Buying Tickets Online:	Other Box Office Information
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.

Theatre Box Office: www.delfontmackintosh.co.uk 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. This covers the cost of compulsory background checks, thinks the monkey. No booking fee is charged on "premium" tickets bought via the theatre booking line. Other Online Choices (with S.T.A.R. genuine ticket agencies): www.ticketmaster.co.uk £64 seats attract a £5.45 fee (£8.10 on £90, £5.75 on £67.50, £4.70 on £55, £4.25 on £50, £3.40 on £40, £3 on £35, £1.70 on £20 seats)...AND...an extra £2.75 per booking (not per ticket) service charge is also made until 28th April 2012 / £64 seats attract a £5.75 fee (£8.55 on £95, £7.65 on £85, £6 on £67.50, £4.70 on £52.50, £3.55 on £39.50 seats)...AND...an extra £2.75 per booking (not per ticket) service charge is also made from 30th April 2012. This system allows you to choose your own seats from the selection the company has available. When the theatre does not have the tickets you desire available, it is well worth trying the Theatremonkey Ticketshop agency, which offers £64 tickets with a £6.40 per seat booking fee (£6.75 on £67.50 seats) - moderate by agency standards, though higher than box office fees, worth trying as they often have a choice of seats available! Note that this system will confirm exact seat numbers prior to purchase. Another alternative is www.seetickets.com / telephone 0870 830 0200 which offers £64 seats with a £6.40 per ticket booking fee (£6.75 on £67.50, £5.50 on £33, £3.50 on £35 seats) and £2 per booking (not per ticket) postal charge. (FREE call if using BT.com Calling Plan at your chosen times). Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer £64 seats with a £17 booking fee per ticket (£18.50 on £67.50, £15 on £55, £13 on £50, £10 on £45 seats), plus optional UK postage of £1.50 per booking, not per ticket, available if time allows until 28th April 2012 / £64 seats with a £17 booking fee per ticket (£18.50 on £67.50, £14.50 on £52.50, £10.50 on £39.50, £6 on £20 seats), plus optional UK postage of £1.50 per booking, not per ticket, available if time allows from 30th April 2012. The "Flexiticket" Exchange Service, allowing FREE transfer / cancellation (credit note up to 12 months) of your booking up to 3 days before the performance is also available for £2.50 per ticket. Meal and show packages may also be available. Quality and Value hotel / theatre ticket packages are also available. Lastminute.com offer £64 seats with a £6.40 booking fee per ticket (£5 on £50, £3.50 on £35, £2 on £20 seats) Monday to Friday / £67.50 seats with a £6.75 booking fee per ticket (£5.50 on £55 seats) Saturday until 28th April 2012 / £64 seats with a £6.40 booking fee per ticket (£3.95 on £39.50 seats) Monday to Friday / £67.50 seats with a £6.75 booking fee per ticket (£3.95 on £39.50 seats) Saturday from 30th April 2012. A £1.75 per booking, not per ticket, transaction fee also applies. NOTE: Seat numbers are NOT available in advance from this company. All seats booked in the same price group will, of course, be together or at the very least be in front or behind each other in the theatre. In the very unlikely event of this not being possible this company will call you and give you the option of cancelling your booking. However if booking in two or more price bands, you will not be sat together. Please DO NOT purchase if this is unacceptable to you, as all tickets are sold subject to this condition. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available. Londontheatredirect.com offer £64 seats with a £7 booking fee per ticket (£8 on £67.50 seats). Discounts and Meal and Show Packages may also be available. ALSO SEE Tickettree.com for great value "hotel and theatre ticket" packages. Other Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.

Box Office Information:

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.

Theatre Box Office: Telephone: 0844 482 5115 (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. This covers the cost of compulsory background checks, thinks the monkey. No booking fee is charged on "premium" tickets bought via the theatre booking line. For personal callers or by post: Coventry Street, London. W1D 6AS No booking fee for personal callers. By post the usual £1.75 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. www.delfontmackintosh.co.uk is the official theatre website. www.mamma-mia.com is the official show website. Booking is through Delfont-Mackintosh.com as above.

