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



MISS SAIGON (musical)
Previews from 3rd May, opens 21st May 2014.

Vietnam. Chris wins a bar girl in the Engineer's raffle. That night changes everybody's lives forever.

The Schonberg, Maltby Jr hit 1980s musical is given a new and revised staging.


Theatremonkey Opinion:

Not available.


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



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 (7pm on 21st May 2014)
Thursday and Saturday at 2.30pm and 7.30pm


Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

rows B to V: £67.50 except
Premium Seats row F 11 to 26, G and H 10 to 27, J 11 to 27, K 11 to 26, L 12 to 25 and M 12 to 24: £97.50
Rows N to T 2 and 3; N, P and S 34 and 35; O, R, T 33 and 34; U to Y 2 to 5; U, W and Y 32 to 35; V and X 31 to 34 restricted view due to circle overhang: £45
Rows Z to ZC: £45

Dress Circle
rows A to K and loges: £67.50 except
Premium Seats row B 8 to 15 and 18 to 25, C 7 to 14 and 19 to 26, D 9 to 16 and 19 to 26: £97.50
rows L and M: £45
Rows N and O: £27.50
Dress Circle loge 1 (partially restricted view): £45

Upper Circle
Front Block all rows A to G: £45 except:
Restricted view seats A 1, 2, 36 and 37; B 10 and 28; C 9, 10, 28 and 29; D 10 and 28: £27.50

Rear Block Centre rows H to L: £45
Rear Block Centre rows M and N: £27.50

Rear Side Blocks rows H to L: £27.50 except
Restricted view seats H 1 and 31; J and K 7 and 25; L 1, 2, 34 and 35: £20

Restricted view slips: £20

Rear Stalls restricted view: £27.50 per seat
Dress Circle: £67.50 per seat
Upper Circle: £45
Upper Circle Slip Boxes: £27.50 per seat.

"Day Seats" are planned. The monkey will add more information when available.

Some details will change. The monkey will update as available.


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: provide their own service for this theatre.
This system allows you to select your own seat numbers.

Booking fees per ticket for online bookings:
£2.25 per ticket - 25p cheaper than by phone.

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

When the box office does not have seats available, or you require an alternative choice of seats, the Theatremonkey Ticketshop, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), agency can offer £67.50 tickets with a £10.25 (£14.75 on £97.50, £6.75 on £45 seats) booking fee per ticket. More than the box office, but well worth trying as it often has tickets when other companies do not! 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 / telephone 0870 830 0200 (FREE call if using Calling Plan at your chosen times) which offers £67.50 seats with a £16.88 per ticket booking fee (£11.25 on £45, £6.88 on £27.50 seats). A £2.75 per booking, not per ticket, transaction charge applies at all performances.

Ticketmaster offer £67.50 seats with a £6.75 (£9.75 on £97.50, £4.50 on £45 seats Monday to Thursday / £9.50 on £67.50 seats, £13.50 on £97.50, £6.25 on £45 seats Friday and Saturday). A £3 handling fee for your booking on top of that. This system allows you to choose your own seats from the selection the company has available.

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer £67.50 seats with an £18.50 booking fee (£12 on £45, £7.50 on £27.50 seats) per ticket. 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. "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available. offer £67.50 seats with an £8.50 booking fee per ticket (£6 on £45, £3.50 on £27.50 Monday to Thursday / £67.50 seats with a £12 booking fee per ticket (£8 on £45, £5 on £27.50 seats) Friday and Saturday. 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. offer £67.50 seats with a £12 (£10 on £45 seats) booking fee per ticket. 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 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 482 5151
(020 7812 7498 if you cannot use the 0844 number)
Operated by Delfont-Mackintosh Theatres. At busy times / outside working hours - 9am to 8pm, See Tickets may answer on behalf of the venue.

Booking fees per ticket for telephone bookings:
£2.50 per ticket - 25p more than by phone.

For personal callers or by post: Old Compton Street, London. W1D 4HS
No booking fee for personal callers. By post the usual £1.50 per ticket booking fee applies.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 0844 482 5137 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the Delfont-Mackintosh Theatre Group Helpline in London. See Notes. is the official theatre website. is the official show 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.

NOTE: "Miss Saigon" in May 2014 has seats in the stalls re-numbered slightly. The layout remains the same, but the aisle seats will have different numbers. Advice below remains relevant as variations are very minor.


Seating Plan Diagram

Stalls Dress Circle Upper Circle Notes
The Dress Circle overhangs the stalls at row L, cutting the view of the top of the stage from row S back.

The stalls are split into front and rear sections by an aisle across the stalls in front of row L.

The front stalls rows B to K are arranged in fan shaped, long continuous curves. All seats are angled to face the centre of the stage.

The rake (sloped floor to help see over rows in front) becomes noticeable at around row F. Before that, the high stage does a good job of assisting sightlines.

Rows L to ZB are separated from the front block by an aisle in front of row L.

Rows from L to ZB are also split into a central and two side section by aisles.

Good in all seats, best in row L which has an aisle in front - though a reader felt the seats being low made it less comfortable.

A reader also felt row E had a little extra too.

Reader Dave Butterfield notes of row F: “I’m 6ft 2 with an accompanying leg length. Leg room was found to be acceptable although not overly generous."

Choosing Seats in General:
Front Block:
The front row is often much cheaper to allow for the high stage - these seats are NOT suitable for those shorter than around 5ft 8 or so, the theatre says. Everybody else will find them a bargain at a low price, though.

Row C and D have also attracted complaints about the high stage during previous productions, though most people have been happy, especially in C a small discount, notes the monkey.

Theatremonkey nominates top price rows F to K seats 5 to 28 as best, but all in seats in these rows offer fair value at the very least.

