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

PALACE THEATRE


CLICK HERE TO BUY
 The original Broadway Cast CD


ALSO AVAILABLE, Click to buy:
Official Merchandise including Poster, magnet,
 Cuddly Plush Knight Doll, "Not Dead Yet" T-Shirts
and more...

SPAMALOT (musical)

The story of King Arthur and the Knights of the Round table… as you have never heard it before! With more than a nod to the classic film “Monty Python and the Holy Grail,” Eric Idle and John du Prez have created a new(ish) musical quite unlike any other.

Warning: contains beautiful (underdressed) showgirls, homicidal rabbits, cows and (allegedly) French people.

 

Click here now to view video clips from this show.

 


 

Theatremonkey Opinion:
From previous cast:
This is a beautifully staged production. The scenery, lighting, costumes and sound design are terrific, and the cast outstanding - Tim Curry (now left the production) and Hannah Waddington both excel - as the company work up a storm (and also look great too - go Laker girls!). The story almost works, but probably made more impact on Broadway where they are more fanatical about theatre; and the music and lyrics hold together OK too...

But... rather like a sophisticated ten-year-old who tells a great joke and then keeps telling it, sometimes less can be more. The much praised "Song That Goes Like This" is funny - but once you've got the point, you've got it; and that goes for many moments in the show which are extended in the traditional Pythoneque way that can make the quicker witted wish for the fast-forward button. Occasionally, too, the repetition tips into borderline offensiveness - an avoidable error.

Like the imaginatively stocked foyer souvenir counter, Spamalot lays out a counter full of strikingly different stuff to either laugh at or pass over. The show has unique heart, passion, soul and personality and is a change from other glossily determined and up-tight musicals; but if you like your laughs with an intellect, this isn't for you. Everyone else should find something that appeals, both Python and non-Python fans alike, and, like Broadway, the show could well discover a new audience in London attuned to the startlingly different world they've created.


 

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

The last 4 reviews are below. For earlier reviews, click here. Note that some reviews refer to previous cast members who have left the production.
___________________________________________________

Just wanted to say what a fantastic evening myself and my partner had last night (15th March 2008) at the Palace Theatre watching 'Spamalot.' The show was non-stop funny from start to finish. I am a big fan of the Monty Python films and couldn't wait to go and see this production in London. We were not disappointed one bit. Everything from the music, songs, costumes and sets were just top notch. If you like all things silly and slightly un-PC then you will love this show. I won't highlight anything in particular as I believe it's up to individuals to make up their own minds about the shows that they go to see, but do feel that you'd have to be hard pressed to not walk away from this show smiling.

Alan Dale was in the lead as King Arthur and, although he gave a good performance, I feel he was somewhat still finding his feet (as this was only his second week in the part) and in this particular performance was somewhat muted like he was just going through the motions. You almost felt like shouting out 'come on Al, loosen up a bit and let yourself go!!' However, saying that, he was not that bad and the actual show steals it anyway.

We were sat in the stalls row H 24 and 25 and were in the perfect position to see all the facial expressions and everything. We were both very pleased with these seats that are rightly highlighted green on the monkey, although I wouldn't have wanted to have sat any further to the left and would of preferred a position a little more towards the centre. The seats cost £60 each and I think well worth it, as the show is just the tonic if you fancy a damn good laugh.

The rest of the audience must have felt the same as they all gave a standing ovation in the end. The star of the show though was the Swedish actress (who won her part in a talent contest back in Sweden) as the 'Lady of the Lake' (sorry can't remember her name at mo), she was just brilliant.

Go see it, it's great!

GJ
Wallingford, Oxon
___________________

‘Spamalot’ tonight (Tuesday 18th March 2008) was glorious, and waves of laughter (from me as well as the rest of the large audience) continually swept the auditorium. But there was one problem, and that was the empty space in the middle of the show, namely Alan Dale. He just doesn’t have the comic gravitas, the charisma or the voice to do justice to this deceptively simple role. Maybe it is because of its simplicity that the player needs to bring his own baggage along and in my opinion Mr Dale had very little baggage. By comparison with both Tim Curry and Simon Russell Beale he was a non-starter, and even the relatively light-weight Peter Davison was better, although not really right. In fact Mr Dale was just about on a par with Simon Russell Beale’s cover whom I saw at a matinee when Mr Beale was indisposed. He (Alan Dale) got through the show, but added very little to it, unlike the other performers who were all on top form and cumulatively made it yet another memorable night for me.

One thing I have never commented on before is the scene in which the member of the audience sitting in D 1 is brought up on to the stage. This has always worked extremely well, even with one rather cocky young man aged about 12 who started off attempting to be smart, but was quickly tamed by Peter Davison and ended up being rather overawed by being on stage in the middle of a musical number. Full marks to the director and the cast for always handling this tricky moment so well, with people of all ages and sizes!
____________________

I got my ticket - C7 Stalls - via the half price ticket booth (TKTS) on Saturday afternoon for the evening performance. Checked the Monkey's website to make sure it was either a green or white seat. I had been sceptical about the show since in started, I liked "Life of Brian" as a film but was not sure how MP would go down in a musical; well, I was pleasantly surprised. It was a a good show and I have not laughed so much in ages. Well worth seeing and even more so at £30 ( plus £2.50 booking fee) - after all, the ticket should be £60 (which I'm not sure I would pay for the show!). At half price it's well worth-while if you enjoy a good laugh, was a fan of MP and like a musical but don't expect it to be A.L.Webber.

A slightly later starting show than most at 8pm, but with it being only a 2 hour show, it was still finished by just after 10pm and in good time for a tube and train home.

