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

SHAFTESBURY THEATRE


Click Here to buy the Original Broadway Cast CD

Click Here to buy the Hairspray Libretti book

Click Here to buy other Official Show Merchandise

HAIRSPRAY (musical)
Booking until 4th April 2009.

1962. "Good Morning Baltimore" sings Tracy Turnblad, a large girl with dance ambitions, heart and personality too. A minor TV appearance turns her into a star - but can she have life, love and beat the local TV Queen too?

Leanne Jones plays Tracy, Michael Ball stars as her mother Edna.

Michael Ball is scheduled to stay with the production until 25th October 2008. PLEASE NOTE that he will NOT perform at Monday Evening performances. He will also NOT appear at any performances on or between: Monday 30th June and Monday 7th July 2008 and Monday 15th September and Monday 22 September 2008.

Strobe lighting is used in this production.

Click here now to view video clips from this show.
 

 

Theatremonkey Opinion:

This review may refer to performers who have now left the cast.
Just to make it clear, Michael Ball IS in the show... but you may not quite recognise him! His costume, like this show, is just an amusing exterior hiding some serious commentary on race, size, age, beauty and celebrity. The monkey has never seen the film, and so can't make comparisons, but this is high energy, great fun and very well performed indeed.

Leanne Jones takes the lead with an exuberance that carries the evening. Not to be outdone, the Ball / Smith combination provide the maturity and character comedy timing needed to balance the show. Add Johnnie Fiori's performance and the pure excitement of a cast who really can dance up a storm and the result is a show that keeps the dull parts to a minimum.

There is more to this show than camp, laughs and glitz, and, rather like a strong production of "Cabaret" it is the sub-text that lifts it out of the ordinary. Not a run-of-the-mill spangled West End show, nor a fashionably dark "Rent" style whinge. It is a bit of modern yet classic Broadway showmanship, and we are lucky to see it in London.


 

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

The latest four reviews are below. For earlier ones, click here.

Some reviews may refer to performers who have now left the cast.
__________________________________________________________________________________________


Went to see Hairspray (for the third time) on 13th March 2008 and in my opinion this show just gets better and better! Our group had seats in the stalls, Rows C and D stage right, the legroom is fine in these rows and you do get a wonderful close-up view of all the action - an important point for our group being fans of Ben James-Ellis!!!

Despite already playing to a packed house at the earlier matinee the cast still gave 100%, singing and dancing as energetically as ever and showing no sign of any tiredness. Michael Ball is obviously having the time of his life as Edna and newcomers Leanne and Ben have really polished their performances over the past few months, what a terrific start to their careers. I think Ian Talbot as the new Wilbur is even better that Mel Smith, he's settled nicely into his role and portrays a really loving husband and father. The Edna/Wilbur duet You’re Timeless to Me was absolutely hilarious, poor Michael was almost crying with laughter as were the entire audience. What a show-stopper of a song!

From curtain-up to the standing ovation the atmosphere was electric and both cast and audience alike seemed to be having a absolute ball! This show deserves all the awards its getting and if you haven't been to see it yet don't hesitate any longer, book now and spend a really enjoyable few hours in 1962.

Carol
Plymouth
_____________________

I saw 'Hairspray' on Thursday 27th March 2008. It was an excellent show and well worth a watch. As a show it flows really well, and is really pacey. All the songs fit in nicely, and it is a perfect length. The production team have made the most of the script, and the whole production is a laugh-a-minute. The choreography really highlights the amusing parts of the script, and it just makes you grin from beginning to end.

A lot has been said of the performances, especially Leanne Jones as Tracey. We actually saw her understudy Charlotte Riby who was excellent. She was really enjoyable to watch and got the audience on her side straight away. She knew exactly what she was doing (surprising with the amount or rehearsals understudies get) and I wasn’t in ANY way disappointed to have missed Leanne Jones.

Most of the other performances are excellent. Michael Ball and Ian Talbot had great chemistry as a couple. They laughed a lot at each other throughout the end of “Baby Your Timeless To Me” which was hilarious. I have no idea if they had found something genuinely funny or were just doing it for the audience, but either way they elevated one of the more average songs to one of the best bits. Ian Talbot’s dancing was also worth my admission fee alone.