Rear Blocks:
As usual with three blocks, insist on the centre block at the same price first. It is your money so get the best value you can from it.

That said, in all blocks, rows L to N offer fair value - equal to the front block. Row L has aisle space in front of the seats as a bonus.

Again, in all blocks O to T are just acceptable at top price, rows U to X less so, being further from the stage and subject to losing the top of it to circle overhang.

Added advice is to take the outermost four seats in side blocks from row O back last, as the architecture make these seats seem isolated from the stage action. A reader also noted that the boxes overhanging the ends of row R back also cut into views.

At third price rows Z to ZB offers more than adequate value and avoids the neck ache of similar priced rows B to D.

A sound desk in the rear stalls has in the past rendered row Y 11 to 21, Z 19 and 20, ZA 19 and 20 and ZB 18 and 19 less desirable as noise can be experienced during the show. Of other seats, only purists will worry, though. ZB17 is the only exception as it is always second price and without a further discount - thus second choice for purists particularly, feels the monkey.

General Hazard Notes:
High stage affects views from row B to F.

Outermost seats from row O may find box overhang intruding into views.

Circle overhang from row S cuts views.

Seats around the sound desk in the rear stalls centre block should be avoided purists.

Changes for the current production:
Row A is not on sale - and may be cheaper if it is. No further information yet, but worth a look if they are, feels the monkey.

Central seats in rows F back to M are at "premium price" - your choice, feels the monkey, who would go for row E and the seats around them instead. Same view, less cash.

Rows X to Z 6 to 30 (Y 6 to 31) the monkey feels a long way back at top price.

Under the circle overhang, outer seats at the ends of row M back could be worth a look. The monkey would go for those in M to T first, then the seats closest to the "full price" ones in rows behind that, in order of which is closer to the seat rather than how far forward they are.

Reader Comments:
"Stalls: The stage is extremely high (hence cheaper front row no doubt). No orchestral pit, either, but enough legroom so you’re not facing a wall even though that’s what it feels like. It must be about four feet high… I needed to ask for a booster cushion! It’s a very steep look up and I would def. advise against front row (B) stalls. I did notice that in C you are looking between shoulders of B but it didn’t really matter as with such a high stage I don’t think B isn’t even a factor - you look right over their heads to see the high stage!"

"Stalls: “Mary Poppins.” Have now seen the show three times, once in the Dress Circle (which was OK) and twice in the stalls, must agree that the stalls are definitely the best value for money. We sat in row D in the stalls on the first occasion, and row E on the second. Certainly row F was the better of the two as it seemed to have more leg room and the view of the stage was far better."

“Row B: The farther upstage the actors are, the more you lose sight of their feet and lower legs."

“Row B: "Jersey Boys" (April 2009). We appreciate that sometimes stages can be high and we felt this at 'Jersey Boys.' We could see from the knees upward and, although we have now seen it five times, would not sit in the front row but sit in third row back now."

"B1 and 2: "Jersey Boys" (May 2009), (Emma – regular reader). These seats are only £20 due to a high stage and had heard good things about them. Do not book these two seats. There is a stairwell over this side of the stage which blocks everything - I'm not kidding! The rest of the row could see fine (although you may need a booster seat if under 5ft 8 but the ushers are very good at giving them to you). I honestly could not see a thing unless the actors where right down the front of the stage. I was moved after about 10 minutes, but I personally believe the theatre shouldn't sell these 2 seats. The rest of the row is fine and great value for a top show."

“B3 and B4: Front row, but it does feel like you have your own personal orchestra, which can be slightly off putting at times, I did notice the voices did seem quiet in this row, and sometimes it was hard to hear what was being said... for the price row B is a very good choice."

"B15: I´ve got a stiff neck after the show, because the stage is really, really high; and for me (5ft 5 in) it was hard to get into the show because I couldn't follow the background action.. and I also wasn't able to see the band on the back of the stage! The row B seats are really cheap, and if you have no problem with not seeing the background action then they will bring you a nice evening in the theatre!
The actors are so close to you that you can touch their shoes or twinkle when they come on stage with the lifting platform!"

“B15 and 16: “Jersey Boys,” (Chris B). These seats are heavily discounted and advertised as ‘having to look up’ and they’re not kidding. The stage is quite high anyway, and with these seats being in the centre of the front row you do certainly have to look up. But that doesn’t detract from the enjoyment of a thoroughly entertaining musical. In fact for a few songs when they are singing at the front or just Frankie in the centre, it feels as though they are almost stepping on you, they’re that close. But you can easily see the whole stage and as the dancing is minimal, they are well worth it.”

"C13 and 14: “Jersey Boys” (Bas). The stage was VERY high and as a result the view was restricted although we had paid full price. When the actors were in the centre stage you could only see them from the thigh up and our necks were craned throughout. I would suggest that if you usually like front stalls seats that you go for row F and back as you will still be close but see the full stage and not be looking up so much. However, on the positive with these seats when the cast were at the front of the stage you were incredibly close so could see all their expressions/spit etc."

C18 and 19: (Ali). The seats themselves were fine – good legroom, and wide enough."

"Row D: I sometimes felt like the fifth member of the group as I was swept along by the energy of the musical performances."

"D11: I paid £35 through the GILT ticket offer (runs January to March each year). I'm 6ft tall and felt I had very good leg room. Being so close to the stage means you have to look up resulting in a slight neck ache, plus you miss the performers’ feet for most of the show and if they're further back of the stage, you miss below their knees. This didn't bother me too much because overall the view was excellent."

"D13 and 14: (Helen). EXCELLENT seats in the centre of the row and we had no problems seeing the whole show."