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Seating Plan

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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. Pictured: New Prince of Wales Auditorium  Copyright: Cameron Mackintosh Ltd  The theatre is actually much more beautiful than this "artist's impression". Sir Cameron Mackintosh has really excelled himself with the transformation - the monkey salutes him and the team who designed and constructed the venue, which resembles the interior of a very plush ocean liner - welcoming and comfortable. Visitor opinions are most welcome - contact us.  Arrive early to look at the foyers. A fabulous sculpture of the theatre is in the main entrance hall - commemorating the re-opening. Scattered around the rest of the public areas are posters of previous successful shows and art-deco mirrors and sculptures, all worth a look. Foyers open at 6.45pm for evening performances. Mamma Mia: As a general note, if seated at the edges or front rows of the auditorium, the monkey felt the show best viewed from the "low numbers to centre" area, as more action takes place there and one sequence is probably better observed from that angle.

Seating Plan Diagram

Stalls

Dress Circle

Notes

STALLS  The stalls has a large central block of seats, with two smaller "islands" about half way back. These "islands" are cut off from the central block by aisles.  The Dress Circle overhangs the stalls at row E. It begins to remove the top of the stage at row N, and by row T, around three fifths of the stage are not visible - the top revolve in particular is missed. The rake becomes noticeable at row H, and is nicely steep from there to the back of the auditorium. Seats are also quite well "staggered" to enable those in the rear rows to see around others in front of them. Rows A to G wrap very snugly around the front of the stage. Row A is at about nose level to the stage for those over 5ft 5, estimates the monkey. The stage slopes towards the audience, so that nothing is missed for those seated here, and neck ache isn't a problem for any but the shortest.  The centre of row A has been removed to allow a keyboard player a space to play. The player is below the level of the row, but purists may want to avoid row A seats 24 to 28, and row B seats 23 to 27 just to be safe. Reader Jazz feels of A28: " the view is great, you really get to see the emotion, the expressions. Like it a lot, and being short I don't risk a taller person sitting in front of me". Another reader comments that when the set rises from the stage at one point, those in row A get neck-ache. As the monkey says - only purists will want to avoid this seat, the rest will have a lot of fun here! Row A is second price, and a way of getting nearer the front more cheaply. The monkey goes for 17 to 23 and 29 to 34 in this row. In row C, a reader reports, "C 24 and 25: When seated there, you are totally in the action! The bandleader/conductor is directly in front of you but that's no problem at all. Beware of daydreaming because actors may look at you at several times during the show! What you can't see from there are the floor lighting effects at the end of act 1, but if you do not know they are there you won't miss them! The sound experience is on a high level, crystal clear - but the voices are sometimes a little bit too gentle in comparison with the band. If you get one of those seats for a fair offer, do not hesitate - and enjoy a delightful night in Greece!" A row back, another reader comments: "We were in row D 9 to 17. The view was fantastic and the seats were very comfortable - it was good to see the expressions on the faces of the cast. No neck ache in these rows despite being 4 rows from the front.  There was a hen party in the first row (A) and throughout the show they put the smoke machine on and it completely covered them all in row A they couldn't see a thing !! It went back as far as row B/C but we were lucky in Row D. You couldn't see them in row A with the smoke !! So row A is not a good bet for this show!!"  Another reader in D says, "Seat opinion - Stalls D17 and D18 - very close to the action and you can see faces and expressions etc but I think two or three rows further back might have been better." The monkey felt that prime seats in the central block are in rows E to J, numbers 15 to 33. It would take F first, then E or G, then H and J.  Reader Richard Bradbury affirms, "Sat in seats H 19, 20  and 21 in the stalls. Excellent seats - I doubt you would get a better view in all of the stalls." Another reader adds, "H 25: Provided a great view. I would have happily paid full price (I paid £30). The seats in this theatre really are very comfortable." Beyond this it would pick, in the central block seats, rows D or K first, then C, then L back in alphabetical order. It would, though, pick the central block of the Dress Circle, rows A to D (with a few exceptions) over the stalls, for it's own preference. From row J, a reader reports, "J26: I paid £35 for my ticket through the Get Into London Theatre promotion in January 2012. I'm 6ft tall and felt I had rather good leg room in J26 (being able to tuck my feet under the seat in front always helps). The stagnation of seats between row I and row J was excellent and which meant that the poor rake wasn't an issue as it was easy to get a clear view. The overhang also is not an issue. Overall, an excellent seat and I'd happily sit here again."   