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The Trusted Independent Insider Listings Guide since 2000.

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



Ends 1st September 2019

7 top magicians, each with their own specialism, present a top programme of magic.

This year, British performers Showman James More, the Mentalist Chris Cox, Trickster Paul Dabek and Daredevil Jonathan Goodwin are joined by The Unforgettable Enzo, The Manipulator Yu Ho-Jin and The Futurist Adam Trent.



Theatremonkey Opinion:

(seen at the afternoon preview performance on 7th July 2019).
For those who don’t know, the monkey has been fascinated by magic since childhood. Children’s party entertainers, Tommy Cooper, Paul Daniels (such a thrill to learn he read the site, and even interacted on occasion), and of course Penn and Teller to name just a few. Thus the bar is set exceptionally high, and woe betide any magician who doesn’t reach it.

This crew do, with a well-presented over-view of practically every variety of magic available. Billed by trade as much as name, each brings something different to the show and the blend is very satisfying.

“The Trickster” Paul Dabek proves himself an hilarious entertainer, with one of the best pop-up toasters on the planet and sharp surgical PR skills – practised on a surgeon.

“The Unforgettable” Enzo Weyne is mostly found sitting nonchalantly at the side of the stage sipping tea and scoffing popcorn – you’ll wonder how for hours.

“The Manipulator” Yu Ho-Jin is worth the ticket price alone. The other magicians probably find excuses to stand in the wings to watch him at every performance, praying that they can learn something from his truly dazzling card manipulation techniques. Adults and children totally spellbound.

Chris Cox “The Mentalist” should be confined by law to a Faraday Cage for life. Your everyday dorky bloke can read your mind – predict what the ladies choose to wear and go far further by knowing addresses and car registrations better than they do. Sure, you can hazard pretty accurate guesses about he does it all... but you really wouldn’t feel comfortable even if you were right... I mean, the monkey knows for a fact he won’t ever read this opinion – simply because he doesn’t have to, he already knows... scary...

There’s genuine beauty in “The Futurist” Adam Trent’s digital work, even more so when you see the bigger picture (as he leaps between them) and you realise how skilfully he incorporates techniques old and new into his work.

For those who saw “Britain’s Got Talent” this year, “The Daredevil” Jonathan Goodwin performs (or almost doesn’t, when someone forgot to remove a safety catch) the “Escape from Gravel” that wowed TV audiences. As he rises from the grit, we can only be thankful the requisition order didn’t auto-correct the spelling for what he was buried in. His opening routine, by the way, is equally brilliant and shows he can handle audience interaction with aplomb.

Finally, they don’t call James More “the Showman” for nothing, time spent with him is time watching timing like few others, even if he seems to be beside himself on occasion.

Worthy of mention too are the team’s assistants, Sarah Sevill, Ashley Munn, Denzil Sampson and Danielle Everdell. Always ready to be stuffed into boxes, grab a rope, help a bemused victim from the stage, well done all.

There are a few gripes. Paul Dabek strikes a dud note at the start choosing entirely the wrong youngster to bring onto the stage for the “warm up” act. If you get your kicks from a confused 6 year-old girl being told to fight a 10 year-old boy, this is for you, and no quantity of well-written comments can hide the child’s discomfort. A way out is needed, should he make the error again, as the routine would be hilarious with the right (older) kids on board.

Other faults are the camera man (not one of the magic team) sometimes getting in the way of the audience view and the fact that every routine has been seen on television at some point (be aware of that – but also know that every one of them is better “live”). Finally a shadow puppet “Circle Of Life” demonstration is used to cover a clean-up. There is space at the front of the stage for a full card routine at the very least, and for £80 the monkey did feel entitled to actual magic for the entire show.

Still, there’s more than enough to delight and this is one worth seeing, superior illusionists indeed.

4 stars.


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: 2.30pm and 7pm
Tuesday: no performance.
Wednesday: 7pm
Thursday: 2.30pm and 7pm
Friday at 2.30pm and 7pm
Saturday at 2.30pm and 7pm
Sunday at 2pm and 6pm

Extra 11am performance on 10th August 2019.
NO 6pm performance on 1st September 2019.

Runs 2 hours 20 minutes approximately, including an interval.


Ticket Prices:

Offers May be available - Click Here

View this information in diagram form.

This theatre uses "dynamic pricing," some prices may change according to demand.

Monday to Friday:

Rows AA to W: £67.50 except
"Premium Seats" rows E to J 15 to 22: £97.50
Rows X and Y: £55

Dress Circle

Rows A to K: £67.50 except
"Premium Seats" row B 13 to 24 and C 15 to 22: £97.50
Rows L and M: £55

Upper Circle

rows A to C: £45
Rows D to F: £35
rows G to J: £25


£67.50 per seat. They are sold only by the box office to personal callers or by phone, as the restricted views need to be explained.