"Row E: "Jersey Boys,"(Lizzie). The view of the stage was very good - we could really see the whites of their eyes. However personally I would have preferred to have been a few rows back as you do tend to look up most of the time and some parts of the set were a little more difficult to see being low down. Having seen 'Mary Poppins' in the Dress Circle (Row E) I would think this would be a good view too for this show."

"E4: “Mary Poppins”, (Sam). Let me first say that the theatre is absolutely beautiful. This is very good seat, and the legroom is amazing. The best legroom I had ever. I think it would accommodate even NBA players lol. But because the stage is quite high you can't see the actors' feet. And it would have been better to be more central, and little bit further back. But I felt very satisfied with it. You are very close to the stage. The view is excellent, and you get to see the facial expressions very well. I got this ticket for only £30, so it was a bargain, but if you are going to pay full price then I believe the Theatremonkey’s assessment is accurate."

"E4 and 5: “Mary Poppins” (October 2005), (Richard Bradbury). Tremendous view and Mary flies over you at the end plus you get to watch all of her journey to the top of the theatre which was magical. You also get a spoiler as to how Bert does what he does in the second half."

"E13 to16: (PeaJay18). As others have stated, the legroom is more than generous. The staggered seating meant no one is sat directly in front of you. My only complaint (and it's minor one) was being that close to the stage meant that some of the effects lost a bit of their impact as you could see how they were achieved."

"E14 and 15:"Jersey Boys”. I could NOT fault these seats. The legroom was MORE than adequate for even the tallest person. It was so generous that you didn't' even have to get up from your seat to allow others to pass!! The general view of the stage cannot be faulted. The seats are central so you do not miss a thing. I think if we were seated any further forward we'd miss some of the action but I think Row E is perfect for the high stage. Warning...the stage IS high so you might want to avoid rows further forward than Row E. From our seats we could see every facial expression. We were that close we could see every bead of sweat on the actor's faces!"

"F15 to 18: Fantastic positions (and bags of leg-room - enough for people to come past without having to turn sideways and crunch up against the seat) not too close to the stage but close enough to see all the expressions and sweat!"

"F15 to 21: (Celia Robinson). Very good view of characters but ideally would have benefited from being three or four rows back to be higher and see the stage itself plus getting a better overall view of some of the special effects."

"F26, 27 and 28: (Dave Butterfield). Ideally I would possibly have been just one row further back but really you do not miss a trick – and there are many! I’m 6ft 2 with an accompanying leg length. Leg room was found to be acceptable although not overly generous, the pitch sufficient to allow an averagely sized under ten a good view, possibly with the aid of the provided (free) booster seats."

"F24, 25 and 26: (Silvia). We could see it perfectly; my 3 year old daughter too."

"G18: Also a great seat; but if paying full price I would not want to be much closer to the stage, due to the height of it. For the access (disabled) rate of £20 it was a great seat."

"G18 and 19: Another excellent seat, plenty of leg room, comfy and great for seeing facial expressions. On another visit I sat in J28 of the stalls, these are right next to the premium seats. I do not consider the premium seats to be worth it. Book early enough and get close to them if you can."

"G21 to 23: (Avril). Excellent view. Plenty of leg room and heads level with the actors, so no stiff necks."

"H8 to H11: “Jersey Boys” (James – regular reader). The sound is good from here and a fair rake ensures a good view. However, I think it’s best sitting a little further back here as it’s a big stage and I felt a bit too close to fully take it in properly."

"H 9 and 10: “Jersey Boys”. Absolutely out of this world - bang on view and for this show I would highly recommend those particular seats. It felt as if the performers were looking right at us. WOW!"

"H22 to 25 and J22 to 25: “Jersey Boys”, (James – regular reader). Everyone in the group said the seats were fantastic – close enough to see all facial expressions and great sound from here too."

"Row J: "Jersey Boys”, (Steven). Bang in the middle has a perfect view of everything. So, first of all, go for this row if you can; you are not too close to the stage but not too far away that you can see all the facial expressions etc."
"J 7: Fantastic view. The time previous I was second off back row in the upper circle and you miss out on all the facial expressions and intimacy. Much better seeing it from the stalls."

"J26 and J27: “Jersey Boys”, (James regular – reader). Fantastic seats! Obviously it would have been better to be slightly more central but they didn’t feel too side on and it’s amazing how close to the stage row J seems. The sound was excellent from here too."

"J 28: I was surprised at how close I seemed to be to the stage - more than I would have expected in J row, and the rake was good at that point as well."

"Row K: "Jersey Boys," (Nicola Bourne). I had originally booked stalls row E but after reading that the first few rows had restricted view courtesy of a very high stage, I amended these seats to row K (premium seats) as I did not want to risk missing anything. Central seats in this row did provide the perfect view. However, once in the theatre, I realised that row E may have been OK after all. Certainly row F would have been fine and I’m only 5ft 1”! I would not want to sit any further forward of row E though."

"Row K: "Jersey Boys."  The rake was very good enabling a good view of the stage. It was surprising how many songs were familiar and the evening was thoroughly enjoyable."

“Row L: It helped being in the centre which meant we had no seats in front of us so I could really stretch out and this time there was no obstruction from large heads or horribly annoying smells of disgusting savoury snacks. The old diaphragm did take a bit of a pummelling at times from the drumming which is definitely louder in row L than it was in row V, where I sat last time, but it was really only on two numbers."

“L26 and 27: "Jersey Boys". Good view of the stage. Sight lines at seat 27 were reasonable but not the best - missed the video screens on stage right and a little bit of the action that went on stage right upstage. Sight lines from seat 26 were fine. Leg room very good because of the aisle in front (main reason for choosing this row). However the seats are very low for some reason, and if you pull your legs in - your knees end up near your ears (perhaps that's a little bit exaggerated - but you know what I mean). So although you can stretch out - actually it wasn't that comfortable!