Rachael Wooding as Amber Von Tussle was also brilliant as she made a really silly part very funny but also mildly believable, whereas some of the other characters did slip slightly into pantomime at times (not that that really mattered!) If I were to have any criticisms, some of the male dancers weren’t brilliant (surprisingly), Johnnie Fiori as Motormouth Maybelle had a very tired voice and the ending of the first half was little scrappy, but this is being really picky and I loved it as a show.

A word of advice - I hardly ever book tickets in advance so my mum and I turned up at 5.30pm to the theatre box office. From what a friend had told me we were expecting it to be sold out and were banking on standing tickets, and indeed found that when we got there all but two single seated tickets had sold out. From what the staff were saying this is a pretty regular occurrence so if you want to guarantee a seat definitely pre-book.

We got two right sided standing tickets for £15 each. The only action I missed was a tiny bit of front stage right and standing wasn’t a problem, so for the money I would say they are really good value. However, this is because I was at the end of the standing balcony furthest from the stage, closest to the back of the auditorium. The further along you go the worse the view gets, until at the end you miss quite a lot of the action. The standing area is unallocated, so it pays to get there as soon as the auditorium opens to bag the best spot. Having had a quick look at the standing at the back this seems fine too, but the ceiling comes down very low making your view feel a bit squashed.

Hannah M
_______________________

I queued for day seats; I got there at about 8am and only two people were in front.. day seats are brilliant! O.K, it is very close to the stage - however me and my parents are not particularly tall people so we were fine. My dad was worried about getting leg cramps, but I was fine... the advantages of being short!! I knew it would come in handy some day!!

We had Charlotte on (Leanne's understudy), but she is amazing. I thought she was brilliant, so talented, great dancing and singing. I was disappointed to hear Leanne wasn't on, but I wasn't disappointed with the performance at all. There was a note to say that the role of Amber Von Tusle would be played by her understudy (Nicky Griffiths, not Rachael Wooding), and I was sad to hear this, but luckily Rachael came on stage - I was so happy about that.. she is brilliant in the role really Bitchy!!

Tracy Bennett as her mum is fabulous, Ben James Ellis as Link is amazing!! He is a fabulous dancer and has a great voice. Michael Ball is fantastic, so so funny!! He is amazing, and the star of the show in my eyes.

I highly highly recommend this show to everyone, it is such a good feel show, especially at the end when everyone gets up to dance.

I also went to the stage door and got Ben and Michael's autographs and a picture with Ben too!
_____________________________

I just left the Shaftesbury Theatre after the matinee (8th May 2008). "Hairspray" the show, is fantastic.
Cast is strong and Mr. Ball is great on his role.

I went to the box office this morning for a day seat (Thanks to Monkey tips and information about day seat tickets!). I was there at 9.30am, I was the 6th in the line. When the box office opened at 10 am there was around 15-16 people in the line. £25 is great value: sitting in front role BB17 is a "plus plus" enjoy!

I have been to 'Lord Of The Rings', 'Lion King,' 'Spamalot,' 'Avenue Q,' 'Les Miz,' 'Gone With The Wind' and 'Chicago,' and I will go to see 'Wicked' tomorrow night. For now, 'Hairspray' is the best show in town!

Phongpan P.
Visitor from Thailand


 

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
Thursday and Saturday at 3pm and 7.30pm

Runs 2 hours 40 minutes approximately.

 

Ticket Prices:  
View this information in diagram form

Until 25th October 2008:
All performances
Stalls
rows CC to T: £60 except "premium seats" (see below)
rows U to X: £50

Dress Circle
rows A to M: £60 except "premium seats" (see below)
row N: £50

Upper Circle
rows A to C: £40
rows D to F: £30
rows G to J: £20

Boxes £60 per seat.

"Premium Seats" are available, priced £75 each. These are usually located in the Dress Circle row D 13 to 18 and E 15 to18. Occasionally Stalls E 15 to 18 or other seats are substituted at box office discretion.

 

From 27th October 2008:
All performances EXCEPT Saturday 3pm and 7.30pm:
Stalls
rows CC to T: £60 except "premium seats" (see below)
rows U to X: £50

Dress Circle
rows A to M: £60 except "premium seats" (see below)
row N: £50

Upper Circle
rows A to C: £42.50
rows D to F: £32.50
rows G to J: £22.50

Boxes £60 per seat.

