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

PICCADILLY THEATRE


CLICK HERE TO BUY
the 1993 London Cast CD Recording

GREASE (musical)

Yes, this is the stage version of the classic movie - the "is the word" bit is added to the title to show that all the hit tunes are there. When the stage version first opened, they weren't! Yup, most of those songs we know and love were written for the film and only later placed in the show when this version opened at the Dominion Theatre in 1993.

So, Danny meets Sandy at the beach one summer, she transfers to his high school. They meet again, fall out, get back together, and she models skintight trousers for him at the end. Oh, and Rizzo gets the best songs, Kenickie gets the best name, and Frenchie gets to go back to high school.

This is the show cast from TV contest "Grease Is The Word" with Danny Bayne as Danny. He is scheduled to play every performance unless ill or on holiday. Information is given for interest only and theatremonkey.com take no responsibility for any changes that may occur, or any issue arising for any ticket holder.


PLEASE NOTE: For copyright reasons, information and graphics on this page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed. 

View video clips about this production.


 

Theatremonkey Opinion:

The monkey remembers when producers David Ian and Paul Nicholas (yes, that Paul Nicholas) 'bet the farm' on opening "Grease Is The Word" ("Grease" the stage show with songs added from the movie version) at the Dominion Theatre in 1993. Re-discovering the stage version artistically, and discovering Ms Debbie Gibson in tight leather (also very artistically) left the monkey delighted - so entranced that it returned several times during the run... for those wondering, Sonia was cracking in the black trousers too... but it digresses...

The question is asks itself now is exactly how that magical evening came to what it saw at the Piccadilly Theatre. First, unlike the majority of professional reviewers, the monkey isn't going to knock the whole show... yet in all honesty it must say it feels David Ian's usual exacting quality control isn't in evidence as often as usual here.

The big issues are set and orchestra. The first has been stripped down to almost "bus and truck tour" standards, the second has been amplified so much that some of the lyric is lost. Grease should of course be blared out, but while at the Dominion every word was audible, here the monkey wasn't sure who exactly wanted whom - or why - at the end!

Leading actors Danny Bayne as Danny and Susan McFadden as Sandy started out at a disadvantage before the production even opened. Losing the 'TV casting show' ratings battle to a snappily dressed bible character was bad enough, while those like the monkey who watched both TV shows also felt that they didn't get as much nurturing from the "Grease" team as the Bible Boys did on the other channel. They may have, of course, but that was the feeling the monkey got anyway simply watching the broadcast each week. Still, the work appears to have been put in since the TV programme ended and actual theatre rehearsals began.

How did they do on the night? Well, chemically they are no Travolta / John combustible combination. Both managed to hold their own with the rest of the cast in terms of singing and dancing, and even managed in the odd scene to spark with their acting too. Hard work and experience should mould both even further, and the monkey would return later in the run to see what has happened... it suspects far deeper performances will emerge over time and wishes both well in discovering them.

The rest of the cast provide as much energy as they can - some excellent Arlene Phillips choreography is more easily appreciated on this smaller stage than the barn sized former home - and Jayde Westaby hits THAT note as Rizzo in the strongest performance in the show.

Overall a genuinely OK evening - certainly not the horrible night out that some reports are suggesting. The songs are as timeless as ever, the cast give the most they can delivering them, and things move along at a snappy pace. With a longer timescale to plan and bring the show into London, without the dictation of television, the monkey is sure most of the negatives raised at the "first night" stage now would have been addressed. It thinks much will improve as the run progresses and honestly believes this to be an evening that most will enjoy, if not actually rave about.

 

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

The latest four reviews are below. For earlier ones, click here.
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I have seen 'Grease' once, and I loved it - one of my favourite shows on the West End! I'm only 13 but I have seen about 20 West End shows since I started going to the theatre which was when I was 11. I sat in the stalls for this show - not normally my preference of seating, generally prefer to sit in the dress circle as I like watching the show from a height (not too high up). This may sound snobby, but I have never sat in a seat in a theatre worth less than 50 pounds.