Note also that these seats are right in front of the loudspeakers - and I would recommend ear-plugs if you sit here - 'Jersey Boys' is a very loud show! There is also a rather funny aisle that runs down the side of the auditorium that you haven't shown on your plan. (The aisle is a legacy of when the theatre was made narrower, thinks the monkey - who would welcome expert comment on this).”

"M3 (right side facing stage): “Mary Poppins”. Excellent seat for 98% of the show, but NOT AT ALL for the fantastic final scene - I was sad that I had only had a brief glimpse of this special effect, and had to crane my neck for that. It seems clear to me that the best seats for this show are Stalls through row J, preferably center and left sides facing stage, and any of the first few rows of the Dress Circle".

"P16 to 20: “Jersey Boys”. Picked these up at a discount. Perfectly central with decent leg room. As is well documented, the stage of the PE is pretty high so being close would not be good for any action taking place up stage. Row P gives a perfect view of everything including action that takes place on a high scaffold walkway."

"P18: (Thom Sellwood). Fantastic view and you're far enough away from the stage to save your ear drums from getting a beating!"

"P33: (J Denton). A side-seat with a reasonably good view - only the top left corner of the stage was obscured by the boxes."

“R2 and 3: Sold at £65 each which are not noted to have a restricted view, however both seats have a major obstruction from overhanging boxes. which prohibit, significantly the view of the right hand stage and screen used on our Jersey Boys production. Overall for the amount paid we were bitterly disappointed with the view for a special birthday celebration."

"Row T: As far to the left as you can get, slight restricted view but didn't spoilt what was the most fantastic show."

"T11: "Jersey Boys," (John from the USA). Perfect view, although I would have liked to be a few rows closer."

V3 and 4: "Jersey Boys". I thought these might not be very good; there was, however, no problem at all. Some of the drumming affects your diaphragm so I feel this is one show where being further back is not a bad place to be. There was ample leg room and I am 6' 2". I did however have a 20 stone man mountain with a head the size of a medicine ball in front of me which would have been ok if he hadn't inclined his head all the time to the right (fortunately he moved one seat to the right in the second half and I had a perfect view )."

"W10: "Jersey Boys". I initially thought might be a disappointment, but it was fine. I had a perfect view of the stage, there was no overhang from the circle and the sound balance was excellent."

"W10 and W11: After much deliberation and reading the reviews of seats on here, we booked these. The view from here was perfect, the sound, although a little loud at times, was good and the legroom was great."

"Y8, 9 and 10: (Richard Bradbury). Excellent seats, great view of all the stage, no problems with disturbance from the sound desk and good leg room."

"Y24 and Y25: "Jersey Boys," (Sam). Gave us a really good view and the leg room was more than sufficient."

Stalls Boxes
Two at the rear of the stalls, behind row ZB.

Seat 4 each. 

Acceptable, as movable chairs are used.

Choosing Seats in General:
Expensive, when sold at top price, feels the monkey. Still, might be worth considering for privacy if they are cheaper.

General Hazard Notes:
These suffer restricted views of the top of the stage.

Changes for the current production:

Reader Comments:

The Upper Circle overhangs the Dress Circle at row F. It restricts the view of the top of the stage from row K, and is particularly restricting in rows N and O.

The Dress Circle is split into front and rear sections by an aisle in front of row F.

The front section is split into two blocks by a central aisle.

The rear section is split into a central and two side blocks by aisles.

Barely adequate in all rows especially row A, which should be avoided by anyone who values their circulation below the waist. A reader found that central row L had a little more.

The lowest numbers of row M have a little more legroom, according to the theatre.

Choosing Seats in General:
Front Section:
Wheelchair users may transfer to row A, which has a better view than the box place alternative, feels the monkey.

Anybody else should avoid row A because (as a reader notes) poor legroom aside, you have to sit bolt upright to look over the high wall and possibly circle-front lights too. The box office now cautions that those under 5ft 3 tall should not sit here.

So, take row B first, then C, D and E. Just refuse the first and last six seats in each row for being too close to the walls of the theatre to have a viewing angle justifying their price - even discounted.

Rear Section:
A bar runs across row F, which may bother some shorter people, though the monkey has had no negative reports.

In the central section row F seats 16 to 18 have a view down the centre aisle of the block in front - bars are either side of these seats, and the aisle safety rail is in view (though not a problem to any except the purists. The rest of the central block of row F is acceptable if a Dress Circle seat is required and the front rows are full.

Rows G to K should be chosen only if stalls rows B to T are unavailable, as they offer lesser value for money.

Row L at second price is preferable to the stalls, as it feels closer to the stage for the same money. A low rail isn't an issue.

Row M offers similar value but the rake begins to make it seem farther away then they actually are. Theatremonkey knows it is only a difference of a few feet, but theatre rakes are strange things.

Seats in the side blocks of the rear circle all feel stuck in a corner and make Theatremonkey feel utterly lonely and unloved, aaaah.

Take rows F and G seats 5 to 8 and 25 to 28 / H to J 4 to 7 and 26 to 29 if you must and better stuff has gone, otherwise insist on centre block seats for much better value for your hard earned cash.

Also consider L 3 to 6 and 25 to 28 for less cash.

Reader Alan felt, "Row J 28 and 29 Dress Circle was just perfect," using a Senior Citizen discounted rate.

Rows N and O are set in an alcove at the back of the theatre and is good for courting couples who are not particularly interested in the show or those with "kids from hell" who want a segregation unit for them. The armrests between each pair of seats should be removed in this monkey's opinion to allow either canoodle access...or easy swiping for parents... Come to think of it, the former could turn into the parents of the latter if they are not too careful in these rows!