Seating: I was in the stalls, which I often find not as good as the Dress Circle (I'm short at 5' '7'') and find the stalls often mean I can see a head more than a stage. My seat was in row C which was the 3rd row (no AA, AB rows etc in the Palace) seat 7 (row starts at C5 - so 3rd seat in) and was a good view - the stage was set back due to the orchestra pit, and a good view in general.

Point of warning from Row D back: be careful not to get tickets in the last two or so seats as there are post/ pillars that will get in the way, and after all, even at a lower price you want to see the show not some post. be careful of Seat D1!

The cast were very good, and I recognized one of them as a previous member of the "Our House" cast.

Overall, if you wish to see a show and have a laugh "and have a little whistle" at the same time, then "look on the bright side of life" and get along to 'Spamalot,' but maybe better to get your tickets via the half price booth (TKTS) and save £30.

Alun Of Essex

Performance Date:12th April 2008, 8pm.
_____________________

I couldn’t resist a ticket at under £20 so I chose A9 in the Dress Circle for the first house last Friday (2nd May 2008). I can see why this site marks the front row of the Dress Circle in red as regards legroom, but for me it was absolutely fine. Again I had a wonderful time. The more I see "Spamalot" (seven times now, I think), the more I appreciate its qualities. It is genuinely funny throughout, the gags are carried off with great skill and theatrical ingenuity, nothing outstays its welcome and there is a vast amount of material packed into the two-and-a-quarter hours that the whole performance takes.

On seeing some Monty Python sketches replayed on TV at various times I began to grow tired of the wearisome shouting and overplaying that characterised a lot of them, but somehow this same humour is melded smoothly into a very satisfying whole on stage and it all works superbly. The delighted response of the audience at every performance I have attended testifies to this, and I look forward to further visits if and when there are any major cast changes.

I am happy to report that Alan Dale is now rather better than when he first started, but still not as good as the two first Arthurs. Everyone else was brilliant and it is only now that I have finally become aware of exactly who plays each of the various minor characters like the French Taunter, the Black Night and Brother Maynard. And it came as a surprise to realise that the Historian is also Not Dead Fred and Prince Herbert!

So, even after seven visits I am still finding new elements of the show to savour and enjoy, which says a great deal for the creativity of the writing, the music, the performances and the production.


 

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 Thursday at 8pm
Friday at 5.15pm and 8.30pm
Saturday at 3pm and 8pm

Runs 2 hours 20 minutes approximately.

The monkey advises always checking performance times on your tickets and that performances are happening as scheduled, before travelling.

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

All performances EXCEPT Friday and Saturday Evenings:
Stalls: 

Rows A to S: £55
Rows T to W: £45
Restricted View seats row B 26, 27, 28; row C 27, 28; row D 2, 3, 4, 28, 29; row E 2, 3, 28, 29; row F 2, 3, 29, 30; row G 1, 2 and 30: £35

Boxes: £35 per seat (restricted view).

 

Dress Circle: 
All seats: £55 except
Dress Circle Restricted View row A seats 3, 4, 33 and 34: £35

Boxes £55 per seat


Upper Circle:
Rows B to G: £40 except restricted view seats.
Row A restricted legroom seats 9 to 26: £30

Upper Circle Restricted View Seats
Row A 3 to 6 and 39 to 42; B 2 to 6 and 39 to 43: £15
Row A 7, 8, 37, 38; B 7, 8, 35 to 38; C and D 8, 9, 36, 37; E 9 to 11 and 34 to 36; F and G 10 and 35; H 10 to 12 and 33 to 35: £20

Boxes G and E £20 per seat (restricted view).


Balcony: 

Centre block
Rows A to M: £20
Rows N and O: £15

Side blocks
Rows A to K: £20
Rows L to P: £15

At Friday 5.15pm performances, up to 2 children (aged 15 and under) "Pay Their Age" when accompanied by an adult buying a top price ticket. So a 12 year old pays £12, a 10 year old £10 etc. This offer is available only from the theatre on 0870 890 0142, subject to availability, change, withdrawal and box office discretion.

At certain performances, those aged 16 to 26 can buy best available seats for £20. This offer is available only from the theatre on 0870 890 0142, subject to availability, change, withdrawal and box office discretion. Tickets will be held at the theatre for collection on the day, and proof of age will be required when collecting them.

 

 

Friday and Saturday Evening performances ONLY:
Stalls: 

Rows A to S: £60
Rows T to W: £47.50
Restricted View seats row B 26, 27, 28; row C 27, 28; row D 2, 3, 4, 28, 29; row E 2, 3, 28, 29; row F 2, 3, 29, 30; row G 1, 2 and 30: £37.50

Boxes: £37.50 per seat (restricted view).

 

Dress Circle: 
All seats: £60 except
Dress Circle Restricted View row A seats 3, 4, 33 and 34: £37.50

Boxes £60 per seat


Upper Circle:
Rows B to G: £42.50 except restricted view / legroom seats.
Row A restricted legroom seats 9 to 26: £32.50

Upper Circle Restricted View Seats
Row A 3 to 6 and 39 to 42; B 2 to 6 and 39 to 43: £17.50
Row A 7, 8, 37, 38; B 7, 8, 35 to 38; C and D 8, 9, 36, 37; E 9 to 11 and 34 to 36; F and G 10 and 35; H 10 to 12 and 33 to 35: £22.50

Boxes E and G £22.50 per seat (restricted view).