'Grease' was magical. I loved it, the special effects and the songs were all excellent. The stalls seats E 17 and 18 to my surprise were excellent. After this, I saw 'Oliver!' in the stalls, but found that the Drury Lane Theatre didn't have any rake between the rows. In the Piccadilly Theatre, where 'Grease' was, 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!!! The theatre was lovely and elegant.
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My seats were CC21 and CC22, 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! Once again, I highly recommend searching ticket sites for the best deal.
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4 of us went to see this at the Piccadilly Theatre on Saturday, 17th October 2009. As other reviewers have commented, the theatre is incredibly small, and as such there is an inevitable queue for the toilets; and the bar area, I'm sure, could only fit in a handful of people sat on the wall benches.

We chose row CC seats but found that that 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.

As for the show itself, well, we're great Ray Quinn fans and were expecting a great show, and expecting to be thrilled over and beyond 'Mamma Mia' which scored 10/10 for us. Grease scored probably around 7/10. Ray sings like he's copying/mimicking John Travolta, which doesn't always really work. There wasn't particularly much chemistry between him and the other actresses and he didn't shine through as we would have hoped with other cast members having better voices are better acting ability, although Ray did provide some very funny parts and was, on balance, the star of the show.

He would do better being more himself and given more scope for his best talent - of dancing! All 4 of us (aged around 35 - 41) felt that the show had incorporated an overly sexual inference at points, which bothered us on behalf of others as there were many children in the show - I would suggest this needs to be toned down as it detracts from the show.

Glad we went to see it, happy to pay full price, wouldn't go and see it again in the current format though.

Brian and Lisa
__________________________

After seeing billboards all over London advertising Noel Sullivan as the new Danny in 'Grease', we elected to see it last month (December 2009) at the Piccadilly Theatre, as it was my last weekend in London. The offer of front row seats for a bargainous £19.50 each swayed our decision over productions like 'Priscilla' - which didn't offer nearly as good value.

My initial fear - having seen the production in 1996 and being overly-familiar with the script - was that going again wouldn't have brought anything new. This wasn’t even slightly an issue as the music, cast and set pieces were given their own unique stamp, integrating new parts with old and giving a refreshing and interesting outlook on a classic show. It’s always interesting to see star names feature as you can debate whether they truly fit their character role or if they’ve been introduced simply because of their reputability. Noel wasn't spectacular as Danny but did a decent enough job - more so than Ray Quinn I can only imagine, who couldn't look less like a Danny if he tried.

The seats themselves were amazing, as another reviewer mentioned it was almost like a private showing. Compared to the other £20 seats - 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.

Definitely recommended, 4/5

 

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

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

Monday to Thursday at 7.30pm
Friday at 5.30pm and 8.30pm
Saturday at 3pm and 7.30pm

Runs 2 hours 15 minutes approximately.

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

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

Stalls
Rows CC to S (except "Premium Seats"): £55
Rows T and U: £45
Stalls premium seats row E seats 11 to 16 and F 12 to 17: £75

Dress Circle
Rows A to K (except "Premium Seats"): £55
Row L: £45
Dress Circle premium seats row A 9 to 12 and 17 to 20: £75

Upper Circle
Rows A to E: £40
Rows F to K: £30
Row L: £20
Row M: £15

Boxes A and C £30 per seat. Tickets for this box will only be available on the day of performance, if they have not been previously sold to a wheelchair using client.

Standing places at £15 each in the Stalls and Dress Circle may be available at box office discretion once ALL other tickets have been sold. Usually these are available to personal callers at the theatre on the day of performance only.

£1 from each ticket sold will be paid to the charity "Macmillan Cancer Support." Registered charity number 261017.

___________________________

Stalls "Day Seats:" Row BB, the front row, is sold on the day at 10am to personal callers at the box office ONLY. Tickets are priced at £20 each, and are limited to a maximum of two per person, depending on demand. 

PLEASE NOTE: The box office are EXTREMELY STRICT on sales of these tickets. All "day seat" tickets MUST be paid for using an approved credit / debit card. The ONLY ones acceptable are: Visa, Mastercard, Switch / Maestro and American Express. The theatre WILL NOT accept Solo or Electron Cards, cash or personal cheques. Tickets will still go on sale at 10am to those lucky enough to be first in the line of personal callers at the theatre box office. The purchasers will usually only get a receipt at that time, and will have to return to the box office desk ONE HOUR BEFORE THE PERFORMANCE to collect the actual ticket, bringing the same credit / debit card that they used earlier in the morning with them to do so. The aim is to ensure that only genuine purchasers who intend to use the tickets themselves will have the opportunity to obtain them.

