48, Aldwych, London WC2B 4DF 0845 200 7981
The site allows you to select your own seats from all those available.
Booking fees per ticket:
No fee for "printing at home" ticket option. Otherwise, a £2.50 "per transaction" (not per ticket) postage or "box office collection" fee is added to all bookings for tickets at all prices. The same as by phone.
Other Online Choices (with genuine S.T.A.R ticket agencies):
Ticket agencies offer an alternative way to buy tickets, with booking fees differing from those charged by the theatre box office itself. They may have seats available or special offers when theatres do not.
Ticket agency prices vary in response to theatres implementing “dynamic pricing” - which alters prices according to demand for a particular performance. Prices stated here were compiled as booking originally opened, current prices are advised at time of enquiry.
When the box office does not have what you require, the Theatremonkey Ticketshop, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), charge £18 on £79.50 (£29 on £129.50, £22.40 on £99.50, £13.10 on £61.50, £11.90 on £51.50, £8.70 on £37, £5.80 on £21 seats Monday to Thursday / £23.40 on £159.50, £23.90 on £92.50, £15.80 on £69.50, £14.60 on £59.50, £9.10 on £39, £5.70 on £23.50 seats Friday and Saturday). Slightly higher than the box office, but lower than most agencies. Worth checking if the box office cannot provide the exact tickets you might require. 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.
www.seetickets.com charge £15.90 on £79.50 (£25.90 on £129.50, £12.30 on £61.50, £10.30 on £51.50, £7.40 on £37, £4.30 on £21 seats Monday to Thursday / £31.90 on £159.50, £18.50 on £92.50, £13.90 on £69.50, £11.90 on £59.50, £7.80 on £39, £4.70 on £23.50 seats Friday and Saturday), plus an extra £2.75 per booking (not per ticket) to cover postage.
www.ticketmaster.co.uk offer seats with a £15.50 on £79.50 (£25.25 on £129.50, £21.50 on £104.50, £19.50 on £99.50, £12 on £61.50, £10.25 on £51.50, £7.75 on £37 seats Monday to Thursday / £31.25 on £159.50, £18.25 on £92.50, £13.75 on £69.50, £11.75 on £59.50, £7.75 on £39 seats Friday and Saturday).
Encore Tickets telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) charge £15.50 on £79.50 (£25.50 on £129.50, £19.50 on £99.50, £12.50 on £61.50, £10.50 on £51.50, £8 on £37, £5 on £21 seats Monday to Thursday / £30.50 on £159.50, £18.50 on £92.50, £13.50 on £69.50, £11.50 on £59.50, £8 on £39 seats Friday and Saturday) per ticket. 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. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.
Londontheatredirect.com charge £16 on £79.50 (£26 on £129.50, £12.25 on £61.50, £10.25 on £51.50, £7.50 on £37, £4.25 on £2, £2 on £10 seats Monday to Thursday / £32 on £159.50, £18.50 on £92.50, £13.50 on £69.50, £12 on £59.50, £7.75 on £39, £4.75 on £23.50 seats Friday and Saturday). 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.
Telephone: 0345 200 7981
Operated by The Ticket Factory Agency on behalf of the venue.
Booking fees per ticket for telephone bookings:
No fee for "printing at home" ticket option. Otherwise, a £2.50 "per transaction" (not per ticket) postage or "box office collection" fee is added to all bookings for tickets at all prices. The same as online.
For personal callers or by post:
Aldwych, London. WC2B 4DF
No booking fee for personal callers. Note that the theatre release any extra tickets they have for the show at noon on the day of performance.
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 020 7836 5537.
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.
Seats run across the entire width of the theatre until row H. Row HH exists in the centre of the auditorium, with further rows in the central block continuing behind it. Two aisles split the rest of the seats at the back of the theatre into three sections.
The Dress Circle overhangs the stalls at row H. The top of the stage is not visible from row L back.
The front two rows are designated AY and AZ, before the third is designated A. This means the unwary will be seated three rows further back from the stage than the traditional alphabetical order might suggest.
The rake (sloped floor to help see over rows in front) begins at around row B and is noticeable all the way back in the auditorium.
