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: £3 per transaction (not per ticket) fee is made - towards the swings, thinks the monkey. Other Online Choices (with S.T.A.R. genuine ticket agencies): Ticketmaster provide another alternative with the same fee as via the box office, with a £3 per transaction (not per ticket) booking fee - the same as by phone. This system allows you to choose your own seats from the selection the company has available. For performances until 25th June 2013, Theatremonkey readers can buy some best available top non-premium price £67.50 tickets (from agency / offer allocation) reduced to £42.50 each at all Monday to Friday performances ONLY. OR Buy best available £45 UPPER CIRCLE (second tier, highest in venue) tickets (from agency / offer allocation) reduced to £24.50 each at SELECTED Monday to Friday performances ONLY. Some "peak dates" are excluded - the system will advise at time of enquiry. Ticket selection is from agency's allocation. Subject to allocation availability, change, withdrawal and agency discretion. Book online at the Theatremonkey Ticketshop. Click the "Apply Special Offer" button above the calendar grid to highlight available offer dates in green on it. Or else book by telephone from LoveTheatre, quoting "Theatremonkey Ticketshop" on 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom). At other times, when the theatre does not have tickets available, it is also worth trying the Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), which offers £67.50 seats with a £10.95 booking fee per ticket (£17.40 at Saturday performances) until 1st June 2013 / £67.50 seats with a £10.25 booking fee per ticket at performances from 3rd June 2013 onwards - moderate by agency standards, high by box office ones, but worth trying as they often have some choice available! Note that this system will confirm exact seat numbers prior to purchase. Meal and Show Ticket Deals may be available, click here. Another alternative is www.seetickets.com / telephone 0870 830 0200 which offers £67.50 seats with a £6.75 per ticket booking fee (£4.50 on £45 seats) Monday to Thursday / £10.13 on £67.50 (£6.75 on £45 seats) at Friday and Saturday performances), plus £2.75 per booking (not per ticket) handling fee. (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 £67.50 seats with an £18.50 booking fee per ticket (£12 on £45, £6 on £20 tickets). A postage charge of £2 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. Last minute ticket discounts and 'Meal and show' packages may also be available. Quality and Value hotel / theatre ticket packages are also available. Lastminute.com offer £67.50 seats with a £6.10 booking fee per ticket (£4.30 on £45, £2.30 on £20 seats) Monday to Friday / £67.50 seats with an £8.80 booking fee per ticket (£5.40 on £45 seats) Saturdays. 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 £67.50 seats with a £12 booking fee per ticket (£10 on £45 seats). A box office collection fee of £1.50 OR, if time allows, postage charge option of £2.75 (£3.75 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 412 6666 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: £3 per transaction (not per ticket) fee is made - towards the swings, thinks the monkey. For personal callers or by post: Denman Street, London. W1V 8DY 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.  www.atgtickets.com is the official theatre owners' website.

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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 L. The top of the stage is not visible from row R back. The stalls are arranged in a graceful curve, like a good banana (Mmnn, 'narnas - snack break. Back later - Theatremonkey) in front of the stage. The rake (sloped floor to help see over rows in front) is noticeable from row E back. Rows Q to U are on steps at the back of the auditorium. Seat K1 is nearest to the main auditorium exit, with further emergency exits behind seats U2 and 30. Legroom: Fine in all seats for most, decent in the middle front row, row P gets a nod for comfort; tighter in row O for the taller. Seat O1 in particular is cramped. Seats B5 and 26 have nothing in front, J1 has nothing in front of 1/10th of it, K1 has nothing in front of 1/3rd of it, K30 has nothing in front of 1/4th of it, J29 only has 1/2 a seat in front of it. For some reason the whole theatre is fitted with seats that have three sections to the back. The effect is to make you sit up straight and tip you back to centre if you slouch. This is how audiences survived 'Which Witch' that the theatre was cursed with housing in the 1990s. If you have a back problem, get an aisle seat to allow a quick exit if required. Choosing Seats in General: Aside from avoiding the first and last few seats in rows CC to Q (because to see the edges of the stage requires looking sideways) Theatremonkey sits anywhere in these stalls. Rows BB back to B do offer neck ache inducing views of the stage - especially with a two tier set. Moving back, if he is picky the monkey chooses rows E to K first, but isn't over fussy, the rake is good for most, and the sightlines clear. The only ones to avoid are the ends of rows. Rows M to O are second best at top price, being further from the stage for the same money. If you can accept a little less legroom, pick Dress Circle rows B or C