In row K, regular theatremonkey seat opinion contributor James says, "K18 and 19 for “Mamma Mia”. No problem with the view here, although there was no-one directly in front of me which helped. Sound is fine here too." A few seats in the centre of rows F and G (plus H from April 2012) are "premium" priced - plus some in row E on Saturdays. Your call if you wish to pay extra, the monkey feels. Worth knowing about are the ends of rows A to G. Top price, but slivers of the edge of the stage are missing for those in the first few seats. Many won't find that a problem, as the action takes place centrally, but the monkey felt it worth highlighting. In rows O to S the overhang is noticeable, though the ceiling above is stunning to look at. Not much stage action is missed here, but you could still do better in the monkey opinion. The nice folks at Mamma Mia's production office have taken this into account for rows O to S. Monkey opinion is that O is fair value, N 44 (for some reason) is cheaper Monday to Friday from 30th April 2012 - average - and row P is expensive at top price. A sound desk may disturb a few in P21 to 28, but most may not notice and might like these seats too. During the week, too, when cheaper, row R is also acceptable at lower prices, though before accepting any seat in rows P to S, go for row H in the Dress Circle instead - this row is the same price, but with a better view in the monkey opinion! In row O, a reader says, "O12. The view was surprisingly good, there was a reasonable rake, and you felt a lot closer to the stage than 'O' might otherwise suggest. The only downside was that because it's an aisle seat, there's an overhead aisle light that shines distractingly in your eyes when the house lights are dimmed. In fact, many of the aisle seats in this area are disconcertingly illuminated whilst the rest of the house is in darkness, making you feel slightly exposed." At second price on Saturdays, monkey feeling is try the Circle or stalls row A for view over row T. S21 and T29 are not cheaper, and next to the sound desk... a bad bet.  Apparently the whole of stalls row T was reduced in honour of the sound desk (the monkey mistakenly thought it was due to being the back row and having an overhang). As the theatre point out, it is only S 21 and T seats 20 and 29 that really suffer badly - and leaning out or around fixes that problem. S21 has the corner of the sound desk intruding into your view...your call, feels the monkey. Rows R seats 21 and 28 and S 28 and row P 21 to 28 might want to be avoided by total purists who dislike any form of intrusion into their evening, but for everyone else it may well not be an issue. Reader "Lizzie Loves the Theatre" reports of her seats: " (they were) right at side of sound box but no problem and plenty of room to get up and have a jig about as only one row behind us." And opines generally that, "all the stalls seats seemed to be pretty good for views." Row T seats 38 and 39 can be removed for a wheelchair user. Take these before the other wheelchair spaces in row S seats 39 to 45, feels the monkey. See Notes. Reader Barry Liimakka gives another thorough run-down of seating: "We've experienced Mama Mia from many different vantage points. As TM suggests, Stalls L10/11 are wonderful seats providing good vantage and good acoustics & one need only sit back and take it all in. Likewise TM correctly cautions about Stalls D9 which is a stage left seat in a musical which tends to run stage right. Thus one feels a bit removed from the action at times. Sight lines are sometimes obscured by ensemble cast as well. Be forewarned about proximity to the speakers. You'll adjust during the performance, but during the encore numbers, the volume is all the way up and your eardrums will pop. Our favourite seats were Stalls B 33/34. These seats are mesmerizing as the actors are so close and you feel the energy of the performance in an entirely different manner. Act II's dream scene is surreal as fog wafts off of the stage onto your lap. It's from these seats that we discover the powerful chemistry between Ms. Parry and Ragavelas during the wedding gown scene." Moving on to the side blocks. These are a real mixture, feels the monkey. Oddly, the further back you go, the better the overall view of the stage. Claustrophobics should also note that there is no aisle at the extreme ends of the rows. The good news is that the theatre has re-priced almost every seat in the section. Row J has the most legroom, but the first and last two seats in the row have a commanding view of the wall in front, alas, and the next few seats along don't see the rear corners of the stage either - at one point on one side you miss a boat too. Seats J 2, 3, 4, 43 and 44 and K 2, 3, 45 and 46 have been reduced in price to allow for this problem...the monkey still says avoid - it is worth paying the extra few pounds for a much better view, in its opinion. Moving backwards, in previous years the monkey rates all seats fair value except the "restricted view" ones mentioned. At top price in rows K to N things are adequate - a full view of the stage. A reader opines, "K 35: A great seat on the aisle, just off the centre