General Hazard Notes:
Lighting and projection equipment may be bolted to the front of the circle - one or two shorter people may find this in view from row A.

There is a safety rail at the end of the aisles in row A.

The wall in front of row A seems to be unusually high, meaning you have to sit bolt upright to see the whole stage. A reader feels this worth noting for shorter folk and those with children especially, who may choose the front row if the poor legroom is not a consideration. The box office now caution that those under 5ft 3 tall should not sit here.

Rails are present near row F 16 to 18 to protect the aisle at row E.

A bar runs across the front of row F and row L - neither get in the way much.

Changes for the current production:
Central seats in B to D are at "premium price" - your choice, feels the monkey, who would take E10 to 26 first, then the aisle seats with a rail in view ahead of them in rows B to D.

Reader Comments:
"Dress Circle: (Lizzie): We thought the seats in the circle were very good although don’t sit in the front row if you are not tall as there is a handrail and it can make viewing difficult – need to be about 4 rows back, but the circle is very good to view the fantastic special effects"

"Dress Circle: “Jersey Boys”. Brilliant seats and the show was even better from upstairs! (I felt the sound was too loud downstairs when we first saw it in 2009)."

"B8, 9, 10 and 11: (Paul Jones). Excellent view. Booster seats were given out to children in rows A and F first as they had the handrail issue, but we got given one just before the performance began which helped with our younger child. Had a little trouble with the 'leaners' in Row A but they got tired of leaning after a while."

"C12 and C13: “Jersey Boys”, (James – regular reader). The sound is excellent from here and the view is good, but not being particularly tall I would still have preferred to be a row back. I also think that as the theatre is so big you feel quite a way from the stage in the Dress Circle and perhaps it’s a show that might be best seen from the Stalls."

"C20, 21, 22: (Hannah). Really good seats. If people in front lean forward they can come into your sightline slightly, but it wasn't really a problem. You get a really good overview of the action, especially as a lot of it happens up high on the rooftop set. Having said that, I would have chosen to sit in the stalls over the circle, but that is personal preference and no reflection on the quality of the seats."

"D14 to 17: "Jersey Boys," (Frank). We found the music volume OK. from here, with excellent acoustics. I thought the central aisle rail to our front left may have restricted some views, but all the action takes place in the centre/back/right of the stage, so it wasn't a problem. We also found legroom was OK. - I'm 5ft 10ins and didn't have to turn my legs to the side; my friend is 6ft 3ins so he sat in the aisle seat (D17) and didn't complain!"

"D18, 19 and 20: We paid full price with a free child seat from Kids Week. I tried out all three seats for the view! My own seat, D20, was excellent, although the feel-good factor was enhanced by the seats in front being occupied by people rather shorter than me and by the two seats to my immediate left not being occupied at all. I found the seat rake to be fine and I had a clear view of the whole stage with no encroachment from the aisle safety rail. Legroom was fine for my 5'7" height. The aisle safety rail does come into the view slightly from D19 and a bit more from D18 although my wife said it didn't spoil her view as very little action takes place over that side. D18 is an aisle seat and due to the way the rows are offset has a low pillar-like thing to its right, which provides a handy little space for putting a bag or bottle of water in front of. I'd happily recommend any of these three seats at full price."

"E 13 and 14 “Jersey Boys”, (James F). Some things were slightly obstructed (e.g. poles, front of the stage, back of the stage) and I’m sure a stalls seat would offer a better view. (He means the set design as viewed from there, not physical obstructions in the auditorium, the monkey notes).”

"E15 to E17: "Jersey Boys", (James). Definitely better in the Stalls. View is good but I wouldn't say excellent. Sound is better downstairs too."

"Row F: (Jazz). Very good view...especially for the flying scenes!!"

“Row G: (Tamara). Centre block, poor value for money in my opinion"

"Row G: (Frances). Centre block. When I booked the tickets I looked on Theatremonkey and saw that they were supposedly 'OK' seats, I came back on this site a few days before the show and saw what Tamara had written about those very seats..."Poor value for money in my opinion"...This worried me, expecting my friends to moan at me when we got to the theatre only to be put in "poor value" seats. But we all thought they were good seats with a decent view of the whole stage. So for those worried about booking seats in Dress Circle, row G, don't be! We could see straight down the centre of the stage as we were in the middle of the row (seats 15 to 19), the leg room was a bit better than I expected but I suppose a taller person would disagree. The only annoying thing was the very tall Dad sat in front of me! Luckily I swapped with a friend at the interval!"

"G 16 and 17: "Jersey Boys”, (Mark – regular reader). Very good seats at student rate (£27.50!). It seemed rather quiet, which is worrying since it was the Easter break, but the show is still in great shape!"

"K16 and K17: I had my doubts sitting so far back in the Circle but we found that the seats were perfect. We didn't feel far back from the stage, none of the action was missed, none of the stage was cut off. I was concerned about legroom after reading some Theatremonkey reviews, but it wasn't as bad as I thought it would be (we were also able to turn our legs to the side as our row was pretty much empty)."

"L19 to 22: "Jersey Boys," (Paul Tester). Legroom is about one and a half times that of the other rows around due to a safety bar, it is at a very low height and does not restrict any legroom or vision, the most legroom I have had in any West End Theatre. Unobstructed view (except maybe the very top edge of stage which isn't used for Jersey Boys). Great seats. Although the Theatre says is does have Air Con, it was quite warm up here in December!"

