Theatremonkey®.com

          
  

Cookies: to find out more or learn how to changing your settings, click here. We are pleased to accept your consent to our policy if you are happy to continue without doing so.   

London Theatre & Music Venues' Expert Seat Reviewer and Discount Deal Hunter.
The Trusted Independent Insider Listings Guide since 2000.

SEE ALL DISCOUNT LONDON THEATRE TICKET SPECIAL OFFERS
Home Page
Buy the Site Book
SEARCH THE SITE
By Venue Name
By Show Title
For Best Seat Info
For Seating Plans
For Show Time Schedule
For Day Seat Information
CHECK OUT THE
Latest Special Offers
Tips, Hints & Features
Top Five Charts
GUEST SERVICES
Theatremonkey Ticketshop
Hotel plus Show Deals
Venue Access Guide
Theatre Dictionary
FAQ's
Contact Us
Blog and Book Extracts
Take The Site Tour
Join Our Mailing List
Links To Other Sites
CD and Gift Shop

Tourist Attraction Ticket Shop



 

 

 

 


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

PHOENIX THEATRE

 



ONCE (musical)
CONTAINS SOME STRONG LANGUAGE. NOT SUITABLE FOR YOUNGER CHILDREN.

In Dublin, music unites an Irish busker and Czech mother, and carries them forward into a romance.

The Broadway hit Glen Hansard, Marketa Irglova and Enda Walsh musical, based on the John Carney film, comes to London.

Based on the much-loved Oscar®- winning film, Once The Musical is an extraordinary, original and irresistibly joyous celebration of love, friendship and music.


Ronan Keating will play Guy from 17th November 2014 until 21st March 2015. He will NOT appear at the performances on 20th and 24th January 2015. Cast details are given for information only, and Theatremonkey.com CANNOT take responsibility for any issue arising from the accuracy or otherwise of these details, nor guest use of this information.

ORIGINAL LONDON CAST 5 TRACK EP OUT NOW: CLICK HERE to hear it, FREE!

Trailer:
 

Website: http://oncemusical.co.uk
Facebook: http://bit.ly/Once
MusicPlayer Twitter: https://twitter.com/OnceMusicalLDN



 

Theatremonkey Opinion:
(Seen at the 7.30pm preview performance on 21st March 2013, some actors have now left the cast)

Phenomenal. London has been handed one of the greatest, most important musical gifts ever, let’s hope it recognises how to treasure it. Delicate, beautiful, uncomplicated, clever and imaginative. For the first time since the 1980s musical theatre has taken a completely new direction. This is it.

OK, so that’s the headline review. How does the monkey justify instantly placing this show into its closely guarded “top five musicals it has ever seen” (bearing in mind it puts the total it has seen or heard at around the 3000 mark)?

First, the show is a musical purely about music, celebrating the very building-blocks that created it.

Second, it’s a perfect enigma. Are we really watching a brief romance between strangers as they create music and resolve their problems...

...or is the whole forming inside one man’s mind, every character a new piece in development as he searches for love and inspiration?

Third, the show trusts in both material and cast implicitly. A few tables and the minimum of amplification, when it wants to make a point it gets quieter, not louder... and the actors subtly join in to emphasise the message.

The alchemy is perfect. An Irish / Celtic feeling score, but with enough Broadway mixed in to give it the narrative drive a stage musical requires. Add a dialogue blending charm and grit as only Dublin perhaps can, and characters that are ethereal yet simultaneously deep and solid and instantly recognisable and sympathetic, and all is set fair.

Then there is the cast. To single one out is wrong – each is vital to the fabric, adding sweeping colour or minute detail as required. Working together, the whole ensemble is a superbly chosen group of highly talented actor/musicians. The monkey simply types the cast list in full: Declan Bennett, Zrinka Cvitešić, Valda Aviks, Ryan Fletcher, Aidan Kelly, Gareth O’Connor, Michael O’Connor, Miria Parvin, Jos Slovick, Flora Spencer-Longhurst, Jez Unwin, Gabriel Vick, Mia Jay Bryan as each brings something incredibly special to a production that writes a whole new book on how to create a show.

It’s the first time the monkey has ever seen a cast applaud its audience for giving them a standing ovation. And that was a standing ovation like none it has seen either. Not the “obligatory” type churned out by crazed fans, but a spontaneous reaction to one extraordinary evening.

Everybody thinks “The Book of Mormon” is THE West End show of 2013. They are wrong, it is “Once.”
 

Second visit: 7.30pm performance on 24th February 2014.
Still Magic. Smoother and more confident than its first visit, deeper and somehow more optimistic. Just see it.
 


 

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

(17 reviews)

"Just back from the first preview of Once (16th March 2013), absolutely wonderful show.

They do a total of ten day seats in the front row. We sat in seats AA 9-10 and the view was perfect.

The stage is not very high so you can see absolutely everything and there's a decent amount of leg room. SPOILER ALERT But don't stretch your legs too much at the very beginning as the leading actress walks through the central aisle and then turns to the right just in front of you in order to reach the stairs which lead to the stage.

Also the set is - as you probably know - an Irish pub and there is a bar on stage that patrons are allow to use. About 30 minutes before the show begins the cast join the patrons on stage and they start playing their instruments and singing songs. Very entertaining for the audience and a good way for the cast to warm up their voices. SPOILER ENDS.

So if you want a bit of extra fun arrive early!
_______________________________________________


I saw Once last night (16th March 2013) and it was brilliant,

There are great day seats (£19.50), EXCEPT AA6, typically the seat I was in!

There is a small floor heater on the stage right in front of this seat, whilst I don't feel I missed anything it was very annoying to have black square in the centre of your vision. I'm 5'11 and some bits I missed but anyone shorter will miss out a lot more. Even more annoying is the fact it doesn't even get used as a prop, I don't know what the point of it is! It does get taken off the stage for act 2 anyway.

Anyway as I said the show is brilliant go and see it, just don't sit in AA6!
_______________________________________________

We went along to see 'Once,' the new musical at the Phoenix Theatre last night - Wednesday March 20th 2013 - and we had a fantastic evening as this is a great show.

The cast are multi-talented and all turn out excellent performances. I have seen many musicals on the West End stage, including 'Blood Brothers' at this theatre many times, but 'Once' is quite unlike any I have ever seen. It is more about the music and the song than the show stopping numbers, so it's ideal for anyone who loves music and song but are not too fond of musicals.

We would go again at least Twice or Thrice.

We sat in seats L 17 and L18 and we had a great view of the stage. There is a slight overhang from the dress circle but it doesn't impede the view so these seats are really good.

Matt & Sam
_______________________________________________

What a wonderful way to spend a Tuesday night. This gentle, charming musical starts before curtain up as the musicians play in the bar that is set up on stage. Do get there early to join them on stage where you can buy your drink in a spill-proof souvenir plastic cup.