"Premium Seats" are available, priced £75 each. These are usually located in the Dress Circle row D 13 to 18 and E 15 to18. Occasionally Stalls E 15 to 18 or other seats are substituted at box office discretion.

 

Saturday 3pm and 7.30pm performances ONLY:
Stalls
rows CC to T: £62.50
rows U to X: £50

Dress Circle
rows A to M: £60
row N: £50

Upper Circle
rows A to C: £42.50
rows D to F: £32.50
rows G to J: £22.50

Boxes £62.50 per seat.

"Premium Seats" are available, priced £75 each. These are usually located in the Dress Circle row D 13 to 18 and E 15 to18. Occasionally Stalls E 15 to 18 or other seats are substituted at box office discretion.

 

"Day Seats": 16 tickets in row BB of the stalls go on sale at 10am on the day of performance to personal callers at the box office. Price £25 each. First come-first served, these are limited to 1 or 2 per person, and can be paid for in cash or by credit card. The monkey always advises taking both to be safe, in case one is preferred over the other, and also calling the theatre in advance to check that the "day seat" ticket policy is in operation. You pay for them and are given a receipt, then collect the actual tickets 30 minutes before the show. The actual card used / ID for those paying cash must be produced at time of collection. Occasionally extra seats become available, but usually the best chance of securing day seats is to arrive no later than 9am - 8am or earlier is often the time to aim for on busier days like weekends / school vacation / peak holiday season.

A reader who has seen the show twice says,
"I got there at 8:30am on a Wednesday morning (late February 2008) with one person in front of me and by 8:45 there were six people behind me and no one else joined the queue before the box office opened. We worked out that there was 3 tickets left after all of us purchased the tickets. If you were to do this I would not get there later than 8:30am as the earlier you get there the more central the seats will be."

 

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


Buying Tickets Through the Venue:

More Ticket Buying Options

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems.
Theatre Box Office:
Telephone: 020 7379 5399 or 0870 906 3829
Operated by Keith Prowse Ticketing Agency on behalf of the venue.
The 5399 number is sometimes picked up by the actual theatre box office staff during quieter daytime hours. 

Online: keithprowse.com provide the service for this theatre.

Other Online Booking Options: click here.
 

Booking fees per ticket for telephone and online bookings:
£2 per ticket. Pays for the mens' lipstick, thinks the monkey.

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 on 020 7379 5399 and enquire about concessionary prices that may be available to them. Ask to be transferred to the theatre box office if the Keith Prowse Ticketing agency answers. A reader noted in August 2007 a problem with Keith Prowse Ticketing doing this - the theatre are addressing the issue and say it will be resolved as soon as possible. At busy times Keith Prowse will take contact details and pass them to the theatre for the Shaftesbury staff to contact the person requiring disabled assistance.. See Notes.

 

More Ticket Buying Options: Using S.T.A.R. genuine ticket agencies.
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems.

When the theatre does not have the tickets you desire available, it is well worth trying the Theatremonkey Ticketshop agency, which offers £60 tickets with a £6 booking fee per seat (£6.25 on £62.50 seats) - moderate by agency standards, though higher than box office fees, worth trying as they often have an alternative choice of seats available! Simply select the show from the "drop down" menu in the centre of the page. Note that this system will confirm exact seat numbers prior to purchase.

"See" www.seetickets.com or call 0870 830 0200 offer £60 and £30 tickets with a £2 booking fee per seat plus a £1.65 per transaction, not per ticket, handling fee. Note that the tickets offered may differ between phone and online sources.

Encore Tickets offer £60 seats with a £15 booking fee per ticket (£62.50 seats with £15.50 fee, £32.50 with £8 fee, £30 seats with a £7.50 fee, £22.50 with £5.50 fee, £20 seats with a £5 fee) - plus optional UK postage of £1 per booking, not per ticket, available if time allows. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

Another alternative is via Ticketmaster. A booking fee of £3.60 per ticket applies on the £60 seats (£3.75 on £62.50, £3 on £50, £2 on £32.50 and £30 seats), and a £2.25 per booking, (not per ticket) service charge is ALSO MADE on the transaction. If you use the online method, be aware that the computer offers tickets at random. If you are unhappy with its choice, keep re-selecting using the "Back" button on your browser, NOT the "reselect button" on the page, until you get tickets you consider worthwhile. Note that the tickets offered may differ between phone and online sources.