"Row N: (RH). Theatremonkey dismisses these in its reviews but we all felt that they were bargain seats. They are half the price of seats three rows in front and although the top of the stage is cut off, you rarely miss much action. We didn't feel as far back as we thought we would and the voices carried very clearly. Would definitely recommend these seats as a cheaper alternative."

Dress Circle Loges

A unique feature of this theatre. The loges are five short rows of seats projecting on tiered ledges from the front corners of the Dress Circle.

Each row is self-contained like a private box, enclosed by walls and metal rails.

These rows can be labelled "A, B and C" rather than 1, 2, 3 on some plans.

Barely adequate in all seats.

Choosing Seats in General:
The view from these seats is adequate but "side on" to the stage with bars in view for many.

At top price, take seats in the front stalls or dress circle first.

General Hazard Notes:
Walls and metal rails surround all seats, and may be too high for the shortest to look over.

Anybody leaning forward blocks views for those behind.

Changes for the current production:

Reader Comments:
"Loge D: Fantastic view of the action, feels very private but a clear view of the stage. I sat in the seat nearest the wall therefore had a very slight restriction of view on the right hand corner but this was noticeable only on one or two occasions, and being so close to the action this didn't matter. The others in the seats further along had no such problem. This is a superb position for the final flypast. Best of all there was no one behind my seat to moan about the tall person in front! Definitely worth full price, I would highly recommend sitting here."

"Loge 3 seat 1: A stunning location to see the show."

"Loge 5 seats 1 and 2: A little to the side but great view, except for when the people in Loge 4 leaned forward. Good legroom (This is important). However, for 'Mary Poppins' I said that Loges 3 and 4 were well worth the money and should be Green seats - for 'Jersey Boys,' I would say Loge 5 is good, but not outstanding. The band sequences are very much directed at the middle stalls. Still worthy of top price without a doubt though. Seats 3 and 4 however, having no obstruction in front, would be fantastic."

“Loge 8: (Steph Nicholls – regular reader). We were really happy with the position, the view was off to the left-hand side of the stage (obviously), but nothing was obscured apart from some of the left-hand projection screen on which nothing vital was shown anyway."

"Loge 8 seat 1: This is the seat nearest the central wall. I paid £20 for the seat and the view was good (not great) as some of the video screen sequences were missing, only a minor detail though. However a couple of problems with this seat, firstly leg room is pretty non-existent here which doesn't help me being 6 foot tall, also you feel very out of the action, something you don't feel in the stalls. I would avoid the loges and go for front stalls given the choice."


Dress Circle Boxes and Slip Seats
Three each side of the stage at Dress Circle level and between Dress and Upper Circle level.

Online booking systems may list the boxes as "CBA" and "CBB" - "Circle Box 1" and "Circle Box 2"; "SBA" and "SBB" - "Slip Box 1" and "Slip Box 2"; and "GBA" and "GBB" - "Grand Circle Box 1" and "Grand Circle Box 2". This is to avoid confusion between the box and the seat numbers, apparently!

Slip seats are beside the boxes, either side of the theatre just above dress circle level.

Adequate, and movable chairs are used in the boxes.

Choosing Seats in General:
Boxes at the side of the stage offer an angled view of the action with the closest side not visible.

Choose upper level over stalls as the extra height helps the view, but take these seats as a secondary choice.

The box office feel them superior to the last row of the Dress Circle, but they are top price....many are impressed by them, though.

Not bad for the view and price. Cheaper than other side boxes and the theatre are fans of these... worth a thought...

General Hazard Notes:
Nearside action isn’t visible.

Lighting / sound equipment may affect views or make the area noisier than usual.

In the slips you have to lean... but other folk leaning can block your view.

Changes for the current production:

Reader Comments:
"Slips: £20 each (last minute discount). What fantastic value, yes you have to lean forward slightly but the view of the stage is unobstructed, you get great space and you also get a real feel for how the audience are responding to the show."

"Slips: We had the slip box seats for £42.50, they were great seats. You have to lean over, but you can see everything - a great view and great legroom."


Called the GRAND CIRCLE in this theatre.

Seats are divided into front and rear sections by an aisle in front of most of row H.

Both sections are split into centre and two side blocks by aisles.

Either side of the circle, between the circle and boxes, are a row of side facing slip seats.

Rear section side blocks have a stairwell at the outermost ends, in front of row L.

Very poor in all seats, and exceptionally bad in row A. Reader Adrian G of Surrey says,
"Having read the reviews, I was keen to see ‘Mary Poppins.’ Unfortunately, against my better judgement, I bought seats in the Grand (aka Upper) Circle.

Consequently, this review is mainly about discomfort! I am 6 ft 3, and these seats were utterly inadequate, with the smallest amount of legroom I have yet encountered in any theatre. My feet were pinned against the back of the seat in front, and due to the steep rake of the seating, my knees entered the airspace around the heads of two guys in front of me. They understood, since they were in the same boat. Even before the show started, I was worried about getting muscle spasm or cramp.

After about 40 minutes, I was in so much discomfort, I was just willing time on, and couldn’t concentrate. By the penultimate act, where the toys come alive, I didn’t even notice, because cramp was starting in my left hamstring, and I just wanted to get out, before my leg locked up fully. I only just kept the cramp at bay until the end of the first half.

I concluded that I could not endure the second part of the show. We were going to leave, but I approached one of the senior staff at the venue. (Alas, I did not get his name). Without hesitation he offered me an ushers seat in the stalls for the second half. I took it!

Although I had slightly limited viewing, I was now able to enjoy the show.

Conclusion; If you are much over 5ft 8, don’t even consider the Grand circle. The stalls give very generous legroom, and the view is far superior."

Another reader adds,
"At 6ft2 I could not have sat in the grand circle except in an aisle seat as the leg room is non-existent in nearly all seats."