Saturday and Sunday:

Rows AA to W: £77.50 except
"Premium Seats" rows E to J 15 to 22: £125
Rows X and Y: £65

Dress Circle

Rows A to K: £77.50 except
"Premium Seats" row B 13 to 24 and C 15 to 22: £125
Rows L and M: £65

Upper Circle

rows A to C: £47.50
Rows D to F: £37.50
rows G to J: £25


£77.50 per seat. They are sold only by the box office to personal callers or by phone, as the restricted views need to be explained.

"Day Seats": A maximum of 10 tickets, location at box office discretion, are available to personal callers at the box office before the performance on the day from 10am, priced £25 each. Limited to 2 tickets per person. The monkey always advises taking both cards and cash in case one is preferred over the other. Check with the box office before travelling if this policy is still in operation.

Some details may 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:
This site allows you to select your own seats from all those available.  

Booking fees per ticket for online bookings:

A £2 per ticket booking fee applies, plus £1.50 per booking, not per ticket, for box office collection / £1.50 per booking, not per ticket, for postage if required and time allows. No fee for print at home option.

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

When the theatre does not have tickets available, it is worth trying the Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), which offers £67.50 seats with a £10.80 per ticket fee (£15.60 on £97.50, £8.80 on £55, £7.20 on £45, £5.60 on £35, £4 on £25 seats Monday to Friday / £19.70 on £123, £12.40 on £77.50, £10.50 on £65, £8.60 on £47.50, £6 on £37.50, £4 on £25 seats Saturday and Sunday) - moderate by agency standards, high by box office ones, but worth trying as they often have an alternative choice of seats available! 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 which offers £67.50 seats with a £13.50 per ticket fee (£19.50 on £97.50, £11 on £55, £9 on £45, £7 on £35, £5 on £25 seats Monday to Friday / £24.60 on £123, £15.50 on £77.50, £13 on £65, £9.50 on £47.50, £7.50 on £37.50, £5 on £25 seats Saturday and Sunday). A £2.75 per booking (not per ticket) service charge is also added.

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer £67.50 seats with a £19.50 per ticket fee (£27.50 on £97.50, £16 on £55, £13 on £45, £10 on £35, £7 on £25 seats Monday to Friday / £35 on £123, £22.50 on £77.50, £19 on £65, £13.50 on £47.50, £10.50 on £37.50, £7 on £25 seats Saturday and Sunday). A postage charge of £1.45 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 £1.99 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 a £10.80 per ticket fee (£15.60 on £97.50, £8.80 on £55, £7.20 on £45, £5.60 on £35, £4 on £25 seats Monday to Friday / £19.70 on £123, £12.40 on £77.50, £10.50 on £65, £8.60 on £47.50, £6 on £37.50, £4 on £25 seats Saturday and Sunday) booking fee per ticket. There is a £1 per booking, not per ticket, transaction fee for collecting tickets from the box office before your performance. Alternatively, if time allows, there is a postage to your home option, costing £2.95 (£4.95 to non-UK addresses) per booking, not per ticket. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.

Ticketmaster offers £67.50 seats with a £13.50 per ticket fee (£19.50 on £97.50, £11 on £55, £9 on £45, £7 on £35, £5 on £25 seats Monday to Friday / £24.50 on £123, £15.50 on £77.50, £13 on £65, £12 on £47.50, £10 on £37.50, £5 on £25 seats Saturday and Sunday). There is also £1.75 per booking, not per ticket, transaction fee, plus either a £1.70 per booking, not per ticket, handling fee for posting tickets if required and time allows or a £1 per booking, not per ticket fee for collecting tickets from the box office before your performance. This system allows you to choose your own seats from the selection the company has available.

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


Box Office Information:
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
Telephone: 020 7379 5399
Operated by the venue or See Tickets Ticketing Agency on behalf of the venue.
The 5399 number is normally picked up by the actual theatre box office staff during quieter daytime hours. Outside box office hours, and at busier times, See Tickets pick up, and an extra transaction fee per booking, not per ticket, is charged.

Booking fees per ticket for telephone bookings:
A £2 per ticket booking fee applies, plus £1.50 per booking, not per ticket, for box office collection / £1.50 per booking, not per ticket, for postage if required and time allows. No fee for print at home option.

If See Tickets answer your call, expect to pay an extra £2.75 per booking, not per ticket, transaction fee.


For personal callers or by post: 210 Shaftesbury Avenue, London. WC2H 8DP
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats and enquire about concessionary prices that may be available to them on a dedicated phone line. See Notes.


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

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


Seating Plan Diagram

Stalls Dress Circle Upper Circle Notes
This was revised in July 2019. "First Impressions" are below. Readers are invited to comment contact us.

The Dress Circle overhangs the stalls at row L; The overhang progressively reduces the view in the rear stalls from row T back.