before these seats at the same price. Row P seats 7 to 23 offered value at second price, feels the monkey, but are tending towards expensive at top price. It would certainly skip R and S at top price too. Rather than these rear stalls, it might pick rows F and G Dress Circle first for the same money if legroom is not a problem - though the view is not much of an improvement. That said, rows R to S, plus rows T and U (which are usually second price) are well worth a thought before taking Dress Circle rows J, K and L. In both stalls and Dress Circle you have an overhang cutting the top of the stage to contend with, but it is less a problem in the stalls - which are also normally cheaper too, feels the monkey. Legroom in the stalls is also better. With rows T and U at a reduced second price the Monkey also suggests them over the Upper Circle for the comfort of those who are taller and don't mind being at the back. For children, the Upper Circle at a lower price may be a better bet, though, it feels. The other rear stalls it would really avoid are those near the sound desk. General Hazard Notes: Seats in the first 5 rows at the extreme ends often miss stage action. The sound desk location makes seats 10 to 20 in row S, and rows T and U seats 10, 11, 19 and 20 probably be worth a miss - those in row S most definitely so, according to reader Eric. Changes for the current production: The front row is A, at lower price than seats behind. At the price, 9 to 18 are the first to grab, the monkey feels. Be aware that the main part of the stage is high and those in the very front row may not see feet. For a short period during the show, the view from the last 8 seats on the "high numbers" side in rows A to E is less than you might expect for the price, feels the monkey. In particular, it wouldn't take the "premium" seats in this location. “Premium Seats”: AT THIS POINT, THE MONKEY MAKES AN EMBARRASSED ADMISSION... Usually, it can rate centre stalls seats 'green' apart from those at 'premium price' - which are about "fair" value, but no more than that... it would always go so far as to pick tickets close to these first and save £20 a seat for the same view... This time... it suspects the producers have been reading its pages, as all the seats it usually rates 'green' are at the 'premium price'. All it can say is to pick seats as near as you can to them, and apologise to readers! Reader Comments: "(Jos). Half way back in the stalls has a fine view of the stage; there shouldn't be a problem with views from many seats." Row BB: When cheap (not for "Ghost" July 2011). "These seats, I have to say, I think are the most amazing front row seats I have sat in. They are so close to the stage, I love it! What's also good is that the Piccadilly is quite a small theatre when compared to others. When my brother came in he did not know what to expect of the seats, and he couldn't stop laughing as we were so close! I must say they are quite close together (and I heard someone behind me say that this theatre was the most uncomfortable she has ever been to) but I couldn't believe that one row behind they paid £55 whereas we paid £20 - FANTASTIC VALUE FOR MONEY." “Row BB: The seats themselves were amazing, as another reviewer mentioned it was almost like a private showing. Compared to the other £20 seats (not for "Ghost" July 2011) - allocated at the very back of the theatre - it's unthinkable that they'd be in the same pricing category as ours. We had fears that the stage would be too high or the likes but they were absolutely perfect; even more so than the rows of people behind who paid an extortionate £55 per person. We even got a personal thumbs up and wink from Frenchie and Riz who clearly appreciated our enthusiastic applauding at the end, making it all the more personal." "BB14: (Steve). Day seat (not for "Ghost" July 2011). For £20 you cannot complain, but you are extremely close to the stage and may experience slight neck ache from moving your head from side to side. Other than that though pretty amazing seats, you forget there are 1,200 people sat behind you as it feels like a private performance!" Readers Brian and Lisa add, "Row CC: (Brian and Lisa). (Not for "Ghost" July 2011). It really was a little bit too close to the stage as many of the female actresses raise their chins whilst singing - so you constantly get a rather good view of nostrils and upper teeth! The funniest part of the show was had by those in the centre seating of the first 4 or 5 rows when the smoke machine comes on - let's just say we couldn't see each other let alone the stage! I would suggest that rows several back would be better." "CC21 and CC22: (not for "Ghost" July 2011). Not as bad as I expected - certainly not for the price. If you are a massive fan of Ray Quinn these are THE best seats in the house as he spends practically the whole show in front of these seats (my daughter was ecstatic!). As there are no seats directly in front you have as much leg room as you need. I do agree that you are looking sideways to the middle of the stage, however I would not avoid these seats if you can get them cheap!" "A22: "Ghost", (Kirsty). Day seat price of £25. I was at the left hand side of the stage and the view was great. You could see how some of the effects were done from this angle; but for a second time watching the show, I loved