy access to toilets is a great selling point. As one of my party needs this access, I would always make sure I sat on this side of the auditorium for this reason."

"D22 and 23 "Miss Atomic Bomb" (March 2016). We were in the second row and at an angle to the stage but the view was brilliant and we were very pleased. The rake was good so my daughter had no problem seeing."

"Row E: "Daddy Long Legs" (November 2012). "Went to this new theatre for the first time last night to see "Daddy Long Legs" - ironic title since the seating is the most uncomfortable I've ever experienced. I'm not unusually tall but found it impossible to move my legs which ended up bent back under the seat, this is the only time I've almost left a show part-way through due to discomfort. Luckily at the interval I was able to move to an aisle seat which gave me room to spread out sideways. Seems incredible to get this so wrong in a brand new theatre."

"E 6 and 7: "Rent" (December 2016). I commented last time that I thought the legroom was OK as I tend to sit quite upright anyway – I think we were in row C or D last time and a bit further round to the side - perhaps it was just the angle or I was in a particularly good mood because we were sitting in E 6 and 7 this time and I did notice the legroom being tight, but I wasn’t uncomfortable. I can see someone with long legs being so though."

"E14: "Uncle Vanya" (October 2014). Great seat, central - but legroom poor."

"F20: "Miss Atomic Bomb" (March 2016). Good seat, with good view (close to the action, but a bit further back to get a good perspective overall). Legroom OK."

"F4: "Miss Atomic Bomb" (March 2016). A lovely little theatre, to me it looked like every seat in the theatre had a perfectly clear view of the stage. Only issue is the legroom – the seats have very upright backs and little legroom forcing you to sit up straight which isn’t the most comfortable position after 2 hours!"

"H20 and 21: "Big Fish" (November 2017). My first visit to The Other Palace. The seats - in terms of things to sit on - terrible. Have to sit bolt upright, with no legroom at all, they only get away with the rows being so close to each other because the rake is so "upper circle / cheap seats" steep, that it allows everyone's knees to overhang the row in front of them. In terms of view though, the steep rake means all seats can see the stage well. Worth mentioning that I overheard a lot of people complaining about how steep the access steps are; you don't really expect the steepness of an upper balcony, down in the premium seating area. Also note that there is a massive gap immediately behind each row, easy for dainty feet to get caught in when inching along a packed row.
We had seats H20 and H21, as mentioned the view was great but the structure of the venue ceiling is such that some lighting bars are quite close here. Not so that anything is in the way of the view, but I found the continuous noise of the fans on the lighting fixtures only a few feet above my head, to be distracting at times. One good feature about these high numbered ends of the middle alphabet rows is that they have great access to the set of toilets in the sub basement, and also to a direct to street exit, allowing one to miss the post-show foyer scrum.
Special mention for the awful in-wall house lights, I don't know if it was the particular shade they had them set to for Big Fish but they have a weird migraine-inducing strobe effect, where both my partner and I were seeing multiple flashing colours if we looked directly at them? Luckily those lights are off for the majority of the show.
My partner was particularly irritated by the toilets in this venue. For a relatively new build, there is shockingly little provision upstairs in the crowded foyer, and she said that many of the cubicles in the larger basement ladies didn't have working lights or flush buttons, rendering them unusable. Seems like maintenance is a bit lacking at the Other Palace."

"K18: "Daddy Long Legs" (November 2012), (Dannie). "I was in seat K18, and was pleased with the seat. I had a nice view of the whole stage and was able to clearly see the emotions on the actors’ faces. I’m 5’4”, and by the end of the show felt the legroom was adequate for me, but not amazing. There is an extra armrest between seats 18 and 17, due to the curve of the auditorium. This meant the person in seat 17 and I had our own armrest instead of jockeying to share one. From what I could tell the double armrest was present in all of the rows due to the curve, but I’m not sure if they were all 17 and 18 (and didn’t look at the numbers on the other side). The seats in front of mine for the next two rows were empty, so I can’t comment about heads in the way. Given the steep rake of the theatre I don’t think that would be much of a problem."

"L1 "Eugenius" (February 2018), (Roger). Being an aisle seat, it really suited me. However the leg room was restricted, but the view of the stage was good."

"L21: "Big Fish" (October 2017). Good clear view from this seat, about the right distance back for a musical."

"N1 "Eugenius" (February 2018), (Roger). Seat was advertised as restricted view and cost £15.00. However view of the main stage was more than adequate and not worth paying the extra amount for a more expensive ticket. There is plenty of leg room and as it is right near the door makes it easy to get in and out."