The stalls are divided into right and left halves by a centre aisle.

The rake (sloped floor to help see over rows in front) starts to be noticeable around row H, but isn’t steep anywhere in the stalls. It peters out at rows L and M, is a little better from N to T, but pretty well absent in rows from U back. Not suitable for the shortest.

Seats are off-set fairly well to see around those in front back to around row T, at which point they are almost one behind the other. Again, an issue for the shorter theatregoer.

Rows CC to A vary depending on which is the front row at a particular production.

As a rule the very front row could either have a lot of legroom or none at all. It just depends how close the supporting wall of the stage / orchestra pit wall is positioned to the front row.

Behind the front row, space is generally acceptable for all but the tall (over about 5ft 10). The big problem is that the seating is old and quite low to the floor, which restricts legroom further.

There is extra space with nothing in front of A 10 and 27, M 3 and 34 and U1. Seat M4 is 50% clear in front. Seats C8, F7 and 30, H31, L5 and L32 have space for one leg to stretch.

Choosing Seats in General:
When row CC is in use, the monkey's main concern is legroom. It varies. If there’s plenty, the centre is a fine place to be, the ends less so, provided the stage is low and you don’t mind missing dancing feet. With an orchestra pit in use, there may be a problem in row BB or AA.

Normally, the first and last three seats in rows CC to E should be taken last at full price as the viewing angle offers poor value for money. Rows BB to F have a shallow rake, but do feel close to the action.

If the front row is sold cheap as "Day Seats" the monkey is also keen, taking the end two seats last, though for the best angle on the action. The only caution is the legroom, which can be cramped depending on the production.

Rows back to K offer the best views. Take seats at least three off the outside aisles first in these rows, centre aisle seats 18 and 19 maximise comfort and view. Avoiding the ends of these rows makes for the best viewing angles and the possibility of avoiding boxes / electrical equipment intruding into sightlines.

Skip row M, as the lack of rake could be an issue seeing over those in front. Row T back loses the top of the stage, again, not a choice at top prices.

A sound desk in rows V to Y may bother some.

General Hazard Notes:
At some musicals the conductor of the orchestra may be in view from central aisle seats if the orchestra pit is in use. High stages and being at the front may mean footwork or flooring missed for choreography and carpet fans respectively. For musicals the monkey felt the front four rows at least will miss feet.

Speakers or lights hung underneath the circle overhang may cut views from the extreme end seats.

No rake in rows L and M and from U back make seeing over those in front more difficult. Likewise the lack of off-setting seats from around row T.

Sound desk beside rows W back.

Changes for the current production:
The front row is AA. The stage is around head-height to someone 5ft 5 or so, but is a long way from row AA - giving it unlimited legroom. Only problems are a) speakers on the stage slightly blocking views, b) moving cameraman walking in front of you for periods, again blocking views and c) as this is a magic show, becoming part of it - the last applies to most of the stalls, though, so be aware if sitting near the centre aisle in particular.

"Premium Seats:" run central stalls from rows D to J; considered best in the theatre and costing a little more. Your choice, feels the monkey. It does note that there are plenty of seats around them with equal view at a lower price. Go in front, beside or behind them, feels the monkey. The view is the same...

Top non-premium price goes right back to row W. Skip T back.

Second price is the back two rows only. For children, consider either the back rows of the dress circle or row B (cheaper) of the upper circle - the views will be far better for the shorter person.

The sound desk starts behind row V 19 to 27. A large camera here making that row worth missing for purists. Seats W and Y 28 and X 29 are right up against the desk wall. The monkey would skip them as the viewing angle isn't the greatest around it.

Reader Comments:

Called the ROYAL CIRCLE in this theatre.

The Upper Circle overhangs the Dress Circle at row C. It restricts the view of the top of the stage from row H back for some productions, L for others when the full height of the stage is not used.

The circle is split into two blocks by a central aisle.

This circle is stepped, with a shallow rake that makes it feel deep.

The old alcove row N has now been replaced by an air ventilation shaft... good.

Poor in row A (one reader felt it less of a problem, another a considerable one). The outermost 4 or 5 seats have about an inch more space, with A 4 and 33 at least having a bit of space to stretch one leg into, albeit at a bit of an angle.

All other rows are cramped for those over 5ft 8 or so.

Row M has a bit more, except seats 33 and 34, where the row curves inwards, but greatest comfort is in rows B to M seats 18 and 19 either side of the centre aisle, allowing one leg some stretching.

Row J1, 2 and 35 have nothing in front, but boxes intrude into your view. H34 has space in front too, a bit of extra legroom over 80% of the seat.

Choosing Seats in General:
A bar running across the front of the circle affects the view in row A - especially for the shorter monkey, who has to sit "bolt upright" to see over it. One reader didn't report a problem, though.

