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

LONDON PALLADIUM THEATRE
 

 









 CLICK HERE TO BUY THE 2011 London Palladium Cast Recording CD
London 2011 Souvenir Brochure, Cuddly Toto The Dog, Show T Shirts,
Show Mug, Show Key Ring, folio Show Main Poster,
Show Michael Crawford / Danielle Hope Poster

THE WIZARD OF OZ (musical)
This production contains strobe lighting.
Audio Described performance: Saturday 25th February 2012 at 2.30pm and Sunday 26th February 2012 at 3pm
 


A Kansas orphan gets blown to a land filled with talking scarecrows, tin men, lions and munchkins. Her return ticket lies in the hands of a Wizard who might not be all he's cracked up to be... and her path is obstructed by a witch who graduated from "Dear Old Shiz" with an attitude problem - and (probably) a personal hygiene issue, since she is allergic to water.


Michael Crawford is the man behind the screen as he takes the title role.

Danielle Hope plays Dorothy, after proving that she was the young girl best able to endure endless weeks in the company of folk without brains, hearts or an ounce of courage... by winning the "Over The Rainbow" casting-by-pubic vote television programme.

Please note that Danielle Hope does NOT play Tuesday evening performances. When Ms Hope is absent, Sophie Evans will usually play the role of "Dorothy."


Michael Crawford and Danielle Hope leave the show on 5th February 2012. Sophie Evans will replace Danielle Hope after this date. Russell Grant will replace Michael Crawford for 12 weeks from 14th February 2012.

Sophie Evans and Russell Grant are scheduled to appear at all performances until Sunday 13th May 2012 EXCEPT during their personal holiday dates:
Sophie Evans will not appear at any performance from Tuesday 27th March 2012 until Sunday 1st April 2012 inclusive.
Russell Grant will not appear on Sunday 11th March 2012, Friday 16th March 2012 or Sunday 18th March 2012.

Casting and holiday information is given for interest only and Theatremonkey.com take no responsibility for any changes that may occur, or any issue arising for any ticket holder.

The monkey followed this competition with interest on its blog.

www.wizardofozthemusical.com is the official show website.

Please also note: having seen this production, theatremonkey would advise that this show is really not suitable for children aged under 8 (a reader feels mature 7, perhaps, another reader says 8 for sure, another that a 5 year old fan of the film and keen theatregoer will be fine...) - particularly if they are unfamiliar with theatregoing generally. It says this partly due to the pacing of the show involving a long wait between familiar sequences, and also partly due to the firmly 'scary' action at certain times. Obviously, parent / guardian judgement is paramount, but the monkey would prefer to give its opinion now to prevent future upsets. Oh, and arrive early to get a booster cushion if needed. This production also contains flashing lights.


BOOSTERZ™ Inflatable Booster Cushions are now available to borrow at this theatre. Raising a child 10 to 14 cm, this easily inflated - by pump or pure 'puff power' - item can be loaned from ushers at the venue (who will supply it ready inflated!). For regular theatregoers, they can also be purchased, at just £7.99 each direct from the inventors at www.boosterz.co.uk, and the more you buy, the greater the discount!


 

Theatremonkey Opinion:
(Reviewed at the preview performance on 9th February 2011). Some performers have since left the cast.

Veering in style between fully-fledged West End musical and big-budget provincial panto, this new show is less serious than the 1987 Royal Shakespeare Company attempt - and sadly lacks its emotional depth, felt the monkey.

Rather than restore the film’s cut gems like “The Jitterbug,” (yet oddly cutting* the beautiful prelude to “Over The Rainbow”), Andrew Lloyd Webber and Tim Rice have added a trio** of new songs. Stylistically, these blend well with the originals; though stretch unnecessarily the earlier part of the evening.

Television elected Danielle Hope reveals early the first of these in her sepia-tinged “Nobody Understands Me,” a few moments before “Over The Rainbow” does the same character defining job rather better. Michael Crawford then serenades her with second new number, “The Wonders Of The World.”

Bearing in mind the monkey attended an early preview, and that the production will have time to settle, at this point Danielle Hope was clinging to her rehearsed directions. More relaxed later, she demonstrated signs of a confident voice and individual style. Early previews also meant Mr Crawford hadn’t found his character fully either. Again, the monkey is certain he would by opening night.

After almost half an hour we finally make Oz. Introduced by a ridiculously (scene change covering) long film, the show kicks into colour and up a gear... once the rather small-town tatty-looking Munchkinland setting, camp chorus number, one tooth-rottingly sweet and one plain nasty (please cut it, it’s horrible) child-related incident, are all left behind.


Ms Hope then proceeds to cope competently with every new furry co-star encountered, real and stuffed (yes, the monkey did notice that at times Toto and the Scarecrow had something in common) as she follows her hydraulic, inventively circular yellow road.

Best Ozian is Hannah Waddingham (left the cast in September 2011), who drops in (literally) as a genuinely scary and powerfully belting Wicked Witch. Delivering her new (but again superfluous) song with panache, she relished her every lavish booing that deservedly replaced any applause.


Emily Tierney, kindly Glinda (above), gets the pretty costumes and turns in a suitably nurturing performance in a surprisingly minor role.

Of Dorothy’s friends (yes, they don’t resist that joke, or many other corny oldies either, for the trio), Edward Baker-Duly has the strongest grasp of his character as “Tin Man.” David Ganly fights courageously against dodgy one-liners as “Lion” and Paul Keating turns in a suitably well stuffed “Scarecrow.”


Some creative settings and staging carry the tale at a good pace through the second act. The monkey was a little sad, however, that ‘audio-visual’ is rather over-used, where the RSC had done so well with traditional settings just 14 years ago. Kudos to the flying director, though, and to the bravery of all in the cast who went skywards through the evening – particularly Mr Crawford. Come to think of it, forget premium seats, the monkey would pay £85 for a go on the wires, for sure.

Overall, the show looks good, sounds OK, is presented with loving professionalism, but lacks the dark / light contrast in pace that make the film so enduring. A bit “ha ha here, ho-hum there” really…

_______________________

* Restored in preview after the monkey saw the show.

** Originally a quartet, one dropped in previews after the monkey saw the show.

 

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

The latest 5 reviews are below. For earlier ones, click here.
Some reviews may refer to actors who have now left the cast.
_______________________________________________________________

28th August 2011.

Wasn't really sure if I'd see anything different to set Lloyd-Webber's version of this musical apart from any other productions, but the lure of seeing Michael Crawford and Hannah Waddingham made me buy tickets for the show. If you're looking for a traditional family show then you can't go wrong but if you're looking for something different then you'll be disappointed.

For me, if you took Crawford and Waddingham out of the show then you're left with Xmas panto fare. Waddingham was excellent as the Wicked Witch especially when belting out the song 'Red Shoes Blues,' she played the role to perfection. Crawford was equally as good but underused in his 3 roles throughout the show.

I was sat in the Upper Circle in row F34 and 35 which offered a great view of the stage albeit from a huge height!

A very good show but not different enough to be a great show.
____________________________________________________

Saw the show on 31st August 2011.

The Guardian’s reviewer concluded “if only it had a heart” and I couldn’t agree more. It is entertaining and well put together, but I found myself admiring the show’s efficiency rather than marvelling at any great spectacle. The show clearly has a big budget and much of it is there on stage, whether it’s high wires, fancy sets and even the presence of Michael Crawford. But it still left me oddly dissatisfied. It ticks most boxes, but that’s all it does – it is competent rather than inspired.

I’ve 'day seated' several times before in the Palladium, most recently for 'Sister Act.' I sat in the same seats (A7 and A8) as I did for 'Wizard of Oz.' I’d say they remains the pick of the day seats, being just off centre (no conductor’s head in the way) and on an aisle (enabling a longer legged person like me to stretch out).

The yellow brick road is barely visible from so close to the front, but in this production isn’t as integral to the plot as you’d perhaps guess.

So the front row seats would have a big vivid green hue in my opinion but for one flaw. The orchestra is more visible from these seats than previously (certainly much more visible than for 'Sister Act') and there was much rolling of eyes, face-pulling and yawning from some of them during the more saccharine scenes - not what I’d exactly call professional.
____________________________________________________

Wednesday 19th October 2011: 2.30pm show.

I had a stalls seat, Row B for £25 that I was able to purchase on www.seetickets.com last month. I had a very good view of the stage and close-ups on all the actors' faces. I only really seemed to miss seeing the yellow brick road, and I had to turn around in my seat to see The Wicked Witch hanging from the ceiling.

The show was brilliant, but I think the Wizard of Oz is one of those shows that could go a bit 'pantomim-ey' if not done well. This seems to border it. It is not a replica of the film, but is still very good. However, I didn't feel the companionship of Dorothy with the Scarecrow, Tin Man and Cowardly Lion as much as in the film.

Danielle Hope gave a good performance as Dorothy, but I felt she was drowned out several times by the wonderful orchestrations. Marianne Benedict is deliciously evil as the Wicked Witch and very funny, in a dry way. Emily Tierney is also very good as Glinda. I had the understudies for the Tin Man and Scarecrow - Terel Nugent and Ashley Day. They, along with David Ganly as the Cowardly Lion, were hilarious and I really loved all of them.