it. The stage wasn't too high either, which is good. I only missed a few bits, SPOILER ALERT like when Sam has died - you can't see his body very well; SPOILER ENDS so you actually miss anything that happens towards the back of the stage but, as most action happens towards the front, it's not a big issue." "Row B, C last 2 seats and row F: (Adele). Last seat and the view was slightly restricted to the left side of the stage at the previous show we saw" “B13 and 14: Fantastic seats... There were no problems with the view and you really do feel that they are performing just for you". “B15 and 16: Good view of the stage and really central. “B20: Excellent view - no neck pain (the stage is low), very comfortable." "C3 and 4: Bought as £25 day seats. Slightly restricted. We moved to empty seats seats 4 and 5 about 5 songs in as they were empty and it was a lot better! Would avoid 3 and 4 at full price but for £25 as day seats they would have been alright." “C14: "Ghost" (July 2011. Day seat (seats at this price are allocated at random for this show). For £25! I couldn't believe my luck, right bang in the middle! The rake meant that I had a great view. My row seemed to be about level with the stage, so I was able to see clearly with no annoying large heads in the way." "D8: (KJ Hailes). Fine with good legroom and a high enough stage to see over people’s heads." "D17 and 18: "Ghost" (July 2011). Excellent – as you would expect for £65 each plus a £5 booking fee. I’m 6 foot 1 and I must say that the leg room was probably the best I’ve experienced in London this side of a box or aisle seat. It is helped too by the seats in front being staggered, meaning no interference with your view." "D25 and 26: "Ghost" (July 2011). I enquired about the cheap ‘day seats’. I thought that the theatre saved a particular row for this incentive but it turns out it’s on a ‘Best Available’ basis and my friend and I were offered seats 25 and 26 in row D (with the next best available after that being in the middle of row S – quite a difference, but apparently still a good view..!) for £50 altogether. The seats were at the very end of row D - great as I could dangle my lanky legs out onto the aisle (accidently tripping up one of the ushers at one point, oops!). It also meant you were close enough to the stage to connect with the characters. But for viewing purposes it wasn’t so handy: a set of lights block a portion of your view - which can get slightly annoying, especially for scenes which happen towards the back of the stage (*SPOILER: Sam’s death, Sam’s funeral, Molly’s police scene, Sam taunting his killer and an impressive train fight.. impressive from what I could see, anyway*). I also felt extremely conscious that my tall frame was blocking the view for others sat behind me - I asked them but they assured me that this wasn’t the case. Because the seats were so far to the left, I feel I didn’t enjoy the impact of the stunning video visuals (even though many of the video screens used were duplicates to the one I could clearly see on the right), I can imagine that certain scenes would have been stunning to watch had I been sat somewhere in the middle (but we have to remember the price I paid for these tickets!)." “E15 to 17: (Denise Schult). This was a most enjoyable evening - we had seats in Row E 15 - 17 in the Stalls and it was certainly an excellent view with enough legroom for most. (View would have been even better had I not had a lady in front who insisted on moving her head from side to side, stroking her hair, fidgeting, leaning forward and turning around to look at the conductor on the cast screen - that is the only downside of going to a theatre - you can't pick who sits in front or behind you - shame)." "E17 and 18: “Grease”. To my surprise these were excellent. There was a very good rake and the seats were all staggered - meaning that they weren't always directly behind each other but a bit off to the side - so you can see between the shoulders in front of you. I would recommend these seats!!!" “E21 and 22: (Frances). Nice and close and gave a good view of the whole stage." "E22 and 23: (Pip). Personally, they feel central and have a good view. You don't have to look up to see anything. HOWEVER, I wouldn't pay top price for them because they are slightly side and legroom is poor, although otherwise seats are comfortable. Sound can be too loud at times too." "Row F 17 to 20: wonderful view, and enough leg room to get up and dance" "F19 and 20: "Grease" (Alison). Had an excellent view, and plenty of legroom. However, they are the most uncomfortable seats I can remember sitting in over many years of attending the theatre and concerts. The seats seemed lumpy, and it was just impossible to be comfortable. Not sure what can be done, but the Monkey's viewers might want to be warned. We did get a good deal directly from Ambassador Theatres (top price tickets half price)." "F27 and 28 (The ones at the end of the row): (Pip). I got these on special offer from Ticketmaster, so they cost £29 each at the time (not for "Ghost" July 2011). The actual price of £55 I think is a bit expensive anywhere in the stalls. I really don't think it's worth the price. I disagree with seats 27 and 28 being red, because I was surprised how close it was to the stage and how actually amazing the view is. You don't miss anything, you