The ends of this row are affected by further rails and lighting hanging from the circle. A 4 and 5, and B seats 4, 5, 32 and 33 look almost directly at boxes.

Row A 4 can be transferred into from a wheelchair. The monkey vote is to use a box instead if your chair can get into it.

Other seats in rows B to E offer fair value and good views of the stage.

Row F back should be avoided unless the same priced stalls are unavailable. Complaints have been made in the past about missing parts of the set from here, due partly to the shallow stepped rake.

Seats in row F back feel a long way from the stage. You'll get away with it as far back as G perhaps, but by H looks become deceptive... it's fine, until somebody of average height sits in front of you. Not seats to pay top price for, feels the monkey. The monkey has sat in K at a discount and been happy... at £65 or more, it wouldn’t have been...

General Hazard Notes:
Lighting equipment in view if strapped to the front of the circle (equipment, not theatregoer).

The bar across the front of the circle affecting the view for shorter folk in row A

Row A 4 and 5 and B seats 4, 5, 32 and 33 facing boxes. The extreme ends of row J also have boxes in view.

The rake makes seats from row F back feel further from the stage than average.

Rows J back seem to be in a gloomy twilight even when the auditorium lights are on. Bring a torch if you want to read the programme.

Changes for the current production:
Seats in central rows B and C are premium. Plenty of seats around them are not, so no reason to pay it, really, feels the monkey. Go for the pairs beside B and C, then central D behind them. Also consider A if short enough for legroom not to be an issue.

Rows back to K are top price. The monkey would skip anything at top price from row H back, taking stalls at the same price, then cheaper upper circle seats, instead, as they are closer to the stage and views in the front upper circle depend less on how tall the folk in front are. At second price, central L and M are reasonable, it feels.

Reader Comments:
"A13 and 14: "From Here to Eternity" (December 2013), (Brian and Diana). I would have been out of my seat in a flash (to leave the show at the interval) if my old body hadn’t seized up with cramp, for this theatre must have the smallest seats of all. I’m not particularly tall - 5’11” - and we’d got a superb view, but the leg room was non-existent and the width is worthy of a well-known budget airline, only their seats are a lot cheaper."

"A17 and 18: "Rock of Ages" (September 2011), (Chris B). Outstanding, completely clear view. There is a great atmosphere for this show and the front of the circle does feel very involved. The legroom is sufficient at best; however there is a padded section at the top of the safety barrier you can rest your knees against."

"A19 and 20: "The Pajama Game" (May 2014). Immediately in front of the seats, there is padding about 1" thick at knee-height, My partner's legs were short enough for her knees to come just below this, so she had comfortable leg-room. My lankier legs failed to make the cut, so I had a very uncomfortable time."

“A21, 22 and 23: "Hairspray" (October 2007). The seats were fine. With two children it was better to have the small bar in front rather than a large tall adult. Legroom was a bit tight but again worth it for an uninterrupted view. Didn't feel a million miles from the stage, very intimate."

"Row C: "Memphis The Musical" (October 2014). I’d certainly recommend the front few rows of this for a really good view, although not row A because leg room here is quite restricted. I was in row C where leg room is better, and because the circle comes a long way forward it offers an excellent close-up view of the stage. Sitting here is probably better than, say, the rear stalls where the circle overhang restricts the view of anything happening higher up — and this is certainly the case with 'Memphis' where there are a few things happening on a gantry."

"C4 and 5: "Rock Of Ages" (September 2011), (Clive). An excellent view of the whole stage but it would have been nice to have been slightly nearer the action. You also miss out in the circle on some of the audience interaction. A good rake and adequate legroom."

"C10: "Burn the Floor" (March 2013). There's a pretty good view from here as you're far enough back to avoid the rail, but still close enough to have a good view. Decent leg room. As the seat number would suggest, it's a bit to the side, but not a problem. Although I wouldn't want to be at the end of the row. It was a particularly good seat with this show being all dance as the elevated position allows a perfect view of the formations. As I recall, the rake of the stalls is nothing exceptional at this theatre so the higher position was perfect."

"D6: Have now seen this show from front row Stalls, 4th row upper circle and this time I managed to get a £22.50 student ticket. I think this provides the best view. You can see all facial expressions but still get the good overview of the stage, although normally they would be double the price of the other seats. Depends what you want to get out of the show if you don't have the luxury of student standbys."

"D12 and 13: (Clive). About as good a view of the whole stage as it is possible to get with a good rake and adequate legroom. The atmosphere for this show is better in the stalls, however."

“Row E: (David). E is a great view (£62.50 seats). Did take my own small binoculars to get head and shoulders views."

“E19 to 22: (Frances). We had good seats, not much leg room but that was to be expected really - great view of the whole stage."