block. This provided a great view of all the action on the stage; it was just under the overhang of the circle but nothing was missed. I would have happily paid full price (I paid £30). The seats in this theatre really are very comfortable. As you move towards the edges of the venue, though, the view diminishes rather noticeably for a top price seat. The boxes overhang, too, and the monkey would take cheaper seats in the Dress Circle before sitting here. Monkey feeling is to avoid top price J 4 to 9 and 38 to 42 except if legroom is required. Similarly seats more than four off the aisle in K to M - there are better seats for the same top price, it feels. Until 28th April 2012 pricing puts R 6 to 9 and 41 to 44 Monday to Friday are the best of the lowest price seats, it feels. From 30th April 2012 prices put some L 4, 5, 42 and 43, M 3, 4, 40 and 41, N 4, 5 39 and 40 and O 37 to 40 down a price band Monday to Friday - well worth a look, feels the monkey. It puts K 4, 5, 42 and 43, L 42 and 43, M 4 0and 41, N 39 and 40 and O 37 to 40 up a band, though... worth a miss, feel the monkey. Row S 39 to 46 has a corridor leading to the foyer exit behind it - not a distraction, but something to know, felt the monkey. Legroom is comfortable for all but the very tallest in most seats - best in row J 3 to 13 and 34 to 44 which have aisles in front. Row A seats 14 to 16 and 35 to 37 have less legroom due to the curve of the auditorium - those over 5ft 8 may well be uncomfortable here - row A seats 22 to 24 and 28 to 30 have somewhat more generous space. Row K seat 2 also has a space in front of it, but a poor view - one for a tall, non-Abba fan, to consider, perhaps! All the seats are a little wider than other theatre seats too, which should mean slightly more comfortable accommodation for many.    DRESS CIRCLE  This is split into three blocks by two central aisles. Double height bars protect the ends of all aisles. The box office do feel the rear circle can seem a little steep, so the very nervous may like the stalls better - everyone else should be very happy here, though. At the sides of the theatre, these bars are well to the side of anyone's vision, and won't intrude. In the central aisles, the monkey originally felt their presence will probably deeply annoy those seated either side of the aisles in rows A to F. Seats A 15, 16, 31, 32 particularly. Reader Janet Morris, who sat in A16 felt, however, that the monkey is being over-cautious: "My husband bought us tickets earlier this year, we hoped they may have been reduced but he ended up paying £49 each. You can imagine my horror when one of the seats came up as RED on your seating plan, circle A16 but I had no need to worry the seats were fantastic." Since then, other readers felt the same - as do the venue - and the monkey re-checked them. From B14 and 32, it noted that you do have to peer around them somewhat. Based on both this and reader feedback, other ratings have been raised accordingly. A good rake ensures a good view for most of the rest of the centre block. The side blocks of the circle are also well focused on the stage. The first and last few seats in each row do miss a sliver of action at the extreme edges of the stage - like the front stalls, though, the monkey mentions this more for information than the detraction from enjoyment. Those seeking a full view should avoid these seats of course, for the rest, many will tolerate them - and you get a nice discount in some seats to make up for it anyway. Still, try for the centre block for the same money, is the advice. Claustrophobics should also be aware that from row F back, there is no aisle at the extreme ends of rows. Very small people may just have a problem seeing over the bar in row A, as it overhangs inwards slightly, but other adults will find the low front wall and unhindered sightlines a refreshing change. Amusingly, the overhang of the bar made the monkey feel it had been "tucked in" for the performance! A few seats in the centre of rows A and B are "premium" priced - your call if you want to pay a little more, feels the monkey. A reader comments: "Dress circle seats B28 - 29 - brilliant view and comfortable too !" Beside them, another reader adds,  B 29 and 30: I'm not a fan of dress circle or balcony seats, and love to be as close to the action as possible - but the box office man promised us that these are one of the best places - and these were only £35 each. The steps down to dress circle seats are very cliffy, and if you are not free from giddiness / vertigo be sure that you can grab someone's hand for your way down. On the left hand side is a guard rail and, if seated in seat 31, it might restrict your view slightly - but in seat 30 it won't harm you in any way. You are really close to the stage action and you get a wonderful overview. The sound is great, voices are crystal clear, with very good sound mix. The whole sound experience is much louder than in the stalls. No loss of emotions or anything like that. If I'm going to see the show again I'd love to get these circle seats again. I'm always looking for something in the stalls, but after that night at the Prince Of Wales, I'm in love with their dress circle. Never before was a show attendance from upstairs so moving! Gratitude to the box office member for his advice, its good to deal