Balcony: 

Centre block
Rows A to M: £22.50
Rows N and O: £17.50

Side blocks
Rows A to K: £22.50
Rows L to P: £17.50

 

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


Buying Tickets Through the Venue:

More Ticket Buying Options

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems.
Theatre Box Office:
Telephone: 0870 830 0200
(  020 7087 7500 if you cannot use the 0870 number)
Operated by See Tickets on behalf of the venue.

Online:  www.seetickets.com provide the service for this theatre.

Other Online Booking Options: click here.
 

Booking fees per ticket for telephone and online bookings:
A £1 per ticket fee is added. Pays for the rabbit hutches, thinks the monkey...

For personal callers or by post: Shaftesbury Avenue, London. W1V 8AY
No booking fee for personal callers. The box office for this theatre is "around the corner" from the foyer, on Shaftesbury Avenue itself. Just face the theatre, turn left, and walk around the corner under the canopy.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 020 7087 7960 or 0870 895 5505 (Minicom 020 7087 7839) and enquire about concessionary prices that may be available to them.

http://spamalotlondon.com is the official show website.

 

More Ticket Buying Options: Using S.T.A.R. genuine ticket agencies.
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers May be available - Click Here

When the theatre does not have tickets available, it is worth trying the Theatremonkey Ticketshop agency, which offers seats with a booking fee of £5.50 on £55, £4.50 on £45 and £4 on £40 tickets (£6 on £60, £4.75 on £47.50 and £4.25 on £42.50 seats for Friday and Saturday Evening shows). Moderate by agency standards, though higher than box office prices, but worth trying! Simply select the show from the "drop down" menu in the centre of the page. Note that this system will confirm exact seat numbers prior to purchase.

Another alternative is Ticketmaster.co.uk who offer seats with a £1 fee - plus £2.25 per booking (not per ticket) handling charge added on all prices.

Encore Tickets offer £55 seats with a £14 booking fee per ticket (£15 on £60 seats, £10 on £40, £5.50 on £28 and £22.50 seats, £5 on £25 tickets) - plus optional UK postage of £1 per booking, not per ticket, available if time allows. Discounted tickets, Meal and show packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

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

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

Theatre Seat Opinions:
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.

Seating Plan Diagram

Stalls Dress Circle Upper Circle Balcony Notes
STALLS 
The Dress Circle overhangs the stalls at row E. The top of the stage is not visible from row P back and is a real annoyance from row T back. 

Row A seats 9 to 22 used to offer a way to be near the front at less than top price. William Cooper, a regular theatremonkey reader, feels that: "Row A was by no means perfect; the grandeur and spectacle of a production can be lost as a result being tucked up against the orchestra pit and staring up at the stage. Sound quality is good in this row, although the orchestra's sound can be unbalanced by the proximity of seats to the stage."

Readers Messrs Colin and Asa McCarthy-Burton note of row A that:
"The seats were fine, but as the stage is a little high you do miss some of the effects, but it is great to see the faces so close as you can see expressions etc".

At top price for "Spamalot" the monkey isn't quite so keen, but feels for those who do like the front row to "see faces" it'll prove the usual OK choice for regular theatregoers. For those who go less often, further back may well be more to their taste - though row A isn't seating to discard from thoughts.

Reader Zena reports for "Spamalot,"
"The front row is fab. A little bit of legroom and then a low wooden barrier between you and the orchestral pit below. The stage looks like it slopes downward so no neck ache except for during the scenes when characters appear high up."

Readers Matthew and Samuel agree,
"We sat in stalls row A14 and 15 which is in the front row. It was a bit close to the stage but the show was at eye level and there was good leg room. We had a god view of stage but perhaps a few rows back would be better."

Rows B to D should be considered only if you want to be close to the actors or if the alternative is sitting in row M or further back.

One reader found the middle of row B excellent, saying,
"I just revelled in sitting so close to the performers and being able to hear their voices relatively naturally and not loudly amplified (because the loudspeakers were projecting the sound way above and beyond where I was sitting). Legroom was tight, though."

From row C, reader Alun Of Essex says,
"I was in the stalls, which I often find not as good as the Dress Circle (I'm short at 5' '7'') and find the stalls often mean I can see a head more than a stage. My seat was in row C which was the 3rd row (no AA, AB rows etc in the Palace) seat 7 (row starts at C5 - so 3rd seat in) and was a good view - the stage was set back due to the orchestra pit, and a good view in general.

Point of warning from Row D back: be careful not to get tickets in the last two or so seats as there are post/ pillars that will get in the way, and after all, even at a lower price you want to see the show not some post. be careful of Seat D1!"

Reader Mark Lane rates row D seats 19 to 21 highly in this section, and prefers them to the Dress Circle. Reader Stuart Mulholland adds:
"We had seats D24 and 25 in the stalls , slightly to the left of centre, but not too close to the orchestra, I would recommend these seats, but at £50 (for the production we saw) quite pricey."

James F feels of the same row,
"Row D seats 26 to 28. Excellent leg room (I'm 6ft 1) and perfect sight lines"

Regular reader Martin sums up the row D argument with,
"I am not keen on row D as the whole thing, but on the other hand I consider seats 14, 15, 16, 17 as the best seating in the house. To be on the safe side: very close to the action, while seeing the whole stage including feet at the behind and the top, but no neck aches after the performance, outstanding sound balance and conductor in the view but not distractingly, very good rake."

Reader Cristopher rated D7 highly, as the cast and grail were so near!

Reader Liza points out that those of 5ft 2 won't see the floor of the stage from row B - taller people will, though.

Readers Marita and Michelle say of row C,
"Our seats were excellent...we had a good view of everything going on."