"F 23 and 24: "Memphis" (October 2014) (Mark Lane). It's a real nightmare to negotiate you way into the auditorium if your in the higher numbered seats.
Dress circle views from row F are great. Not far enough away to feel out of it and you can see the whole stage including the front of it and no problem with heads in front. But the seats, are uncomfortable and the legroom virtually non existent and this monkey only has short legs. (27 inch inside leg)."

"G21 and 22: "From Here to Eternity" (December 2013). These are excellent seats. Good view (OK it helped there was no-one in front of us that evening, but the rake is steep enough to clear the heads of all but the tallest theatre-goers and completely clears the front guardrail), giving a view of the entire stage. They are also far enough forward to avoid problems with the top of the stage being cut off by the overhang of the Upper Circle. The seats are comfortable with a decent amount of legroom – neither of us felt the need to fidget until right toward the end of the show (and ‘From Here to Eternity’ is a long show)."

“H7 and 8: (Ali P). Our seats provided a good view of the whole stage and the overhang from the next tier of seating did not obstruct any of our view for the show we saw. The rake is not particularly steep so vertically challenged souls of whatever age, might struggle (we are both over 5'10"). Leg room was adequate, better than some West End Theatres."

"H22 and 23: "Motown" (January 2017). Good seats with a clear view of the stage. Doesn't feel distant from the action. Leg room is poor. Very good deal with TodayTix rush (£25)."

“J29: "Rock Of Ages" (September 2011). A sharp point in the armrest of this seat. (Kept him awake for the show, anyway... notes the monkey).”

“Row M: “Hairspray”. Got offered these (usually £60) for £25 each at a preview in October 2007. Great seats, perfect view, OK. leg room. If I`d have paid £60 I would have felt short changed, these are more £50 in my opinion - in fact the last 2 or 3 rows of Circle should be £50 - but nevertheless you see everything."

“M3 and 4: "Hairspray”. These were OK seats, as you could see the stage and there was a clear view of the whole thing. Unfortunately we had two giants sitting in front of us - and these guys were like 6’4 and about 22 stone - so it was hard to see around them. Luckily we had a free seat next to us so managed to stagger our seating for the second half and then had a much better view. We were lucky as we had discounts on these seats so we didn’t pay the £60 face value... the disgruntled couple sitting next to us really felt cheated sitting so far back for £60 and it seems unfair when really you can sit down in the front rows for the same price. These seats really should be £50 max."

"M23: "Motown" (January 2019). The view wasn’t bad but the seats were positioned directly behind one another instead of staggered so the head in front was annoying. I spent £20 through the London theatres January sale offer and was pleased not to have paid any more."

"Standing Room: "Motown" (January 2017). No day seats, but they offered us standing at the back of the royal circle (dress circle) for only £10 each! you do miss the very top of the set but nothing happens there... it is basically an unrestricted view. There are even little ridges poking out of the wall so you can "sit" if you really want to. But it's a terrific view and sound."


Dress Circle Boxes

A, B, E and F are between the stage and Dress Circle at Dress Circle level.

Boxes A and B have 3 seats each, E and F have two.

A and E can take a wheelchair each.

Acceptable, as movable chairs are used.

Choosing Seats in General:
All boxes offer a sideways on view of the stage with the nearest edges not visible.

All offer just fair value at second price, though are expensive at top price.

General Hazard Notes:
Side view, missing the nearside stage.

Boxes may be blasted by the noise if speakers are nearby.

Changes for the current production:
Top price, very average, feels the monkey. Boxes E and F are not sold except to "access" users and or at box office discretion.

Reader Comments:
Box B: "The Pajama Game." (May 2014). Very comfortable and has a good view, but for this production the sound for the songs was not good at all. We could hear the music very well, but struggled to hear the words they were singing."


Called the GRAND CIRCLE in this theatre.

This is moderately high above the stage.

The circle is divided into central and side blocks by aisles.

It has a fairly shallow stepped rake.

Poor in row A, for everybody.

Rows B and C have a little more than row A.

Rows D to H are adequate for all but the taller over 5ft 11 or so.

Row J (for some reason, J25 in particular) has very generous legroom for all, except seats 14 to 24 where the row is fixed a bit too far from the back wall and curves slightly inwards too.

Choosing Seats in General:
End of aisle rails affect the view from rows A, B and C seats 13, 14, 24 and 25. Seats B and C 4 and 34 may notice things a bit too - purists beware. C 13, 14, 24 and 25 were least affected, the monkey felt, yet are often discounted in the same way as those in front... making them a fair bargain indeed.

Other aisle end rails won't be noticed by most, and the centre rail is just "there" and not particularly intrusive for them too.
Officially, row A has "restricted views" - the monkey didn't notice a particular problem, though. A reader felt annoyed about the rails, but agreed they didn't affect her enjoyment at all. This row is also cheaper, so worth a punt except where the rails are double height on the aisle, perhaps.