"N12 and 13: "Putting it Together" (January 2014). I was a little apprehensive having read that the seats were terribly uncomfortable, and having sat through "The Pride" at the Trafalgar Studios which has awful seating, I was a bit nervous. I am 6ft, as is my partner. We sat in row N in seats 12 and 13. Seat 13 was next to a sound man set up, so there was no one to my left. We had a great view of the stage and I have to say it was very comfortable. I didn't feel squashed and was able to sit very easily without hitting the seat in front of me. I did probably help that I had a little space next to me, but my partner who was sat between two people was absolutely fine."

"N23: "Big Fish" (October 2017). This was my first visit to this theatre and i was not disappointed. My seat was in the back row. There is only one set of seats. I had a clear view of the stage and was able to see the actors faces very clearly. Leg room was perfectly adequate for someone of average height, like myself. This particularly seat was an aisle seat, which meant it was easy to get out in the interval. The seats are very steeply raked, which also helps, but beware of the steps they are very steep."


"The Studio" Auditorium

(photo credit: Craig Sugden, used by kind permission).

This is a truly amazing space, on 2 levels, with a stage that can be confined to a corner or extended along a wall. A sound desk / DJ booth puts out music, a bar will quietly (so no hissing coffee machine here) serve alcoholic and soft cold drinks during intervals when the performer isn't actually performing, and the atmosphere even as the rush is on to finish it, is amazing.
Think "secret club" for the glittering crowd, and you are about there. Perfect for anything from chamber music to burlesque - and equipped for either, with a grand piano for music or just a stage setting.


An L shaped room with an adjustable sized corner stage. This can have any mixture of seats and tables arranged to face it. Movable banquettes provide further adjustable seating along one wall, and there may be a few bar stools too. Three thin pillars simply add to the atmosphere down here.

An L shaped "VIP Gallery" overhangs the floor below.

Comfort is good everywhere, thanks to the well-chosen furnishings – a mixture of movable chairs and banquettes, and the monkey highly recommends this venue.

Choosing Seats in General:
Seats are not reserved, and you may well share a table with a new friend... You’ll enjoy sitting anywhere as the view is fine – just shift your chair a bit if you think a pillar is too close.

General Hazard Notes:
Pillars dotted around - just move your chair to see around them.

Changes for the current production:

Reader Comments:
"Studio:  Amazing, arranged in a nightclub format and very comfortable with an intimate atmosphere – drinks and food available at the bar – what more could you ask for!"

"Studio: "Murder for Two" (March 2017). My first trip to The Studio (I’ve been to the main theatre). We all loved it. Cabaret set-up with tables and chairs. Bargain price seats. Plus it has its own bar."

also called the VIP GALLERY in this auditorium.

An L shape, with a long low gallery facing the stage.

The short end of the L is in three tiers, one on the same level as the rest of the gallery, the other two raised on steps behind, with glass barriers in front of each rise.

Comfort is good everywhere, thanks to the well-chosen furnishings – a mixture of movable chairs. These may be a little low for the tallest, perhaps.

Choosing Seats in General:
The "long side" is at perfect distance to the stage for a performer to take it in with a casual glance, creating an incredible intimacy. Seats on this length are comfortable swivelling low arm-chairs, with tables between. Just 9 of them, and if you have one, you'll feel privileged, feels the monkey.

Along the short side of the gallery, the lowest is on the same level as the "long" length, with a further 4 seats and tables. Slightly further from the stage, the rail in front won't affect anybody but the shortest.

The "middle gallery" (as the monkey unilaterally dubbed it - to the horror of the box office manager showing it around) is the most "middling" for view. It's OK, though in low seats you may be a little more conscious of those in front and may notice looking through two rows of glass and chrome rails.

The "upper gallery" (see above on dubbing - though the venue now use the term!) was the one that the monkey has now claimed for its own (no "peanut gallery" lines, thank you). Four tall stools, and a perfect "overview" of everything going on practically everywhere in the room. With 3 friends, privacy is guaranteed. Access to the bar, bathrooms and exits nearby are simple, and the seats comfy. Once its ban is lifted, that's where you'll find it.

General Hazard Notes:
The balcony rail may be a little high for the shortest person to see over.

Upper Gallery seating is on high stools. The short may be left with legs dangling...