can see everything in the front and back of the stage." "H8 and 9: (James F). The armrest were too high and irritated me during the performance (even though I'm 6 '1). I also found that the stalls are quite level so if someone tall sits in front of you, your view might become obscure.” “H20: "Ghost" (June 2011). Perfect (and discounted).” "J13 and 14: Thanks to Theatremonkey (although the raise is not that big and the man in front of us did have a very large head...)" "J20 and 21: "Ghost" (June 2011). Very good seats with one reservation especially if these are bought at 'Premium' price (we didn’t pay this, luckily). Generally this or a row or two back are my ideal position because I like to take in as much of the stage as possible, but in this case, as I have said, one gets drawn into the story so much and you focus on the main characters so much that I felt it might be good to be a little further forward. One tip – in some scenes there is a sofa stage right / centre right that blocks one’s view of part of the back of the stage if you’re sitting left of centre in the stalls. A small amount of action happens there and given a choice perhaps sit right of centre rather than left. I am being picky here but if someone is going to pay premium price why not?" "J26 and J27: "Ghost" (August 2012). The view from the seats was excellent with great legroom. Whilst they are not ‘premium seats’ you will not be disappointed." "K14 to16: (Mila). Perfect view (wouldn’t have wanted to be much closer!) "K20: (Sam). Excellent seat. Everything is great. If I am very picky though, I would want a little bit higher rake. I actually got this seat for only £30 for the show I saw (not "Grease" - ed), so it was Super Green lol! Agreement with the Theatremonkey’s assessment." "K11 to K20: “Grease” (James – regular reader). Good rake and far enough from the stage to ensure a pretty clear view without straining your neck." "L30: "Ghost" (July 2011), (Lorna). You get a fairly good view from this seat, even though it's end of row (and it has a nice space on the floor for all your London shopping bags). It's on the left hand side facing the stage which is a good place to be for the special effects and the sofa scenes. I wouldn't want to sit any further back and I think a couple of rows in front at J or K would be a great view." "Rows L, M, N, O, P seats 4 to 11: “Ghost" (July 11), (Gill Gill – group visit). Everyone said they had a good view of the stage and saw all the special effects. All had enough leg room and no one's view was restricted by someone tall impeding their view. The only criticism was that the theatre is very warm as no air-con and the seats were under padded and therefore quite uncomfortable." "M28 and 29: The theatre floor is sloped. The seats are staggered to give good view of the stage. A large person sitting in the seat in front should not restrict your vision." "Row N: (Lizzie). Had a good view; however the seats, that’s another matter. The theatre has obviously been recently refurbished because the seats appeared newly upholstered but the floor is quite steeply sloping and you have this feeling that you are slipping forward on your seat all the time – noticed a lot of people wriggling to get comfortable - impossible. Makes you wonder if whoever designs these seats ever sits through a performance in them. " "O14 to 16: "Ghost" (July 2011). The seats were £65 each and the view was amazing. I felt as if the view I got was faultless and, from where we sat, we could see everything. This is the only theatre that I've been into that I can say the sound is 100% perfect and completely loud enough to fill the theatre. We were central in the stalls and I would say just behind mid way back and everything was perfect." "P 21 and 22: "Ghost" (July 2011). Left of centre. Plenty of leg room but the seat tilted forward and could have been more comfortable and you are conscious of the circle overhanging although it did not obscure any action on stage. I did think that at times the orchestra was playing too loudly and even though Caissie Levy as Molly was belting out the songs I couldn't actually hear the words much of the time. The illusions are very well done and I agree that sitting nearer to the stage would be good for this show to study them more closely." "P 21 to 24: "Ghost" (July 2011). Although the overhang from the dress circle is there, it does not spoil any of the show and you see everything. The leg room is amazing in this row as well. It also looks like they have sorted the sound level out that other reviewers have commented on, as you can now here the singing over the music." "Row U: "Ghost" (July 2011). Day Seats" price. When first sitting down, I was quite disappointed because of the overhanging circles, which means that you see only the lower half of the stage. As it turned out, that wasn't a problem, since everything happens on the 'ground floor' and I felt sitting level with the stage due to the rake. However, I was way too far away for my taste."     