Legroom throughout the stalls is acceptable for most - only a 6ft tall reader found it a little less, best in AY, A1, C1, 2, 20 and 21 and J1 to 5 and 19 to 23, all of which have nothing in front of them. A16 also has 95% clear legroom, and L 1 and 25 around 80% clear of anything in front.
Z 3 and 4 have a bit less as the row curves to meet seats in front.
Seats in rows AY to H are all fine - shorter folk may wish to avoid the very front row if the stage is high, though. Row AY 3 to 12 also gets more legroom as the row curves - though AY 14 notably gets less.
The rake from row B to H ensures particularly good views from these rows - sitting in the central seats of these rows ensures maximum value for money.
If central seats are at "premium" price, the monkey would skip them - view-identical seats are available nearby at a far lower cost.
Rows HH to Z are in the rear half of the stalls. The central block is acceptable if one can live with the very low ceiling and missing top half of the stage - though the monkey doesn't feel anyone will be totally unimpressed sitting here as only any action at the very top of the stage might be missed.
A price drop around row Q or R makes these first pick over a more expensive row in front. Rows T to X may be cheaper still. The monkey would take T over dress circle L at the same price for both comfort and view. Same price Upper Circle seats might edge them for view value though, if legroom isn't an issue, feels the monkey.
The side blocks of rows J to X feel like satellite colonies for some reason, and the odd viewing angle is mildly irritating. For most productions, monkey feeling is that the extreme ends (first and last 3 seats in row J back) are the third choice of ticket, as there are more central seats for the same price, and the overhang is most noticed here. Lighting may also be hanging in view from the circle above.
Row Z in particular is worth a look, as it is against the back wall of the theatre, and positioned so that seat 2 has a view straight down the aisle in front, 3 is nearly as good and so is 1 - provided you realise 1 has been angled oddly so you have to sit slightly round in your seat to see straight down the aisle. 4 has less legroom and is behind another seat, but still decent.
The circle overhang is noticeable from row L back. For productions with a lot happening at a high level, the view gets so poor that producers have been known to curtain off the rear rows to prevent embarrassment!
Speakers fixed to the walls of boxes either side of the stage may cut views from end seats.
When a sound desk is positioned in the centre of the back rows of rear stalls, there are five seats either side (3 on one side of row Y). The monkey is didn't think any of these were particularly awful - purists might want to avoid T 12 to 18 if they don't want anybody shuffling around above and behind them, perhaps.
The front row is AY. Second price Monday to Thursday, so a bargain. Friday and Saturday top price, so a couple of rows back may be more comfortable for some. Everyone else gets unlimited legroom and a stage at a reasonable height. It is above head height to 5ft 9 or so, but looking up misses nothing. Those who like to see dancing feet may wish to sit around 4 rows back at least, though, the monkey feels.
Short rows with staircases beside them give extra legroom to some seats. AZ 1 is 99% clear in front, AZ14: 90%, A1: 90%, A16: 100%, B 1: 80%, B17: 80%, C1: 100%, C2: 90%, C20: 90%, C21: 100%.
Monday Evening and Thursday Evening:
Central C to K, plus sides J are "premium" seats (central D and E "super super premium," with "sub premium" around them). Go top non-premium B to AZ, feels the monkey, then L back to P. Q back at top non-premium price isn't worth it, take cheaper AY then U or sides from Q back if claustrophobia isn't an issue.
Tuesday Evening, Wednesday Evening and Thursday Afternoon:
Premium seats are confined to the centre of D to F and are not that expensive if you fancy them. Otherwise, go AZ to H, however close or far you like. At second price either take AY or side block P before central Q. Take U over T - same view, cheaper.
Friday and Saturday:
Most of the stalls back to O (N at the sides) is premium. Take AY and AZ instead, and if you must go premium then no further back than H - taking the outer bits to avoid the really expensive centre. Skip Q to T, take U if you want to sit downstairs for less.
On all dates:
Be aware that from row T back you won't see the top of the stage. More comfortable than upper circle seats at the same price, but perhaps the view is better in the dress circle seats for the same money. If over 5ft 9, go for stalls, shorter, the dress circle has the view, the monkey feels. Take X over U for the same view at less cash.