Choosing Seats in General:
Front Section:
Almost all seats in all blocks have a clear view of the stage.

Rows A to F seats 1 to 4 and 34 to 37 are worth avoiding for being to close to the edges of the circle to have a comfortable viewing angle.
Aisle seats B 10 and 28 and C 10 and 28 have aisle end rails in view. Fair value at a discount, feels the monkey.

Aside from restricted view seats, pick row B first, then C to E, then A (if legroom is no worry) then F.

Row AA slip seats 1 to 5 and BB slip seats 6 to 10 are at the edges of the Upper Circle. Designated restricted view because less than half the stage is visible as you peer around the walls of the theatre. A "take only if you need to see the show and everything else is sold" option. The theatre report those in AA 1 and 2 and BB 9 and 10 in particular will peer through the lighting rig.

Rear Section:
Row G appears to have been added to the back of the central block at the last minute where an aisle was meant to be. The view is fine but everybody has to clamber over you to get to his or her own seat.

Behind these, the centre block starts to feel distant from the stage when it gets to row M. If the price drops at row M, though, they are a very decent budget choice.

The side blocks are fair value if cheaper than the centre ones. At the same price, central is the way to go for sure.

Row L seats 1, 2, 34 and 35 are above stairwells with a wall in front. Cheapest tickets in the house as they are restricted view. Take these before slips in row AA as the view is marginally better - but they are NO bargain for this show.

Seats J 7 and 25 and K 7 and 25 are restricted view, but not often discounted for rails in view. Perhaps try the Dress Circle lodges or even stalls "behind the conductor" if you want to miss the edges / middle of the show respectively, or wish to be closer to the stage for the same money.

General Hazard Notes:
A long walk up to these seats, not suitable for those who find stairs difficult.

Row AA has a very limited view of the stage, with lighting also in sightlines.

Aisle end rails affect views in B 10 and 28, C 10 and 28, J 7 and 25 and K 7 and 25.

Row L 1, 2, 34 and 35 are behind a high stairwell wall.

The rear circle may trigger vertigo in those prone to it, as the rake makes it feel higher and steeper than it actually is.

Changes for the current production:
Most of the upper circle is a single price. Monkey advice is the centre block B to E first, then side block same rows. Rear block seats at the same price are a bit expensive, the monkey feels.

The theatre feel row M 1 to 19 offers a particularly good view for the money - the monkey agrees.

The side blocks are the same price, with the 4 centre aisle seats in rows H and J worth a look, J having less rail ahead of it.

Also worth a glance are the cheap aisle seats with rails in view. Take those closest to the front first, the monkey feels.

Reader Comments:
"Upper Circle: (Ken). Our seats were in the Upper Circle, not cheap at £37.50 each. Usual limited legroom, even for a short person like me... the sound quality in the Upper Circle was quite poor with a lot of words disappearing, especially at the start. They made Mary Poppins fly, so why didn't they fly speakers for the (not) cheap seats."

“Upper Circle: (Colin and Asa McCarthy-Burton) "We were sitting in the Upper Circle and felt that the prices paid for our seats were, like the Upper Circle, a little too steep."

“A20 and A21: (Jo). In spite of other comments about poor legroom, we were pleasantly surprised. At 5’ 6” and 5’ 9” respectively this can be a problem but not here. Seats were very comfortable and we had an excellent view of the whole stage. Sound was also fine."

"C15 and 16: (Stephen). A good central view of the stage”

"C19: (Chris May). For the price it was a wonderful seat, clear view of the whole stage and I think that nothing was missed at the top of the rear of the stage, maybe a projected moon or two, leg room ain't that bad either".

"D15: “Mary Poppins”. Started out in this seat for the first act, and then I saw the friend I was supposed to meet at 6:30 during the interval, so I moved to B 27 to sit with her. Both of them were great seats - I could see everything, even the INCREDIBLE moment in Step in Time, and heard everything wonderfully. I wish I could've seen facial expressions a little more, but a pair of binoculars at 50p made that possible."

"Row H: “Mary Poppins”. The seats were perfect - the little one is scared of heights and having the rail there made her feel ok about the height, but didn't restrict the view at all."
"H1 and 2: "Jersey Boys" (April 2009). The view is fine (although seat 1 only for tall people due to diagonal safety bar) but too far away. Before the show started an usher happily moved us to seats E1 and 2. Just 3 rows further forward made such a difference in view, we felt like we were 100m nearer. At 6ft2 I could not have sat in the grand circle except in an aisle seat as the leg room is non existent in nearly all seats. Cheap tickets up here will not disappoint as long as you are in A, B, C, D, E or F. Any further back and you will regret it."

"H4, H5, H6 and H7: £25 each they were a bargain. We had a total clear view of the stage. The only slight problem was for my younger sister. She is 7 and had problems seeing over the safety bar at first, but a booster cushion greatly helped her to see better, so they are great seats but if you have younger children it's best to get them a booster seat. (The woman who gave it to us said they only had 10 for the whole Upper Circle so its best to get them quick.)

“H6 and 7: "Jersey Boys" (April 2009), (Emma). £21.50 each: Loved these seats. Sold at a 'restricted view' price because you have to lean over the safety bar to see correctly (and there is a moment, lasting no longer than 1 minute where you can't see the 'Four Seasons' heads). However I found them very respectable for the price. Yes, you are a long way back, but I still loved the show and had a wonderful night. I would sit here again if I was looking for a low budget night at the theatre. Good value for money."

"K8 to K11: I agree with other reviewers about the height and leg room, walking in at the back you really want to hold on to something as you walk down to your seats. Regarding the view - yes it was high, but you could see the whole stage all the time. Only bits we couldn't see was the drummer's head occasionally but that doesn't matter anyway.