Note that "day seats" tickets cannot be reserved by telephone or online. They are available only personal callers at the box office on the day of performance.

In November 2009, a reader wrote,
"
Went to see Grease last Saturday at the Piccadilly Theatre.  Got there at 8am to queue for the Day Seats - we were the only people there until 9.15!  The door to queue at is at the far right as you look at the theatre, where the notice is about day seats.  The box office people were really helpful, even phoning later in the day to check that it was the matinee that we wanted."

PLEASE NOTE: For copyright reasons, information on this page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed.

 

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:
£4 per transaction (not per ticket) fee is made - towards the production gel budget, 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 £4 per transaction (not per ticket) booking fee until 4th September 2010 - the same as by phone. If you use this method, be aware that the computer offers tickets at random. If you are unhappy with its choice, keep re-selecting using the "Back" button on your browser, NOT the "reselect button" on the page, until you get tickets you consider worthwhile. Note that the tickets offered may differ between phone and online sources.

For Tuesday and Wednesday Evening performances until 31st March 2010, theatremonkey readers can buy two best available top non-premium price £55 tickets (from agency / offer allocation) for the price of one - that is reduced to £27.50 each (plus £2 per ticket booking fee) at all Tuesday and Wednesday EVENING performances ONLY.

Ticket selection is from agency's allocation. Subject to allocation availability, change, withdrawal and agency discretion.

Book online by clicking here (choose title from the drop-down menu). On the seat prices page, enter code "LVSALE" into the "Promotional/Voucher Code" box below the original price, and click "CALCULATE" to bring up the offer price. Or else book by telephone from LoveTheatre, quoting "Theatremonkey Ticketshop" on 020 7907 7000.

At other times, when the theatre does not have tickets available, it is worth trying the Theatremonkey Ticketshop agency, which offers £55 seats with a £5.50 booking fee (£4 on £40 seats) - moderate by agency standards, high by box office ones, but worth trying as they often have some choice available! Simply select the show from the "drop down" menu in the centre of the page. Note that this system will confirm exact seat numbers prior to purchase.

Another alternative is www.seetickets.com  / telephone 0870 830 0200 which offers £55 tickets with a £5.50 booking fee per seat, plus £1.60 per booking (not per ticket) handling fee. (FREE call if using BT.com Calling Plan at your chosen times).

Encore Tickets offer £55 seats with a £14 booking fee per ticket / £10 on £40 tickets  - plus optional UK postage of £1.50 per booking, not per ticket, available if time allows. Last minute ticket discounts and 'Meal and show' packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

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


 

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 or 0870 060 0123.
( 020 8544 7424 if you cannot use the 0870 number)
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:
£4 per transaction (not per ticket) fee is made - towards the production gel budget, 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.ambassadortickets.com is the official theatre owners' website.

 

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

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

Seating Plan Diagram

Stalls Dress Circle Upper Circle Notes
STALLS 
PLEASE NOTE: For copyright reasons, information on this page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed. 

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. 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.

For "Grease" the front row is BB, available as a £20 day standby ticket, bit of a bargain to be had, thinks the monkey.

A reader agrees,
"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."

Another, Steve, says,
"BB seat 14 day seat. 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!"

with which another reader agrees,
"The seats themselves were amazing, as another reviewer mentioned it was almost like a private showing. Compared to the other £20 seats - 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."

A row behind, another reader observes,
"My seats were CC21 and CC22, 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!"

Readers Brian and Lisa add,
"row CC seats: 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."

Moving back, if he is picky he 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.

Row E 11 to 16 and F 12 to 17 are sold at a premium price. About "fair" value, feels the monkey, but no more than that... it would go so far as to pick tickets close to these first and save £20 a seat for the same view...

A young reader says,
"E 17 and 18 to my surprise 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!!!"

Reader Frances says,
"Row E: seats 21 and 22 - nice and close and gave a good view of the whole stage."

Reader Pip opines,
"E22 and 23: 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."