Row Z - seats 1 to 3 in particular, are always a bargain, even at third price. SPOILER ALERT Those in this row also get a "Private Dancers" moment near the end that is rather special. SPOILER ENDS.
For this show, the only moments lost to overhang are a tree at the start (just the top of it, nothing to see), about 3 minutes of someone talking in a sound booth (stoop and you can see it) and 1 verse of a song near the end. Really, nothing to worry about, feels the monkey.
Seats U 12 and 16, X 5 and 12 and Y 9 and 16 are beside sound desk, T 13 to 16 in front. Only Y16 is really average, the rest are just for purists to miss, perhaps.
"AY5: "Beautiful" (March 2015). Ooodles of leg room in this seat, but don't put your bags in front of your feet as the theatre staff don't take kindly to it. Being the front row there is some degree of looking up but this is not uncomfortable. The only restriction is you might not always see the casts feet, If there were massive chorus numbers it might be a problem. But this musical is all about the songs and the songwriting. At times the view of the cast was restricted by the piano on stage, but this would be an issue in other seats as well."
"AY 5 and 6: "Stephen Ward" (December 2013). Be prepared for a little neck ache from Row AY but you don't miss anything.
We recommend AY 7-12 over 1-6 simply because the drums in the pit on the 1-6 side are loud enough to overwhelm the vocals from time to time."
"AY 9 and 10: "Tina: The Tina Turner Musical" (April 2018). We went the weekend before official opening night so still in preview which meant the tickets were a little cheaper. Booked stalls AY9/AY10 which was front row and I think was held back then released a bit later. By then it was mostly sold out for first few months so this seemed a good option. Very very close to the action! The stage floor was just below eye level, and there was lots of leg room - we had a perfect view for 90% of the show. Only discomfort was when the very front edge of the stage was used (when the microphone stand raises up through the stage floor) we were literally a couple of feet away from either Ike or Tina's feet! A little uncomfortable as to avoid feeling as though I'd be accused of looking up Adrienne's (usually very short) skirt, it was necessary to tip heads right back to look at faces. Otherwise a great spot and a brilliant show."
"AY14,15 and16: "Beautiful" (March 2015). Front row, but loads of leg room - and relatively low stage and orchestra pit giving extra distance allows for great view. Scenes with upright piano you miss a bit, but only couple of minutes. For stagey fans - also a great view of what's going on off stage in the wings."
"Row AZ": "Top Hat" (May 2012). We were sitting in the second row of the stalls - fabulous seats, we could almost touch the cast."
"AZ3 and AZ4: "Beautiful" (March 2017). The view was excellent although you couldn't quite see the floor of the stage, but the legroom was very poor. It was quite difficult to even stick your feet underneath the seat in front. We did notice, though, that folk who sat in the middle of the front row, AY, had excellent leg room."
"AZ 14: "Stephen Ward" (December 2013). There was plenty of leg room but to be honest would recommend sitting further back as the music sometimes drowned out the singing and it was difficult to read the projections on the curtains."
"A5: "Dirty Dancing." view was really good. The rake was great so I could see the stage clearly and I saw everything."
"B3 and B4: "Top Hat" (May 2012). Brilliant seats, couldn't have asked for a better view. Also had plenty of legroom. Had a wander round during the break and thought most of the stalls seats looked pretty good. However, I note Monkey shows X6, X12, U12 and U18 round the sound box as white on the seating plan, I feel they should be red, as Monkey notes there are restricted views and I think sitting right next to the wall wouldn't be very comfortable." (Tested by the monkey, and it maintains they are excellent value as they are very cheap with a good view)."
"C1 and 2: "Beautiful" (March 2017), (Michelle). Couldn't of asked for better seats. Unlimited legroom and perfect view of everything that happens in this amazing show."
"C 7 and 8: "Dirty Dancing." Although I could see the stage well I would say that it was a little to close to the action and would have preferred to be further back, certainly not any closer as I had to move my head from side to side to see all the action. However, the theatre is quite small so it did feel quite intimate and allowed the audience to feel like part of the action."