with people who know what they are selling!" A row back, reader Jenny opines, "Our seats were circle row D 15/16 and the safety bar on the circle edge didn't bother me and I am only 5' 2" tall, so no probs whatsoever, although the comment about the rake of the seating is true, the one thing you can't do in the circle seats, even if you are on the end of the row, is get up and dance at the end - next time I will sit in the stalls!" In the same seats, reader Mila and children say, "D15,16,17: Great seats. The circle really is the best place to see this show as the rake is so high and steep that even if you have tall people in front of you (which we did) the kids can see everything, and its a great overview of the whole stage. Plenty of people got up and danced at the end too (including me, as I like to embarrass the children!!) so I don't think we missed anything from not being in the stalls." Beside them, another reader adds, "D 18 and 19 had a perfect view of the stage." Further over, reader Graham says, "D37 to 41: Over to the side but not affecting the view of the stage. The seats were really comfortable too." At the extreme ends of rows C to E some new prices Monday to Friday from 30th April 2012 make the ends of D 5, 6, 42 and 43 worth a glance as a last option for those who don't mind a little metal in view. In front of them, the end pair in row B - 42 and 43 are more expensive... skip them. All the way back to row F are some of the finest views to be had in this theatre, feels the monkey. Rows G and H are very fair value too - the stage seems close from them, and the lack of overhang allows you to see all of it. H 13 to 33 are notable value in the monkey book - take these before stalls P for the same price. A reader opines, "Rows E, F and G: were superb (for my coach party) as when you are sitting down as you could look over the head of the tallest person sitting in front of you. Getting down to your seat from the back would challenge anyone suffering from vertigo, though as it is a very steep rake. Having said that, the refurbishment of the whole theatre is quite spectacular and the seats very comfortable." In the centre of row F, reader Sharon Pestell says, "Row F: Right in the centre. These seat were fantastic. Although the circle at this theatre is pretty steep! It's a small theatre and I should think wherever you sat the view would be pretty good. Our seat afforded us a full view of the stage and you could still see the cast's faces." Reader Mila reports, "Row F seats 31 to 35 were excellent seats. We had a great view of the stage and the Circle has a good rake so out three nine-year-old kids were able to see perfectly." While another says, "We were in Circle Row G15 and 16 - very good as reviewed on this site (thank you Monkey). The sound wasn’t balanced well at first, and the banker Dad was so soft you could barely hear him speak, but OK when singing. Worth mentioning again, the very steep rake of the Circle. Don’t wear platform shoes! I didn’t see anyone walk down facing forward. They all turned sideways. Ladies wearing high heels were the most nervous of all. However, I reiterate other comments that the new seating is very good and comfortable, and legroom, at least where we sat, good." The monkey has since learned that there are exits at the front of the circle, at the ends of rows A and B, for those who don't fancy the climb back up. In H, another reader comments, "H 19, 20, 21, 22: Although I personally wouldn’t normally choose to sit this far back I was pleasantly surprised at the amazing view of the stage. I could see loads of detail and the sound was very good as well. In addition, the very steep rake of the seating (not great for high heeled shoe lovers) ensures clear views over heads in front of you. In terms of sightlines, this must be one of the best Dress Circles in the West End. The view from there front few rows must be even better. The Dress Circle bar is also wonderful with loads of room." Behind these, centre blocks rows K to L are attractively priced too Monday to Friday until 28th April 2012. From 30th April 2012 row K becomes top price - not worth it feels the monkey. While a little further away, the monkey feels that second price reflects the view very well indeed, and it would pick these over some of the top priced seats in the rear stalls, for it's own tastes, as it can see the whole stage without an overhang intruding. Rows K and L at the sides feel a bit "shelf like" to the monkey. Seats L9 to 11, 35 and 36 do become good value by way of a huge price drop, the monkey judges Monday to Friday, a bit too expensive on Saturdays, perhaps until 28th April 2012. Row J 1 to 11 and 36 to 41 are distinctly average, though. From 30th April 2012, Monday to Friday new prices make side rows K and L average. On Saturdays, the monkey likes the price of K 5 to 10 and 26 to 41 and L 9 to 11 and 35 and 36. Reader Pip comments, "We sat in Row L seats 7 to 11. Being the very back row, the theatre has been built in such a way you can see everything like you were in the stalls! Every detail is perfect. Plus these seats are cheap and you feel almost in the middle! I would get them, very comfortable and lots of leg room. No need to worry about tall people in here!" Revised pricing also puts K 5 to 8 and 38 to 41 in the same category Monday