A reader notes:
"Row F 17 to 20: wonderful view, and enough leg room to get up and dance"

Further along, reader Pip says,
"F 27 and 28 (The ones at the end of the row). I got these on special offer from Ticketmaster, so they cost £29 each at the time. 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."

Reader James F reports,
"(H 8 and 9) found that 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.

Of row J, another reader says:
"We had good seats in 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...)"

A row back, reader Mila reports,
"K14 to16 perfect view (wouldn’t have wanted to be much closer!)

Reader KJ Hailes reports:
"Seat 8 in row D of the stalls was fine with good legroom and a high enough stage to see over peoples heads."

Reader Sam feels similarly:
"Seat K20. 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."

Monkey regular seat connoisseur James concurs,
"Sat in Stalls K11 to K20 for “Grease” – good rake and far enough from the stage to ensure a pretty clear view without straining your neck."

Reader Jos feels,
"half way back in the stalls has a fine view of the stage; there shouldn't be a problem with views from many seats."

Rows BB back to B offer neck ache inducing views of the stage - especially with a two tier set. One reader feels, though that:
"Seats B13 and 14 in the stalls. Fantastic seats... There were no problems with the view and you really do feel that they are performing just for you".

Two readers also felt that B15 and 16 had a good view of the stage too, commenting that they were really central too. Another reader is also a fan, commenting:
"Second row, B20: excellent view, no neck pain (the stage is low), very comfortable."

Reader Adele notes:
"We sat in B, C last 2 seats and row F last seat and the view was slightly restricted to the left side of the stage"

Another reader liked D17 - especially as it was obtained at a discount!

Another reader, Denise Schult, writes,
"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)."

Couldn't agree more, feels the monkey.

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.

One reader comments:
"Our seats were in M row, numbers 28 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."

A little far over for the monkey's taste, but it knows what the person means.

Reader Lizzie comments,
"Sat in the stalls – Row N and 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. "

 

Row P seats 7 to 23 offered value at second price, feels the monkey, but are tending towards expensive at top price. Of the rest of the top price seats in the 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.

The only rear stalls it would really avoid are those near the sound desk. Advice for purists is that seats 10 to 20 in row S, and rows T and U seats 10, 11, 19 and 20 are probably be worth a miss - those in row S most definitely so, according to reader Eric. Other seats in rows T and U though 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 cheaper too, feels the monkey. Legroom in the stalls is also better.

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 1990's. If you have a back problem, get an aisle seat to allow a quick exit if required.

Legroom is fine in all seats, best in the front row.

 

DRESS CIRCLE 
Called the ROYAL CIRCLE in this theatre.

The Upper Circle overhangs the Dress Circle at row D, affecting the view from row F back.

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 Dress Circle is split into two by a centre aisle. Rows B and C are best, then D and E. Row A is worth considering if legroom is unimportant to you. Transfer from a wheelchair to seat A 28 is possible. See notes

Most seats in each row follow a curve inward towards the centre, but the first and last four in rows B to D actually curve away from the front of the circle slightly. This means a tiny bit of extra legroom in seats 1 and 28, and 2, 3, 26 and 27. Allowing for the slightly sideways and side on view from these seats, they are worth considering for those over five foot five or so...though for anyone much taller than 5 foot 9, the stalls is preferable. Pick row C or D first to allow distance to improve the viewing angle.

Row A 9 to 12 and 17 to 20 are sold at a premium price. About "fair" value, feels the monkey, but no more than that... it would pick tickets behind these and save £20 a seat for the same view and an inch more legroom... oh, and for those wondering why 13 to 16 are not premium priced - the aisle safety rail intrudes into their view!

Reader Jon says,
"I was safely within one of Theatremonkey's 'Green Zones' in seat B22 in the Dress Circle. Above average leg room and a clear view of the stage meant I was happy."

reader Karen is also a row B fan,
"fabulous seats Dress Circle B25 and 26"

reader Wayne from Lincoln had the same seats for "Grease" (August 2007) and agrees,
"seats B 25 and 26: excellent seats, excellent view and plenty of room, well worth full price."

Reader Adam brought up an issue with the row, though,
"I sat in the Dress Circle row B seat 10. 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.
 

Two rows back from Karen and Wayne, reader James reports,
"Sat in D5 and D6 in the Dress Circle – a great view and could hear everything very well."