"C 9 and 10. "Beautiful" (March 2015). Fifth row back but perhaps a little close to the stage. Ample legroom and the seats were very comfortable. Fairly shallow rake and although In theory we should have been able to see everything in my case I must have had one of the tallest people in attendance directly in front of my seat !! Fortunately the seats are slightly staggered so I was able to see most of the action. Just one of the hazards for the theatregoer I’m afraid…."
"D14: "Tina, The Tina Turner Musical" (April 2018). Picked up single day of show from box office for £70. Perfect view. Perfect sound. Perfect seat."
"E5: "Beautiful" (March 2015), (Mark). I was upgraded from £15 row Z when I arrived to this seat thanks to the kind box office staff. This was the perfect place to see the show from, lovely clear view and just the right distance from the stage."
"E9: "Beautiful" (March 2015). A pretty decent seat, but the sound system seemed out of balance."
"E20: "Stephen Ward" (January 2014). This was an excellent seat. There was no one in E21 onwards so I had plenty of room to spread out. Excellent sightlines and good legroom. Being slightly off centre I did see a bit more of Ms Spencer than I expected at certain parts of the performance!"
"F1 and 2: "Beautiful" (March 2016). Seat F1 is directly behind seat E1. The rake here is truly awful - even my wife mentioned this - if you have a tall person in front (as I did), you'll have trouble looking over them; but you can lean to the right to see around them! Seat F1 is very slightly outside the proscenium arch, so you miss a sliver of what is happening stage right as you look at the stage - although in this production I don't think you are missing much. Was great being close to the stage, although they aren't the most comfortable of seats I have been in - I couldn't complain for the price I paid. Seat F2 looked more offset from the row in front, and as the wife didn't have a tall person in front, she had a better view.
It was surprising how many stairs you had to go down to get to the stalls. It was also a bit of a pain getting out, as they do not appear to let you out the way you came in so you either have to go out at the back of the stalls or right over to the other side of the theatre."
"F17 and 18: "Top Hat" (May 2012), (Frank): Paid £35 per ticket under the GILT scheme, which was very good value. Unfortunately, the seating arrangement isn't the best for a theatre, as the rake is too shallow and seats barely offset. Fortunately the people in the rows in front of us weren't very tall, but even so our view was affected at times because of the above. This was more noticeable in some scenes where the characters were seated on either side of the stage; tap-dancing enthusiasts may be slightly disappointed that sometimes the main characters' feet are obscured by audience heads, as at times they tend to dance towards the front of the stage. There is, however, a lot of movement across the stage by the whole cast, and, therefore, this didn't detract too much from our enjoyment. Choose your seats carefully, but go and enjoy!!"
"F 24: "Stephen Ward" (January 2014), (John from the USA). Perfect view, but found the seat uncomfortable. Fortunately the seat next to me was empty, so I had a little more room."
"H4: "Top Hat" (May 2012). Was OK, but the seat was rather low (a complaint also made by the woman next to me) and there are nasty metal struts towards the front of the seat which dig into one’s hips, well they dug into mine, anyway!"
"H 4, 5 and 6: "Tina, The Tina Turner Musical" (April 2018). To the right of the stage. As most the action was played centre stage none of us felt this was an issue and would happily sit here again."
“H7 and 8: “Cool Hand Luke,” (Chris B). Good seats, nicely placed about halfway back in the stalls, offer a good clear view of the stage and are close enough to feel fully immersed in the show. There is more than ample legroom which is always a bonus. This is a nice place to sit in the stalls.”
H11: "Top Hat" (May 2012). Went to the theatre box office about on and a half hours before the evening show! Got offered premium seats in Row H for £32.50 instead of the £85 normally! Was very pleased with this! I sat in seat 11! Excellent central seat! Great view you could see everything here! Legroom I've never had so much ever! Very spacious! I see why they cost do much! But you can get a bargain at the box office!"... if you are VERY lucky on a quiet night (this was during the London early August events in 2012, notes the monkey. Worth knowing, though, as it can happen any time...).