Changes for the current production:

Reader Comments:
"VIP Gallery Level:  I sat in the studio gallery, I mean not the upper gallery, but the L shaped bit. Tall people needn’t worry, but I’m 5ft5 and found the bar running along the front of the gallery a pain as it was right at my eye level. I had to slouch back in the seat a little and look through the glass instead. This was fine, but the people next to me had the same problem and occasionally chose to lean forward, their elbows slightly over the rail, which hampered my viewing angle somewhat. If I went back I think I’d go a bit further along the aisle, facing full on to the stage, or else take a seat on the short side of the ‘L’ shape - on the face of it a poorer view, but probably less chance of people leaning into your line of vision… Nice comfy seats but don’t wriggle too much – they can wobble a bit! Despite the issue with the bar, I’d definitely choose to sit here again rather than on the studio floor – it looked like the seats are packed way too tightly down there for this claustrophobic/antisocial theatregoer!"

"VIP Gallery Level: "Anthony Rapp Live In Concert" (December 2016). I have to say this place is amazing - from the moment you hand over your ticket and you walk into what is the studio floor the atmosphere just hits you. I didn't venture too far into the floor part of the studio as it was filling up - but if you want the atmosphere then this would be the place to sit. For me personally I am glad we chose the gallery as the seats on the ground level looked close together and rows behind were on the same level as well so you are sitting behind the person in front - there could be a bit of wriggle room to move chairs though.
Up in the gallery it was so intimate - feels very relaxed and you do feel like it's a private performance with there being only a certain number of seat.
Initially we sat on the long side of the L - I was in the 6th seat along from the left. I thought this was a good seat at first as you are so close to the performer; but I then found that the bar running along the top of the glass was annoying me as it seemed to be filling a lot of my eye-line even though I could see over the top of it (I'm 5' 10").
It wasn’t sold out, so I could try out some other seats while it was quiet - wife thought it was funny to watch me try different seats and levels but it was all in the name of research...
I settled on the farthest seat on the left of the short end of the L. I could see over the bar and it didn't encroach too much into view and I had a full view of the performer and the band. It was great when the performer looked up, and interesting to see the band play their instruments which you don't normally get to see. You are a little bit further away here than on the long side, although that would be being very picky as it isn't exactly a very big space, and you do feel like you can almost reach out and touch the performer! Sound was fine and could understand everything the performer was singing.
I also tried the 2nd tier of seats in the short L and have to admit these wouldn't be seats I would choose if had first choice - there were 4 seats here - the 2 on the right had a better view, as the chairs on the lower level seem to be more over to the left so you had a less hindered view. The 2 seats on the left of the 2nd tier had the seats we were sitting in in front, so from behind you are getting a worse view as you will probably have to put up with people in front leaning forward and also more furniture to look through.
The upper gallery didn't appear to be being used, as there were no seats up here. I stood and looked down from there and had a great view of the surroundings, but couldn't try the seats, obviously. From a privacy point of view it would be great to sit here, and, from what I remember - although you are sitting further back, I preferred the view from here than from the middle tier.
A typed message on the bar that runs across the gallery glass states that the seats do not recline, but the seats swivel and they are very close to both the table (if you have one next to you,) and the seat next to you as well; so, when you are getting up you do have to do a bit of synchronised chair swivelling to avoid bumping either the table or the person sitting beside you... didn't actually test to see if the chairs here move or not.
As a female sidenote, my wife said she was well impressed by how many ladies toilets there were available!"


312 seats in the main auditorium.
120 seats in "The Studio"

Air Conditioned. Individual vents under most seats in the main auditorium particularly help cooling here - don't put your coats over them, though!

Hearing Loop available. Wheelchair access is flat to both auditoriums: slope or 1 step from street into foyer. Flat from foyer to main auditorium through 2 sets of heavy soundproof doors. Up to 6 wheelchairs, or 3 wheelchairs plus 3 companions can take spaces in row N, replacing seats 13 to 23 as required - seats break down in units of 2. 3 small steps between all other rows. Access to "The Studio" is via lift from the foyer, or down 16 steps to "Gallery" level and then another 17 steps to "Main Floor" level. Access to the foyer bar is flat. Access to the main restaurant is via a lift from the foyer or up 17 steps. Adapted unisex toilets on foyer and "The Studio" Gallery level. For performers, there is a massive, state of the art adapted bathroom / shower room available, flat access from dressing rooms to main stage and a chair carrying lift to "The Studio" stage level. To book tickets or for information, call the box office on 020 7087 7966 or see their website for details.

Food: Ice cream and confectionary. Main foyer: A large bar area. A full service restaurant occupies the first floor. See their website for details.