The show is very good. I don't think its one of the best I have seen, but the cast are all talented and the costumes and set design are worth seeing. Oh and before I forget - Michael Crawford. Absolutely wonderful in the scenes he is in and commands the stage from the minute he walks on.
______________________________________________________

Wednesday 16th November 2011, 2.30pm performance.

I watched the search for Dorothy on the Beeb and I thought the right girl won, so thought I should eventually go and see it and I’m glad I did as it’s fun! Pantomimey in places – which I’ve never felt the film falls into – the staging, effects, costumes and performances are all very, very good.

The sepia Kansas beginnings are well imagined and the three farmhands have mannerisms that immediately identify them with their counterparts in Oz. The twister is good – the film a little long to cover the scene change – and the transformation to Oz and glorious Technicolor(TM) kicks the show up a notch. Dorothy’s journey to Oz zips along at a fair old pace – faltering slightly at the “poppies will put them to sleep” scene, although kept amused by the ‘snow’ and the wondering how on earth it’s going to get cleaned up before the evening performance amused me for a while – until they reach the Emerald City. I did half expect the cast to belt out ‘One Fine Day in the Emerald City’ at one point, but that’s a different show..!

The second half moves quickly from haunted forest, to witches lair and back and forth again until the witch is liquidated, the wizard uncovered and everyone returned to their rightful place. I was expecting a full reprise of ‘Over the Rainbow’ at the end instead of the two lines we got which gave the show a slightly stuttering, faltering end. However, generally came out feeling that I’d been entertained at a good show.

ALW’s new music (with Time Rice’s lyrics) fitted in nicely with the originals with ‘Red Shoe Blues’ being the best: “She is so clueless, but I want her shoeless…”

The performances were good, the cast work very hard – although I do think the Lion is a little too camp and saddled with a few too many weak lines…

Sat in seat B12 in the stalls for £25. Great price as I’m not too bothered about ruby slippers or yellow brick roads (you do, however see glimpses of both from here!). A little too close to take everything in, but giving an excellent way to see it for those on a budget (or who like to go to the theatre more often than they should..!) and to see costumes and facial expressions close up. SPOILER ALERT Had to turn around to see the Witch as she addressed the citizens of Oz, having been lowered on a wire from the dome at the top of the theatre and floating somewhere in front of the Dress Circle SPOILER ENDS, but that was fine.

Overall, lacking some of the charm, heart and tonal contrast of the film – but a good show nonetheless. Not sure if I’d rush to see it again though.

Paul.
______________________________________________________

Having watched "100 Years of the Palladium" on the TV, I really wanted to go there, and my wife wanted to see
'The Wizard of Oz,' so in January 2012 we went along, not really knowing what to expect. First of all, it was Wednesday night and the theatre was a quarter full (if that) so I wonder how long the show will run for now. Also, we paid £35 for stalls seats courtesy of Lastminute.com and found ourselves with a huge choice of seats. I presume the matinees are still doing well because of children, but I suspect the evenings are pretty much like we found it tonight.

Which is a great shame.....we really enjoyed ourselves. The cast were great and the production was very clever. I agree with the Theatremonkey that the set change during the Twister went on for too long but otherwise it was great fun. I didn't watch the BBC Competition, but Danielle Hope was excellent, Michael Crawford was in fine form and her three mates Lion, Tin Man and Scarecrow were all very assured performances. The Wicked Witch was suitably scary (and extremely brave when she came down from the roof on her broomstick). I played piano in a panto version of this once so I knew all the original songs. The new ones were quite a clever addition and I think the Tim Rice/Lloyd Webber partnership worked really well. Perhaps they'll produce something new together.

Overall the show is like a beautifully produced pantomime, definitely suitable for older kids ( 9 upwards?) and older people in search of a bit of nostalgia perhaps. Give it a go if you want a bit of fun but remember to bargain hunt for tickets.



 

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.

Until 15th February 2012
Tuesday at 7pm
Wednesday at 2.30pm and 7.30pm
Thursday and Friday at 7.30pm
Saturday at 2.30pm and 7.30pm
Sunday at 3pm
NO MONDAY PERFORMANCES.

 

From 16th February 2012
Tuesday at 7.30pm
Wednesday at 2.30pm and 7.30pm
Thursday and Friday at 7.30pm
Saturday at 2.30pm and 7.30pm
Sunday at 3pm
NO MONDAY PERFORMANCES.

 

Extra performances 16th and 23rd February 2012 at 2.30pm.

Runs 2 hours 40 minutes approximately, with one interval.


 

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form


Stalls
Rows C to Q (except restricted view and "Premium Seats"): £65
"Premium Seats" rows J and K seats 16 to 31: £85
Rows R to T: £55
Rows U to W: £45
Rows X and XX: £37.50
Restricted View seats B 1 to 32; C 3, 4, 5, 6, 32, 33, 34, 35; D 1, 2, 3, 4, 34, 35, 36, 37; E 1, 2, 3, 4, 35, 36, 37, 38; F 1, 2, 3, 4, 37, 38, 39, 40; G 1, 2, 40, 41; H 1, 2, 41, 42; I 1, 2, 42, 43: £25



Dress Circle:
All seats (except "Premium Seats"): £65
"Premium Seats" row A 23 to 28, row B 15 to 18, row D 16 to 31: £85



Upper Circle
Rows C to I: £37.50
Rows J and K: £32
Rows L and M: £25
Rows A and B (Slightly Restricted View) £32

Boxes when sold (all boxes have side / restricted views):
B: £55 per seat
CC: £37.50 per seat
BB, F and FF: £32 per seat


NOTE: An extra £1 "restoration fee" per ticket is added to all bookings. Some companies may include it in basic prices quoted, others show it separately or as part of the booking fee. Prices above include this fee.

Day Seats: Stalls row A, plus boxes E and EE in the Upper Circle are available at £25 per ticket to personal callers at the box office only from 10am on the day of performance. Cards or cash are usually accepted, the monkey always advises taking both in case one is preferred over the other, and calling before making a long journey to check that the system is still in place.

 

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:
www.seetickets.com
provide the official Box Office service for this theatre.

Booking fees per ticket for online bookings:
NO BOOKING FEE - the monkey is 'over the moon' about this. A £1 "theatre restoration fee" is shown as a separate addition to each ticket, but the total price per ticket remains as above.

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

When the theatre does not have the tickets you desire available, it is well worth trying the Theatremonkey Ticketshop agency, which offers £65 seats with a £6.50 per ticket booking fee (£5.50 on £55, £3.75 on £37.50, £3.20 on £32 seats) Tuesday to Thursday performances / £9.75 on £65 seats (£8.25 on £55, £6.65 on £37.50, £4.80 on £32 seats) per ticket booking fee Friday to Sunday performances - including the extra £1 per ticket theatre imposed "restoration fee." Moderate by agency standards, though higher than box office fees, worth trying as they often have an alternative choice of seats available! Note that this system will confirm exact seat numbers prior to purchase.

Another alternative is Ticketmaster.co.uk who offer £65 tickets with a £7.80 booking fee (£9.50 on £85, £6.60 on £55, £4.50 on £37.50, £3 on £25 seats) Friday to Sunday performances; all seats also have an extra £2.75 (£3 from 18th September 2011) per booking (not per ticket) handling charge levied too. The extra £1 per ticket theatre imposed "restoration fee" is already included in prices. This system allows you to choose your own seats from the selection the company has available.

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer £65 seats with a £17 booking fee per ticket (£15 on £55, £12 on £45, £10.50 on £37.50, £9 on £32 seats) - plus optional UK postage of £1.50 per booking, not per ticket, available if time allows. The extra £1 per ticket theatre imposed "restoration fee" is already included in prices. The "Flexiticket" Exchange Service, allowing FREE transfer / cancellation (credit note up to 12 months) of your booking up to 3 days before the performance is also available for £2.50 per ticket. Meal and show packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

Lastminute.com offer £65 seats with a £6.50 booking fee per ticket (£5.50 on £55, £4.50 on £45, £3.75 on £37.50, £3.20 on £32 seats). NOTE: Seat numbers are NOT available in advance from this company. All seats booked in the same price group will, of course, be together or at the very least be in front or behind each other in the theatre. In the very unlikely event of this not being possible this company will call you and give you the option of cancelling your booking. However if booking in two or more price bands, you will not be sat together. Please DO NOT purchase if this is unacceptable to you, as all tickets are sold subject to this condition. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

Londontheatredirect.com offer £65 seats with a £10 booking fee per ticket. Discounts and Meal and Show Packages may also be available.


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

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


 

Box Office Information:
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
Telephone: 0870 830 0200
(FREE call if using BT.com Calling Plan at your chosen times)
Operated by See Tickets on behalf of the venue.

Booking fees per ticket for telephone bookings:
NO BOOKING FEE - the monkey is 'over the moon' about this. A £1 "theatre restoration fee" is shown as a separate addition to each ticket, but the total price per ticket remains as above.

For personal callers or by post: Argyll Street, London. W1V 1AD
No booking fee for personal callers.

Booster cushions for small children can be obtained from ushers. These are limited, and are available on a first come, first served basis - early arrival is recommended. 


Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 0844 412 4648 and enquire about concessionary prices that may be available to them.

www.reallyuseful.com/theatres/london-palladium 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.

"The Wizard Of Oz": Please note that all stalls seats from row T back will miss small sequences of the action, and that those from row A back to G (plus the shortest back to row I) may not see the stage floor. Since May 2011, the issue has been partially resolved with a steeper slope to the stage, but please be aware before purchasing for smaller adults and children.

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Notes
STALLS 
The Dress Circle overhangs the stalls at row N, the top of the stage is not visible from row S back, and rows V to XX suffer from feeling very enclosed by the low ceiling.

The stalls are split into central and two side blocks by aisles. The rake becomes noticeable in row F and is good enough to allow fine views from many seats.

Rows A to C are restricted view for most children and shorter adults, as the stage is high and they cannot see the back of it. The box office tries not to sell these seats to young people for that reason, and warns all buyers - a laudable policy which avoids problems, feels the monkey. The prices charged do not always account for this problem, though.

At performances where these seats are full price, monkey advice is perhaps to sit further back unless your have a particular liking for front row seating. For shorter visitors, further back is the way to go generally, of course.

The orchestra conductor is in front of central seats in row A / B. Below stage height some purists might wish to know that while conducting the person can be seen from most central seats. Don't sit in row A / B, and avoid central stalls if that kind of thing bothers you particularly.

When in use (as cheap 'day seats' for "The Wizard of Oz" in February 2011) row A seats do have a neck-achingly steep look upwards at the stage, and you may miss a little plot by not seeing fully feet in slippers and yellow roads initially. Row A 1, 2, 23, 24 and 25 also have a wall directly in front of them, making them the least desirable. Luckily, these five seats are not on sale. Legroom is about adequate for all up to around 5ft 9 or so, best in the centre block. Bear in mind that there is no stretching space ahead of these seats.

A reader at "The Wizard Of Oz" indeed says,
"A7 and A8: I’d say they remains the pick of the day seats, being just off centre (no conductor’s head in the way) and on an aisle (enabling a longer legged person like me to stretch out). The yellow brick road is barely visible from so close to the front, but in this production isn’t as integral to the plot as you’d perhaps guess. So the front row seats would have a big vivid green hue in my opinion but for one flaw. The orchestra is more visible from these seats than previously (certainly much more visible than for 'Sister Act') and there was much rolling of eyes, face-pulling and yawning from some of them during the more saccharine scenes - not what I’d exactly call professional."

For "Sister Act," when these seats were also sold cheaply, one reader comments,
"Got a day seat for £25 - seat A14, this seat for the price is a BARGAIN at 6ft5 there was more then enough leg room to sit comfortably and could see virtually 99% of all the stage action! and speaking to a woman next to me who was 5ft6 she said her view was fantastic too!"

Reader Kirsty also rates the view from A14, "fantastic."

4ft 11 tall reader Rebecca notes,
"I saw 'Sister Act' several times from the front row (centre section). Leg room is acceptable, and maybe slightly above normal from my experience. The stage is very close so occasionally footwork from those at the back is cut off, but with 'Sister Act' that's not important. This is my favourite seat in the theatre, but does require some slouching and neck bending, especially in the opening of the show where the actors spend some time above the stage. Recommended from me."

Another reader adds for that same event,
"Got to the box office at 4pm and my friends and I got 5 seats centre front row. I was in A12. For £25 it was just perfect! The stage isn't overly high and I could see pretty much everything. Because I couldn't see the stage floor the set was so magical because it just appeared, I had no idea where it was coming from which made it spectacular!!! Definitely recommend sitting here for this show"

while another says, in summary,
"A7: The front row is the way to see this show!"

The monkey upgraded the value rating on the strength of this.

Reader Elaine comments,
"I was lucky enough to get A16 and 17, which is slightly off centre (so the conductor was not in our way) but not too far to the side for much action to be obstructed by actors' backs."

Another readers says,
"We got front row seats A8, A9, A10 (cheap as 'day seats' when "The Sound Of Music" was playing in 2006). These were fabulous viewing - the view was fine, can't see the people's feet but not that you would want to!!!"

Reader Angela Xu opines,
"I noticed some comments on the site about the front row seats being too close to the stage and hence problematic for shorter adults- would like to say that there is really no real issue- I am 5'2 and enjoyed the show ("The Sound Of Music" in 2006) thoroughly from Seat A8. there were a couple of kids sitting in the same row and I didn't notice them sitting on bolster seats or craning their necks at all! for 20 pounds the day seats are amazingly good value for money!"

As cheap seats the monkey likes 5 to 21 best of these, for central / least obstructed views.

Further along, reader Kirsty says for "Sister Act,":
"A23 and 24: It was brilliant being sat so close, as I got to look more closely at facial expressions and costume detail. Good value for money but, being right at the side, you do miss some of the action on the far left of the stage and right at the back as the stage is very high."

at the same show, reader Mark felt he was lucky,
"A1: Seeing as though all the front row are top price for Whoopi Goldberg's run (August 2010) except A1, 2, 24 and 25, I felt that my seat was a STEAL at £25. I went in on the off chance they had a single cheap upper circle seat left and got offered this seat when I asked for the absolute cheapest single seat. I was extremely impressed with it, especially as I was SO close to Whoopi when she came out. Excellent value."


The side block seats are almost all situated outside the proscenium. Most readers feel that only the last 4 seats in each row should be avoided totally in these blocks, though purists may want to make that 8 to be on the safe side. Boxes overhang these seats back to row N, and the supporting pillars won't enhance enjoyment of those in N1 much...and in N47 may be a minor irritant too. Not blocking a view, just a heavy presence by the seat.

Note that those in the front four rows or so of the side blocks may find actors backs blocking the view for a few short sequences of a production. Go for seats from G back to minimise the issue.

“The Wizard of Oz” (April 2011) also has row B and the end 4 seats back to row F, and the end 2 seats in rows G, H and I at a very large discount. These ARE NOT suitable for 'first time' visitors, and row B in particular is NOT for children or those shorter than 5ft 5 or so - you won't see some elements of the production or the dog for much of the performance. Still, the centre of row B is a decent bargain for those willing to accept this. Of the seats to the sides, the 'low numbers' side has the slightly better view, the monkey feels. It noted particularly rows E and F 1 to 4 as having decent views for the prices charged. F is better, and the person in F2 will probably feel the smuggest.

With the newly lowered stage, reader Luke at "The Wizard Of Oz" (February 2011) says of his June visit,
"B 14 and 15: I paid £25 each. After reading the reviews from the Monkey (before the stage was adjusted - editor), I had doubts about these seats, but was pleasantly surprised, I didn't have a single problem with these seats. I was able to see everything, including the yellow brick road, Toto, and the ruby slippers. If you need to see this show and are on a budget, row B is definitely the way to go, better to be second row stalls rather then the back of the upper circle - you feel so engaged in the show. I would not take row A though; the woman in front of me was unable to see some things and jumped up a few times (middley annoying). Also, from these seats, the conductor isn't a main problem, so for brilliant seats at a cheap price go for row B :)"

Reader Paul, also at "The Wizard Of Oz" (February 2011) contributes,
"B12: For £25. Great price as I’m not too bothered about ruby slippers or yellow brick roads (you do, however see glimpses of both from here!). A little too close to take everything in, but giving an excellent way to see it for those on a budget (or who like to go to the theatre more often than they should..!) and to see costumes and facial expressions close up. SPOILER ALERT Had to turn around to see the Witch as she addressed the citizens of Oz, having been lowered on a wire from the dome at the top of the theatre and floating somewhere in front of the Dress Circle SPOILER ENDS, but that was fine."

Another reader adds, again with the low stage in place,
"I was able to purchase row B for £25 on www.seetickets.com last month. I had a very good view of the stage and close-ups on all the actors' faces. I only really seemed to miss seeing the yellow brick road, and I had to turn around in my seat to see The Wicked Witch hanging from the ceiling."

as does another,
"Row B: Second row stalls bookable for £25 in advance. Very little is missed and worth considering as a cheaper option as row behind is top price! I could just see feet although I am very tall."
 

Another reader who took a seat further back at the £25 "Day Seat" rate says,
"G: Although this is far right I don't feel I missed too much, only a couple of times at the most was a cast member hidden from view, by the side of the stage or the loudspeaker. The stage is very high, I was able to see Toto fine, and the majority of the time I was able to see at least part of the ruby slippers.

These seats are NOT for 'first timers' or those worshipping 'front and centre' but the monkey feels that given the problems (missing air sequences) of other similarly priced seats in the rear stalls, these two rows are going to give a chance to catch the show's atmosphere and effects in a way not possible elsewhere for the price.

That said, other reduced price seats from row D back are also acceptable - further back the better, the monkey feels. It would take B and C last (C 5, 6, 32 and 33 being the first of these last resorts) as they do feel 'corner' - again, low numbers side are preferable (and have nothing in front in B 1 to 4) and the cheaper seats shade the next price ones for value, slightly, it feels. Do also note that these seats suffer from the high stage too - see below for more...

Row B ends also suffer a clip from the speakers too - and those who dislike loud sound might be advised to sit further back.