And this really is a musical. The wonderfully talented performers play and sing and deliver some beautiful choreographed moves. The band are the actors. The actors are the band. This is a story of a musician whose passion for music and life itself is rekindled by the arrival of a feisty Czech who will not take no for an answer. She pours all her energies in to getting his songs sung and for him to believe in himself. The incidental stories have poignancy and humour too and the beautiful music is performed with real heart and yearning.

It’s based on a film from about 2006 and the stage version has the feel of a low budget indie-flick in a way. A good way. This is all about the music, the people and the story. It’s not a showy number. The set is an old pub. The costumes are mostly Primark. And I’m not sure if I’ve just been to watch a band or a play. But whichever it is, I think I want to go to see it again. Four stars.
________________________________________________

Went to see "Once: A New Musical" last night, 8th June 2013, which I enjoyed enormously.

We had stalls G23 and 24, which gave a good view and decent leg room. However, I wouldn't want to be any further towards the end of the row as it might impede the view of anything happening extreme stage right.
________________________________________________

Firstly, thank you for creating a superb resource. When you're spending a small fortune on an evening out, it helps to know what you're paying for. You're site is invaluable.

O19 and O20: We got these seats based on Monkey's suggestions, and the tickets available online the night before the matinee show on 22nd June 2013. I can see why the back rows are good value since you can still get a very good view of the stage. Our seats were great. I had a rather large man in front of me, so needed to lean most of the show, but luckily the seat next to me was empty. There were quite a few seats free actually, so we moved over to O23 and O24 I think. Also great views. For £39.50 each, I think they are good value. Worth noting that I didn't have to pay any fees when I booked on the atgtickets.com site. Not sure if that's standard, but I usually end up paying more than I expect. A refreshingly quick and pain free booking system. And the show is fantastic. Now need to watch the film again!
_________________________________________________

We came up to see the matinee of 'Once' on Saturday 3rd August 2013. The Monkey impressed upon me that I must see this, and for this I must thank it profusely.

It is interesting, refreshingly different, and very enjoyable. A bittersweet tale that tugs at the heartstrings, to a new and exciting soundtrack played live on stage.
__________________________________________________

I thought it was superb.

It was great to see a show that isn’t about trying to be bigger, brighter and louder than all of the others, the music was sensational.
__________________________________________________

Heard so many good things about this I thought I would go and see it sooner rather than later. Impressed that the leads were on for a Thursday matinee. The show is good. It's very moving, quite funny in parts and the cast are OUTSTANDING. They work so hard and really seem to be enjoying themselves. Sometimes the actors not involved we being a bit busy in the background which was a bit off putting. But the show is great and deserves a long, long run.

Taljaard.
__________________________________________________

 I see you really favour “Once” – I will be going to see it for the third time soon – very unusual for me. I have sat in front Dress Circle, and concluded then that I really want to see this show from the front of the stalls (my second visit was courtesy one of the group booking agencies in mid stalls so could hardly complain. but it confirmed my view about sitting down front). This is not a place I normally want to be but this show has such an intimate feel with simple staging, musicians on stage etc. I want to feel I’m sitting in the shop/bar with the actors, so have D14. I don’t hear many people talking about this show, hopefully it is a slow burner; it deserves to run a while. For it to be in your top 5..that must be saying something.
__________________________________________________

My husband and I saw 'Once' last night (October 12th 2013)....for the third time. Very, very unusual for us. We saw the original Broadway cast and have seen this cast now twice - back in April and last night. Though Zrinka Cvitešić was out last night, her shoes were very capably filled by Phoebe Fildes who did a terrific job.

The cast though wonderful back in April, is even better now having melted into a seamless and seemingly single entity. You cannot praise one without praising the whole. Every performer is worthy of high praise. I think it is a travesty that they have not been fully appreciated for their talent and this very unique approach to musical theatre. It was nominated for and won every major award there is from the usually cynical Broadway critics and audiences. Wake up London!! you are missing one of the most innovative, inventive and just plain entertaining shows and set of actors treading the boards! It got a well deserved standing ovation last night.

It shows you the incredible power of music- to inspire; to heal; to break your heart and yet fill you with hope. For certain: Once is not enough. It gets even better with age.

We sat in stalls row E19 and 20 and had a perfect view of the stage and the actors.

Katherine.
__________________________________________________

On Friday evening, 22nd November 2013, at theatremonkey's urging, we went to see Once (it was “twice” for me). I often listen to the Broadway channel on Sirius XM (and I have the original BW cast recording), so I’d come to be very familiar with the music, and I like it very much. I realize that this sort of music (and musical) was recently introduced with 'Spring Awakening' (music I also appreciate), though, as an American, I’m more into musical comedy than I am into any sort of serious theater (musical, or otherwise; 'Next to Normal' another notable exception).

I prepared my wife for the departure from what we normally view, “just in case.” She loved the show, and, this time, I truly enjoyed it, as well. Thanks for compelling me to return.

We were in Row D (recall the monkey admonished me to sit close), on the aisle (where I usually try to land). It was great. Again, thanks.
___________________________________________________

You were right about "Once" - so subtle and moving. A stunning evening. We went on the strength of theatremonkey's review and loved every minute. Shame that nobody I have recommended it to has heard of it.
___________________________________________________

We went to see the truly wonderful "Once" (after "Wicked", I think it is my favourite musical out of the 50-odd I have seen in the last 15 years).

We were seated in the Dress Circle, in seats G19 and G20. From there, the view is excellent: the rake is just right to ensure a clear view over anyone in front of you and far enough back to avoid guard rail issues, but still close enough to the stage that the actors are real human beings. But the lack of leg room is a real issue. In G20, at 5'10" (with shortish (29") legs), my knees were right up against the seat in front. My wife (5'1/2") found in G19 that she had barely any room as the opera glasses were taking up additional space.

For the second act we were able to move further down row G to the aisle seats (G15 and 16) and there was notably more room. This takes you a little away from the centre of the stage but not by much and the added leg room was a real benefit.

Also, being able to go on stage to buy a drink meant I got the change to turn and face the audience... seeing 1,000 seats in front of me was a scary proposition!
____________________________________________________

I just wanted to thank you for your review of "The Commitments." We were thinking of going to see it, and saw your comment on going to to see "Once" instead. I am so glad we took your advice, it was one of the most wonderful shows I have ever seen.
____________________________________________________

I followed Theatremonkey instructions and bought stalls D5 for ONCE yesterday afternoon, 17th April 2014, although I ended up sitting in D6 because the woman in D6 wanted to sit with her friends who had D1 and 2. It cost £21.50 (plus £2.50 booking fee) discounted, and was a great seat.

I totally agree that it is wonderful show and very different from anything I have ever seen before. To trot out an expression that I have used before, ONCE inhabits its own very special world, and one that is very different from any other musical. In fact, I really wouldn’t call it a musical, it is more of an emotional life experience expressed through music and movement that can affect its viewers deeply.