The rest of the stalls rows E to L offer clear views with a good rake. Row G then H then F are prime seats, as reader  Jamie Coniam notes:
"We sat in row G, seats 6 and 7. Excellent seats, great view and very close to the action."

To the left of him, a reader reports that at a discount,
"Row F seat 3 was a little bit to the side but still a really good view of the stage! It's lovely to sit that close to the actors!"

Two rows back a reader says,
"H16 and H17 offered both a great view and plenty of legroom."

Reader James T. feels:
"I was sat in Row H of the stalls in seat 22. I can safely say that this is an excellent seat, though if you are over 5'10 I would avoid as the leg room is pretty poor."

another reader agrees,
"Our seats were perfect; we had H8 and 9 in the Stalls. The leg room was a bit lacking for my 5'9" frame but the view and the proximity to the stage made a little discomfort worth it."

reader GJ adds to the praise,
"We were sat in the stalls row H 24 and 25 and were in the perfect position to see all the facial expressions and everything. We were both very pleased with these seats that are rightly highlighted green on the monkey, although I wouldn't have wanted to have sat any further to the left and would of preferred a position a little more towards the centre. The seats cost £60 each and I think well worth it."

Reader "Lizzie Loves the Theatre" speaks highly of row L too.

Then pick rows I then J to M alphabetically. The first and last four seats in all rows are now struggling to maintain average value at top price - price does not really reflect the lack of being central, though the view is acceptable to many. Theatremonkey feels though that the Dress Circle rows B to D seats 11 to 26 are better than the top priced stalls.

Reader Chris May felt that stalls row I seat 27 was good:
"no problems with the view and seats had O.K. legroom."

contrasted with another reader who said,
"splendid seat in I5 in the stalls. By splendid, I mean the view and not the extremely cramped legroom"

A reader notes that F26 and 27 were worthwhile tickets at the sides, provided actors are not positioned to mask the view of other performers.

Another reader says,
"I was in seat H22 or 23 - all seats around here are fantastic - near enough so that you can enjoy the spectacle of the show yet far enough away so that you can absorb fully appreciate the set".

Further back, another reader adds,
"Seat O 6 in the stalls offers a good full view of the stage. A tiny upper corner of the stage gets blocked out but there's not much action going on high up there anyway. Leg room is limited but not cramped."

Rows P to S at top price are only average as they feel a little distant from the stage for some.

One person comments:
"I was sat in Row P, Seat 8 and I had no problem with leg room or the view - apart from the mirrors that line the side of the theatre and occasionally had reflections of the action. A minor distraction."

Reader Richard Bradbury further comments: "stalls seats T 25, 26, 27 gave a decent view of the lower half of the stage but the entire top half is blocked by the circle". Reader Heath concurs with this.

Rows V 20 and W 21 are beside the sound control desk and should be avoided. Purists may also want to skip V 21 and T 16 to 21 in front of the desk too.

Sound in these rear stalls is good, the view is clear but distant (and the top of the set is missing) but under the new price regime, seats 8 to 15 in both rows look distinctly average. Row W offers a wheelchair space replacing seat 27. See notes.

Reader Shona notes,
"Our seats were right at the back and left hand side of the stalls (V26 and 27)...I was impressed with the legroom and the view was fine." 

On the other side of that aisle, reader Jonathan Bridges reports:
"We were sitting in the Stalls Rows W, Seats 9 and 10, both of which had excellent viewing. You couldn't see the top right corner of the stage." (This wasn't a problem for the production he saw, as nothing happened there anyway!).

Though further along, in W23, theatremonkey friend Brian McKinney (former Goodshow.com owner) wasn't impressed with his view of "Spamalot."

The first seat and last three seats in row B, the first and last two in rowC and first and last 2 in D to G are restricted view. The seats are among pillars, outside the proscenium and offer a view of about two thirds of the stage; the rear and side closest to the seat are not visible. At low prices theatremonkey likes these for being close to the stage and offering more legroom than the same priced balcony. At the new high prices, though, the monkey feels them worth avoiding - get an Upper Circle box instead for less money. Reader Chris Parker disagrees, though,
"I notice you have B26 in the Stalls as poor value but the next seat B25 are fair, well I have sat in B26 and for £32.50 (as priced then) it is much better value than B25 which is £50".

On the other hand, Mark and Nicola Dunsford say,
"On advice from the box office we went for E28 and E29 which were supposed to be "Pretty good but off to the side a bit". However, no mention was made of the pillar which blocks visibility of about 1/3 of the stage for E29"

Another reader comments,
"I'd be happy to pay for D4 at the reduced price. You miss the corner of the stage, but nothing much seems to happen there so it does not matter. Yes, it is a restricted view and £32.50 (as it was then) is pricey by any standards, but as restricted view seats go, this is one of the better ones, I think, though others may disagree."

D2 is the seat with easiest access to the stage, via a staircase.

Legroom is acceptable in all seats for those up to around 5ft 10 or so, best in row A and in seats 15 and 16 on the central aisle of all rows. 

One reader comments, that at 6ft 1 tall he had to sit bolt upright in both rows B and J, and had  his knees jammed against the seat in front. He attributes this to the new seats with straighter backs that are also not so well staggered to leave kneehole gaps. Reader James T. says of H 22, "excellent seat, though if you are over 5'10 I would avoid as the leg room is pretty poor". Taller persons may find either side seats without anything in front, or box seats, might be preferable. 

Another reader feels that:
"All the seats here are very cramped! Those over 6ft will not only feel uncomfortable but will also not be able to sit down. The only way to avoid this is to sit in the first row of the stalls or any central aisle seat. Never buy tickets which are inside the rows - only the aisles.