Legroom is certainly an issue up there. Fortunately we had nobody in front of us, but if we did, I could imagine us getting very uncomfortable as there really was nowhere to move your feet. The sound was fine, we could hear everything clearly. For £35 ("Jersey Boys"), the seats were just about ok for the money."

"L 12, 13 and 14: Although it was not a problem for me, I would not advise the Grand Circle for those who have difficulty in walking up stairs. There seemed to be an awful lot of them to navigate before you finally reach the top. At times it felt like we were climbing the Tower of Babel! The box office did point out this issue but assured us that there were other theatres in London with higher upper circles.

The view of the stage is unobstructed; but due to the height of the Grand Circle and the position of row L, the view is distant. I consider myself to have very good eyesight, but from this seat I could not see facial expressions clearly, even with the binoculars. In addition, at 5ft 8” I found space to be very tight and by the end of Act 1 was extremely uncomfortable and was beginning to get ‘pins and needles’. One minor distraction when sitting here are the spotlight beams. When any of the action takes place at the front of the stage, the beams pass very close over your head. I was at times quiet tempted to put my hand up into the beam and do some shadow puppetry. On the plus side, the sound was very good and I could here every word that was sung or spoken.

Overall the seat wasn’t too bad (I have sat in worse) but considering that the seats behind us were only £20 for almost the same view and issues, I wish we had gone for those or tried to have got seats further forward for the same price that we paid for in row L. Vertigo sufferers might also wish to consider paying a little bit more to sit lower down in the dress circle or stalls."

"L14 to 18. These were absolutely amazing but I'm not sure about the price. It was a bit too expensive as you are so high at. However the seats in front are obstructed by a bar so I think out of the ones at £30, these are the best. Being so high you could see quite a lot of detail. The seats are comfortable, but little legroom!"

"M6: "Jersey Boys," (Taljaard – regular reader). For £20. For the second to back row in the theatre, I thought it was good value and there were no obstructions although you do feel a bit detached from the action. Quality sound system. What's not to like?

"M15 and 16: (Will Cooper – regular reader). Found the view to be comparable to the cheap and cheerful non-restricted seats in any of the larger West End playhouses, although at £25 these are some of the most expensive furthest-from-stage tickets in London. The sound quality for "Mary Poppins" was not great, however."


Total 1619 seats. Oddly, the monkey made it 1630 though!

Air-conditioned auditorium.

Infrared loop with headsets available. Occasional audio described and signed performances. Guide dog sitter available if booked in advance. Adapted WC in foyer. Access for wheelchairs via fire exit in Greek Street (so you use the foyer entrance for the toilet, but not to see the show - a quirk of architecture!). Choice of staying with your chair and using a box in the circle, or moving to a seat in row A. Fuller details, or call the theatre group dedicated phoneline on 0844 482 5137. The "registered disabled" concessionary price policy here is generally (though can be subject to change) for a quota of accessible best seats to be made available at the lowest regular price charged. This quota is increased for designated performances such as signed / audio interpreted. Check with the box office at time of booking. 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. Bar snacks also available.

Free cast lists are available in the foyer. This saves having to buy an expensive programme.

Four bars; two Stalls, one Dress Circle, and one Upper Circle.

7 toilets in all; Foyer 1 ladies 4 cubicles, 1 unisex disabled; Stalls 1 gents 2 cubicles, 1 ladies 7 cubicles; Dress Circle 1 gents 1 cubicle; Upper Circle 1 gents 1 cubicle, 1 ladies 3 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:
Leicester Square - Northern (black) and Piccadilly (dark blue) lines.

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

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

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

You will come to a large crossroad with the Palace Theatre on your left. Cross the road to this theatre and head for the sidestreets at right hand corner of it. Look for the "Cambridge" pub. Walk towards it and when in front of it, look to your left as you face it. You should see the theatre signboard as this is Old Compton Street. Walk down this road, past the "community Safety Office" and the theatre is in front of you on the next corner to your right. If you see a fire station on your left, wrong way, go back to the Palace Theatre and take the road on the other side of the building.


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

If you got it right, then turn to your right and walk on, up Charing Cross Road passing many second-hand bookshops. Follow the road as it curves, and cross Litchfield Street, keep walking straight on. You will come to a large crossroad with the Palace Theatre (home of Les Misérables) on your left. Cross to it, and head for the sidestreet at right hand corner of it. 

This is Old Compton Street. Walk down this road and the theatre is in front of you on the next corner to your right. If you see a fire station on your left, wrong way, go back to the Palace Theatre and take the road on the other side of the building.


14, 19 and 38 stop on Charing Cross Road by the Palace Theatre on Cambridge Circus. Head for this theatre, and when you reach it, head for the side-street at the right hand corner of it. This is Old Compton Street. Walk down this road and the theatre is in front of you on the next corner to your right. If you see a fire station on your left, wrong way, go back to the Palace Theatre and take the road on the other side of the building.


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 up Old Compton Street to Cambridge Circus.


Car Park:
Newport Place, China Town. On leaving, use Gerard Street to get you onto Shaftesbury Avenue. On Shaftesbury Avenue look to your right. The brown brick building there is the Palace Theatre. Cross the road in front of you, Shaftesbury Avenue. Greek Street will be almost in front of you, between a newsagent shop and the brown rear corner of the Palace Theatre (a black metal and Glass canopy, and large cast posters in frames give it away). Walk straight down Greek Street, crossing Romilly Street and passing the stage door of the Palace Theatre on your right. At the next corner, the Prince Edward Theatre is obvious, ahead and to your left.

The "Theatreland Parking Scheme" may be available. Call Q-Park car parks on 0870 442 0104 or see 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














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