to Friday, with J 8 to 11 and 36 to 39 also rating "green" for allowing an aisle seat a row further forward than expected for second price. Likewise, H 10, 11, 35 and 35 provide similar service for those wanting second price tickets forward of row J. The new, higher backed seats mean that legroom is improved as much through posture as actual space. Interestingly, row A has the most legroom here, and B to G are acceptable to all but the tallest, feels the monkey - only B 32 to 41 have less due to a quirk in row layout - the seats have been bolted too far back in row A, taking legroom off for those behind. Row B 41 to 43 and E3 also have more legroom with an aisle in front, but the boxes affect the view from E3, and you look through bars in the row B seats. From row H back, though, it gets much tighter, and the tallest would probably find the side block seats of rows K and L particularly uncomfortable. Monkey also notes that the modern seats here are flat backed. This precludes stretching spaces between them for the taller jungle dweller.   Dress Circle Boxes (called Loges in this theatre) At the sides of the stage, these form four fabulous architectural features. Shining bars in front of them lend a streamlined look, in keeping with the "liner" theme.  In all boxes, seating consists of one upright chair (seat 4) and three comfortable, but low, saloon armchairs with "U" shaped backs and armrests. Boxes 1 and 3 are tagged onto the side of the Dress Circle, between the edge of it, and the stage. Again, The view is poor if you don't lean forwards - about three fifths of the stage visible without that lean, and legroom isn't great without upsetting your sightlines still further. Just about fair value for the view in the opinion of the producers... and the monkey about agrees with them if there are none of the great seats at the back of the circle available. At second price these reflect the fact you have a private box (according to producers). The monkey isn't that keen on the view for the money, but accepts that privacy is worth paying for if you prefer to observe rather than participate when the crowd gets as enthusiastic as it usually does during this show. Boxes 2 and 4 are VERY high up above the stage on an extremely narrow shelf - vertigo sufferers should REALLY avoid these - particularly seat 1 at the front, at all costs. The view is poor if you don't lean forwards - about a third of the stage visible without that lean, and legroom isn't great without pushing your chair back - which upsets your sightlines. At all performances except Saturday Evenings and Saturday afternoons these are just about fair value for the view in the opinion of the producers... and the monkey about agrees with them if there are none of the great seats at the back of the circle available EXCEPT if you are a vertigo sufferer, in which case avoid at all costs. Prices mostly reflect the fact you have a private box (according to producers). The monkey again isn't that keen on the view for the money, but also notes the privacy advantage. Prices from 30th April 2012 are lower - might be worth a look, feels the monkey. Boxes are only sold to personal callers at the theatre so that all issues of height and view can be fully understood prior to purchase - laudable, feels the monkey.   Notes Total seats 1,125 for the current production. Theatre is air-conditioned. Hearing loop system available. Guide dogs can be dogsat. Wheelchair access is via the main foyer (automatic doors, controlled either by bell push on wall to the right as you face the theatre, or from the box office counter). Level access to the auditorium. Wheelchair spaces in row S are fitted with movable flooring to provide level space, regardless of the theatre's usual sloped floor - amazing, feels the monkey. Transfer is also available to seats C37 and 38, with a cubby-hole nearby for wheelchair storage. Large unisex adapted toilet in stalls bar - a lift takes users downstairs to it.   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. Fuller access details from  theatre group dedicated phoneline on 0844 482 5137, www.theatre-access.co.uk or 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. Ice cream and confectionery in auditorium, Bar snacks also available. Free Cloakroom on the lower floor for coats and baggage. Two bars both huge and beautifully equipped. One below the Stalls, called the "Delfont", one in the Dress Circle called the "American." The "Delfont" has a huge range of drinks available, plus a stage where live entertainment could take place after the show. The "American" has floor to ceiling windows providing a novel view of the street below. Both have TV screens for latecomers to watch the show while waiting to be shown to their seats. When the Delfont Bar is used for events, a reader notes, "STANDING. Just a warning there is nowhere to really lean. If you lean on the bar you won't be able to see because more people will be standing in front of you - and, since the stage isn't raised, you will struggle. I stood behind the chairs on the left and had a good view, but again nowhere to lean - so back pain can happen!"   4 toilets; Stalls (off the Delfont Bar) 1 gents 3 cubicles, 1 ladies 13 cubicles; 1 unisex adapted disabled; Dress Circle (in the American Bar area) 1 gents 1 cubicle, 1 ladies 4 cubicles.