I know it’s my problem, but I am getting a bit hard of hearing these days and I found it difficult to hear a lot of what the Girl said, although I was OK with most of the dialogue from the other characters.

I’m not sure who I saw because I am at present in revolt over what seems to be the general price of £6 for a programme these days in the West End. It was £3.50 when I stopped going to shows around a year ago, so why the hike to £6? When I have paid only £24 for my seat I object to handing over a further £6 for the programme.

But I know from the ONCE website that I saw Arthur Darvill as The Guy and I probably saw Zrinka Cvitešić as the Girl. But, as the Theatremonkey review said, everybody on stage contributed in equal measure to the performance. Together they created a homogeneous ensemble and they all shone when their individual moments came. I’m not going to put it in my top five musicals ever, in fact I have not really thought about my top five musicals, but I would certainly place it in a special group of memorable shows.
______________________________________________________

We were back in the West End at the weekend (7th June 2014) to see "Once" - a great show, good story with some funny moments, and we loved the way it was staged with the cast being the band. Didn't go to the bar on stage, but plenty did! Can see why Theatremonkey rates it so highly.

We sat in E13 and E14 in the stalls, by the centre aisle, pretty much based on your advice "Theatremonkey chooses centre aisle seats in rows E to H first", paid £69.50 through ATG. Excellent seats, great view of the stage, could hear and see everything perfectly. Legroom fine. Would recommend these seats without reservation.


 

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 Saturday at 7.30pm
Thursday and Saturday at 2.30pm and 7.30pm

 

Runs 2 hours 30 minutes approximately.

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

UNTIL 15th NOVEMBER 2014
All performances EXCEPT Thursday Afternoons:

Stalls
Rows A to Q (except "Premium Seats" and rows C to F 1 and 2, C 23, 24; D 25, 26, E and F 27, 28): £69.50
"Premium Seats" row F 11 to 20 and rows G, H and K seats 9 to 20, plus J 8 to 19: £95
Row R: £45
Row S: £39.50
Rows C to F 1 and 2, C 23, 24; D 25, 26, E and F 27, 28): £32.50

Dress Circle
Rows A to K: £69.50 except
"Premium Seats" rows B and C seats 9 to 20: £95

Upper Circle
Rows A to E (except A12 to 19 and B 13 to 16): £45
Row F, plus A12 to 19 and B 13 to 16: £39.50
Row G: £32.50
Row H: £25
Row J: £19.50

Boxes
£69.50 per seat if sold.

A limited number of "Superseat" seats are available, priced £84.50, selected from premium seating areas are available. Packages include a choice of theatre gifts or benefits - details provided by the box office at time of enquiry.

 


Thursday Afternoon performances ONLY:
Stalls, Boxes and Dress Circle: £37.50 except:
"Premium Seats" stalls rows G, H and K seats 9 to 20, plus J 8 to 19 and dress circle rows B and C seats 9 to 20: £69.50
Stalls rows
C to F seats 1 and 2, C 23, 24; D 25, 26, E and F 27, 28): £21.50

Upper Circle: £21.50

A limited number of "Superseat" seats are available, priced £52.50, selected from standard seating areas are available. Packages include a choice of theatre gifts or benefits - details provided by the box office at time of enquiry.



"Day Seats": Seats in row AA are available to personal callers at the box office from 10am on the day of performance at all performances, priced £25 each. These may be limited to one or two tickets per person. The monkey always advises taking both cards and cash in case one is preferred over the other. Check with the box office before travelling if this policy is still in operation.

In September 2013 a reader reported, "Seems there is no need to arrive at the box office particularly early - I managed to get a day seat for a Saturday evening performance by arriving at the box office at 1.30pm, albeit it was for row B rather than row AA. Looks like they will sell any stalls seat as a day seat if you turn up after the front row is gone!"

 

 

From 17th NOVEMBER 2014
All performances:

Stalls
Rows A to Q (except "Premium Seats" and rows C to F 1 and 2, C 23, 24; D 25, 26, E and F 27, 28): £69.50
"Premium Seats" row F 11 to 20 and rows G, H and K seats 9 to 20, plus J 8 to 19: £95
Row R: £45
Row S: £39.50
Rows C to F 1 and 2, C 23, 24; D 25, 26, E and F 27, 28): £32.50

Dress Circle
Rows A to K: £69.50 except
"Premium Seats" rows B and C seats 9 to 20: £95

Upper Circle
Rows A to E (except A12 to 19 and B 13 to 16): £45
Row F, plus A12 to 19 and B 13 to 16: £39.50
Row G: £32.50
Row H: £25
Row J: £19.50

Boxes
£69.50 per seat if sold.

A limited number of "package" seats are available, priced £90 and £75 are available. Packages include a choice of theatre gifts or benefits - details provided by the box office at time of enquiry.


"Day Seats": Seats in row AA are available to personal callers at the box office from 10am on the day of performance at all performances, priced £25 each. These may be limited to one or two tickets per person. The monkey always advises taking both cards and cash in case one is preferred over the other. Check with the box office before travelling if this policy is still in operation.

NOTE: There will be NO row AA "Day Seats" for the period from 17th November 2014 while Ronan Keating is in the production. During that period, row AA will be £97.50.
 

 

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:
Ambassador Theatre Group, the theatre group's own website provide the service for this theatre.
This site allows you to choose your own tickets from those available.

Booking fees per transaction for online bookings:
A £2.50 per ticket transaction fee applies.
 

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

Ticketmaster offer £69.50 seats with a £5.25 (£7.15 on £95, £3.40 on £45, £3 on £39.50, £1.90 on £25, £1.50 on £19.50 / £2.85 on £37.50, £1.65 on £21.50 Thursday Afternoon seats) booking fee per ticket until 15th November 2014 / £72.50 seats with a £5.45 (£7.35 on £97.50, £3.95 on £52.50, £3.20 on £42.50, £2.25 on £32.50, £1.50 on £19.50 seats from 17th November 2014 onwards; plus a £3 per transaction (not per ticket) booking fee, the same as by telephone. This system allows you to choose your own seats at most performances.

When the box office doesn't have anything you like available, the
Theatremonkey Ticketshop agency offers £69.50 seats with a £10.50 (£5.95 on £39.50, £5.75 on £37.50 seats) booking fee per ticket until 15th November 2014 / £72.50 seats with a £12.50 (£17.50 on £97.50 seats) booking fee per ticket from 17th November 2014 - moderate by agency standards, high by box office ones, but worth trying! Note that this system will confirm exact seat numbers prior to purchase. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases.

Another alternative is
www.seetickets.com / telephone 0870 830 0200 which offers £69.50 seats with a £6.95 (£3.95 on £39.50 / £3.75 on £37.50, £2.15 on £21.50 Thursday afternoon seats) per ticket booking fee until 15th November 2014 / £7.25 on £72.50 seats from 17th November 2014 onwards - and £2.75 per booking (not per ticket) postal charge. (FREE call if using BT.com Calling Plan at your chosen times).