DRESS CIRCLE  called the ROYAL CIRCLE in this theatre Layout: The Upper Circle overhangs the Dress Circle at row D, affecting the view from row F back. The Dress Circle is split into two by a centre aisle – which has a double height rail at the end of it... The seats are on well stepped tiers, though it makes rear rows K and L feel distant in monkey opinion. Most seats follow a curve inward towards the centre, but the first and last four in rows B to D curve slightly away from the front of the circle. A bar runs across the front of the Dress Circle. It becomes double height at the centre aisle, and a reader notes it affects the view from row A seats 14 and 15, with row B and C 14 and 15 worth avoiding too. Audience entry is behind seat L1, with emergency exits beside A 1, A 24 and L 28. Legroom: Variable. Rows B to D are acceptable to those up to around 5ft 9 or so at least, even A will be OK for those of 5ft 7. Rows F to K are far tighter, with even someone of 5ft 6 likely to be uncomfortable. Row L has a miniscule extra amount of legroom over the rows in front. Centre aisle seats in rows B to L, numbered 14 and 15, offer a little more space for one leg to stretch into as well as a central view. Be aware that karma balances this by placing a tad less legroom directly in front of seats 13 to 16 in these rows. If tall, in rows F to K aisle seats, you will need to sit sideways. Seat K14 is a centimetre or so further into the aisle than other seats, thus giving even easier access to knee room for one leg. Rows B to D seats 1, 2, 27 and 28 have a tiny bit of extra legroom where the rows curve backwards from the circle wall. Choosing Seats in General: Skip seats with safety rails in sight - row A seats 14 and 15 - with row B and C 14 and 15 worth avoiding too. The remainder of row A is worth considering if excessive legroom is unimportant to you. Transfer from a wheelchair to seat A 28 is possible – a reasonable view, better than the one from the side circle box alternative. The rest of rows B and C are best, then D and E. Ends of rows B to D are worth considering for those over five foot five or so...to help see over the rail. For anyone much taller than 5 foot 9, the stalls is preferable. At the ends of these rows, pick row C or D first to allow distance to improve the viewing angle. Rows F and G are only worthwhile if all seats in the stalls as far back as row O at the same price have gone and legroom isn’t required. Rows H to K are pretty expensive for the view, in the monkey's opinion. Rows J to L should not normally be considered unless you REALLY want to see the show and all the seats in the stalls at the same price and lower have gone. The low front of the Upper Circle above cuts the view of the top of the stage, and a peculiarity with the rake of the theatre makes these seats seem remote. General Hazard Notes: A bar runs across the front of the Dress Circle. It becomes double height at the centre aisle, and a reader notes it affects the view from row A seats 14 and 15, with row B and C 14 and 15 worth avoiding too. The circle overhang and rake really make rear rows feel remote. The cramped legroom in most seats in rear rows. A reader noted that the angle of the seat backrest left a 6ft person facing the ceiling.   Changes for the current production: Premium Seats: again, AT THIS POINT, THE MONKEY MAKES ANOTHER EMBARRASSED ADMISSION... Usually, it can rate centre dress circle seats apart from row A as 'green' apart from those at 'premium price' - which are about "fair" value, but no more than that... it would always go so far as to pick tickets close to these first and save £20 a seat for the same view... This time... it suspects the producers have again been reading its pages, as all the seats it usually rates 'green' are at the 'premium price'. All it can say is to pick seats as near as you can to them, and apologise to readers! Premium seats in rows B and C are about "fair" value... it would pick tickets around these in rows B to D and behind them in E for the same view and an inch more legroom than row A... oh, and for those wondering why 13 to 16 are not premium priced - the aisle safety rail intrudes into their view! Row L is top price. Avoid. If it is cheaper, then for those who don't mind the legroom and overhang and wish to be lower than Upper Circle level, it's an option perhaps. It still wouldn't bother with it, as the overhang really is fairly savage and the view from either the rear stalls (for the tall) or the upper circle (for the shorter or anyone wishing to skip the overhang totally) is better value at the same or lower price, in its opinion.   Reader Comments: "A1 and 2: "Ghost" (July 2011). We’re surprised they aren’t rated as ‘obstructed view’ for this show. We couldn’t see the top of the fridge, where action takes place, and also couldn’t see clearly the flat door where an important illusion occurs. For this reason we think you should consider rating them red on your website.”