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

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

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

Seating Plan Diagram

Stalls Dress Circle Upper Circle Notes
STALLS 
The Dress Circle overhangs the stalls at row H, The overhang progressively reduces the view in the rear stalls from row P back.

The stalls are divided into front and rear sections by an aisle in front of row M.

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

Normally, the first and last three seats in rows CC to E (first and last two in BB) should be avoided as the viewing angle offers poor value for money. Rows BB to E are also not raked and have less legroom than the rest of the stalls. On the plus side, the cramped conditions here make for an audience feeling very close and connected with the stage action. 

Do note that for any musical the conductor of the orchestra may be in view from central aisle seats if the orchestra pit is in use (row BB 18 and 19 are removed to allow for this), also that high stages and being at the front may mean footwork or flooring missed for choreography and carpet fans respectively.

A reader endorses this, saying,
"I took row BB seats 20 and 21 on the left of the stage. I was surprised to see how close row BB is to the stage and absolutely no legroom at all - and I am not a large person. I don’t think I will be buying those seats too often. Think I would prefer to save and buy a full price ticket with a better view. It is far too close for this type of show."

Regular reader Zena also complained of feeling squashed, without any legroom, in the front row too, while another comments,
"Day seats are brilliant! O.K, it is very close to the stage - however me and my parents are not particularly tall people so we were fine. My dad was worried about getting leg cramps, but I was fine... the advantages of being short!!"

On the other hand, another reports that at the centre of the row,
"BB16 and 17 - Amazing Seats. Only thing I would complain about would be that the actors sometimes looked a bit too far into the audience and so all we could see at certain points was the bottom of the face. Legroom was fine - Don't see why people say it is all that bad. I'm 6ft 1 and was comfortable enough."

Reader Phongpan P, a visitor from Thailand, says,
"£25 is great value: sitting in front role BB17 is a "plus plus" enjoy!"


Another reader gives further information,
"The first time I saw it I sat in M19 to 21 which offered a great view and enough leg room to swing a cat as it has the aisle in front. I paid £60 plus booking fee BUT the second time I paid £25 as I went for a day seat. IF YOU ARE A HAIRSPRAY FAN SIT HERE, BUT IT DOES NOT OFFER THE SAME VIEW AS THE EXPENSIVE SEATS BEHIND AS THE ACTORS FEET AND SHINS ARE CUT OFF FROM THE VIEW. As a Hairspray fan (knowing all the words, I sat there singing the whole score) these seats are amazing and a great bargain. You are less than 1 metre from the stage and for about the first 10 minutes you worry about the cast falling on you. I sat in BB 20 and 21 which offered adequate legroom (I’m 6”1 and had no problems). Choose stage left (BB20 to 27) over stage right if leg room is a problem."

The monkey notes the contradiction between the two reports of BB20 and 21 and puts it down to leg-length as much as anything else.

Another reader agrees, with the comment that shows are often best enjoyed further back, and not from row A or B. Reader Chris adds,
"The Stalls front row for "Daddy Cool" was Row A and the legroom for it is abysmal and something should be done about it."

Row BB is the front row for "Hairspray" (October 2007). It is being sold as "Day Seats" at greatly reduced price... and the monkey is keen if legroom isn't an issue, taking the end seats last, though. Legroom lovers will want to skip these, though.

Behind it row CC at top price, the monkey feels, tending towards expensive unless you are a fan wishing to be as close to the stage as possible (hello from the monkey to all MB devotees - hope you enjoy the show!).

One Ball devotee writes,
"Row CC is much better than BB - still don’t think they are worth £60 though - think £45 would be a fair price. I sat in CC16: good central view, although you cannot see the feet. You have to look up, but not at as bad an angle as row BB, so enjoyed the show a lot more than when I sat in that row. I would choose these seats above seats further back than row F as I personally do not like to be too far back."

A reader in row A says,
"The legroom wasn't as bad as we feared it might have been and if you're fans of any particular cast member then seats this close to the stage certainly provides a good close-up view - you almost feel like you're on the stage with them."

In row C, reader Carol reports,
"Rows C and D stage right, the legroom is fine in these rows and you do get a wonderful close-up view of all the action."