My experience in this was that I told my little problem to one of the staff members who promptly asked one person from row A to move to row G (my former seat was G22) and I got £5 back - what a deal. The show was amazing but this little problem can destroy the whole performance. Nobody gave me as many apologies as in this theatre. Think of this when buying tickets!"

A row back, a reader comments,
"H23 and H24 in the stalls – I think I can safely say these were the two best seats I have had in the West End – a perfect view."
 

Reader Jay Hunt relates this cautionary tale:
"I had booked two top price stall tickets (Row R, seats 8 and 9)...the leg and knee room was so tight that I could barely sit down. I am 6ft 5 so never expect much room, but I have never sat in any theatre seat this tight  After realising that there was no way I would last the first Act, let alone the whole show sitting with my legs jammed against my neighbour and seat in front, I spoke to an usher, who moved us to a box at the left rear hand side of the stalls. The view from here was terrible- as other reviewers have pointed out, the back third of the stalls, including the rear boxes, are distant from the stage. From this particular box the top two thirds of the stage was obscured, as was a good third of the lower part of the stage! So we insisted on moving yet again, this time to Box A, at the front of the theatre and accessible from the Dress Circle. Here we enjoyed a fantastic view. If I go to see this show again, I'd be tempted to book the same box or the front few rows of the dress circle. By the way, the Usher did admit there are several rows of seats in the stalls that do have particularly tight legroom- I can certainly vouch for Row 'R'!".

The monkey would point out that central aisle seats only give stretching for one leg, while only centrally located stalls row A have maximum legroom.
 

 

Stalls Boxes
At stalls level box Y is in an alcove halfway along the sidewall of the theatre. The view is poor with a third of the stage missing, but sitting in the far right side of the box improves it slightly. Choose these only if box Z and the restricted view stalls are not available.

Reader Jay Hunt says,
"The view from here was terrible- as other reviewers have pointed out, the back third of the stalls, including the rear boxes, are distant from the stage. From this particular box the top two thirds of the stage was obscured, as was a good third of the lower part of the stage"

Box Z is at the back of the stalls behind row W. The view is restricted to the lower two thirds or the stage, but it is clear. Choose box Z as a comfy cheaper alternative to a seat in the Upper Circle, IF you are not worried about missing the top sections of some scenes. A reader notes that box Z had an "odour problem" ("hint of drain" is the scent again) pointed out at time of booking! Hopefully the building work since then has cured it permanently!

 

 

DRESS CIRCLE 
The Upper Circle overhangs the Dress Circle at row C, cutting the view of the top of the stage from row H back. A safety bar at the front corners of the circle might worry those in the end two seats, but prices allow a VERY little for the interference.

The Dress Circle is split into left and right blocks by an aisle. In all rows except J seats 18 and 19 are next to the centre aisle offering extra comfort and a good view.

Theatremonkey rates the Dress Circle rows B to D seats 11 to 26 the finest in the house. Accept that the seats feel oddly upright, but the view of the stage is great. 

Reader Celia Robinson comments,
"I sat in row B of the Dress Circle and had an excellent view of the action."

Reader Siobhan agrees:
Dress circle being the best seats"

Reader Paul Nicholls opines,
"I had seat C25 in the Dress Circle. Excellent view, plenty of leg room. If you were to take your own seat into the Palace Theatre, this is where you would probably put it!"

Around these seats, next pick row E then choose stalls.

Reader Freddy agrees,
"Row E 18 and 19. The most perfect seats ever. Clear view, comfy, lots of legroom and an aisle to lean into. Well worth the 55 quidies we paid!"

Row F back are very overpriced at top price, says judge theatremonkey, and row A has a terrible lack of legroom, but a great view. Reader Edward, notes that row F25 was "stunning" when available at a discount. The monkey agrees, and would cheerfully sit there - or in row G behind - at a lower than top price. One reader even felt H23 fine at a discount, with a clear view, good sound and not too much intrusion by the circle overhang.

A reader comments:
"We were in the front row of the dress circle. The leg room is not as bad as that described by Theatremonkey. The view is superb but certain seats have lighting units affixed to the front of the balcony that project forward. At £50 a ticket you don't expect that. Watch out for A13, which was one of ours."

Strange architecture and ornate metalwork at the ends of row E back make the first and last four seats in rows D to I worth avoiding.

Two readers note, though, that when discounted...
"We had Seats 11 to 13, Row G in the Dress Circle at the Palace Theatre. Excellent view of the stage and the booster seat provided for my ten year old helped a lot. Only criticism was that it was very hot and stuffy in the Dress Circle. Had it been a serious play I would have been in danger of nodding off!!"

"Sat in the Dress Circle G30 and 31. Seat were really good.  View wasn't at all obstructed by the wrought iron metal work as commented by one of your readers.  Upper circle was over hanging us which meant you couldn't quite see the top of the pros arch, but only just and for this show you didn't miss out on much of the action.  My partner is 6ft and found he had adequate legroom, aided by the aisle to stretch into. On the whole really good seats, although I did get a discount through the GILT promotion (January 2007) so didn't pay the full whack."

Helpful to know, comments the monkey, who would also sit here if there was a substantial reduction.

Row J is tucked on its own shelf at the edges of the circle. The roof feels low and the value is poor. These are the last resort at top price.