 

Throughout the stalls, a high stage can be an issue. Reader Val comments on the situation:
"Booked Row C 24 / 25 at top price. my companion felt unwell having to look up at the stage. we couldn't see the dancers feet at "Sinatra."

At the interval we told the manager and he upgraded us to stalls row J 14 / 15 where we could everything."

The same applies for “The Wizard of Oz” (April 2011) feels the monkey, with reader Sarah Louise confirming,
"C26 and 27: I knew from reviews across the web that we would have problems with the view regarding the Yellow Brick Road and Ruby slippers, but I was not prepared to not see ANY of it at all!! Not only did we not see the road or slippers, we did not see the house falling on the witch or her apparent legs sticking out from under it ! The stage is sooooooooo high, I honestly think these seats should be bottom price."

Another reader confirms hearing complaints at the same show, about the same row, from another person.

A localised problem as, at a previous show, a reader says,
"'Sister Act': sat in row C of the centre block in the stalls. An excellent seat in an excellent show!" and another comments for the same show, "Row C seats 13 and 14. Being 6'5" I had no problems with the height of the stage, and my considerably shorter wife found looking up at the stage helpful as it meant the people in front did not block her view - she was really happy with where we were sat. These are good seats if you do not mind not always seeing the actors feet, legroom is OK (It's never going to be better than that!) and being on the aisle was great. If you have children with you, I would recommend going further back or to the circle where the rake is steeper."

One reader notes that row D is close enough to see the facial expressions but feels that sitting 2 rows back would have been better as, "the stage is high so it blocks the view a bit and you can't see the dancers feet when they are towards the back of the stage".

Reader Paul comments for "Sister Act,"
"D 13 to 15: A fabulous view from these seats, but would not recommend it for children due to the flat rake and high stage. This was demonstrated by the Americans behind who spent ten minutes after they sat down pacifying their child who couldn't see, even with a booster. Legroom adequate but no better."

Reader Rebecca says,
"Sister Act, July 2009 row D, seats 28 and 29: The view from there was generally good, but suffered some from the lack of rake in the front section of the stalls. As I am only 4'11 and unfortunately had tall people in front of me, I had to require a child booster cushion to get a good view."

For "The Wizard Of Oz" (February 2011) a reader notes,
"Row D centre: Three rows back from the front. There were several children around us, and none could see onto the stage - so they missed the crucial bits of the story when the house landed on the witch. I could just see the legs sticking out with the magic shoes, but had to tell my young daughter to stand and look. Later, she didn't see the dog coming onto the stage or the Yellow Brick Road when it appeared. My daughter went to the loo in the interval and overheard some people asking if they could move to the back as they were in the front row, had sore necks and couldn't see anything. One lady behind us had bought tickets for her daughter and grandchildren, so they must have spent a lot for the children not to see everything - which was a shame."

the reader's companion adds,
"None of the people around that front stalls area could see some of the key things like the witches’ legs under the house; the slippers; the yellow brick road and at first you couldn’t see the dog very well at all."

Another reader, also at "The Wizard Of Oz" - after the stage was altered, in January 2012 says,
"D19: I got my ticket for £35 through the Get Into London Theatre ticket promotion. I'm 6ft tall and thought I might have trouble with the seat at first glance but when I sat down there was about an inch between my knees and the seat in front which I was able to tuck my legs under throughout the show. This made the seat of average comfort. The seats in row D are not staggered with those is row C and so the head of the person in front is directly in the way (person in front of me was about 5ft 8 inches). There is also very little rake in the first four rows. I did miss the feet of the actors when they were near the back of the stage and developed a slight neck ache from looking up but I felt these were bearable at the ticket price." 
 

In the 'restricted view zone' during the preview period (when the stage was higher) for the same show, readers David and Katie say,
"D 3 and 4: My wife, 5' 6" and I, 6' 7" like being close to the front. We were advised this was a side view with partial loss of sight lines to the right but didn't mind - we're seeing the show again anyway.

However, as soon as the lights went down and the curtain went up it became apparent there is a much bigger problem for all stalls Row B, C, D, E and F, probably G and H too. The stage is sooo high that all the actors were cut off at the knee. Apparently the show features a yellow brick road, sparkling ruby slippers and I've heard there is a dog at the end of the taught lead! We saw none of it. And that honestly includes me at 6' 7", I couldn't see ANYTHING! I had to raise myself out of my seat to glimpse the feet of the wicked witch of the east sticking out from under the house.

Remember, we paid preview prices of £45 each last night and the seats we were proposing to buy for my mother's 80th would have been £62.50 each all be it more central in the same row.

Needless to say we ended up buying Royal Circle for June. We popped up there during the interval and can assure readers it's a different show altogether from that perspective.

These front stalls seats are really not worth more than £20 a ticket. The whole evening is spoiled by the severely limited view. DO NOT BE TEMPTED TO TAKE FRONT STALLS."
 

In row E, a reader comments:
"We did enjoy the show but even row E, where we sat, was far too close (for "Sinatra"). We couldn't see the dancers feet and had to crane our necks when the movable screens were high. I would recommend anyone to sit dress circle or mid to rear stalls rather than what is normally regarded as the best seats in near to front stalls."

That isn't generally an issue for other musicals, but the monkey felt it advice some may find helpful, especially for sequences taking place on raised areas of the stage.

A reader warns for "The Wizard Of Oz" (February 2011),
"F 8, 9 and 10: I always like to buy front stalls seats to be near the action, this time it backfired.

I ought to point out that although I'm short at 5ft 4, my husband, who is 5ft 11 was with me, and he couldn't see the stage floor either.  There were 2 little children (aged about 5 or 6) in row E in front of me who I felt really sorry for, because they obviously couldn't see very well at all. 

The stage is so high that we couldn't see the yellow brick road, the actors' feet, (which is pretty crucial with the red slippers), the Wicked Witch of the West in one scene and most of Toto because he was so small. It REALLY spoiled the performance. Very disappointing."

At the same show, in the same seats, reader Mutti adds (on behalf of her daughter),
"F10 and 11: When I bought the tickets back in May 2010, no mention was made of them being restricted view. So I was really cross to learn from my daughter how disappointing it was for them not to be able to see the Ruby Slippers, Toto or the Yellow Brick Road lighting up, from their seats. They only knew about the latter from hearing comments from other members of the audience sitting further back."

Thinking about it, the monkey recalled SPOILER the road raising as it lit SPOILER ENDS, but on the other two issues it thought they can only be solved by making Toto a Great Dane and giving Dorothy platform Ruby Slippers, it guesses.

Reader Avril puts a different view, though, at the same show,
"F 22 to 25: Had a great view with plenty of legroom. Wouldn’t want to be any further forward though, or the stage is obscured."

At a different show, another says,
"F19: Excellent seat not too close to the stage but close enough to see facial expressions. Also great leg room."

The centre block offers clear views of the stage. Row J seats 16 to 31 are rated the best seats in the house by theatremonkey. At top price pick rows J then K - which is slightly higher than J, the monkey notes - or I; then L, M , H, G, N or O, F or P then E depending on whether you are keener on seeing the whole stage, or being generally closer to the action.

For “The Wizard of Oz” (April 2011) central seats in rows J and K are "premium" priced. Your call, feels the monkey, who would rate them just "fair" at the price - and is sad that its beloved row J centre is at this high price... even if they are some of the very best seats in the house. It would save cash and sit further back, it if were honest.

Reader K Favelle says,
"Had row G seats in the stalls, fairly central within the central block. I think we were 21 to 23 but I might be one out either way. We really enjoyed the show from these seats as we felt close enough to the stage to really be able to see the actors' expressions clearly but not so close that we had to strain our necks back or lose a wider view of the whole stage.

Legroom felt fine (though none of us was taller than 5 foot 6 inches) though I suspect it would have been tight for my very tall husband had he been with us."

Reader Georgie Harris comments,
"we sat in the stalls Row G seats 25 to 28 which were perfect"

Reader Mandi agrees,
"Myself, my mum and my 6 year old son had seats Stalls G26-28. These seats were great as we had a perfect view of the stage"

Reader Mila echoes this,
"Our seats in row G of the stalls (thanks to Theatremonkey and dogged persistence at the box office) were excellent, a perfect view."

Reader Rupi adds, for "Sister Act" (June 2009)
"Row G 20 and 21 - fantastic seats! Close to the action whilst still being able to see the whole stage."

Reader Yvonne Coombes reports:
"Myself, my husband and daughter (4 and a half) sat in stalls seats G11 to13 and these were fantastic. Great views throughout and close enough to really see the expressions on the faces of the cast members. We got a booster cushion for my daughter. I would recommend these seats and those immediately round them to anyone."
Behind them, just a bit along, another reader says for "Sister Act" (May 2009),
"H11: secured this ticket for £35 on an offer. Legroom was decent, and the view was very clear – however bear in mind that the Palladium has a very wide stage in comparison to other London theatres – so if you’re paying full price, then the middle section of the stalls is definitely preferable."

Another reader comments, for "Sister Act" (June 2009),
"Row H was great for the view if a little tight in the leg space."

Further to the sides is another story...
Reader Julie warns that, "Myself and 2 children were in stalls seats H40-H42. While we enjoyed a lot of the show, our view was very restricted - apart from H40, we could not see the rear of the stage at all, and missed some of the plot. Very disappointing".