"Premium Seats:" Occasionally Stalls E 15 to 18 or other seats are labelled thus; considered best in the theatre and costing a little more. Your choice, feels the monkey.

Rows F to L offer the best views in the section. Take seats 11 to 26 first in these rows, centre aisle seats 18 and 19 maximise comfort and view. Avoid the ends of the row.

Reader Avril says for "Hairspray" (October 2007),
"We had seats F25 and 26 in the stalls – excellent view and good legroom once the person in front has sat down. "

Behind that, a reader says,
"seats G29 and G30, marked as red on theatremonkey plan but I would disagree, very good seats with a good rake. Close enough to see actors faces clearly but not too close as this show does tend to 'jump out' at you."

The monkey wasn't keen on these as it preferred something more central, but the reader makes a good point indeed about the closeness to the stage!

Another "Hairspray" fan reports,
"We had prime 'green' monkey seats - Row J, Stalls, off the centre aisle but I wouldn't have minded being a way back. It does tend to 'come at you'. You probably want to see this show from the Dress Circle - unless you like being part of the 'business' (if you're serious get the first row on the right of the auditorium, I'll say no more)."

Brian McKinney notes that:
"Paying top price for L1 with its restricted view of the stage is a crime. Huge speaker obscured vision from that seat for the show I saw in 2004.  You're so far to the right, you don't have to stand to let others pass by on their way into the row."

Reader Paul West writes of the same row,
"The seats we had were in the stalls, L 17 and 18. Great view, the rake of the theatre is quite steep for stalls, and an aisle seat which is good for me. However, at 6' 6", the legroom was absolutely non-existent. It's a good job that one side of me was an aisle and the other side was my wife because we had to get very close!!!! I would recommend these seats wholeheartedly if you are average size, but if not I would suggest going for row M behind which has much more legroom. The main advantage for me in L is there is no one sat behind, and I didn't notice too much because the show was such fun."


Reader Sherrie writes,
"We sat in row G in seats 23 and 24, we had a very good view of the stage from these seats, leg room was OK for me as I'm only 5ft 4 but my husband who is 6ft was a little lacking in leg room."

Monkey regular seat connoisseur James says,
"Sat in Stalls J17 and J18 for "Hairspray". Excellent seats - fantastic view, close enough to see facial expressions and the sound was great too. Plus there was no-one directly in front which always helps a shorter person!"

The rear section is split into a central and two side blocks by aisles. The whole of row M offers extra legroom due to the aisle in front of it. 

Reader Jamie Coniam endorses this:
"We sat in row M seats 9 and 10, we had a great view and loved the fact that row M is a walkway so our legs were outstretched throughout the show. Lovely."

Another row M lover says,
"M 21 to 26 – great seats as there is an aisle in front of the entire row so plenty of leg room and a great view too – get these if you can..."

Endorsed by someone else too,
"I sat in M19 to 21 which offered a great view and enough leg room to swing a cat as it has the aisle in front."

Row M seats 9 to 28 should be taken before the front block by those over six feet tall. For everyone else rows M to O seats 9 to 28 are on par for value with the front stalls. Row P back is poor value.

A reader says of row M,
"We had really great seats in row M9 and 10 of the stalls, lots of leg room as this is the aisle between the front and back of stalls and a good clear view of the whole stage."

Behind that, another reader comments,
"We had seats N26 and N27 in the Stalls and had no complaints at all. We had perfect sightlines, though we were just on the edge of the proscenium."

Row P back begins to feel far from the stage and the low Dress Circle above affects the view of the top of it.

In row T for "Hairspray" a reader says,
"T 3 to 12. Great rake means visibility was good. One of the lights hanging from the Dress Circle obscured a tiny bit of the stage but not a problem!"

Rows U to X are slightly overpriced in this monkey's opinion at second price. In these rows the trade off is distance from the stage and view, against extra legroom when compared to cheaper Upper Circle seats. Theatremonkey likes his comfort and chooses rear stalls, but grumbles about the extra expense. 

Row U seats 13 to 18 should normally be avoided due to the sound desk positioned directly behind them, creating noisy distraction for purists.