Further back, one reader, Alun, notes that the legroom isn't much -
"My seat, although only two in from the edge (F27), was not bad except almost no legroom ( and I'm only short at 5'7''). Could see the sides of the stage quiet well" .

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.. Row H is pretty expensive for the view, in the monkey's opinion, while it feels that 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 make these seats seem remote. 

Legroom is cramped in all seats - even 5ft 7 readers have complained - and very poor in row A. 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.

Dress Circle Boxes
Either side of the stage offering a view with about an eighth of the edges not visible. Rarely sold to the public, though they are for "Grease." 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. Seat four, with two wheelchair spaces in box C if required instead of seats. 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. See notes.

 

UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.

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. A bar runs across the front of the circle.

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.

A reader comments about row A:
"We have recently been to the Piccadilly Theatre. The seats we had were in the Grand Circle front row A numbers 19 and 20, 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."

Theatremonkey picks rows D and E first at third price due to the stage, row F at fourth price and row L at fifth price. Seats from row K back particularly feel very far from the action, and prices charged only allow for this in the final two rows, making value for money harder to get in rows J and K. 

A reader says of row L:
"Row L seat 17: 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."

Another rated row D seats 4 and 5 as better than row L (though more expensive of course!)

All seats in the Upper Circle usually offer a clear view of the stage, though a reader has found in the past that:

"Row C 14 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".

Sound advice, felt the monkey.

Theatremonkey regular Chris May says:
"Upper Circle F 17 and 18 for £30: I say good value, great view of the whole stage nothing missed at all and leg room is decent. Only drawback is its bloomin' warm up there!" 

Another reader comments,
"J22 Upper Circle - Good seat, could see everything clearly, height didn't really have an impact on the show."

A few rows back a reader says,
"Seat L15: End of row, cheap seat, OK but had some younger person with gelled spiky hair in front, otherwise passable."

Row M is £5 cheaper than the row in front, for pretty much the same view. Worth a look, feels the monkey.

Legroom is cramped in all seats felt the monkey - though Chris May feels it isn't that bad for shorter persons - except rows B to M seats 1 to 3 and 26 to 28, and very poor in row A. Another reader says,
"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."
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.

 

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.ambassadortickets.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. For £15 a "theatrebox" containing 12 canapés can be purchased at the bar before the performance or at the interval. More details from www.theatrebox.net.

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.

 

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:
Piccadilly Circus - Piccadilly (Dark Blue) and Bakerloo (Brown) lines.

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

The escalator from the platforms ends in a large circular underground area. 

Two choices here. The quick one (below), and the one the monkey feels safer for those alone at night - click here to read it. 

Quick route:
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 busy road - Glasshouse Street - cross it. Walk on towards the large white buildings facing you. The road forks, so take the RIGHT hand one. If you look down this fork, you see a tiny ornate bridge over the roadway. Walk towards it, and the Piccadilly Theatre is ahead of you before you get to the bridge, to your right.

The safer one, perhaps:
After
leaving the barriers, turn to your left, and follow the curve of the barriers around until you see an exit to your right with the sign "Subway 4" over it. Walk under this sign.

Walk through this tunnel and take the first staircase to your right, marked "Shaftesbury Avenue" up to the street.

At the top of the stairs, take a very sharp "U Turn" through 180 degrees to your left. Look forwards and upwards for the huge "Sanyo" sign. Walk forwards towards it.

The busy road to your left is Shaftesbury Avenue. If you see the Prince of Wales Theatre, and Trocadero centre, wrong way.

For the Piccadilly Theatre cross the road and turn to your right, walk under the covered area where the cash ATM's and street artists are. At the next street turn to your left (a large McDonalds is in front of you on the corner), walk past Sugar Reef restaurant / club. Continue up the road. The Piccadilly Theatre is at the end of the road on the right hand corner. If you see the large black Windmill Club building, wrong street.

 

Buses:
3, 6, 12, 13, 14, 15, 23, 53, 88, 94, 139, 159. To Piccadilly Circus or Shaftesbury Avenue.

 

Car Park:
Denman Street. The Piccadilly Theatre is to your right as you leave the car park.

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

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

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

 

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

 

 

 

 

 

 

 

 

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