. "B1: (Celia). Rather than sitting at the rear of the stalls I opted for this. Not a great seat, as the view was restricted and I couldn't see the action towards the back of the stage in some scenes. There were also some stunning effects, again I wasn't able to appreciate these fully because I was sitting too far to the side." "B10: (Adam). Legroom was above average and the view of the stage was fantastic. There was a big problem with this seat however, that seemed to be caused by the angle of the backrest. When I relaxed into it I found myself looking at a point on the ceiling just above the stage. The only solution for this was for me to lean forward which was fine to start with but left me very uncomfortable for the last half hour or so. (Not something others reported before, but worth knowing for the tall (Adam is 6ft 2), felt the monkey).” “B13 and 14: “Ghost,” (Chris B). These seats over a fantastic view of the entire stage and are close enough so you still feel part of the show. B14 has the bonus of being an aisle seat allowing you to stretch out if needs be but the legroom is more than sufficient anyway. I also didn’t notice the double height safety rail from B14 either, and it didn’t affect the quality of the view at all. I highly recommend these seats, especially as they are just outside of the premium section.” "B20 and 21: "Ghost" (July 2011), (James – regular reader). Excellent! Gift, so didn't pay premium price, though." "B22: (Jon) I was safely within one of Theatremonkey's 'Green Zones’. Above average leg room and a clear view of the stage meant I was happy." “B25 and 26: (Karen). Fabulous seats.” “B25 and 26: "Grease" (August 2007), (Wayne). Excellent seats, excellent view and plenty of room, well worth full price." "C7 to 12 and D7 to 12: “Ghost" (July 2011). (James – regular reader). Sat as part of a group in these. Excellent, particularly at the £45 group rate."... “C27 and 28: “Viva Forever,” (Chris B). These seats offer a good clear view of the stage. They are however on the very left hand side of the stage, so you may miss the slightest sliver of stage, but nothing significant. C25 has the bonus of being an aisle seat allowing extra legroom if needed. Although there's ample legroom already.” "D5 and D6: (James) A great view and could hear everything very well." "E11 and E12: "Ghost" (July 2011), (James). Excellent." "F6 and 7: "Ghost" (July 2011), (James – regular reader). The view of the stage and sound is great from here. I didn’t have any problem with the overhang, but I’m only 5’7” so can imagine that it might start to be a problem for taller people. It’s of course better to be central but apart from missing a bit of the set in the corners, no action was missed here. Oddly though, having seen the production 3 times now, I think the effects and illusions used in the show work better sitting in higher number seats!" "F27: (Alun). My seat, although only two in from the edge was not bad except almost no legroom (and I'm only short at 5'7''). Could see the sides of the stage quiet well" Dress Circle Boxes Layout: Either side of the stage between the dress circle and stage opening. Rarely sold to the public. Wheelchair users get priority for use of this box, and tickets will only be released on the day of performance to other members of the public if a wheelchair user does not require the box. Seat four, with two wheelchair spaces in box C if required instead of seats.   Legroom: Acceptable as movable chairs are used. Choosing Seats in General: Accept only after all other seats at around the same price have been sold, or cheap seating with extra legroom at Dress Circle level is required. Wheelchair users should take the transfer seat in dress circle row A if they can, for a better view.   General Hazard Notes: About an eighth of nearside stage isn’t visible. Light and sound fixings may obstruct views / make the boxes noisy.   Changes for the current production: SPOILER ALERT. Used by the cast at one point during the show, so you will be seen by the audience, as it were. SPOILER ENDS. Sold cheap, it's not a bad alternative to the upper circle if the noise and being looked at don't bother you. Reader Comments: None.       UPPER CIRCLE called the GRAND CIRCLE in this theatre. Layout: The Upper Circle is split into two by a centre aisle – which has a double height rail at the end of it... The seats are on very steep steps. Most seats follow a curve inward towards the centre, but outermost end seats in rows B to M curve very slightly back from the front. Bars at the front of the circle, double height at aisle ends, and handrails at the ends of each row. Audience entry is behind M1. Emergency exits are found in the front corners of the circle by A 1 and 28.   Legroom: Cramped in all seats felt the monkey - though Chris May feels it isn't that bad for shorter persons. Row A has least legroom, rows D and M have about an inch or so more than others. Rows B to L seats 1 and 28 have a tiny bit more space as the circle curves back. In particular, B 1 and 28 have more than usual for one leg, and B 27 has a little more as well, for when there are two of you. The view isn't spectacular, though, with a double bar nearby. Centre aisle seats 14 and 15 in rows B to L offer a little more space for one leg to stretch into as well as a central view... shame it's through bars, though. A reader summarises, "I'm 5ft 8 and was just about OK with the leg room, which was minimal, can't see how those 6ft and over cope and would advise them to avoid this area."   Choosing Seats in General: A very steep rake means that while rows A to E feel close to the stage, rows F back suddenly start to induce vertigo in the most susceptible hearts. Think about this first, before considering any seat here. All seats in the Upper Circle usually offer a clear view of the stage. For those who are taller, don't mind the overhang or slightly more expensive cost, and wish to be lower than Upper Circle level, the rear Stalls may be worth a glance. For the shorter or anyone wishing to skip the overhang totally, these are worth considering at second price or less. Row D is about right for view, or A for the shortest. A reader rated row D seats 4 and 5 as better than row L (though more expensive of course!). Like the Dress Circle the first and last seats in rows B to M gain a little extra legroom from curving away from the wall. Rows K to M are often the cheapest in the theatre. Seats here do feel very far from the action, but are a fair budget option.   