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer £69.50 seats with an £18.50 booking fee (£25 on £95, £12 on £45, £10.50 on £39.50, £10 on £35, £8.50 on £32.50, £7 on £25, £5.50 on £19.50 seats / £10.50 on £37.50, £18.50 on £69.50, £6.50 on £21.50 Thursday afternoon seats) per ticket until 15th November 2014 / £72.50 seats with a £19.50 booking fee per ticket (£25.50 on £97.50, £15.50 on £52.50, £11.50 on £42.50 seats from 17th November 2014 onwards. A postage charge of £2.25 per booking, not per ticket may be applied to bookings made from UK addresses more than 5 days before the performance. The "Flexiticket" Exchange Service, allowing FREE transfer / cancellation (credit note up to 12 months) of your booking up to 3 days before the performance is also available for £2.50 per ticket. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

Lastminute.com offer £69.50 seats with an £8.50 booking fee per ticket (£11 on £95, £5.50 on £45, £4.40 on £39.50, £3.90 on £32.50, £2.50 on £19.50 seats / £4.50 on £37.50, £8 on £69.50, £3 on £21.50 Thursday afternoon seats) until 15th November 2014 / £72.50 seats with an £8.50 booking fee per ticket (£11 on £97.50, £6.50 on £52.50, £5 on £42.50, £4.50 on £37.50, £3.50 on £30, £2.50 on £19.50 seats from 17th November 2014 onwards. 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 £69.50 seats with a £12 (£9 on £37.50 seats) booking fee per ticket until 15th November 2014 / £10 or £11 (£12 Saturday Evening) on £72.50 seats from 17th November 2014 onwards.
Collecting tickets from the box office before your performance is free, OR, if required and time allows, there is a postage charge option of of £2.95 (£4.95 to non-UK addresses) per booking, not per ticket applies to all bookings. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.


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

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


 

Box Office Information:
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
Telephone: 0844 871 7629
Operated by the Ambassador Theatre group's own phoneroom from 9am until 10pm (Sundays 10am until 8pm). Outside these hours the Ticketmaster agency answer calls on their behalf.

Booking fees per transaction for telephone bookings:
A £2.50 per ticket transaction fee applies.
 

For personal callers or by post: Charing Cross Road, London. WC2H 0JP
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 0871 297 5477 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the theatre chain central phoneroom in London during working hours. See Notes.

 

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

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

 

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Notes
STALLS 

Layout:
The Dress Circle overhangs the stalls at row K. The view of the top of the stage is slightly restricted from row P back.

The stalls are divided into two by a central aisle.

There is a reasonable rake (sloped floor to help see over rows in front) throughout the stalls from row C, noticeable from row E and really helping the back rows from L in particular.

All seats have a decent "offset" to see in front of those in front EXCEPT R1 to 8 and S 1 to 6. Here the seats are only very slightly - about 5% of the width - offset, making it hard to see around those in front.

Row S13 is set slightly behind the main entrance door, rather a nice private feel, the monkey felt.

Entrance doors are at the back of the stalls, beside all end seats in row S.

Legroom:
Fine
in all seats for all but the tallest over 5ft 10 or so except row AA.

Row AA has a little less legroom, particularly seats 6 and 15. Those under 5ft 8 or so will be fine here, but 6ft persons might like seats with nothing in front.

Row A seats 4 and 17, B 3 and 20 and C 1, 2 and 24 have nothing in front.

Row B19 has about 40% of the seat with nothing in front - stretching space for one leg on the aisle side of the seat.

Row A 5 and 16, B4 and C 3 have about 20% of the seat with nothing in front - stretching space for one leg on the aisle side of the seat.

C 23 has about 10% of the seat with nothing in front - stretching space for one leg on the aisle side of the seat.

D1 and E1 have about 5% of the seat with nothing in front - stretching space for one leg on the aisle side of the seat.

Choosing Seats in General:
The first and last four seats in rows C to K should be avoided as they are closest to the side wall of the theatre and offer an inferior viewing angle and value for money compared with other seats at the same price.

All other seats in the stalls offer at least fair value for money, and a good rake ensures clear sightlines from seats at the rear of the theatre.

Theatremonkey chooses centre aisle seats in rows E to H first in the front stalls at top price.

Legroom fans may find row A seats 4 and 17, B 3 and 20 and C 1, 2 and 24 to their taste for having have nothing in front.

It nominates "high numbers side" rows Q to S as offering good value at lower prices in the rear stalls. One reader did note that seats on the "low numbers" side were not as offset (so you can see between seats in front) as they could be. Take the high side numbers first... or hope for short folk ahead...

General Hazard Notes:
The first two seats on the highest number sides of rows A and B may have stage light fixtures in the way.

A sound desk can be installed in the rear stalls.

Changes for the current production:
Until 15th November 2014:
Considering the intimacy of the show, the monkey would pick seats in D to F before L and M at top non-premium price. Those happy with the height of the stage will also love rows ahead of those - C then B then A to make the most of any rake.

There are stairs leading to the stage from the outer aisles of the auditorium. Do not worry about the handrails being in view - they are removed at the start of the performance and after the interval.

Row AA is being kept back for use as "day seats." At just a little over the price of a rear upper circle ticket, those willing to get in line early can't go wrong, feels the monkey. A reader notes that AA6 is the only one to avoid, with a piece of set in the way during act 1. For the rest, the stage is fairly high but acceptable, as is legroom for all but the tallest.

Seat A6 suffers the "heater in view" as do seats around them a little. Irritant, and it can be seen over, but just don't pay full price for that particular ticket.

Those wanting unlimited legroom and avoiding the heater issue will love B20 and A17 first, in that order.

The end two seats in rows C to F are also cheaper, a way of getting stalls seats at upper circle prices, and worth a look, feels the monkey. Be aware that you will miss some action that can be seen from the upper circle, though. Still, if you are over 5ft 5 or so, it's no contest - the stalls will be far more comfortable, and everybody will get to go to the bar if they feel like it.

A modest number of centre stalls in rows G to K are "premium" priced at all performances. The monkey would go for the cheaper seats beside and around them, if it is honest, with the two seats either side of the "premium" ones in rows H to K then G or row L 8 to 21 or F 8 and 9 first.

Row R 15 to 19 is great value at second price, feels the monkey, and S 13 to 17 even better at third. Take either row before P and Q at top price, it feels. If over 5ft 5 or so, it would even take row R before the upper circle at the same price, partly for comfort, partly for access to the special bar.

A sound desk in the rear stalls makes R8 and S6 a last choice, and Q 8 to 14 avoidable for purists only. There's a decent gap between the desk and R8 and S6, so if you can accept the seats are not "offset" they are pretty fine - the view is clear anyway.