In all rows seats 10 to 28 provide acceptable views of the stage and are preferable to other seats at the ends of the row - except where bars are mentioned above.

At third price row B is fairest value.

Row D back does feel a way from the stage, and the shallow rake enhances this feeling. Usually, both it and row E's price policy compensates well for this. If they are the same price as seats further forward... either go further forward, feels the monkey or save cash and sit two rows behind, still getting a similar view.

If taking that second option, take row G first – the centre seats if lighting isn’t placed there, the sides if it is.

Note that rows H and J seats 14 to 24 are often replaced by lighting positions, monkey advice is to skip row G 14 to 24 if that kind of issue bothers you as G 14 to 24 are affected. The monkey would skip seats directly nearby, but feels most won't notice much.

Back row J may be a long way back, but is a comfortable budget option even for the tall – and you can sit as upright as you like without having anybody behind you to moan, either.

General Hazard Notes:
Metal safety bars at the ends of the central aisle affect the views in rows A, B and C seats 13, 14, 24 and 25, plus B and C 4 and 34. C 13, 14, 24 and 25 were least affected, the monkey felt.

Other aisle end rails won't be noticed by most, as they are fairly low.

Rows H and J seats 14 to 24 are often replaced by lighting positions.

Seats are quite low, so the tall my find their knees at ear level when seated.

Changes for the current production:
End aisle seats are not discounted for having rails in view. Skip aisle seats in rows A and B to avoid this.

Rows A to C are third price. The view is better than more expensive rear stalls, comfort about the same - though stalls let you get feet under the seat in front, which tall folk find more comfortable.

Prices drop further at row D, and legroom increases a bit. The monkey likes D 15 to 23 in particular. Prices do also drop again at row G, though - making G 10 to 13 and 25 to 28 very attractive. Almost as good a view as D, and far cheaper than row C... Just note that spotlight places behind J are used, so purists may wish to avoid central G.

Don't be afraid to take row J for legroom comfort at the same price. Do note that there is less legroom in seats J 14 and 24 if used, as the seats have been fixed a bit further forward than usual in front of the back wall.


Reader Comments:
"A21 to 24: (Steph Nicholls). As expected the view was sometimes obscured by the safety bar, however this was easily solved by the recently invented technique known as ‘leaning forward’ and it didn’t bother me at all. Ideally I would have preferred to be in the Dress Circle as I sometimes felt a bit detached from the action, but overall a good view."

"B26 to 31: “Hairspray”. We got an offer on these including dinner for £28.50, a really great deal. The seats were really good, a really clear view of the stage, and felt pretty close even though we were in the upper circle, and I think for Hairspray which has lots of dancing and big numbers it’s quite good to be high up."

"D18: (James). As the monkey says, this is a great seat for the money, great view of the stage."

“D22 and 23: "Hairspray" (November 2007). Would definitely rate green for value. Fantastic seats for £30 considering the row in front of us paid £40! Felt a lot closer to the stage in this theatre than upper circles in other theatres. Am going again next year and we are going to try and get the same seats!"

"D30 and 31: I'm 5ft 8 and found them great seats, but wondering is £22.50 ones would be the same kind of view for cheaper."

"D31 and 32: No problem with the view at all. Saw everything from facial expressions to the tiniest foot movement. And also very comfortable, lots of leg room available. As the seats in front are £10 more expensive, why go for them? Stick to row D it's closer to the action and doesn't bankrupt your wallets. Also the person in front of me was about 6ft (and I am 5ft 7), and I could still see over the top of his head! Was amazed, because that never happens!"

"G3: I think the upper circle at this theatre is one of the better ones. You don't feel disengaged from the performance and the view is very good!"

“J6: (David). Comfortable seats, lots of leg-room and perfect vision. I can't think of a more comfortable top tier. Not having previously visited the Shaftsbury. My seat was fourth from the end but with a perfect view. Because of the theatre's moderate size I did not feel at all detached from the action."

"J33 and 34: "Motown" (December 2016). I purchased tickets via '' costing £19.50 + booking fee. I usually spend a lot more on show tickets and have never sat so far up, but, being Christmas time was on a budget. Our 2 seats were grand circle J33 and J34, the very back of the theatre at the top - which I must say was quite steep. There were several staircases to climb (which was not a problem for us), and there are several bars/toilets on the route. The last bar had no queues, as most of the theatre-goers were stopping at the first bars. The seats were comfortable and had the bonus of plenty of legroom, and were situated next to the toilets which was handy. There was a slight problem with the view, the chairs in the row directly in front didn't seem to slant as much as the others so all we could see was the heads in front of us - we did ask if we could be moved but the theatre was full. I spent the show sitting on the edge of my chair to allow me to see over the heads in front, which wasn't that much of a problem as the seats were quite large and comfy. The tall man next to me said he couldn't see the stage well either, so I can't blame the view on me being 5ft 3. All-in-all a fabulous show for a bargain price."