General Hazard Notes: Bars at the front of the circle, and at the aisles at the ends of each row. The circle is steeply raked. This induces vertigo in the susceptible, particularly from row F back. For some reason, many of the seats are lower than usual, and seem to slope backwards, leaving the monkey looking through its own knees. Row L 15 to 17 and M 15 to 17 can be substituted for lighting positions. Purists may want to avoid K 15 to 18, L 18 and M 18 due to this.   Changes for the current production: Rows A to J are second price. For those who are taller, don't mind the overhang or slightly more expensive cost, and wish to be lower than Upper Circle level, the rear Stalls at the same price may be worth a glance. For the shorter or anyone wishing to skip the overhang totally, rows A to H are first pick. Rows K to M are cheaper than J, for pretty much the same view.   Reader Comments: "A19 and 20: "Grease". Unfortunately a safety/hand rail along the top of the balcony restricts the view of the front half of the stage and means that you have to sit forward in order to get a good view. The people sitting in the seats alongside us also complained about this." "B10: "Ghost" (July 2011). I paid £22.12 per ticket through an online promotion. At 6ft tall I thought the legroom was OK and not uncomfortable. The seats are not very well staggered with the row in front but the steep rake makes up for that. There is a bar on row A which affects the view of people sat there and thus at times causes them to lean forward which has the effect of everyone behind them having to lean forward too in order to see clearly. Otherwise I had a very clear view of the entire stage and even being high up I still felt 'close' to the action for the most part." "B19 to 21: These seats for Act 1 and then A19 to 21 in Act 2: We were able to move forward as at this matinee show, It was a pretty empty upper circle. We got these seats for £15 each from the GILT offer and we nabbed £45 seats at a very cheap price. These seats were great and provided a full view of the stage, But I wouldn't have wanted to sit any further up the Upper Circle as I can’t help but guess that the view would probably be quite bad." "B24: "Ghost" (July 2011). Got at a discount, proved to be an excellent seat with unhindered sight lines, even when one of people directly in front of me started leaning forward towards the end of the show. The upper circle is vertiginous, though." "C14 and 15: Were a bit obstructed, as the show came to the front of the stage, by the 'bar' in front of Row A. Also the bars in the aisle caused some obstruction too, so if you were going to the Grand Circle, I would suggest a couple of rows higher and a few seats in from the aisle if most of the show is performed central to the stage.” "D8: "Ghost" (July 2011), (Paul). Had a fantastic view of the stage, the rake enables you to see over the heads of those in front – and Row D and E are probably the best of the bunch in the Upper Circle. They actually feel close to the stage, but you are obviously looking down on the stage. The brilliant illusions lose none of their effect from this view and facial expressions can be made out from here. I do feel, however, that £45.00 is rather a little greedy in the pricing." E5 and 6: "Ghost" (July 2011). Seats are very small and hardly any leg room. Quite steep and high up but could see the whole stage." "E 15: "Ghost" (July 2011). I was a little bit huffy, because nobody told me that there is a safety railing next beside me! The railing was in my view but didn't bother me during the show. The sound was crystal clear and really loud. Sometimes quite a bit too loud for my taste (and I love it loud). You won't miss any of those wonderful special effects they created for the show. It's a fair price for a very good show, no one should miss." "F17 and 18: (Chris May – regular reader). £30 and I say good value, great view of the whole stage nothing missed at all and leg room is decent. Only drawback is its blooming' warm up there!" "H8: "Ghost" (July 2011). A great view overall, though I had to lean to the side as the person in front directly of me blocked the action during the pottery wheel scene (yes, that one, the one everyone knows even if they haven't seen the movie). No trouble with anything not on the VERY front of the stage, though, and none of the special effects are ruined due to the angle. The sound during previews was clear during the dialogue but had some mix issues leading to some indecipherable lyrics during ensemble numbers and the cast sounded overamped in general during the songs. Absolutely worth it if you get a discount (I paid £15 using a preview offer), not sure if I'd be as pleased if I'd paid the full £35." "J22: Good seat, could see everything clearly, height didn't really have an impact on the show." "L14: "Ghost" (June 2011). I was really pleased with this seat (apart from it not having much