At Thursday Afternoon performances ONLY, all seats apart from "premium" and "restricted view" ones are a single price. Monkey advice is to take F to D as usual. At these low prices, the four seats off the centre aisle in rows C to A in that order are also attractive once seats further back have been taken, feels the monkey. Then go back from rows J to L in that order, most central seats first. At these prices, don't bother with seats in rows R and S unless all most central 12 seats further forward have been taken. On Thursday Afternoons the normal "top" price is the "premium" price. So, if you want the very best seats at "top price" go on a Thursday, feels the monkey. Also, don't forget those cheap seats at the ends of rows C to F either.

 

 

From 17th November 2014:
The producers may have been reading this website. Front rows are now "premium" priced. Basically, the outer 3 seats in row A, and 5 in row B are chronically over-priced and worth avoiding. For those willing and able to pay, you will get the full intimacy of the experience from the more central seats in rows D to F in particular, but now at a much higher price. Those happy with the height of the stage will also love rows ahead of those - C then B then A to make the most of any rake. Seat A6 suffers the "heater in view" as do seats around them a little. Irritant, and it can be seen over, but just don't pay full price for that particular ticket.

NOTE: There will be NO row AA "Day Seats" for the period from 17th November 2014 while Ronan Keating is in the production. During that period, row AA will be £97.50.

Those wanting unlimited legroom and avoiding the heater issue will love B20 and A17 first, in that order.

There are stairs leading to the stage from the outer aisles of the auditorium. Do not worry about the handrails being in view - they are removed at the start of the performance and after the interval.

Row AA is being kept back for use as "day seats." At just a little over the price of a rear upper circle ticket, those willing to get in line early can't go wrong, feels the monkey. A reader notes that AA6 is the only one to avoid, with a piece of set in the way during act 1. For the rest, the stage is fairly high but acceptable, as is legroom for all but the tallest.

On the plus side, rows H and J central seats drop to "regular" top price, and become monkey first pick, although, considering the intimacy of the show, the monkey would also look at the single seats next to the premium ones in D to F too. 

Back at full price, take K, L and M at top non-premium price.

Rows R and S are now top price. A sound desk in the rear stalls makes R8 and S6 a last choice, and Q 8 to 14 avoidable for purists only. There's a decent gap between the desk and R8 and S6, so if you can accept the seats are not "offset" they are pretty fine - the view is clear anyway. If you have to sit here, R15 to 19 OK, feels the monkey, and then S 13 to 17.

The end two seats in rows C to F are cheaper, a way of getting stalls seats at upper circle prices, and worth a look, feels the monkey. Be aware that you will miss some action that can be seen from the upper circle, though. Still, if you are over 5ft 5 or so, it's no contest - the stalls will be far more comfortable, and everybody will get to go to the bar if they feel like it.

Reader Comments:
"Stalls: "Once" (February 2013). I have sat in front Dress Circle, and concluded then that I really want to see this show from the front of the stalls (my second visit was courtesy one of the group booking agencies in mid stalls so could hardly complain. but it confirmed my view about sitting down front). This is not a place I normally want to be but this show has such an intimate feel with simple staging, musicians on stage etc. I want to feel I’m sitting in the shop/bar with the actors."

"AA6: "Once" (March 2013). There are great day seats (£19.50), EXCEPT AA6, typically the seat I was in! There is a small floor heater on the stage right in front of this seat, whilst I don't feel I missed anything it was very annoying to have black square in the centre of your vision. I'm 5'11 and some bits I missed but anyone shorter will miss out a lot more. Even more annoying is the fact it doesn't even get used as a prop, I don't know what the point of it is! It does get taken off the stage for act 2 anyway."

"AA 9 and 10: "Once" (March 2013). The view was perfect. The stage is not very high so you can see absolutely everything and there's a decent amount of leg room. SPOILER ALERT But don't stretch your legs too much at the very beginning as the leading actress walks through the central aisle and then turns to the right just in front of you in order to reach the stairs which lead to the stage."

"AA 15: "Once" (March 2013). I am a big guy, 6.3" and many seats are usually pretty crappy for me, but this time around I was fairly lucky. Got day seats for £25 for the Saturday Evening performance. The stage is high and was a little under eye-level but that was fine. View was great, sound was pretty good, you could make out the singers' voices individually since they sung in your face. The legroom is a bit tight and it was a bit uncomfortable after a while. For the price and view I would always go back to these though, especially since one can grab a drink on stage fairly quick in the interval."

“Row A: “Blood Brothers” (October 2004), (Emma). Far, far too close to the stage for comfort - your knees are touching it, we had to move otherwise it would have been unbearable. I think you should consider making all Row A seats at the Phoenix Theatre bad value for money and colour them a nice shade of red."

“C2: I found excellent as row B only starts at "3" (not any longer - editor) so I could stretch my legs out (although the seat was a bit lumpy and I as usual had to cheek shuffle!). OK, the view would have been detrimental if there had been much going on stage right, but only an odd part was there so I could see almost everything. There were a couple of close PA speakers but they were not excessive."

"Row D: "Once" (March 2013). I recall the monkey admonished me to sit close - so we sat on the aisle (where I usually try to land). It was great. Thanks."

"D2, 3 and 4: "Once" (March 2013). These three seats incur a significant discount when compared to other seats in the same area (D1 I believe also discounts substantially). When booking, there is a specific warning that D2 is “side facing”. D2 loses a section of the stage. For ‘Once’ this meant the drum kit could not be seen (which does slightly spoil one scene), but does just allow a wide enough view to see [SPOILER ALERT] ‘ex-girlfriend’ talk on the tape of the recording of ‘boy’s’ music. The drum kit can be seen from D3 by leaning slightly to the side. D4 would appear to have an unencumbered view, making it a real bargain. All three of these seats are worth every penny and any slight loss of view. You are so close to the stage you can pick up on every expression."

"D6: "Once" (March 2013). It cost £21.50 (plus £2.50 booking fee) discounted, and was a great seat."

"D26: "Once" (March 2013). For the price it is a fantastic bargain! Only for the first couple of scenes does it feel like the performers have their backs to you a little more but after about 10 minutes it was fine. I would take this higher numbers over the lower ones as there is a heater onstage for act one that is in view. (it was moved in the interval, not sure why it was there). For £20 the view was barely restricted and I would certainly recommend to people if they want a good seat at a good price."

“Rows E, F and G: (Alison – group visit). Sight lines lost of scenery if sitting at outside extremities of rows, but not the action as most is centre stage or areas which can be viewed by all. I found the leg room ample as I am only 5' 3" - some of the 6' + complained of being cramped but they did not view this as a big problem as they were so absorbed in the show!"

“E 5 to 11: (Lizzie Loves the Theatre). Bought on monkey recommendation and were excellent. Probably couldn’t have been better. The Monkey comes up trumps again!"