Behind them, in J, reader Edward records,
"J1 and J2 afforded very good views of the stage, but we couldn't see the right side and hence missed the whole of the part where the children bid goodnight to the party and ascend the stairs."
 

In row I for "The Wizard Of Oz" (February 2011) before the stage was lowered, a reader says,
"I 11 to 14: I’ve been to the London Palladium many times - have they raised the stage even more for this show (perhaps that’s why row A has gone)? I’m 5ft 10 and the front edge of the stage was at eye level. As the stage isn’t heavily raked I couldn’t see the stage floor from this position (when flat) so anyone shorter risks losing actors feet (and those red shoes – although my 10 year old on a booster cushion says she could see them so perhaps not)!"

I could see people’s feet, but just literally couldn’t see the stage floor and felt I shouldn’t really be expecting to look up at the cast in quite the way I was in this row – so a comment for the really picky to watch out for perhaps - because otherwise very good position to the stage (at the risk of repeating myself) – I’m certainly not complaining though, we didn’t pay full price as it was...

So, a good position in relation to the stage - so agree with 'fair value' rating for where we were; but for this row in the centre block I would say perhaps should only have a “white” rating and not “green” - same of course for G and H, so perhaps only rows L to O as “green”.

If I were to guess and from my recollections of sitting there for Chitty I would say that the best seats for me for this show would be the first few rows in centre block of the Dress Circle. Although further back than our row I you will see everything really well. However, I don’t know the pricing up there so maybe these are now “premium? (mostly, editor).

Also, even from row I you sure can feel the heat off the flares and even off those bright stage lights on the side of the stage that they blind you with (I’m sure they’ll have a technical name)! ALW’s team must have got a taste for the flares at “Over The Rainbow”. We managed to get tickets to one of the early rounds and Graham Norton warned those sitting right in front of the flares they might get a little warm – no kidding!"

Reader Danni C, in the same row for the same show, reports,
"I 27: Right in the centre. I saw on theatremonkey's seating plan that from the front row to row I, some people said they couldn't see Dorothy's red shoes or Toto the dog. In Row I, I could just about see her shoes and I saw the dog perfectly. Any further forward and I wouldn't have seen either. In fact, another person told me that in the third row they could hardly see anything as the stage is VERY high for this production."

The monkey has adjusted things accordingly. Another reader on a later visit to see the Wizard, says,
"I was in row I and there is a very obvious slope of the stage allowing sight of feet etc, not sure if that is any different from before but we had seats from row C back to J and no one made any comment about not being able to see feet etc. Everyone loved the show."

Another "Wizard Of Oz" goer in June 2011 also seems to confirm things have improved,
"I16 and 17, the right hand aisle seats in the centre block. The view was excellent, no doubt helped in that nobody was sitting in front of us, and legroom was good. No problem in seeing the yellow brick road, Dorothy’s red shoes or Toto the dog."

Looks like some changes have been made, thinks the monkey.


In the same row, for  a different show, reader Nigel Williams says,
"We sat in I27 and I28 which is approx 8 rows from the stage and one seat in from the aisle. They were superb and as I looked around I honestly couldn't see any seats I'd much rather be sat in."

For "The Wizard Of Oz" again (February 2011) things are resolved further back, as a reader says,
"K 25 and 26: I must say these seats where fantastic! None of the stage was obstructed (the Red slippers where visible and the yellow brick road was clearly visible) also with plenty of room. SPOILER ALERT Only problem there is a possibility of jarking your neck when the witch appears from the rafters (but that's all part of the fun of the show.) SPOILER ENDS."



Reader Caryl says for "The Sound of Music,"
"We had perfect viewing seats in the stalls L16, 17 and 18."

Reader Tamara comments:
"Sat stalls row L seats 20 and 21, perfect for me, centre stage, not too far forward or too far back. Just right to feel part of the action and see the actors faces, without having to crane the neck".

In row L for "The Wizard of Oz," (March 2011) a reader says,
"My group were in rows L, M and N and from row L my sight line just saw the floor of the stage. I am 6'1" so I suspect anyone sitting much closer than that would have increasingly restricted views of some of the action the closer to the stage they are.

I would say that our rows were just about perfect for this show. SPOILER ALERT The wicked witch hung in front of the dress circle (almost above our heads) so all in the DC would have a superb view of her, but anyone in rear stalls would only see her feet at best - until she flew on to the stage. The upper circle would not see her hanging except that she did descend from the roof so passed in front of them first." SPOILER ENDS.


Reader Steph Nicholls says, of discounted seats for "Sister Act" (May 2009),
"Got M40 to 46 for £37 each from the ticket booth in Leicester Square underground. I had a good view from M40, others at the far end (M45/46 - coloured red by Theatremonkey) were happy with the view though commented that occasionally the walkway towards the back of the stage was obscured by scenery in front."

In that same area, for the same show, another reader reports,
"If only my lovely relative had seen this site before spending A LOT of money on tickets. Seat M41 in the stalls was one of the worst I've ever experienced in a theatre. My own relative was sat in front of me and at 6ft is not extraordinarily tall. I (at 5ft 8) could not see the centre of the stage for any of the show because his head entirely blocked it - which meant missing a great deal. Also, a very strong cold breeze blew at the block from M39 to M45 - we were all putting our scarves back on! Wonder if it came from the exit that was at the back or an air con unit? Such a shame."

From row N at "Wizard Of Oz" (February 2011) reader Suh opines,
"N15: The Palladium has very few stalls seats without a good view  - unless Horse from 'Bonanza' is in front of you. I was very happy in row N, though I always try for row E in any theatre."

 

The Palladium is a vast theatre and sitting far back yields only average value for money if seats are top price past around row P. In this case, being nearer the front gets the monkey value for money vote.

Reader Joss comments for "Sister Act,"
"Row P 16 to 21 and Q16 to 20: On the aisle. The seats were small but comfy, and there was more legroom than most (but not great if you have long legs). None of our group had cause to complain. The view was great, you could see the whole stage, nothing was missed and the overhang of the balcony above does not obstruct the view of this show at all."

Reader Tim Powell observes:
"Seats 32/33 in Row P in the Stalls which gave a perfectly good view (but I would probably be aggrieved at having to pay the same top price as the front rows if we weren't on a half price discount)."

A point well made, felt the monkey.

Also in row P, at “The Wizard of Oz” (April 2011), another reader observes,
"P9. View good, but sitting below the circle. Above this overhang a ventilation panel is fitted, blowing strong cold air. A number of us both in row P, and in rows immediately behind and in front requested at the interval that the air conditioning was turned down. No action was taken."
 

For “The Wizard of Oz” (April 2011) row Q is top price - skip it, you'll miss a bit yet pay full rate. Behind that, rows R to T are more reasonably priced than usual. Be aware that you may miss the top of the set from these - particularly row S. A little action takes place there, but not plot spoiling - but for the price, the monkey would certainly take central row Q and take a chance if saving cash is the object. Otherwise, for this show, paying a little more to sit forward of the overhang will honestly provide a slightly richer experience, it feels. Row T, for the same price, again the monkey would skip - row U has a similar view for less cash.

As a reader at "The Wizard Of Oz" says,
"Q32 and 33: (Took my) 5 year old daughter. Get there early to get a booster seat as you'll definitely need them. Our seats were fine. You have the benefit of being on the end of a row and you are in the centre block and can see all the stage. The only downside was they were a couple of rows too far back to get the full effect of SPOILER ALERT the flying witch END OF SPOILER. We could see if we ducked down a bit, but it wasn't ideal."
 

Another reader notes perfect sightlines from central row R at another show, though one adds,
"We were seated right in the middle of row R in the stalls and found the view to be very good, apart from at the end where the escapees on the mountain were lost for a few seconds as the mountain turned. Leg room was excellent."

Reader James F. says, for 'Sister Act' (May 2009),
"I sat in the Stalls R7 and 8 and the Dress Circle obstructs the view of the top right hand corner of the stage and because of the angle to the stage some of Stage Left, but you don’t miss a single thing! The leg room is OK, but not great, but unless you get a really tall person (or someone wearing a habit that they brought from the merchandise stand), your view should be unobstructed."


Regular theatremonkey seat reporting reader Mark comments,
"Row S for 'Sister Act' (September 2009): Good clear view but felt quite distant. The other two times I was in Row A stalls and I honestly don't think there is anywhere better to sit for this show than right at the front."

Rows U to W are again cheaper, with row U another monkey possible as it mentions above - cheaper than T, same view. Again, don’t expect to see anything happening at high level, but worth a try if the Upper Circle is too high and too tight on legroom. Probably not one for younger children, though, or anybody who wishes to see the show in its entirety. From here there really are about 5 minutes of the show and some neat effects that are only going to be heard, not seen. Please bear this in mind when booking any seat from row T back.

In row T, reader Lisa says, for "The Wizard Of Oz" (April 2011),
"T 26 and 27: Limited view - however I could see all the stage and we only missed two very small sections of the show, but this didn't spoil anything for us. I did feel a little bit far away at times, but not too much. Overall thought view was fantastic, especially for the cheaper price.