padding and made my posterior numb!). A good view (you can just about pick out the actors’ facial expressions without a telescope!); obviously looking down greatly - with only very slight obscurities where the safety bars (which are split) infringe into the line of vision to the left - but this really does not cause much of a problem. Average leg room, being 6ft 3,” but much better being end of aisle." "Seat L15 (before the spotlight was behind it): End of row, cheap seat, OK but had some younger person with gelled spiky hair in front, otherwise passable." "L17: You're right about the rake inducing a bit of vertigo. The stage seemed distant and I didn't catch all the words but the music was loud and clear, and I felt a little smug thinking I had paid £10 less than those sat in the next row down. I'm 5ft 8 and was just about ok with the leg room, which was minimal, can't see how those 6ft and over cope and would advise them to avoid this area." "L22: "Ghost" (June 2011). For this production, which is filled with projections, this offers a really great view of the stage action. None of the illusions (except some in the subway sequences) were obstructed or lacklustre on this level, and the strength in the physical movement of the actors and scenery is all clearly viewable. Plenty of legroom for the 6-ft tall fellow. I find that there is zero reason for anyone to be leaning on the Grand Circle for a better view (which always hurts the view of those behind), so do not be afraid to tell someone to sit back, as they'll actually get a better view if they sit up straight! The rake is perfect!" "Row M: "Ghost" (June 2011). Clear view but you lose so much from that back row with regards to the emotional connection."     Notes Total 1200 seats. Air-conditioned auditorium. Not always working! Hearing loop available. A guide dog sitting service is offered. The wheelchair spaces in box C are accessed from a fire exit via an 8-cm step and slope. Transfer to seat Dress Circle A 28 also possible. Disabled toilet available nearby both. Fuller details from www.atgtickets.com or 0844 8717 677, Artsline on 020 7388 2227  e-mail 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. A reader says of facilities here in June 2005: "The Piccadilly states wheelchair access and seating in it’s programme. The access is through a side exit door in Sherwood Street. Space is available for people to transfer to a seat in A28 in the Royal Circle or box C is available for two wheelchairs." Food: Ice cream and confectionery. Four bars. Two Stalls, Dress Circle and Upper Circle. 8 Toilets. Stalls 1 gents 1 cubicle, 3 ladies 3, 2, 2 cubicles respectively; Dress Circle 1 gents 2 cubicles, 1 ladies 3 cubicles; Upper Circle 1 gents 1 cubicle, 1 ladies 1 cubicle. A reader in September 2011 notes, "The bars and toilets in the stalls area of the Piccadilly Theatre are very congested. Unusually, the queue for the gents was much longer than the ladies, prompted I suspect by the fact that the gents is both tiny and awkwardly laid out. The bar, even by West End standards, was expensive – over £11 for an alcoholic ginger beer and a G&T. It also took us over 20 minutes to leave the theatre because everyone in the stalls was inexplicably made to file out through a narrow and poorly lit alleyway – not a nice end to a night at the theatre." At "Viva Forever": This show attracts a predominantly female audience. The theatre's quota of 'restroom' facilities isn't designed to cope with this. Expect VAST, as in 20 or more long, lines at all facilities before the show, at the interval and after the show too. Arrive early, and expect the queue is the monkey advice. If it helps, the night the monkey went, the show didn't re-start after the interval until those lines were cleared - even if it did cause a minor delay.

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Nearest Underground Station: Piccadilly Circus - Piccadilly (Dark Blue) and Bakerloo (Brown) lines. The escalator from the platforms ends in a large circular underground area.  After leaving the barriers, turn left and walk round until you see the sign "Subway 4" (and ladies' toilets!). Walk under this sign into the subway and climb the stairs ahead of you. At the top, you face a pedestrian plaza of beige flagstones. Looking ahead you see shops. Turn left instead. Walk on towards the large triangular white building facing you. Walk down the RIGHT hand side of it (the old white stone gives way to a modern brown glass and concrete building) and you should already catch a glimpse of the theatre on the right. If you look ahead, you also see a tiny ornate bridge over the roadway. Walk towards either object, and the Piccadilly Theatre is ahead of you before you get to the bridge, to your right.

Buses: 3, 6, 12, 13, 14, 15, 23, 53, 88, 94, 139, 159. To Piccadilly Circus or Shaftesbury Avenue.   Taxi: A rank for Black taxis is at Charing Cross Station - a long distance from the theatre. Best chance of hailing one in the street is to walk down Denman Street on to Shaftesbury Avenue.

Car Park: Denman Street. The Piccadilly Theatre is to your right as you leave the car park. Newport Place / China Town Car Park is also close. The "Theatreland Parking Scheme" may be available at this 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.

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