Row J seats 18 and 19 are the theatre secret, rarely appearing on seating plans. Tucked against the back wall at the end of the central aisle the view from them is like looking down a tunnel to the stage. Only the centre of the stage is visible and the seats in front muffle the sound. If you MUST see the show, take these if EVERYTHING else is gone (and the box office won't sell them until then anyway - if at all). Useful to know about, but to sit in?

The first and last few seats in rows A to C are restricted view. At reduced price those in rows B and C may be worthwhile if no better cheap box seats - or only Dress Circle row J - is left. For "Spamalot" (September 2006) though, they are not reduced - avoid them, and the two next to them, is the monkey view.

Legroom is adequate in rows B to J (though may be tight for those over 5ft 10 or so), outstandingly awful in row A.

Another reader feels that:
"All the seats here are very cramped! Those over 6ft will not only feel uncomfortable but will also not be able to sit down. The only way to avoid this is to sit in the first row of the stalls or any central aisle seat. Never buy tickets which are inside the rows - only the aisles."

While another (in G31) advises "My partner is 6ft and found he had adequate legroom, aided by the aisle to stretch into."

 

 

Dress Circle Boxes
Boxes A, B, C and D are beside the stage. B and D are closest to the stage and lose a quarter of it, A and C lose around an eighth. All offer moderate value and should be chosen if more legroom is wanted than seats in the rest of the theatre, at the same price, are offering

A reader advises the following: 

Ask the box office what seats they have in Dress Circle Box A or box C. Seats 1, 2 and 3 in both these boxes are sold as restricted view but the view from them is really excellent so they are great value for money (for "Spamalot" they are top price, though, so perhaps less value). If they only have seat 4 available in these boxes then don't take them as they are at the back of the box and you don't get to see much. The box office also warns that these seats are not for those who dislike loud noise, as speakers are situated among them.

Reader Jay Hunt endorses this:
"Here we enjoyed a fantastic view. If I go to see this show again, I'd be tempted to book the same box or the front few rows of the dress circle."

All the seats in the other 2 Dress Circle boxes (B and D) are very restricted so if that's all they have then you'd be much better off elsewhere, unless legroom is a factor.

The second time we bought tickets from TKTS and got tickets for the stalls, full price £60 but we got them for £30. Row F seat 3, a little bit to the side but still a really good view of the stage! It's lovely to sit that close to the actors!

 

 

UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.
The balcony overhangs the Upper Circle at row C, affecting the view of seats from row E back. The Upper Circle is high above the stalls.

Metal bars guard the aisles at the ends of row A and are intertwined around the extreme ends of rows B and C too, prices and restricted view warnings reflect this, though the fact legroom is also restricted is a far greater worry, thinks the monkey. Some reports are also of muffled sound too, at some performances - though this is being addressed.

The Upper Circle is split into left and right blocks by an aisle. In all rows except H seats 22 and 23 are next to the centre aisle offering extra comfort for one leg, and the most central view. One reader also liked C8 for extra legroom too.

The best seats in the Upper Circle are in rows B to D in that order. It is worth avoiding the first and last four seats in these rows for best value.

Reader Jan comments,
"We sat in the Grand Circle in seats B34/B35 and the view wasn't bad, - except the usual problem of the people in front of us peering over the top of the ledge, caused us all to follow suit! It seems that the trend to bring the set out into the auditorium, which looks good, also cause the audience in any of the front circle seats to have to lean over to see any action going on down the front near the Orchestra pit causing the wave of 'peerers' and 'leaners!' I hope they realise this and start raising the stages higher!
But, even though the Grand Circle is the third level up, it is on top of the Dress Circle (some would say the best seats in the house) so the general view is OK. "

Reader Jaime Coniam says,
"We sat in the Upper Circle in seats D29, 30 and 31 which gave a clear view of the stage, however the "looking down" on the stage is a problem if the view of a vast black stage floor detracts from the scenery."

Row E back feels high up and combined with the low ceiling above cutting the view, the value for money is dubious at best. If you must, pick row F or G seats 15 to 30, but they are the same price as E for similar views... Row H has similar problems to row J in the Dress Circle, being on a shelf at the back of the circle, again a last resort at the price - take an Upper Circle box instead.

A reader says,
"Sat in Upper Circle Row E seats 10 and 11. The strange thing about these seats is they are on a very noticeable slope, but for £20 they would have been absolutely fine."

Row A seats 3 to 8 and 37 to 42, and row B seats 1 to 10 and 35 to 43 are restricted view. Pick row B over A, but also consider the balcony for other bottom price seats.

Reader  Gem says,
"The seats in the front rows are cramped but the sightlines are superb and completely unrestricted, and at the reduced price I think they are very good value for money".

Reader June says,
"I would not recommend the seats 15 and 16 in row A of the Grand Circle. The ticket did alert us to the restricted leg room although at 5ft tall this is not an issue for me. The lack of restricted view warning was much more of an issue for me. I lost about one third of the stage if I was sitting back in my seat as one should. The only way for me to have full view of all the action was to lean on the cushioned area in front of me. Hence I had a really sore back next morning."
 

A reader comments:
"I saw "The Woman in White" on 22nd December 2004 from B35 in the grand circle and the view was perfect really - especially when it is only £15"

One box office staff member's opinion is that the single restricted view seats at the ends of rows F and G are worth considering as they are next to "full price" seats and have little viewing problem. 

Legroom is poor in all seats and worst in row A. Some seats in rows A and B are sold at lower prices to compensate for this. Unless you are genuinely willing to put up with the pain for three hours, these tickets are best left alone in the monkey's opinion.

Another reader feels that:
"All the seats here are very cramped! Those over 6ft will not only feel uncomfortable but will also not be able to sit down. The only way to avoid this is to sit in the first row of the stalls or any central aisle seat. Never buy tickets which are inside the rows - only the aisles."