Upper Circle Boxes
Boxes C, D, H and G are above boxes A, B, E and F, between the stage and Upper Circle at Upper Circle level.

Boxes C and D have 3 seats each, G and H have two.

Acceptable, as movable chairs are used.

Choosing Seats in General:
C, D, H and G all offer a sideways on view of the stage with the nearest edges not visible.

All offer just fair value at second price if sold, expensive at top price.

General Hazard Notes:
Side view, losing the nearest edge.

Boxes may be noisy if huge speakers are sited directly underneath (and the monkey doesn't mean a fat politician...)

Changes for the current production:
C and G are on sale at second price. About average, with the advantage of privacy and comfort, feels the monkey. The other pair are top price - only worth it for the privacy and comfort bit, the monkey feels.

Reader Comments:



Total 1404 seats plus 28 standing in the rear stalls.

Air-cooled auditorium. One reader found it very hot, even on a cool September evening, though. Another adds,
"The only downside I found to the theatre, is because it seems to have been built in a big underground pit, was it got very hot in the auditorium, and the exits were very narrow and channelled everyone through the same walkways so it took a long time to get out."

Infrared headsets available, signed and audio described performances occasionally. Guide dogs welcome in auditorium or dog sat. Braille and taped information available. Wheelchair points in Boxes A and B if chairs can get down three steps. Transfer to seat in Dress Circle row A also possible. Adapted toilet available - but the door opens inwards! Fuller details, or Artsline 020 7388 2227, email A "venue access guide" from the team who created book "Theatremonkey: A Guide to London's West End," is available to download in PDF format by clicking here.

A translation unit, providing live caption translations in 8 languages is available for hire at the venue, priced £6.

No food except Ice cream and confectionery.

Five bars; Foyer, Stalls, 2 in the Dress Circle and one in the Upper Circle.

8 Toilets; Foyer 1 ladies 3 cubicles; Stalls 1 gents 2 cubicles, 1 ladies 5 cubicles; Dress Circle 2 gents 2 cubicles each, 1 ladies 3 cubicles; Upper Circle 1 gents 2 cubicles, 1 ladies 3 cubicles.

A reader adds,
"They did have decent ladies loos, unlike the Cambridge Theatre where cubicles were too small for people to get in!"


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:
Holborn - Piccadilly Line (dark blue) and Central Line (red) or Tottenham Court Road - Central Line (red) and Northern Line (black).

A photographic illustrated walking route from Tottenham Court Road Station is available by clicking here.

The route below is from HOLBORN Station. A photographic illustrated version of these directions is also available by clicking here.

There are two exits from Holborn station. 

If you see, on leaving the station, a branch of McDonalds ahead of you on the opposite side of the road then do not cross this road, just turn left and walk to the four way crossroads. If you come to a three way cross roads, wrong way.

If you leave the station and see ahead of you on the other side of the road a glass building with a "Sainsbury" sign ahead of you.... turn right and walk to the four way crossroads a few paces away. Then...

At the crossroads, Cross straight over the road and walk straight on passing the glass "Sainsbury" building. You are entering "High Holborn". If you pass a church or the Shaw Theatre, wrong way.

Cross Newton Street. 

Beyond this, the road splits in two around a building, so be careful. You need the LEFT fork. You are already on the correct side of the street to take this fork, so follow the road as it curves. BUT...remember that once you have taken this fork, you need to change to the other side of the road.

Once changed to the other side of the road, keep walking straight on as the street changes name to St Giles High Street without any signs! Cross New Oxford Street, Museum Street and Grape Street. The theatre is ahead of you on the right.

In 2010, reader Michael says,
"This was my first visit to this theatre and used the Monkey directions from Holborn Underground Station, and spot on they were. It took only 4 minutes even with my wife walking in boots with 'heels' !!"


8, 10, 14, 19, 22A, 22B, 24, 25, 29, 38, 40, 55, 73, 134, 176 all stop nearby.


Best chance of hailing one is in the street outside, where there is also a rank space for them, or walk up High Holborn towards the underground station.


Car Park:
Museum Street. On leaving the car park, turn to your right, walk to the end of the street and turn right. Walk on, crossing Grape Street. The theatre is ahead of you on the right.

The theatre sometimes have deals with this car park for cheap parking. Check with the box office in advance or on arrival at the merchandise stall.

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


Sunday 28th October 2018


After two years of sold-out performances at the Novello Theatre, WEST END BARES, theatre’s hottest annual fundraiser will bare more than ever before as it moves to the Shaftesbury Theatre on Sunday 28 October at 7pm and 9.30pm in aid of the Make A Difference Trust with tickets on sale NOW. Last year’s sold-out performances, hosted by Graham Norton, raised £57,633 and featured performances by Olivier Award winner Rebecca Trehearn, Marisha Wallace from “Dreamgirls” and special guest hosts Summer Strallen, Adam Garcia, Dianne Pilkington, Tom Allen, Mark Gatiss, Ian Hallard, Celinde Schoenmaker and Oliver Savile.