"E13 and E14: "Once" (October 2013). By the centre aisle, pretty much based on your advice "Theatremonkey chooses centre aisle seats in rows E to H first", paid £69.50 through ATG. Excellent seats, great view of the stage, could hear and see everything perfectly. Legroom fine. Would recommend these seats without reservation."

"E19 and 20: "Once" (October 2013), (Katherine). We had a perfect view of the stage and the actors."

"E27 and E28: We paid £28 each for these seats through lastminute.com on a '50% offer for best available seats' and so didn't know which seats we'd end up with. I'm 6ft tall and felt legroom was just about tolerable in E27 while my friend had the aisle to stretch out in on E28. I can see why these seats are marked as red because you're not able to see scenery on the left side of the stage though you still see all the actors. I don't think these should be marked as top price, but we loved Blood Brothers (my fourth time watching, my friends first) so didn't mind too much for what we paid."

“Row F: (Fiona). An outstanding view! Could even see Amy's tears!)."

"F11: Got for £20 for on the day student ticket from the box office. Was a fantastic view, no complaints."

“F19: “Blood Brothers”, (James). A fantastic seat. You certainly don’t feel you’re craning your neck event though you are very close. Personally, I prefer to sit in the 15+ numbers for this show. You definitely feel more involved in the Stalls here, although I’ve seen the show from Dress Circle central Row D and the view was also good… perhaps if you prefer to see more of the stage rather than be closer to the action then the Dress Circle might be preferable."

“G7: (Mark) Amazing.”

"G17: (Ian). (Which I got for just £20 from the box office about an hour before curtain-up in January 2010): Excellent seat, just the right distance from the stage and height relative to the stage. For the second half I moved a few rows further forward so I had some space on either side for my lengthy legs, but that proved to be a mistake as the amplified parts were a bit too loud that little bit nearer the speakers."

"G23 and 24: "Once: A New Musical" (May 2013), Tony. Gave a good view and decent leg room. However, I wouldn't want to be any further towards the end of the row as it might impede the view of anything happening extreme stage right."

"H17 and 18: I wasn't sure that I was going to be particularly comfortable sitting so far back from the stage, as I'm used to sitting in the first few rows so I get a close view of all the action, but with these particular seats I felt that we were just a stone's throw from the action and we could see everything up close (and personal :)). The legroom was actually pretty generous and the seats were comfortable enough (although as with every show I see I did get a slightly numb derriere towards the end!"

“J14: Legroom was very good and could have accommodated someone quite a bit taller than me (I’m 5’ 6”). Sightlines were fine provided I leant out a bit – the very tall and broad individual in front of me had quite a blocking effect on the centre of the stage, but as the action takes place all over the stage it really didn’t matter much."

“L3 and 4: “Blood Brothers” (September 2012), (Chris B). These seats feel close enough to the stage to feel part of this very intense musical. Although they are quite far to the right, didn't feel any of the set was missed and as there is quite a good rake, you get a clear view over the heads in front. There is plenty of legroom too and the seats feel more comfortable than some others. An added bonus is that there is a central aisle so the times you need to stand up to let those pesky late comers through is halved.”

"L15: (Diego). Had a fantastic view."

"L 17 and 18: "Once" (March 2013), (Matt & Sam). We had a great view of the stage. There is a slight overhang from the dress circle but it doesn't impede the view so these seats are really good."

“M3 and 4: We could see everything, but would say that if you were any smaller you might have struggled. Legroom was at a premium though and would be uncomfortable for anyone taller."

"M20: I could see very well (the joys of being 6ft 2) but some of my more averagely heighted friends struggled to see over peoples' heads when tall people were in front of them. The way in which the stalls rake makes it harder to see the stage as you go back."

“Row N: The view was great, however my mum had a bad view as a very large and tall lady sat in front of her."

"N15,16, 17: (Brianj). Pricey, and the view was not the best."

"O15 to18: (Regular contributor). We paid £25 each for our tickets through an agency. I had a tall person sat directly in front of me and so had to keep moving from side to side to properly see the stage (I myself am 6' tall). Legroom was OK for me in O16. My friend in O15 had the luxury of the aisle being next to him so he could stretch his leg out, and could also lean towards the aisle to see around the tall person sat in front of him. Our other two friends in O17 and O18 had no one sat directly in front of them and reported a perfect view of the entire stage and great legroom (both are 5' tall)."

"O19 and O20: "Once" (March 2103). We got these seats based on Monkey's suggestions, and the tickets available online the night before the matinee show. I can see why the back rows are good value since you can still get a very good view of the stage. Our seats were great. I had a rather large man in front of me, so needed to lean most of the show, but luckily the seat next to me was empty. There were quite a few seats free actually, so we moved over to O23 and O24 I think. Also great views. For £39.50 each, I think they are good value."

"R19, 20 and 21: (Paul). Got to say that even though this is almost the back row these seats were absolutely fine, clear view of the stage and we could clearly see the actors faces and expressions and hear all the music and talking. Having said that I am not sure I would have been amused if I had paid full price for them. "

"S 1 and 2: "Midnight Tango" (February 2013). Could see clearly and legroom generous but top of stage seriously cut-off (didn't really matter for much of this particular show which was great). However, wouldn't book these seats again since usual seat off-set was out of sync and as such our view was blocked by heads in front. Row R seemed to suffer from exactly the same problem to us but Row Q forwards was OK. Would have consequently been very unhappy if we'd paid full price!"


 


DRESS CIRCLE 

Layout:
The Upper Circle overhangs the Dress Circle at row A. The view of the top of the stage is slightly restricted from row G back.

The Dress Circle is split into two blocks by the centre aisle.

Seats are well "staggered" to see between the seats in front. The circle has a fairly gentle rake - the height between rows isn't as steep as in some other venues. The combination means that it may be an issue seeing around the largest person in front, but at least you won't get vertigo.

Legroom:
C
ramped in all seats for anyone over around 5ft 6 or so, and very poor in row A. Only row K has a little more - those of 5ft 8 or so should be OK here, and even 6ft persons have squeezed in... there's a bit more space (fraction of an inch) in the outer aisle seats of the row.

Also on the plus side, in all but row A, the traditional theatre seats have curved backs, creating foot space between each seat.

Choosing Seats in General:
Theatremonkey avoids row A for the bar and legroom.

Row A seats 27 and 28 can be transferred into by wheelchair users. Theatremonkey thinks box C preferable for comfort.

It chooses rows B then C then D seats 6 to 22 (except B 14 and 15) at top price. The stalls though, with extra legroom, are a better choice for the taller jungle dweller.

In the rear circle row G is best if the higher view of the stage is wanted, but again, for the same money, Theatremonkey prefers the stalls for comfort and value for monkey, sorry, money.

Seats 1, 2, 27 and 28 in all rows should be accepted as a last resort as they have the least central view of the stage.
Row K is particularly affected by the overhang of the circle above and should be avoided, though at a lower price, the monkey upgrades its rating accordingly.