"J3: "Tina, The Tina Turner Musical" (April 2018). singles D14 and J3 for £70 each. I sat in J3. It didn't feel far from the stage. I had a nice clear view. Big bonus was the ability to stretch legs out. I'm not tall, but taller people would appreciate. However, it did mean some latecomers crossed in front."
"J 4 and 5: "Cool Hand Luke" (September 2011). J plenty of legroom, a little tight in the seat, but we're big people. All you stick insects will probably be fine. Very good view of the stage."
"J6 and 7: "A Round-Heeled Woman" (November 2011). I'm 6ft tall and would've been uncomfortable in seat J7 due to the limited leg room but luckily J6 is an aisle seat and so I could stretch my right leg out for comfort. The row in front is HH - and is not well staggered in my opinion, with the seats almost lining up with the seats in row J making it difficult to see past the heads in front (it doesn't help that there appears to be very little rake between these two rows either). Having said all that, when the people in HH1 and HH2 slouched a bit or leaned to one side we had a near perfect view of the stage."
""J18: "Beautiful" (October 2016). For the access rate of £36.75. For the second half I moved to J18 from M15. This was slightly further to the left of the stage. View was still very good but I found leg room a bit tight there so wouldn't advise sitting there if tall."
"K7 and 8: "Cool Hand Luke" (September 2011). We had a great view of the entire stage and didn't feel the ceiling above intrude at any point. I'm 6ft tall and felt legroom was slightly uncomfortable for me and could almost feel a cramp developing by the end of the show (luckily my small friend didn't mind me intruding in on her space a little with my legs. She found her seat (K8) to be a tiny bit uncomfortable to sit in (not soft enough she said) but nothing major."
"K16, 17 and 18: "Top Hat" (May 2012). Paid full price. Very pleased with the seats. The layout of the stalls at this point means that the seats are on an end (of the central block) but almost central to the stage, with a good rake and the overall view was excellent. The overhang of the Circle doesn't come into view at all and legroom I'd say was acceptable for my height but possibly not for anyone taller or with longer legs. Only minor drawback was that the seats themselves were a bit uncomfortable, but overall I'd be happy to recommend these seats."
"L20 and 21: "Stephen Ward" (December 2013). I would agree that the angle is slightly odd and we did feel off-centre. The only noticeable impact that this had was on the projections that were sometimes difficult to read when projected against the curtain. Other than this I was delighted with the view, though the seats were much narrower than in Drury Lane and you did feel a bit more restricted leg wise. I once more sat in the aisle seat so I was lucky enough to have more leg room. We were very lucky that no on sat in front of us."
"M15: "Beautiful" (October 2016). For the access rate of £36.75, this seat is under the overhang of the theatre however nothing is missed and there is a good view of the stage with excellent leg room. For the second half I moved to Stalls J 18."
"N9: "Tina, The Tina Turner Musical" (April 2018). There was just one downside to the evening. Seat N9 is a good seat, reasonably central, and not too far back in the auditorium. Leg room was fine. Unfortunately I had rather a large gentleman sitting in front of me which rather spoiled the view especially as he sat bolt upright throughout most of the show. I think I was just unlucky on the evening as I consider N9 to be a decent seat despite being a few rows further back than I usually like. Actually I can't really complain as we got our seats at a discount!"
"Q21: "Wolf Hall / Bring Up the Bodies" (June 2014). Overhang of circle cuts off the view of the top of the stage quite drastically but since very little usually happens way up there, definitely worth the money at second price. I’m a glasses wearer who often struggles to see facial expressions if I’m more than about 12 rows from the stage, but this wasn’t a problem here."
Boxes C and F are really just raised bits of floor in alcoves to the sides of the stage, below stage level and a few inches above stalls floor level.
Normal chairs provide excellent legroom.
A very average view of about two thirds of the stage, looking upwards at it. More comfortable than other seats at the same price in the upper circle, and if you feel that lurking in a corner of the front stalls is for you, it's not a bad choice.
Two thirds or more of the stage is lost.
Not in use.
The Upper Circle overhangs the Dress Circle at row B.
Single block of seats facing the stage, rising in steps.
Slip seats extend from the front of the circle down the sides towards the stage, in front of the boxes.