 

 

Upper Circle Boxes
Boxes E, G and H are beside the stage. Boxes E and H lose about a quarter of the stage view, Box G about an eighth. Choose box G first, but all three offer fair value at low prices and are preferable to the stalls boxes for view and to balcony seats for comfort. For "Spamalot" E and G are open, with 3 seats in each.

A reader agrees about box G:
"I booked all 3 seats in Box G as I wanted something a bit private / special for a birthday treat, and, after reading Theatre Monkey’s review about losing 1/8th stage, I was happy to pay £20 per seat, so £60 for both of us … I think this price was very fair for the view we had, and would happily book again."

as does reader Yvonne
"I booked Box G (after reading a review on Theatremonkey) and was really pleased with it. Great value for money. Although a slightly restricted view it was well worth the £60 for three of us. I always prefer the privacy and extra leg room of a box and this one is a bargain."

 

Theatremonkey regular writer Jake Brunger reports that,
"view not great at all - had to stand to see a lot of things, but I saw all their facial expressions and heard it perfectly thanks to a speaker next to me - not bad for £20"

another reader agrees,
"A reader says,
"At 'Spamalot' we sat in a box to the left of the stage and even though we sat pretty close to the stage we couldn't see half of it.  We also sat just next to the confetti-blowing-cannon wich came as a shock in the end, but they did warn us about loud bangs, the just didn't tell us when  :)"

which about sums it up, feels the monkey. Note that speakers are fairly near these boxes too.

 

 

BALCONY
The front this circle is over sixty feet from the stage - straight down. Row P, 104 feet away, has warning lights to deflect aircraft that have achieved cruising altitude. Oxygen tanks and snowshoes may be hired in the foyer.

Joking apart, those prone to even mild vertigo should sit elsewhere, and everyone should know that from row J back the steep rake and height take some getting used to. If vertigo does strike, walk upwards in this theatre away from the drop. There are enclosed back stairs here leading down safely.

The circle is split into a wide central and two narrow side blocks by aisles. Every aisle seat has a metal post at the end of it.

The public is safely caged in behind thick bars that run across the width of the circle, affecting the view drastically in rows A to C. More metal pops up at the outer ends of many rows, notably B, C, E  and G. A reader reports that those in row D have been annoyed by people in the rows in front leaning forward, making this one to avoid too.

One reader goes so far as to say don't even consider sitting in the Balcony as the view is so poor.

Theatremonkey regular seat opinion contributor James agrees,
"I originally sat in the middle of row L - I didn't find the distance any worse than the back of many other theatres, but the view was absolutely appalling. The rake, whilst being steep, wasn't steep enough, and if you have anyone above midget-height in front of you, you will be struggling to see the stage.

As it was only two-thirds full, I tried a few other seats, with the same problems. Bars block the stage view from all side block seats. I usually don't mind cheap seats far away, but I would not sit in these seats again as view was so bad. Whole block should be red..."

Sadly, in the centre block, prices do not make much allowance for the effect of bars on the view! 

A reader says,
"We had seats 9 to 14 in Row D of the Balcony for £22.50 each. Once we had acclimatised to the altitude and made sure our parachutes were correctly packed, we settled down for a good afternoon out!

Seriously though, the stage is a long way down and it's a bit off-putting to be looking at the top of the heads of the cast, but we soon get used to it! None of us are terribly tall, so there was a bit of neck-craning going on as well. We couldn't see the top of the stage, so we missed some of the cartoons and imagery and the far downstage left front corner was out of sight as well, but as there wasn't much action there, it didn't matter too much!"

In the central block consider rows F to H were worth considering first, as they offered a clear view and the best value for money - relatively speaking of course...£20 is not cheap, but the monkey has to judge on what it is given. Just don't expect TOO much for the price.

For "Spamalot" one reader notes,
"Seats H 19 and 20 in the balcony, I thought that describing them as unrestricted was a bit off which I am going to raise with the theatre. Quite a bit of the action takes place towards the front of the stage and is totally obscured by the safety bars etc at the front of the balcony.

It doesn't help that if the people in front of you are both tall and chose to lean forward - you may as well sit back, close your eyes and imagine what is going on!

I remembered this theatre from Jesus Christ Superstar donkey's years ago I went quite a few times and didn't ever have a problem seeing from up there... I don't think I would bother booking in the balcony again unless I could get A or B - from H the top of the set is obscured by the lighting rig and as I said you may as well give up on anything that happens at the front of the stage..."

On the other hand, another reader in row H reports for "Spamalot,"
"I booked H10 in the balcony on Ticketmaster before looking at theatremonkey's opinion, but actually it wasn't that bad. Yeah I could've done with a little more room and seeing some things a little better, but I was anticipating being up with airplanes and it actually wasn't that bad. I could see some facial expressions and they were made PERFECTLY clear with the binoculars that I only had to use occasionally. So for an American student saving up for a 5 week trip around Europe, 20 pounds was an amazing price for a pretty good seat to an incredible show!"

That is pretty much how the monkey feels about the row too... for someone needing to see the show on a budget, worth a look indeed.

another reader says of row F,
"We were in the balcony and from what I could see all the seats were bad. I would avoid the balcony at all costs if you want to see the show or if (as someone else has commented) you're over 5' 10". Row F was VERY cramped. Row E and Row G seemed to have better views as the rows in front were lower. Row E was not a lot lower than F, and the drop almost vertical, so ANYONE sitting in front of you will obstruct views.