General Hazard Notes:
A metal bar runs across the front of this circle slightly intruding on the view in row A.

At the end of the centre aisle a double height bar annoys patrons sitting in rows A to D seats 14 and 15.

Changes for the current production:
Central rows B and C are "premium" priced. The monkey would skip the aisle seats due to the rail. It would also take row D first for a cheaper but similar view.

Oddly, all other seats in this circle are usually top price. The view is pretty good admittedly, but compared to options elsewhere for the same cash the monkey would look for central seats in rows B to G 5 to 24 first. Any further back or off to the side and it would try downstairs first. If tall, it wouldn't really consider this circle anyway, for comfort reasons alone. Occasionally the theatre's "dynamic pricing" kicks in, dropping rows H, J and K down to second, third and fourth prices respectively. When that happens, row K is worth a glance if the same price "restricted view" stalls have gone or legroom isn't an issue.

At Thursday Afternoon performances until 13th November 2014 ONLY, all seats except "premium" seats are a single lower price. Monkey advice is to take the next three seats beside them premium ones first (remembering that legroom and proximity to the show are both better in the stalls, though!). At these low prices, on grounds of comfort alone (unless under 5ft 5), don't bother with the back three rows in the dress circle unless everything in the stalls back to row Q has been taken. On Thursday Afternoons the normal "top" price is the "premium" price. So, if you want the very best seats at "top price" go on a Thursday, feels the monkey.

Reader Comments:
“Circle: (Randy Grauerholz - has seen the production 14 times). This is a "brilliant" show which must be viewed in the front of the Dress Circle. Luckily, I am persistent with my booking, and wind up in the first 5 rows."

"Circle: "Once" (February 2013). I have sat in front Dress Circle, and concluded then that I really want to see this show from the front of the stalls (my second visit was courtesy one of the group booking agencies in mid stalls so could hardly complain. but it confirmed my view about sitting down front). This is not a place I normally want to be but this show has such an intimate feel with simple staging, musicians on stage etc. I want to feel I’m sitting in the shop/bar with the actors."

“A19 and 20: (Simon). The view was spot on - wouldn't have wanted to be anywhere else."

"B19 and 20: (Kevin). The Monkey rates these as better than the same seats in row A. However, I would have preferred row A first and I'd suggest that these are better seats for short people like me - not bothered by minimal leg room. Total row B satisfaction is dependent on whether or not the person in A has 'big hair'. I was unlucky enough to have someone whose perm paled Leo Sayers into insignificance and therefore had the front third of the stage obscured for most of the show."

"C9 and 10: (David). We got £55 seats reduced to £23.50 using a Theatremonkey offer at the time. During the first half of the show there was nobody sitting directly in front of us in rows A and B, although a couple moved into row B at the interval. This didn’t really matter as the way the seating is arranged – the rows are staggered so no seat is directly behind the one in front – made sure you still had a good view of the stage. I actually thought leg room was quite good, although I am only 5’8" tall! I’ve sat in a lot worse Dress Circle seats at other theatres!"

“C13 and 14: (Hazel). There was not too much legroom although the view was very good."

"D17: Half price and I thought the seats were excellent. Only complaint here was that there was too little leg room and I felt somewhat cramped. Other than that the seats were excellent."

"G6 to 9: The view of the stage was very good indeed."

"G19 and 20: "Once" (May 2013). The view is excellent: the rake is just right to ensure a clear view over anyone in front of you and far enough back to avoid guard rail issues, but still close enough to the stage that the actors are real human beings. But the lack of leg room is a real issue. In G20, at 5'10" (with shortish (29") legs), my knees were right up against the seat in front. My wife (5'1/2") found in G19 that she had barely any room as the opera glasses were taking up additional space. For the second act we were able to move further down row G to the aisle seats (G15 and 16) and there was notably more room. This takes you a little away from the centre of the stage but not by much and the added leg room was a real benefit."

"Row H: (Rob). Good view, but very little leg room."

"H 7 and 8: (Alan). Great view."

"K28: Didn't miss anything right at the back in the corner! The Phoenix has really good sightlines in the dress circle. Would be worth considering the back row just because it is cheaper."
 


Dress Circle Boxes

Layout:
To the side of the stage, between circle and stage arch opening.

Legroom:
Acceptable as movable chairs are used.

Choosing Seats in General:
Both boxes normally have similar views – only set / staging may cause one to be better than the other.

Worth taking for legroom over circle seats, if cheaper.

Box C can accommodate a wheelchair. Preferable for comfort, for transfer users, to Dress Circle row A..

General Hazard Notes:
A tenth of the nearside stage is not visible.

Lights and / or speaker fittings may be nearby.

One reader felt very “on show” sitting here.

Changes for the current production:
None.

Reader Comments:
"Box B: “Blood Brothers,” (Ali and Andrew). It had a good view of the stage, and we agree with Monkey’s opinion you lose about 1/10th stage. We were lucky to keep the side of the stage where a lot of the doorstep action took place, so I would recommend booking the right side of the theatre over the left. The boxes themselves were strange in how open they were with a low edge, and it was somewhat exposed as opposed to other boxes we had been in. That said, for comfort, it was lovely."

 


UPPER CIRCLE

Layout:
Not too high above the dress circle.

Divided into two blocks by a central aisle.

Legroom:
Cramped in all seats, very poor in row A.

If prepared to accept the metal posts or a side view, rows B to J seats 1, 14, 15 and 28 are on the aisle allowing one leg to stretch.

Choosing Seats in General:
The front rows feel pleasantly close to the stage.

The curve of the circle makes it worthwhile to choose seats 4 to 24 ( but not 14 and 15) first in all rows other than A, just to ensure the best view possible.

The only truly poor seats are row A numbers 1 to 3 and 28 to 30. These have a restricted view of the corners of the stage due to their position on the ends of the curve of the circle.

The rest of row A misses a high “value” rating because it has almost no legroom available.

Other rows at lower price offer fair value, pick B to D first.

Rows B to D (excluding seats 14 and 15) offer excellent viewing and value at the price, lack of legroom being the only snag. Despite posts in view, pick 14 or 15 first for the central view - it is worth overlooking the post problem for comfort.

All rear rows offer good value. Even if these feel a little far from the stage, a good rake ensures a clear view.

If rows G and H are a price above row J, then take G over H, or go for bottom price row J - similar view for less cash.

General Hazard Notes:
A metal bar runs along the front of this circle, slightly intruding on the view in row A.

Double height bars at the end of the centre aisle annoy patrons sitting in row A seats 15 and 16 and Row B seats 14 and 15.

Metal posts are sited beside all seats on the centre aisle. Avoid seats A 15 and 16, and seats 14 and 15 from row B back, to combat interference from these.

Changes for the current production:
Until 15th November 2014
A projector affects views in the central aisle seats in rows A and B, they are discounted to allow for this, and B13 and 16 are worth a look, feels the monkey.