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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.  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 ignore the first staircase to your right, marked "Shaftesbury Avenue". Continue along the tunnel passing the "Trocadero" doors, and follow it as it curves round. Follow the arrow on the sign ahead of you that says "Eros" - it points on down the tunnel to your right.  In this new section of tunnel, take the stairs ahead and to your right up to the street. At the top of the stairs, the Criterion Theatre is to your immediate right. Look ahead and in the distance, to your right. The huge corner billboard the length of the building at first floor level is the Prince of Wales Theatre. Cross Haymarket (horse statue on your right as you do so) and walk towards the theatre.

Buses: 14,19,22 and 38 to Coventry Street. Get off at the Trocadero Centre. Look ahead to the right. The huge corner billboard the length of the building at first floor level is the Prince of Wales Theatre. Use the next pedestrian crossing to get back to the correct side of the road, pass TGI Fridays red and white adorned restaurant, cross Oxendon Street and voila!   Taxi: A rank for Black taxis is at Charing Cross Station - a long distance from the theatre. Best chance of hailing one in the street is to walk down Coventry Street to Piccadilly Circus / Haymarket.

Car Park: Whitcomb Street. Leave the car park, turn left and walk uphill, crossing Panton Street and Whitcomb Court. Keep going straight on until you come to Coventry Street in front of you. Turn to your left, the theatre is a few paces away on your left. Do not cross the road or pass McDonalds. Wrong way. This car park does not participate in any cheap car park scheme. The nearest ones that do are Spring Gardens / Trafalgar Square and Newport Place, Chinatown. The "Theatreland Parking Scheme" may be available at these two. Call Q-Park car parks on 0870 442 0104 or see http://www.q-park.co.uk for details. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost. Spaces CANNOT be reserved at these prices, so choose whether you would prefer to book and pay more, or use this scheme. If you choose the "Theatreland Parking Scheme", you must get your car park ticket validated at the theatre's box office counter (the theatre attendant will insert the car parking ticket into a small machine which updates the information held on the magnetic strip on the reverse, thus enabling the discount). When you pay using the machines at the car park, 50% will be deducted from the full tariff. You may park for up to 24 hours using this scheme and it is endorsed by the Society of London Theatre.