Legroom throughout the circle is average, better in rows back to E, slightly more in the last two seats at the ends of row B to M, and maybe a tad less in central L and M. Acceptable to most up to around 5ft 9 in rows B to M, the monkey felt.
Row A has less legroom due to a wall rather than seats being in front - over 5ft 6 or so may find it a struggle here. Slip seats 3, 5, 29 and 31 have least of all with the wall curving inwards, 1 and 33 have more as it curves out there. Around 5ft 5 and you'll be comfortable in 3, 4, 29 and 31, perhaps an inch or two taller at most in the other slip seats, it feels.
The circle seems close to the stage creating an intimate atmosphere. No rail blocks the view (though there are short ones at the end of the aisles) and only rows J back feel a way from the stage.
The rake (way seats are arranged on steps to help see over rows in front) is steep, allowing a good view of the stage until row E. After this point the low circle above begins to restrict views of the top of the stage.
The monkey is inclined to skip row M in particular at second price as it seems a bit overpriced.
At the sides of the Circle, row A slip seats 1 to 6 and 28 to 33 offer a close up view of the stage with only a shallow triangle of the nearest side not visible; unless willing to lean. Only problem is, if others follow suit, you see less - take seats 1 and 33 first. Aside from that, not bad at third price or less, feels the monkey, who only keeps them "red" as leaners could be a real issue.
Seats C1 and C25 can be removed to provide a large wheelchair space, and transfer to C1, 2, 24 and 25 is possible. The customer gets a fairly good view, though a rail is slightly in view if the chair is beside C1 or 25. When wheelchairs are not present in front of them, those in D1 and 26 have nothing in front but a low loop of safety rail, allowing extra legroom and unobstructed views.
Clamps holding the lighting rail in place are in front of some row A seats, with masses of lighting dangling from the circle front too. These do not affect the view significantly.
Aisle end rails - pedants might want to sit one seat off the aisle in row A to avoid them.
Monday Evening and Thursday Evening:
Most central seats in A to C are "premium price." The monkey would skip them - view-identical seats are available nearby at a far lower cost. Go for central row D first.
Price drop at row H (take it before G, same view, cheaper), and another drop puts row L at third price - upper circle row D for the same money sees more, feels the monkey. Still, take them over same priced slip seats for comfort alone (see below).
Tuesday Evening, Wednesday Evening, Thursday Afternoon:
Only central seats in A and B are "premium price." The monkey would skip them - view-identical seats are available nearby at a far lower cost. Go for the ones beside the premium ones on B, or central rows C and D first.
Price drop again at row G, good value, take them before F for the same view, cheaper. Another drop puts row L at third price - upper circle for the same money sees more, feels the monkey, and D is more comfortable, but L is decent value and also again beat same priced slip seats for comfort alone (see below).
Friday and Saturday:
Most of A to D are at "premium" prices. The monkey would skip them - view-identical seats are available nearby at a far lower cost. Ignore the cheaper singles on the ends of A, maybe take those on B, or just go central E.
Rows L and M are well discounted at second price. Picking between these or stalls row U back at weekends, stalls are a bit closer to the action - but if shorter than 5ft 6 or so, the height of the circle may help. If over 5ft 9 take stalls, otherwise these are first pick, with upper circle seats at the same price a final choice.
At all performances:
Slip seats are on sale, but cramped. There is more legroom in row D upper circle, for the same cash. On the other hand, the shortest will get a fair view from here for the money... but even they may well be rubbing legs by the interval...
"A7: "Tina: The Tina Turner Musical" (April 2018). Seats A7 to 10 in the dress circle showed up as being available. I chose A7 - classed as restricted view due to the rail, but £30 cheaper than the premium seat next to it. I would say it was worth saving the money - there was a vertical bar down the middle of my field of vision, but easily avoidable. I stopped noticing after a while. The horizontal bar was a little more intrusive but someone shorter wouldn’t have it as a problem. Overall, the view was great and legroom just about ok. I am sure there are much better seats to be had for the same price but if faced with the same limited choice I had I would recommend this seat over the premium alternatives."