If tall, take stalls row S over any seat in the upper circle - you'll pay the same, have an acceptable view and be far more comfortable.

Do remember that the outermost two seats in stalls rows C to F are the same price as upper circle row G. For those over 5ft 5, no contest, accept you will miss stuff in the stalls... but will be more comfortable there than in this circle. Everybody else may also appreciate being close to the action and the special bar down in the stalls too.

That said, the circle isn't over-priced in the monkey opinion. Be aware that rows F, G, H and J drop a price over rows in front, for practically the same view. That means if you are willing to sit a single row back each time, you save money. The monkey feels that G offers the best saving over E and F at higher prices in front. Then it would skip H as row J drops even further, so the monkey would take J and save a few more pounds. Oh, but do remember that even J doesn't have a wildly different view from G - for less cash, and also that front row stalls "day seats" are only a little more than row J... worth asking if there are any left if buying on the day, feels the monkey.

At Thursday Afternoon performances ONLY, all seats are a single lower price. Monkey advice is to take rows B to D first, then the most central seats available from row B back in that order. Don't forget those cheap stalls in rows C to F, though...

From 17th November 2014
A projector affects views in the central aisle seats in rows A and B, they are NOT discounted to allow for this, so skip B13 to 16.

If tall, take stalls restricted view side seats in rows C to F over any seat in the upper circle - you'll pay less than any seat except the back two rows, have an acceptable view and be far more comfortable. For those over 5ft 5, no contest, accept you will miss stuff in the stalls... but will be more comfortable there than in this circle. Everybody else may also appreciate being close to the action and the special bar down in the stalls too.

That said, the circle isn't over-priced in the monkey opinion. Be aware that rows G, H and J drop a price over rows in front, for practically the same view. That means if you are willing to sit a single row back each time, you save money. The monkey feels that H offers the best saving over G at higher prices in front. Then it would take J over H as each drops even further, and save a few more pounds. Oh, but do remember that even J doesn't have a wildly different view from G - for less cash, and also that front row stalls "day seats" are only a little more than row J... worth asking if there are any left if buying on the day, feels the monkey.

 

Reader Comments:
"H1 and 2: Our seats weren't the best - one row from the back of the upper circle at the very right hand side - but with half the theatre being unoccupied we asked an usher if we could move nearer the front to which she agreed so we ended up on the superior row D, nearer the centre."


 

Notes
Total 1000 seats.

Air-conditioned.

Guide dog sitter available. Occasional signed performances. Wheelchair access via a side door to the Dress Circle. Adapted toilet nearby Box C. Not single sex but private as only one wheelchair user is permitted to see at each performance. Hearing loop available. Fuller details from the theatre helpline on 0844 8717 677, www.theatre-access.co.uk or Artsline 020 7388 2227, email artsline@dircon.co.uk. 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.

No food except Ice cream and confectionery.

5 bars; foyer, 2 Stalls, Dress Circle and Upper Circle.

7 toilets. Stalls 1 gents 1 cubicle, 2 ladies 3 and 2 cubicles respectively; Dress Circle 1 gents 1 cubicle, 1 ladies 2 cubicles; Upper Circle 1 gents 1 cubicle, 1 ladies 2 cubicles.

 

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

Getting to this Theatre
Find this theatre on a Street Map
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Tottenham Court Road - Northern (black) and Central (red) lines.

The escalators from the platforms end in a rectangular underground area. This station has multiple exits, all badly marked. With Charing Cross Road closed until early 2015, some station exits will also be closed. Getting from the station to the theatre now involves some navigation around the tower that is CentrePoint.

So, get to ground level how you can, and look for this tall white tower. Cross the road to it, keep the board wall blocking Charing Cross Road to your right. Walk towards the tower, boards to your right. Now pass the tower and walk up New Oxford Street a few steps, with the white tower to your right.

Just as the tower ends, you come to a wide road leading to a bus station area. Good news. Turn right into this, and follow it round, keeping the tower and now some grubby old buildings too, to your right. Walk on, and follow the pavement as it curves around into a road with more board wall on your side, and more grubby buildings on the other. This is Denmark Place. You will see Charing Cross Road ahead of you again. Cross Denmark Place from your side with the board walls to the side with the grubby buildings, and keep walking until you reach Charing Cross Road.

Now at the corner of Denmark Place and Charing Cross Road, turn left into Charing Cross Road. Keep walking along it, past bookshops including Foyles (on the other side of the road) and clothing retailers, crossing Denmark Street and Flitcroft Street. You will pass the Phoenix Theatre box office. For the theatre entrance, take the next turning on the left, Phoenix Street and the entrance is on the left. 

 

Buses:
19, 22, 24, 38, 40 and 176 all stop on Charing Cross Road.

 

Taxi:
Best chance of hailing one is in the street outside.

 

Car Park:
Great Russell Street. On leaving the car park, change to the other side of the road turn to your right and walk towards a very busy shopping street. If you head up a quiet sidestreet, wrong way.

At the corner turn to your left, walk straight on past the Dominion Theatre. If you cross Bedford Avenue, wrong way.

Cross Oxford Street (the busy road ahead of you) and continue walking with CentrePoint office block to your left, continue on, and the theatre is ahead to your left past a row of shops.

Alternatively, try Newport Place, Chinatown Car Park. On leaving cross the road in front of you, Shaftesbury Avenue. 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. 

Walk on past the front of the Palace Theatre, crossing Old Compton Street and continuing past the St Martins School of Art you enter Charing Cross Road. Change to the other side of the road. The Phoenix Theatre is ahead of you. 

The "Theatreland Parking Scheme" may be available at Newport Place, Chinatown Car Park. 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.

 

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

 

 

 

 

 

 

 

 

.

 

,



Site © Theatremonkey.com 2000 to 2014. "Theatremonkey"® and "Theatermonkey are a Registered Trade Mark. Buy your tickets with confidence here: Theatremonkey.com is an Affiliate Member of STAR - The Society Of Ticket Agents and Retailers - please do feel free to confirm its membership by clicking the verification system graphic (left). All rights reserved. Information on this site may not be reproduced in any form, by any distribution media, in whole or in part, without permission. This means that you MUST NOT copy graphics or text for posting on another website. Opinions expressed are those of the site owner and / or contributors, and are not those of the site host or service providers. Tickets sold from links on this site - and any other information given - are the responsibility of the supplying company, not theatremonkey.com.
Comments about this page are welcome Contact Us. No responsibility is taken for accuracy of information, No liability can be taken for loss relating to individual use of data contained on this site. 'About Cookies' and 'Our Website, Your Privacy': The theatremonkey.com website DOES NOT use "cookies" on its website at any time. It does link to sites which do use "cookies" to track sales / site navigation information. Click Here for more information - as required by the 2012 UK E-Privacy Directive. Use of this site constitutes agreement with the above. E&OE. Last Update: 29 September 2014 18:49