A reader says of the standing spaces at this theatre,
"We got two right sided standing tickets for £15 each. The only action I missed was a tiny bit of front stage right and standing wasn’t a problem, so for the money I would say they are really good value. However, this is because I was at the end of the standing balcony furthest from the stage, closest to the back of the auditorium. The further along you go the worse the view gets, until at the end you miss quite a lot of the action. The standing area is unallocated, so it pays to get there as soon as the auditorium opens to bag the best spot. Having had a quick look at the standing at the back this seems fine too, but the ceiling comes down very low making your view feel a bit squashed."

Legroom is cramped in rows BB to E (very, in most of BB), acceptable for all but the tall (over about 5ft 10) in rows F to X, excellent in row M. Reader Paul West confirms this,
"L 17 and 18 - at 6' 6", the legroom was absolutely non-existent... I would suggest going for row M behind which has much more legroom."

 

 

DRESS CIRCLE 
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.

A bar runs across the front of the circle affecting the view in row A - especially for the shorter monkey, who has to sit "bolt upright" to see over it. Safety bars at the edges of the circle restrict the view in rows A and B seats 4, 5, 32 and 33. 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. See notes.

The circle is split into two blocks by a central aisle. It has a shallow rake which makes seats in row F back feel a long way from the stage.

A reader comments of row A for "Hairspray" (October 2007),
"We sat row A of the Royal Circle 21, 22, 23 and 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."

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.

"Premium Seats" usually row D 13 to 18 and E 15 to18, are considered best in the theatre and cost a little more. Your choice, feels the monkey...

Reader Frances reports,
"We had good seats, not much leg room but that was to be expected really - Row E, seats 19 to 22, great view of the whole stage."

Reader Ali P says,
"Royal Circle H7 and H8: Our seats provided a good view of the whole stage and the over hang 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."

Row M and the alcove bound row N should also be shunned in favour of boxes or for the same price, rear stalls seats. 

A reader says for "Hairspray,"
"got offered row M of Royal Circle (usually £60) for £25 each at a preview in October 2007. Great seats, perfect view, O.K. 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 never the less you see everything."

another reader on the extreme end of the row agrees, and warns,
"We sat in row M seats 3 and 4 and 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."

The monkey wouldn't mind those seats re-priced a bit either.

 

Legroom is poor in row A and cramped in all other rows. Best comfort with a view is in rows B to M seats 18 and 19 either side of the centre aisle, allowing one leg some stretching.

 

Dress Circle Boxes
A, B, E and F are between the stage and Dress Circle at Dress Circle level. A and E can take a wheelchair each. See notes. 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. Boxes A and E are not sold for "Hairspray." A and B have 3 seats each, E and F have two.

 

 

UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.

This is moderately high above the stage.

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 may notice things a bit too - purists beware. C 13, 14, 24 and 25 were least affected, the monkey felt.

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

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.

Officially, row A has "restricted views" - the monkey didn't notice a particular problem, though.

At third price row B is fairest value, though you could save £5 and sit two rows behind, still getting a similar view. At bottom price consider taking the front row(s) of the stalls first at the same price if neck-ache isn't a worry to you. Alternatively, take the sides of Upper Circle row G if lighting is replacing central seats (see below); otherwise take central seats in this row. 

In row D, a reader says for "Hairspray" (November 2007),
"Sat in seats D22 and D23. 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!"
 

Reader David comments of row J:
"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 J6 - fourth seat 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."

Row D back does feel a way from the stage, and the shallow rake enhances this feeling. Currently, row D and E's price policy compensates well for this.

Note that rows H and J seats 14 to 24 are often replaced by lighting positions, monkey advice is to skip row F 14 to 24 if that kind of issue bothers you!

Legroom is poor in all seats for the taller person, worst in row A. Rows B to J seats 13 and 14, and rows A to G seats 24 and 25 are on the centre aisles, offering better views and leg space for one leg to stretch into - though with a bar to look through, so take your pick!

 

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

 

 

Notes
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.

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 www.artslineonline.com, or Artsline 020 7388 2227, email artsline@dircon.co.uk

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,
"Stage Dooring – The young people crowed the stage door while the older generation stand on the other side of the road waiting for “THE BALL”. All the cast are really friendly and willing to sign autographs and pose for pictures. Most of them also like a bit of a chat as well."

 

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

Plan your tube route to this station by using the button below:

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

Plan your tube route to Holborn station by using the button below:

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.

 

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

 

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

 

 

 

 

 

 

 

 

 

 

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