"A17 and 18: "Top Hat" (May 2012), (Chris B). Centre seats, perfect view, only a smallish theatre so you feel close to the stage and part of the atmosphere. However the seats have quite restricted legroom, could just fit my legs and I'm 5'8". Seats are one of the more comfortable in the West End though."
"B16: The perfect play to see the show I think. And what a lovely theatre! Seats were very comfortable and view great."
"D15: "Beautiful" (February 2015). I am always apprehensive about squeezing my 6'2 frame into an old London venue but on this occasion I needn't have worried. I sat in the Dress Circle D15 and it was comfortable with excellent views. Sufficient legroom and good sight line to all areas of the stage. Worth the price."
"F26 and 27: "Dirty Dancing." We purchased the ‘top’ tickets, figuring as it was a bit of a treat for us, we might as well get good seats! However the seats when we got there – in the dress circle had a restricted view – very disappointing! We were unable to see the left side of the stage, and the steps there – where at least a couple of the scenes take place. Needless to say we wrote to the company who supplied the tickets, but apparently they are ‘fair value for money’!! Not in my opinion. So, if you are considering buying tickets for this show be aware if you are in the dress circle check the seating on ‘theatre monkey’, and if you are on the ‘end’ of a row, there is a good chance you will have a restricted view."
"F10 and 11: "Beautiful" (February 2015), (Graham). Great seats in the circle with a great central view of the whole stage."
"G 11 and 12: "Dirty Dancing." (Beth). Very good seats view-wise, but not the most comfortable of theatre seats."
H5 to 7: "Top Hat" (May 2012). Thought they were great. Excellent view of the whole stage, and nothing missed. Very comfy seat with good knee space and a great rake which meant that I could see over the head of the lady in front who had back combed and raised on her scalp the blue rinse to perfection! Never been to The Aldwych before and thought it was a lovely theatre. It has a great Dress Circle anyway..."
"J19 and J20: "Top Hat" (May 2012). Excellent view and much more leg room than the Palace Theatre - my 6'4" companion had no complaints at all."
"L21: "Bring Up the Bodies" (July 2014). The views of the stage are clear enough although the overhang from the Upper circle means the top of the stage can’t be seen, not a problem in Bring up the Bodies though. Leg room is ok (I’ve had a lot worse) and the seats and comfortable enough. As a second price seat, these seem about right for a West End theatre."
"L22: "Tina: The Tina Turner Musical" (April 2018). A great seat - surprisingly good amount if leg room, clear view (although if shorter a cushion or sitting forward may be necessary as the seats are quite reclined) and surprisingly generous legroom. Only issue was seeing the leading lady at the very end due to the overhang (which is very low). Definitely worth booking given it's not top price as very little is missed."
Boxes B and E are on ledges to the corners of the Dress Circle.
Boxes A and D are between the circle and the stage.
Movable chairs are used in all boxes.
Excellent as seating is on chairs.
If you can jockey your seat into a position as close to the "circle" end of the box as possible, you'll gain comfort and privacy (if you buy all the seats in the box). What you won't have is a wide view of the stage. A and D see more than B and E.
Box D can house a wheelchair and companion. Users should take the space at Dress Circle C1 instead.
Boxes B and E offer a very average view of about two thirds of the stage. A bar runs across the front of the box, adding to the problem.
From boxes A and D about half the stage is not visible. Speakers set here will restrict the view further - and be noisy too of course.
Second price Tuesday Evening, Wednesday Evening and Thursday Afternoons and sharing space with a very loud loudspeaker that has to be peered around and takes off about a fifth of the stage in itself. Average, feels the monkey.
Third price at other times, worth it for the legroom, it feels.
Known as the Grand Circle in this theatre.
The main block of seats is split by a cross aisle into front and rear sections at row D.
Two slip areas at the sides of the circle between stage and circle.
This varies widely by row. There's none at all in rows E or G. Row A for those over around 5ft 6 may be uncomfortable.
Row D offers most due to a gangway running in front of it.
Rows F, H, J, K and L offer at least reasonable legroom to all but the very tallest. L to around 5ft 7, perhaps.