For me, the best seats would be in Row E 3-7 and 22-26 as there is no-one sitting in front of you and you can dangle your legs over the barrier in front. Cannot comment on the views from these seats but it cannot be any worst than F12 and F13."

The monkey comment is that A and B have bar problems too, and that things in the balcony seem to have got worse since "Superstar" - it would welcome comments from other readers on this.

Rows N and O are short rows at the rear of the theatre. The view is clear but the height is noticeably vertigo inducing and £15 seems a lot...

Decide between a clear, but very distant, view of the stage in this block; and restricted view seats for the same price in other parts of the theatre. Theatremonkey chooses Upper Circle boxes ( or rear / front row-ends Upper Circle if the legroom isn't an issue), then stalls boxes, then the balcony. This is mostly based on legroom and proximity to the stage, not clarity of view. There isn't a lot of choice in the £30 or less range, so it is a real case of making do as you can.

In the side blocks the metal posts at the end of the row disrupt the view.  Seats 7 and 22 in all rows suffer this problem worst and should be avoided. Row E has a wall / bars in front of it restricting legroom and intruding on the view of anyone five foot three or shorter. Row M seats 24 and 25 have a pillar in front - avoid them!

Take rows F to K - as near too the central aisle as you can, but NOT actual aisle seat numbers 7 and 22 if possible...unless legroom is a factor and you accept the compromised view. Also remember that the first and last 2 seats in rows F to K are perhaps not as great as seats further towards the centre aisle.

Use these seats to see the show if on the tightest of budgets. Enjoy the music and what you can see of the rest. These seats are no bargain but if taken this way is at least an honest attempt at theatregoing on a shoestring.

Rows N to P do feel like private colonies at the back of the side blocks. The view downwards is heartstopping and the performers look like ants. Sit here if your Sherpa allows you a rest period and plant a national flag. You can say you saw the show, you got a seat! And you lived to tell the tale.

Legroom is very poor in all seats, worst by far in row A, a bit better in row M seats 8 to 21 and in the aisle seats where one leg can get a bit of space - compromised view or not!

Another reader feels that:
"All the seats here are very cramped! Those over 6ft will not only feel uncomfortable but will also not be able to sit down. The only way to avoid this is to sit in the first row of the stalls or any central aisle seat. Never buy tickets which are inside the rows - only the aisles."

 

 

Notes
Total 1480 seats.

Air-cooled auditorium. A reader reports in 2003 that this is temperamental and the theatre gets stuffy as a result - something those in April 2005 concur with. Refurbishment has not really helped - rented portable units still sometimes substitute for the permanent fittings!

Infrared loop with headsets available. Occasional audio described and signed performances, only once a year or so. Guide dog sitter available. Adapted WC in Stalls. Access for wheelchairs via side door, up a shallow step and down a gentle slope to seat W27 in the Stalls. Users may also transfer to any other stalls aisle seat. Large print programme available. This theatre tries. Specific information from  www.seetickets.com or 0870 895 5505 or e-mail customer.relations@seetickets.com.  

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

Four Bars; Stalls, Dress Circle, Upper Circle and Balcony.

11 toilets; Stalls 1 gents, 1 ladies - both accessed via front of stalls, rear stairs. 1 unisex disabled at rear of stalls, next to wheelchair entrance; Dress Circle 1 gents (beyond the bar), 1 ladies (on main foyer stairs, through first set of doors); Upper Circle 1 gents, 1 ladies - in the same positions on Upper Circle level as the Dress Circle ones are; Balcony 1 gents, 1 ladies - both at the very top of the stairs, plus 1 gents on the left hand side of row C, 1 ladies on the right hand side of row C.

 

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

Getting to this Theatre
Find this theatre on a Street Map
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Leicester Square - Northern (black) and Piccadilly (dark blue) lines.

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

A photograph illustrated version of these directions is available by clicking here.

The escalator from the platforms deposits passengers into a circular space with a number of staircases leading to the surface. Beside each staircase is a vast white panel listing the places accessible from that exit. So look for the one showing the Palace theatre. It will be marked "Charing Cross Road West" Exit 2, and is to the right of the exit gates. Go up the staircase. 

At the top, in front of you will be Charing Cross Road. Next to you, notice the Hippodrome Nightclub and a wide pedestrianised street. Turn to your left and walk on,  passing many shops. Follow the road as it curves, pass a red brick covered arcade of shops and keep walking straight on. You will come to a large crossroad with the Palace Theatre on your left.

If at the top of the underground stairs you see a narrow street with only a row of shops and offices in front of you, this is Cranbourn Street. Turn to your right. Walk to the end of the street. If you see the Hippodrome Nightclub on the opposite corner across a busy road, good. You do not need cross the road to it, but might like to know that the underground exit you should have used is on the opposite corner! If you reach the end of Cranbourn Street and see a large restaurant, The Sussex on the opposite corner, Wrong way, turn around and retrace your steps to try again.

If you got it right, then turn to your right and walk on, passing many second-hand bookshops. Follow the road as it curves, and cross Litchfield Street, keep walking straight on. You will come to a large crossroad with the Palace Theatre on your left. Cross to it.

 

Buses:
14, 19 and 38 stop on Charing Cross Road by the Palace Theatre on Cambridge Circus.

 

Car Park:
Newport Place, China Town. On leaving, use Gerard Street to get you onto Shaftesbury Avenue. On Shaftesbury Avenue look to your right. The brown brick building to your right is the Palace Theatre. To get to the front of it, turn right and walk to the corner. If you pass a cinema, wrong way.

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

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

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

 

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