Artistic Director, David Grewcock said today, “From our first spectacular six years at the legendary Café de Paris, to two sold out years at the Novello Theatre, I am thrilled that the demand for tickets for WEST END BARES keeps getting bigger. Moving to the Shaftesbury Theatre for 2018 will allow even more people to join us for one of the West End’s biggest fundraisers as we dare to bare like never before. We have massive plans for this year to make the ninth edition of WEST END BARES the biggest yet which will help us continue to raise vital funds for the Make A Difference Trust”

This year’s theme is WEST END BARES: TOP OFF THE POPS, celebrating the sexiest tracks from some of the world’s most iconic music artists. For the first time the show will feature an incredible live band and sensational singers alongside all the flesh audiences have come to expect with over 100 performers from the West End and beyond. All monies raised will go to The Make A Difference Trust to fund HIV and AIDS projects that raise awareness, educate and provide care and support in the UK and Sub-Saharan Africa.

Fresh from her Tony Award nominated Broadway debut, Eva Noblezada (Miss Saigon, Les Misérables) will open the show singing a brand-new song written for the occasion by returning favourites Mark Anderson and Luke Di Somma.

Comedian and TV star TOM ALLEN will host the show. Tom says, “I’m thrilled to be returning to West End Bares to kick off proceedings at TOP OFF THE POPS with the most incredible cast yet. It’s an amazing night that’s really not to be missed and I hope to see you all there.”

Currently on a sell-out UK Tour and on tv screens as co-host of Channel 4’s “Bake Off: An Extra Slice”, Tom Allen is an award-winning comedian, writer and actor having won both So You Think You’re Funny in Edinburgh and the BBC New Comedy Awards. He has appeared on BBC One’s “Live at the Apollo”, BBC Two’s “Mock The Week”, Channel 4’s, “8 Out of 10 Cats Does Countdown”, “Channel 4’s Comedy Gala” and hosted “Bake Off: The Professionals”. His radio credits include BBC Radio 4’s “Just A Minute” and the Sony Award winning “Bleak Expectations”. He also records a popular weekly podcast “Like Minded Friends” with Suzi Ruffell. Tom Allen is playing at the world-famous London Palladium on 23rd November.

Tom will be joined by an almighty line up of incredible singers from the biggest West End shows. These include Moya Angela (Dreamgirls, America’s Got Talent); Michelle Antrobus (Chicago); Natasha Barnes (Funny Girl); Luke Baker (Everybody’s Talking About Jamie, Footloose); Laura Baldwin (Eugenius!); Matt Croke (Aladdin); Laura Emmitt (Wicked); Michelle Francis (School of Rock); Jordan Fox (Kinky Boots); Candace Furbert (Tina); Brennyn Lark (Dreamgirls); John McCrea (Everybody’s Talking About Jamie); Christina Modestou (Little Shop of Horrors); Cedric Neal (Motown The Musical); Jay Perry (Motown The Musical); Jon Robyns (Hamilton, Legally Blonde); Danielle Steers (Bat Out Of Hell); Anna Van Ruiten (Motown The Musical); Lucie Shorthouse (Everybody’s Talking About Jamie) and Anna Woodside (Carousel) with more to be announced in the coming weeks.

The event is based on the original concept ‘Broadway Bares’ by legendary Broadway and West End director and choreographer Jerry Mitchell to benefit Broadway Cares/Equity Fights Aids.

The Make A Difference Trust is a UK based charity with a vision of a world free from HIV and AIDS. Building on the legacy of 25 years of fundraising by the Theatre industry, they continue to make the vision a reality having distributed over £1.6million in grants to support individuals experiencing hardship across the UK as well as over £1million to support projects with their UK and international partners. For further information about the Make A Difference Trust please visit


Performance Times:
7pm and 9.30pm

Ticket Prices:
Stalls and Dress Circle: £80, £60, £35. £25
Upper Circle: £25

A £2 per ticket booking fee will be added.
A further £1.50 postage or box office collection delivery fee per booking, not per ticket, will also be added. No delivery fee for "print at home" ticket option.

VIP Tickets:
£120 VIP tickets are available directly from MAD Trust by calling 020 7231 9719 and include access to the pre-show drinks reception, VIP entrance to the theatre with a drink on arrival, £10 of MAD money, the best seats in the House for the legendary Rotation and access to the Exclusive After Party.

Box Office:
Online: or
By Phone: 020 7379 5399
In person: Shaftesbury Theatre, 210 Shaftesbury Avenue, London, WC2H 8DP.








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