At a previous show, reader Paul Jones says,
"We were in the Stalls in row T and seats 15/16/17/18 on the end of the central block. As these were the second tier prices (for "The Sound Of Music" in 2006), although the operator discounted them even further... they were excellent value. With a 5 and 7 year old in tow we were not sure how it would go, as they like to be closer to the action, but no grumbles and with the eye glasses in use, albeit sparingly, they did not move much, the kissing scenes being the exception! We got there early to get the booster seats; but the rake is quite good at Row T... The sound was fine where we were and, as someone noted, you cannot see the top of the stage quite - but this does not matter as all scenery is below it a little, so we did not miss anything."

Reader Cristopher H, further along, says,
"Our seats were T 33 to 35 and they were absolutely wonderful (cheaper for "The Sound Of Music" in 2006)as the rake is very noticeable."

Reader Jackie agrees,
"Row T was very good (cheaper for "The Sound Of Music" in 2006) and given the rake we had a very good view – leg room was less desirable though."
Reader Gill Gill says of their group visit to "Sister Act" (May 2009),
"Rows O to T 28 to 40 side stalls. No problems mentioned at all regarding the seats, the view was good and audio perfect."

Another reader comments,
"T5 Great seat - when got for £25 for "The Sound of Music" (February 2009). No complaints but would have liked to be maybe a little bit further forward."
 

From row V, aside from seats around the sound desk, the value is just fair. If legroom is an issue, pay more to take seats in the rest of the rear stalls, otherwise the view from the Upper Circle make sitting there a cheaper option well worth thinking about.

Row V 23 to 29 is in front of, and rows W to XX are beside, the sound desk. This is annoying, so choose W 12 to 20 and W 30 to 45, and X and XX 1 to 5 and X 15 to 20 and XX 8 to 11 to avoid the worst of the problem. These seats offer very fair value and theatremonkey prefers them to the Upper Circle on grounds of legroom, though accepts they are a tad more expensive. Do remember that for "The Wizard Of Oz" some sequences are missed, and that the desk will really block views for those directly next to it.

From row V at "Sister Act" (May 2009) reader Kirsty reports,
"Row V seat 36: Despite being right at the back, the set design wasn't so big that my view was hampered. I saw the actors, I saw the set and I felt I paid the right value of money for the seat (£41)."

Another reader says,
"I was in V1 and my knees were wedged in which detracts from enjoyment. It was too far back to see or hear properly for me."

From row W for "The Wizard Of Oz" (February 2011) a reader reports,
"W: I can say that the Palladium is still one of the most uncomfortable seats for leg room that I have ever sat in. Last time I was at the Palladium I was in the Upper Circle, and swore never again, but unfortunately the stall seats are only marginally more comfortable. The end seats have the most leg room because of the way it curves, so as it was pretty empty, we all moved around and got slightly more comfortable seats. If it had been sold out it would have been a nightmare. The yellow brick road was seen perfectly although, SLIGHT SPOILER the flying witches/monkeys SPOILER ENDS could not be seen from so far back in the stalls. I think the best view would have been the dress circle. It was not a problem though, they were brief things that were not upsetting to miss, although if possible they would have been good to see."

The monkey observes the legroom problem may be even more acute up there, though...


In row X, reader James says that his parents observed,
"Seats 1 and 2... my dad is tall and likes an aisle so he can stretch his legs. They have informed me that the view was brilliant, they couldn't make out facial expressions, but and they didn't suffer from being next to the sound desk."


Reader Kan has made a very interesting discovery, "I saw CCBB in London Palladium, it was a "full-house" and I was not able to obtain a ticket. Then I got a standing ticket...
... Once inside I noticed there is a seat which is not recorded on any seating plan or in their box office computer system seat Z1, just behind seat XX7.
I was the only one who bought a standing ticket that night, and so I took Z1 and had a seat during the whole show."
Maybe they will start to sell this ticket if anyone reads this, thinks the monkey...but until then, it is worth knowing, isn't it?!

Wheelchairs can replace seats L46, O48, Q48 and S49. The view is poor from all these seats. O 48 is the best of a bad bunch with distance offsetting the poor viewing angle. Transfer is possible to any aisle seat. See notes.

In general the usual rule of the jungle applies to the stalls. Insist on centre block seats as they are the same price as the sides. You are paying the same money so why settle for an inferior seat.

Legroom is good throughout the stalls, best from row F back to T. Slightly limited in row A 1 to 3 and 23 to 25, and Z1. F40, N1 and N16 have extra space for one extra leg, while row B 1, 2, 3, 4, 32 and 33, C 1, 2, D37, I1, F1 and D 37 have nothing in front and / or more legroom than usual.
 

 


DRESS CIRCLE 
Called the ROYAL CIRCLE in this theatre.

The Upper Circle overhangs the Dress Circle at row C. The top of the stage is not visible from row J back. A reader notes this isn't usually a problem.  Oddly, the opera glasses have gone missing from the backs of seats in the Dress Circle though - which might be... If anyone else finds this as irritating as the monkey does, contact us!

The Dress Circle is split into three blocks, centre and two sides by aisles. The view from all seats is fine, except that the first and last six seats in the side blocks from row G back sometimes suffered a bit in the past from bad set design / lighting positions / overhang.

Seats in the centre block rows A to F particularly offer good views of the stage. Those in the side blocks in these rows also have little to complain of, though choose the centre block first.

For “The Wizard Of Oz” (April 2010) some seats are "premium" priced. Your call, feels the monkey, who would rate them just "fair" at the price. It would take Stalls for legroom comfort first, though, if taller; Dress Circle for view if legroom isn't a concern.A reader at "The Wizard of Oz" (February 2011) comments, "Row B: It was worth paying the premium price for the effects."


Also at "The Wizard of Oz" (February 2011), reader Mila reports,
"A 23, 24 and 25": Right in the middle, amazing! To see this show, the Royal Circle is absolutely the best place to sit. People have mentioned the bad view from the stalls - well, from the Royal Circle you can see everything, and SPOILER ALERT when the wicked witch flies down from the rafters, she hovered right in front of us. My kids thought that was awesome. SPOILER ENDS Definitely sit in the Royal Circle."

At the same show, and a row back, another reader opines,
"B 21 and 22: We could see everything, I think they're some of the best seats I've ever had. The circle is well raked from row A so the people in front of us were not in the way at all, and the wall of the circle is low enough that row A doesn't have to lean forward and therefore does not obscure anyone else's view.

The stage is incredibly high, so we could see how easy it would be for people in the stalls not to be able to see what's going on. A lot of the action takes place quite far back on the stage so I would imagine that quite a lot would get missed. However the Royal Circle is a perfect place to sit. The stage doesn't seem far away at all and as we were in seats 21 and 22 we were dead centre and had an amazing view."

Theatremonkey regular seat connoisseur James says,
"B20 and B21 for “The Sound of Music”… for the view, best seats in the house!"

Reader James from Finchley says of "The Sound of Music,"
"Sat in Dress Circle B27 and 28. The view was excellent. Having previously sat in row I of the Stalls, I much preferred the Dress Circle as I could see the whole stage without moving my head from side to side. The absence of any safety rail at the front also contributes towards a great view. Having read various comments and seen the whole section “in red” I was very concerned that I might be very uncomfortable. However, I am 5’7” and found I had plenty of legroom – I’ve sat in theatres that are far worse. "

The monkey has since relented and revised things to a "white" average rating, taking into account view... It still warns all concerned that there isn't the legroom expected for the price, though. See further down the page.
 

From row C, regular contributor James says,
"A group of us sat in seats C15 to C29 for "Sister Act". Everyone said they had a great view and the sound is excellent here too."

Reader K Fried says,
"Our seats (royal circle, C 31 and 32) were very good and the view was perfect. Leg room is cramped, but not dire. Just check your bags and coat and unless you've got unusually long legs, you'll do just fine."

Regular theatremonkey seat commentator James says,
"Had seats C31 to 37 in the Royal Circle for "Sister Act". The view is great from most seats here although you are getting a little side on as you get to the higher numbers. Sound is no problem from here. We got the tickets for a special offer price of £19.50 which was an absolute bargain!"


Some readers confirm this for "Sinatra" (too February 2006):
"We were in Row D of the dress circle and could see everything."

Reader Tim Powell says of "The Sound of Music":
"We had seats 16-19 in Row D of the Dress Circle which were a little tight leg-room wise but the view was excellent and at least, being the tallest, I had an aisle seat to stick my leg down!

Further along, and over the aisle, in the same row for "Sister Act" (June 2009) reader Hannah reports,
"D 8 to 15: The view from these seats was great, with a steep rake and pretty good leg room. We only paid £20 for the tickets, as we got them through a friend, so I don’t know if I would pay the usual £62.50 for them. But if you have money to burn, they do offer a good view."

Even further over for "The Wizard Of Oz" (February 2011) reader Graham adds,
"D 38 to 40: Although I thought they might be a little bit too far over to the left hand side, were actually really good seats with an excellent view. Legroom was fairly tight for me, being 6', but I managed to wedge myself in without too much knee ache throughout the evening. I've sat, and prefer to sit, in the Circle here because I think it offers the best view of the stage."
 

Another reader feels:
"row E20 - 24 must have been the best seats in the house perfect view at all times"
Regular seat connoisseur James says,
"Sat in Royal Circle seats E20 and E21 for "Sister Act" (May 2009). Great view and the sound is good from here too."