The theatre has public WIFI access in foyer areas.

Cloakroom: On "The Studio" Gallery Level. Roaming hosts will take guests coats to this cloakroom if required.

4 toilets: foyer - 1 gents 1 cubicles / 4 urinals, 1 ladies 5 cubicles, 1 unisex disabled; lower level - 1 gents 3 cubicles / 4 urinals, 1 ladies 10 cubicles. 1 unisex disabled.

Have a look at the poster by the lift in the main foyer. It's an original for a show called "Away We Go." An out-of-town American tryout for the original... "Oaklahoma!" Yep, given to Andrew Lloyd-Webber by Richard Roger's daughter, this bit of theatre history can be enjoyed by all!

The monkey gratefully thanks the new owners for their help in compiling this information.

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 The theatre entrance is slightly above the red arrow.
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Victoria - Victoria (light blue) and Circle (yellow) and District (green) lines. Also Main rail network terminus.

From the Victoria line ticket barriers, turn to your left. Follow the curve of the barriers around until you see an exit sign for "Wilton Road". Go under this sign and up the stairs.

From the District and Circle line ticket barriers, you have two choices. 

Either you can turn left on leaving the underground ticket barriers, go up the stairs and exit the station. Follow the street to your right, and the Victoria Palace Theatre appears ahead of you, across the road to your left.

Alternatively, on leaving the underground ticket barriers, turn to your right, and look along diagonally for a tunnel sign marked "National Rail". Walk under it and down a gentle slope. This will bring you into the Victoria line hall. Follow the curve of the ticket barriers around until you see an exit sign for "Wilton Road". Go under this sign and up the stairs.

The Victoria Palace theatre is in front of you, across a busy road.

It is possible to access the theatre from Buckingham Palace Road, straight down Palace Street. From the station, turn left onto Victoria Street, right onto Buckingham Palace Road, cross Bressenden Place, continue down to Palace Place, turning left into it. That is a far longer walk, though.


A Local resident writes, "I live in the area and suggest a route that's certainly no longer (maybe shorter!), that's less complex, and that I think is more pleasant. Here it is:

-- Leave the front of the station and cross Victoria Street (as in your directions);
-- Turn right on Victoria Street, follow it across Bressenden Place and go straight on for maybe another 50 metres;
-- Turn left into Cardinal Place shopping centre (just past the Moulton Brown shop and before Goldsmiths);
-- Walk straight back through Cardinal Place, which is an outside space (with a glass roof in spots) and is open to the public 24/7;
-- Walk past the M&S on the right and straight through to Palace Street;
-- At Palace Street, look to the left and the theatre is right there.

So -- in essence: out of the Station onto Victoria Street; left turn into Cardinal Place; Theatre is on the left at Palace Street.

You can save a few steps by going through Cardinal Place immediately after crossing Bressenden Place, on a diagonal from the street corner (going between the Lloyds on the right and the Browns on the left) and then turning left at the centre of Cardinal Place -- but that seems a bit more complex to explain.

Sounds like a good choice, thinks the monkey. Reader Dannie agrees, saying,
"I used the alternative route suggested by one of your readers, and had no trouble finding the theatre, even with the construction work going on around Victoria Station."

Either way, it's around 15 minutes to walk from the station to the theatre, feels the monkey - who is a fast walker...


16, 38, 42, 52, 73, 82, 148 stop nearby on Buckingham Palace Road. Walk down Palace Street. The theatre is the large pale coloured building ahead of you, after crossing Palace Place.

8, 11, 24, 36, 38, 73, 211, 511 To Victoria Bus Station. See directions from "Nearest Underground Station" above.


Can be hailed outside, but more easily on Buckingham Palace Road. Leave the theatre, turn right if leaving the main entrance, keeping the foyer glass windows to your right. Walk straight on to the end of Palace Street, crossing Palace Place. At the end of the road, across the street ahead is a brick wall - the Royal Mews. You have reached Buckingham Palace Road.

Taxis can also be hailed from the rank at Victoria Station. See directions from "Nearest Underground Station" above.


Car Park:
None are close. The theatre suggest Eccleston Bridge Place (walk down Bridge Place to Wilton Road, pass the Apollo Victoria Theatre, cross towards the Victoria Palace Theatre and follow directions from "Nearest Underground Station" above.

On street parking may be available after 6.30pm (all day Sunday) but is limited - even more so by building work in the area.

This venue does not participate in any discount parking scheme.

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







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