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A medical view of the show... PMMS “It’s No Laughing Matter” Are you increasingly irritable, short-tempered and cranky? Do you suffer from anxiety, night sweats, compulsivity? Have you gained or lost substantial amounts of weight either before or after a certain West End show? Do you spend on theatre tickets beyond your means? Do you endlessly surf the Internet looking for the most trivial minutia relating to certain cast members? Could the West End be affecting your work and or home life? Researchers now say that a newly emerging field of consumer psychology has been accumulating some pretty strong evidence in favor of just such a syndrome now termed (Pre-Mamma Mia Syndrome or (PMMS). PMMS is the name of a group of symptoms that start 7 to 14 days before a performance. The symptoms usually stop soon after the show begins. Most fans feel some discomfort before Mamma Mia performances. But if you have PMMS, you may feel so anxious, depressed or uncomfortable that you can't cope at home or at work. Some of the symptoms of PMMS are listed below. Your symptoms may be worse some months and better others depending on the current cast. Symptoms of PMMS • Acne • Bloated abdomen • Constipation • Crying spells (before show) laughing spells (during show) • Depression • Fast heartbeat • Feeling hungry • Feeling irritable or tense • Feeling tired • Feeling anxious • Headache • Joint pain • Mood swings • Not feeling as interested in sex (before show) • Feeling too interested in sex (after show) • Tender and swollen breasts • Compulsion to buy Lycra undergarments (further exacerbating breast tenderness) • Trouble concentrating • Trouble sleeping • Swollen hands or feet • Wanting to be alone • Weight gain (weight gain may be more imagined than real due to the Lycra). What causes PMMS? No one knows for sure. But PMMS seems to be linked in part to changes in hormone levels in anticipation of upcoming shows. PMMS is not generally thought to be caused by stress or psychological problems, but rather the catharsis brought on by the hilarious, spontaneous, optimistic, wholesome ABBA overdose that comprises the Mamma Mia experience. How is PMMS diagnosed? Your doctor may ask you to keep track of your symptoms on a calendar (measured from Friday matinee’s). If your symptoms follow the same pattern each month, you may have PMMS. Your doctor may also want to examine you and do some tests to rule out other problems. Some other syndromes emerging in the West End are: 1. SOMNNAGAMM (Sound Of Music Not Nearly As Good As Mamma Mia). 2. WICMRWMMTEH (Wicked Is Crap Must Replace With Mamma Mia To Eliminate Halitosis [Bad Taste In Mouth]). 3. BBSIGBNMMMTMDE (Blood Brothers Is Great But Need Multiple Mamma Mia’s To Mitigate Depressive Effect). 4. LIIDTDYMKS (Laughter-Induced Incontinence Due To Does Your Mother Know Scene). 5. DIHDDQS (Donna-Induced Hernia During Dancing Queen Scene). 6. JIGBTDRMEMMH (Joseph Is Good But Too Disney Requiring More Earthy Mamma Mia Humor). Below are some common statements made by typical sufferers: 1. “I've been cheated by you since I don't know when” (paranoia) 2. “I don't know how but I suddenly lose control” (post-show promiscuity, impulsivity) 3. “Just one look and I can hear a bell ring” (auditory hallucinations) 4. “Theres a fire within my soul” (hot flushes) 5. “One more look and I forget everything, o-o-o-oh” (Hysterical amnesia) 6. “Mamma Mia, here I go again” (OCD or Obsessive Compulsive Disorder (repeat ticket purchases]) 7. “When you’re gone How can I even try to go on? When you’re gone Though I try how can I carry on?” (feelings of loss during cast changes, or worse, the show being cancelled (thought to be irrational, as the show shows no sign of ever being cancelled). 8. “You seem so far away though you are standing near” (Hysterical far-sightedness [thought to be related to hysterical blindness]). 9. “If you change your mind, I'm the first in line, Honey I'm still free, “Take a chance on me” (excessive and unhealthy neediness often associated with co-dependency” [also known as the Bill and Hillary Clinton syndrome]). 10. “Ba ba ba ba baa, ba ba ba ba baa” (Incoherent speech in the presence of cast members). 11. “Chiquitita, you and I cry, But the sun is still in the sky and shining above you” (Bipolar or manic-depressive [elated one moment, depressed the next]) 12. “Sometimes I wish that I could freeze the picture, And save it from the funny tricks of time, Slipping through my fingers...” (romanticizing the past with an inability to appreciate the present) 13. “You come in to look for a king” (Unrealistic expectations about men [knight in shining armour syndrome]) 14. “Anybody could be that guy” (Low self-esteem and hence, unrealistically low expectations for men) 15. “Knowing me, knowing you, There is nothing we can do” (Mind reading, fatalistic, overly dramatic [results from poor communication skills]) 16. “I've been so lucky, I am the girl with golden hair” (“Blonds have more fun” syndrome [usually suffered by brunettes]) 17. “One of us is crying” (persecution complex) “One of us is lying” (paranoia) 18. “In her lonely bed” (nymphomania) 19. “Super trouper beams are gonna blind me, But I wont feel blue, Like I always do” (PMMS mixed with SAD [Seasonal Affective disorder]), Usually treatable with full-spectrum lights and two matinees. 20. “I dont wanna talk, About the things we've gone through, Though its hurting me, Now its history, I've played all my cards, And that's what you've done too. Nothing more to say, No more ace to play” (Hopelessness brought on by compulsive gambling [a very debilitating mix]). How is PMMS treated? There is no cure for PMMS, but eating a healthy diet, exercising regularly and taking medicine may help. Doctors say that for now, the only reliable way to control the most severe symptoms is to save your money and keep going with protective undergarments for the “Does Your Mother Know” and Dancing Queen scenes. A trust fund has been established by “The Society for Dancing Queens” to treat the most needy cases. If you believe you may be afflicted with this debilitating condition, please contact: The Center for the Reduction of Jubilation, just off Leicester Square, Care of Dr. Killjoy, 334 Coventry Street, Westminster, London, W1C 6AX In an attempt to wean the most stubborn addicts off the show, a controlled trial will begin in the Spring of 2008. Treatment will involve attending progressively worse shows beginning with shows of acceptable quality and then progressing to the very worst shows that should have already been closed. • Minors may also be admitted to the trial on a case-by-case basis contingent on completing the “Does your Mother Know” consent form. ______________________________________________ About the Authors: Doctors T and G Winey are freelance medical journalists and have written for such publications as: 1. The Royal Academy of Abdominal Hilarity 2. The American Urological Society for the study of Laughter-Induced Incontinence...

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