Along the row and over the aisle at "The Wizard Of Oz" (February 2011) readers Claire and Daniel opine,
"E 33 and 34: Fantastic seats. They cost me £62.50 per ticket but were well worth the price. I'd read up before on Theatremonkey about the best places to sit, and to me the Royal (Dress) Circle was the best bet. Previous reviews had mentioned people sitting in the Stalls or Upper Circle missed various parts of the show like the SPOILER ALERT flying witch and monkey SPOILER ENDS / seeing Toto / seeing Dorothy's Ruby Red shoes, but you saw everything from our seats. Leg room though is very tight so that's why I opted for two side seats - so me and my brother could swap over to stretch our legs in the aisle. Try to get seats in the Royal (Dress) Circle - you will not be disappointed."


At another production a reader says,
"F20: for "The Sound Of Music" (2007) and it was a fantastic view. It didn’t seem distant which it can do from the 6th row of some Dress Circles. A very clear view and excellent sound."

Another reader adds,
"Row F 24 to 27 – almost centre stage so good view of all the action and adequate leg room."
Further out in row F, a reader says, for "Sister Act" (May 2009),
"F10 and F11: Sightlines were perfect, we saw everything and felt very close to the action. Legroom was not as bad as I thought it would be (I am 5 ft 11). There was no one in F9 which meant we had some extra space which also made the difference."
It would, notes the monkey... hope for the same luck if you sit there and are taller...
Rows G to J offer only moderate value if sold at top price, since they are a long way from the stage for the money. Rows K and L at top price have the same fault - but L has an inch of extra legroom...

Another reader in row F for "The Wizard Of Oz" (February 2011) felt,
"F48: I would have liked to have been more central (late booking) but nothing was missed on the stage, I probably wouldn't want to be any further back though. Leg Room was tight and it was warm up there. The stage is quite high so I would advise readers to sit from Row E in the stalls back and the Royal Circle Row A to F to be able to take all the scenery in."


Reader LJF felt the seats in row G had a fine view, but were expensive through the agency they bought them from.

Theatremonkey regular seat connoisseur James comments,
"G23 and 24.  Even seven rows back here, the view was still great although I did get discounted tickets. Perhaps at full price it is a little too far away."

A reader says,
"I did feel a little distant from the stage (in row J) and think the Upper Circle rows C to G (in the centre block of course) may well give a similar view, and £20 saving on top price."

A reader reports,
"We sat in the Dress Circle (I 48 and 49) for a production and unfortunately, the view of the stage and a small amount of the action was slightly obscured due to the angle, and it must have been worse for people in seats 50+"
Though this isn't always, monkey advice is still be careful in the back rows at the ends of this wide Circle.

For "The Wizard Of Oz" (March 2011), theatremonkey regular seat commentator James comments,
"K10 and 11:. A little far away at full price, but no problems with the sound or the sightlines from here."



BIG BUT IN ALL SEATS. Legroom may well prove a real problem for anyone over 5ft 5 tall who will be seated for more than 30 minutes or so - though one 5ft 8 person reported no real issue. Row A is worst, row L has an inch or so more space, but theatremonkey would not willingly sit here even if given free tickets (though many readers would!.) New seating has improved things to this state, which is better than it was, upgrading the circle to "white,"... but...! Inner aisle seats at the ends of rows B, D, F, H, J and L have a little more space for one leg to stretch into, while seats two seats off the outermost aisles in rows B to D seem to have a tiny bit less. If below five foot five tall, try the circle; all others use the stalls.

Reader Gordon says,
"We had seats B37, 38 and 39 in the Royal Circle - there was very little legroom between the rows of seats."

Another reader adds,
"We were in row C of the Royal Circle. Super unrestricted view but as has been said so many times about The Palladium 'don't go in the Royal Circle if you have long legs'. I'm 6' 2" and not only was there a mountain on stage I had one sitting next to me. About 20 stone covered in a pink pullover. His legs were so fat he couldn't put them together so mine were wedged against the seat in front and with the elevation of the circle it meant the sharp edge of the top of the seat was wedged against the bone just below my knee. It is still painful to the touch now 2 days later."

Another comments that F48 was tight.

By contrast another reader reports,
"Our seats were in the Dress Circle Row H numbers 25 to 28 and have to say there seemed to be plenty of leg-room even for my husband who is 6 feet tall - however the bloke behind me seemed to find it hard not to keep kicking my seat especially during Do-Re-Mi which rather had me on edge for that number - a few choice stares seemed to make him realise he wasn't at home on the sofa able to lounge about regardless."

To which another says,
"F10 and F11: Legroom was not as bad as I thought it would be (I am 5 ft 11). There was no one in F9 which meant we had some extra space which also made the difference."

 

 

 

Dress Circle Boxes
Boxes B, C, BB and CC are at the sides of the theatre at Dress Circle level. Boxes E, F, FF and EE are above them at Upper Circle level. All boxes usually offer a fair, sideways view of the stage with only a minimal portion of the edges not visible. Sold at third price they offer average value for money and decent legroom at higher than stalls level. At top price, they are tending towards expensive, though. Choose front stalls for the same price first.

One reader writes,
"I was quite impressed by the view even though you can't see the right hand side of the stage."

Another reader was less keen for "The Sound of Music,"
Avoid Box BB for this show. Totally restricted view. We were in Box CC which was just okay (slightly restricted view), but the people next to us in BB had to be moved half way through - couldn't see a thing thanks to large speakers in the way!!"

For “The Wizard Of Oz” (April 2011), boxes at upper circle level have speakers very close, and even those at dress circle level may find them very loud. That said, all boxes again provide a view of 'effects' not available elsewhere at the price, and might be 'fair value' at a cheaper price - and as 'day seats' for those willing to accept noise and sightline restrictions.
 

 

UPPER CIRCLE
The Upper Circle overhangs the Dress Circle at row C. It is high above the ground but is does not feel particularly distant from the stage or vertigo inducing.
It is split into three blocks, centre and two sides by aisles.

A thick metal bar runs across the front of the circle. Row A and B are designated restricted view because of it. Row A suffers most, the bar being directly in your eye line. Rows B to D suffer from it to the extent of being a mild annoyance neatly bisecting the actors at the waist. Metal posts at the ends of all rows do not intrude into the view.

Reader Teresa Gustafsson says,
"A34. They warned us about the safety rail but for me (5.4), that wasn’t a problem at all, I think it all depends on how you sit. We had a perfect, clear view and the sound was great!"
Reader Jess adds,
"My Grannie and I, both 5ft 7, and also my parents (who are both 6ft), sat in row A seats 30 and 31, located in the central block of seats in the upper circle. Thanks to theatremonkey, we had already been warned of the lack of legroom and the metal rail running horizontally across the front of the upper circle, but we didn't find either of these a problem.

However right in front of seat 31 there was a shorter vertical metal bar supporting the rail which was awkward as you had to try and look around it. I think these metal bars were in front of all the odd numbered seats in the front row of the central block of the stalls. Overall, very good seats for the price, although should be avoided by tall people who need legroom, and also shorter children may find it hard to see."

Reader Katie opines, for "The Wizard Of Oz" (February 2011),
"A14 to 17: Although we had to jiggle a bit to see stage left, the view was fine. The leg room, however, was appalling; no-one over 5ft 5 need apply!"
 

The views from rows E to M is fairly clear in both centre and side blocks.

Reader Stephen compares row E with the Dress Circle,
"I mentioned that sitting in the middle of row E of the Upper Circle may be just as good as the middle of row J in the Dress Circle which was where I was seated last time. At £20 cheaper it is tempting and may just be worth it - but don't go further back than row F, and certainly don't bother with rows A to D unless at a last resort.

Row E in the Upper Circle is quite a good view. You are able to avoid the leaners in row A and those in row B who are trying to look over the top of the leaners. You are aware of the metal bar at the front of the Upper Circle , but it appears in your eyeline at the front of the stage and is just out of the way. However, the leg room is dire, worse than the Dress Circle and I am only 5ft 8."

It is worth avoiding the first and last six seats in all rows since the viewing angle is not great due to the curve of the circle and intrusion of the boxes. One reader went further, saying:
"Sat in Upper Circle Row C 10 and 11 (for "The Sound Of Music" in 2006). Yes there is a metal rail which cuts the actors in half, but this is always there. The main grievance is that even from seat 10 you could not see Stage Left (right hand side of stage as they looked). If C10 / 11 had problems then the poor souls who sat in seat numbers 1 to 9 would have been far worse. If you go to a theatre and have seat numbers 1-4, you expect some lack of visibility down one side, but from Seat 10?

Additionally the audience in Row A when the action was at the front of the stage had to lean forward, which meant that the rows behind also had to lean forwards as well, a concertina effect."

In the second act, the person sat in C12 who is a bigger lad had no room to sit, with knees which wouldn't fit into the space provided and ended up standing at the back. This unfortunate situation at least meant the person in C10 could move across one seat which was a slightly better view"

The monkey notes both the view and poor manners of the "leaning" people...
A row back, reader James F says,
"D 10 and 11... The seats offer a full view of the stage as the railings appear just below the stage. If I were to sit here again I would chose the centre block in rows D to F only!"
At the fifth price pick row E first, then D, F, G, H. Choose centre over side blocks for the usual reason of if all blocks are the same price, centre is best value, no? Also, decide if the rear stalls are more to your liking for legroom, and worth the extra bananas.

A reader comments,
"Upper Circle seat F30 the view was very good and unobstructed apart from the nuns vanishing out of view at the start as they moved towards the front of the stage and the mountain looking like a UFO! The leg room however, wasn't good... I am 5'5 and felt very cramped."

At "The Wizard Of Oz" (February 2011) a reader says,
"F34 and 35: offered a great view of the stage albeit from a huge height!"

Reader Steph Nicholls comments from J12 and J13,
"The Upper Circle should maybe be renamed the ‘incredibly high circle with no leg room’. My wife (5ft 11) had to wedge her knees into the space provided and has the bruises to prove it. I’m shorter, but found there little room to move when I needed a change of position. The view was generally good, we couldn’t see the nuns when they came in front of the pit and lost some of the action when it was downstage left."

In the centre of this row for "The Wizard Of Oz" (February 2011) another reader agrees,
"J30: A fantastic show, but nearly ruined by the lack of leg space. I am 5' 9" and found it incredibly uncomfortable. I can't imagine how anyone taller, or with longer legs, managed. Shame because the seats themselves are very comfortable, and it's a lovely old theatre."

In the same row for "The Wizard Of Oz" (February 2011) a reader comments,
"J34 to 36: We were pleasantly surprised with the view for the price range, saw everything and felt in the right perspective."

 

Rows L and M seem very high above the stage and isolated due to an intruding wall at the back of the circle. The view is OK but the position does induce vertigo in some non-treetop dwellers. On the other hand, at a mere £17.50 they are well worth a thought.

A reader agrees about row L,
"L47, 48, 49: Great seats. I'm 6ft 2 and felt very comfortable, much more so then when I sat in the stalls two weeks previously - with tickets that were £65 - when I was really cramped. These were only £17.50 and on the second last row from the back of the upper circle; and, in my opinion they were a bargain. I could see absolutely everything and felt very comfortable. Highly recommended."

A reader reports from M,
"We were seated in Row M of the upper circle seats 43 to 46. Provided a fab view for only £25 and I don't think it would be worth paying an extra £10 for seats 4 rows in front, especially if those seats were towards the far sides of the theatre."
Of M41 another reader says,
"So this seat is right at the back but for me was fine, end of row. View OK. You miss some of the higher stage elements (perhaps the opening scene) but it doesn't distract too much (you use your imagination!) and some of the top stairs."

with which another reader agrees,
"M49 and 50. For a back row the seats are well priced for the view which is excellent. However, legroom is very little as my mum is 5ft 6ish and even her legs were having trouble. The seats can be quite uncomfortable unless you fidget. I wouldn't avoid these seats, but not put them first choice."

as does another, for 'Sister Act' (June 2009),
"M11 and 12 for £17.50 had a clear view but were the last row of the upper circle."

Reader Taljaard adds for "The Wizard Of Oz" (February 2011) that he found M7 fine too.

 

BIG BUT …Legroom here is dire in most seats. Row A is especially bad, too awful to make it, even at restricted view price, value for money. A quirk of architecture though means row K 19 to 36 gets a little more than the rest, and a reader noted side block L is also more generous. No recommendation, but if price is all and the best of a bad situation must be made, pick these. At second to lowest price, little is lost.

A reader agrees,
"We were in the Upper Circle, K19 and K20. Excellent view, and just about enough legroom to accommodate a 5’6” person without undue discomfort."

Another comments,
"As a six-footer I struggled for leg room in our Upper Circle seats (J 7-8) but the view of the stage was mostly unrestricted, although if you don’t like heights – and it all became a bit too much for one heavily pregnant lady in the row in front of us – sit lower down."

Another in row J adds,
"Our enjoyment of "Sister Act" was somewhat marred by the dire seats. We paid £40 to sit in the upper circle J 42 and 43. I am 5 foot 5 and my knees were right up against the seat in front. The seats themselves are comfortable, but the leg room is dire and all the men around us looked like they were in agony. We had a very tall man in front of us who was obviously uncomfortable; we could not blame him, but because he kept moving and fidgeting this blocked our view to the stage a lot of the time. It also meant that every time he threw himself backwards he practically was in our laps!! I have been in plenty of upper circles but have never had such a bad experience before. These seats were worth £20 at the absolute top price and were so uncomfortable my knees were sore. Every single person around us was complaining about the legroom. It is a shame because the actual seats are actually very comfortable."

One more feels it dire for those of 5ft 8'' too.

In row L a reader says,
"L47, 48, 49: Great seats. I'm 6ft 2 and felt very comfortable."

Another feels that row M also offered some relief,
"My dad and I are both around 6ft tall and found the legroom to be very good. Also, sitting here means you can lean forward for a completely head-free view without disrupting other people."

Not something the monkey had noticed...

 

 

Notes
Total 2298 seats.

Air-conditioned auditorium.

Infrared headsets available. Occasional signed and audio described performances. Dog sitter available. Two adapted toilet in Stalls - one new in the Val Parnell Bar. Wheelchairs can replace stalls seats L46, O48, Q48 and S49. Access is via a fire exit and is level Alternatively, a ramp can be placed over the three steps from Argyll Street (the former box office door) to a reception room, then the user can be taken down to stalls bar level by stair-lift, then on to their place in the auditorium. The auditorium rake is steep, good for the view but chair users should check their brakes. Specific information from www.seetickets.com or 0844 412 4648 or e-mail customer.relations@rutheatres.com. A "venue access guide" from the team who created book "Theatremonkey, A Guide to London's West End," is available to download in PDF format by clicking here.Booster cushions for small children can be obtained from ushers. These are limited, and are available on a first come, first served basis - early arrival is recommended. 

Food: Ice Cream and confectionery available. 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; The Variety Bar (Stalls); The Val Parnell Bar (Stalls); The Cinderella Bar (Royal Circle); The Long Bar (Upper Circle).


Eleven Toilets; Stalls 2 gents 3 cubicles (new off the Val Parnell Bar), 2 ladies 30 cubicles (7 new off the Val Parnell Bar, 8 in the other stalls toilet); Dress Circle 1 gents 2 cubicles, 1 ladies 10 and 4 cubicles respectively; Upper Circle 2 gents 2 cubicles, 1 cubicle respectively, 2 ladies 2 cubicles and 6 cubicles respectively.


A reader comments on comfort, one hot day in June 2010,
"The theatre, if it had any air con, should have tried putting it on as everywhere you looked people were melting which does make it uncomfortable."
 

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 is actually below the arrow!
Nearest Underground Station Buses Car Park
Nearest Underground Station:
 

Oxford Circus - Bakerloo Line (brown), Central Line (red), Victoria Line (pale blue).

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

The escalators from the platform deposit passengers in a large underground space with multiple exits, one of which is onto Argyll Street itself. Once through the barrier, look to your left. An insignificant exit in the corner, marked "Exit 6, Argyll Street" is the one to take. 

Go up the stairs and when you leave the station look to your left - if it is a pedestrianised area then the theatre is right there, just past the street restaurants!

If you see a busy road instead then try...orientating  yourself by looking for the large 'Top Shop' clothing outlet on the corner of the major road junction of Oxford Street and Regent Street.

Stand with your back to both it and the Oxford Street traffic. You will be facing some exits from Oxford Street Underground Station. 

Turn to your left and take the next turning on the right, a pedestrianised space called Argyll Street - an exchange bureau is on the corner. Walk to the end of the pedestrianised part, dodging restaurants, market stalls and street vendors and the London Palladium is to your left.

 

Buses:
1, 3, 6, 7, 8, 12, 13, 15, 16A, 23, 25, 53, and 73 all stop on Oxford Street. 

Look for the large 'Top Shop' clothing outlet on the corner of the major road junction of Oxford Street and Regent Street.

Stand with your back to it and cross Oxford Street so the traffic is behind you as well. You will be facing one exit of Oxford Street Underground Station. 

Turn to your left and take the next turning on the right, a pedestrianised space called Argyll Street. Walk to the end of the pedestrianised part and the London Palladium is to your left.

 

Taxi:
Walk up Argyll Street to Oxford Street, or along Great Malborough Street to Regent Street to hail a taxi in the street.

 

Car Park:
Poland Street, Soho. The "Theatreland Parking Scheme" may be available. Call Q-Park car parks on 0870 442 0104 or see http://www.q-park.co.uk for details. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost. Spaces CANNOT be reserved at these prices, so choose whether you would prefer to book and pay more, or use this scheme.

If you choose the "Theatreland Parking Scheme", you must get your car park ticket validated at the theatre's box office counter (the theatre attendant will insert the car parking ticket into a small machine which updates the information held on the magnetic strip on the reverse, thus enabling the discount). When you pay using the machines at the car park, 50% will be deducted from the full tariff. You may park for up to 24 hours using this scheme and it is endorsed by the Society of London Theatre.

NB: The Kingley Street Car Park, often listed on other websites as near this theatre, has now closed.

 

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


 

 

 

 

 

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