For some architectural reason, the first six seats on the "low numbers" side seem to have the most in these rows.
Slip seats in row AA are movable chairs, with decent legroom for seats 1, 2, 11 and 12. The rest have less due to the curve of the circle wall.
Aside from legroom issues in row A, the view from the front three rows is decent enough. The monkey would choose row D at full price, though, for comfort alone.
At the sides of the Circle, six slips seats are tacked to the ends of row A. These are movable chairs, and you'll have fun shuffling them around for maximum viewing - you'll see little if politely leaving them against the wall. Views depend on arrangement and how far you are prepared to lean out. A total budget choice, and pick carefully. 1, 2, 11 and 12 have more space than the others.
Aside from the discounted "restricted view" seats at the end of row D - always a bargain - the rest of row D is preferable to the rear stalls row Q back since more of the stage is visible from here, even at the same price. Legroom is excellent, but you could be disturbed by latecomers shuffling along the aisle in front of you. Note that the first and last four seats have the circle aisle end rail in view, and if you are shorter the rail in front of this row may also make it worth a miss, a reader in C1 noted.
Behind, E has less legroom, though putting a leg through the bars will give a little more... but annoy those in front... skip these if possible.
Row K offers a cheap way to see the show. Sure, its at the back and you'll look through heads, but legroom is good.
Behind, a reader moans that seats in row L were pretty bad, with a view of the row in front rather than the stage as they are raised only on a very low plinth. They are much cheaper now because of this, still maybe something worth knowing, when on sale. On checking, the monkey felt the plinth had been raised a little and that anyone seated here actually gets a reasonable view - and can sit on the "end" of a tipped up seat to get even more of one if required. You will probably miss the very front of the stage if there are heads in front blocking it, though.
Notorious for being high and steep, the view none the less is generally good from most seats. Only rows G back feel, naturally, a little remote from the action.
A metal bar runs across the front of the circle cutting into the view from row A. Further bars at the aisle ends affect views from outermost seats in rows A to D.
Further bars run across the front of rows D, E and H, but don't cut into views except for the shortest.
There are no arm-rests in seats from row D back, and from row E seats are far narrower, with straight upright backs. Most are also not conventional "tip up" theatre seats, but fixed down.
All performances except Tuesday Evenings, Wednesday Evenings and Thursday Afternoons:
Rows A to D centre at second price are worth skipping, feels the monkey - the dress circle has some good stuff for the same cash.
Row A has a decent view, with a rail in it, and at second price a way for the short to be close to the stage. Everybody over 5ft 6 or so should head for cheaper D first, though.
Ends of rows A to D are fourth price (third, Friday and Saturday). The monkey rates all but the end seat well worth a look compared to rows F to J.
Note row D 1 to 4 and 26 to 29, are also cheaper than seats beside them, at the same fourth (third, Friday and Saturday) price. There is a rail in view at the front of the aisle. Still, the trade off for comfort makes them fair value. If taller, take those before ends A to C for sure.
Avoid rows E unless 4ft or so tall and slim - those seats really "cram 'em in."
Row F at third price is average value, at fourth take H over cramped row G, not uncomfortable under 5ft 9 or so - but try for A to D before them.
Behind them, rows J and K (just K Friday and Saturday) at fifth price are a very decent buy, but also consider first the pairs of cheaper comfy movable chairs of row AA for being even better value, feels the monkey.
Row L, at the same price as the chairs, may miss the front of the stage, but again is worth consideration once the other cheapest option has gone.
Tuesday Evenings, Wednesday Evenings and Thursday Afternoons:
Either take third price row D 6 to 23 first for legroom or go for same price rear dress circle (if under 5ft 9) or rear stalls (over 5ft 9) first at a lower price. If you must sit here, rows B and C will satisfy the shorter.
Note row D 1 to 4 and 26 to 29, are cheaper than seats beside them. There is a rail in view at the front of the aisle. Still, the trade off for comfort makes them fair value.
Row A has a decent view, with a rail in it, and at third price a way for the short to be close to the stage. Everybody over 5ft 6 or so should head for spacious D first, though.
Avoid rows E unless 4ft or so tall and slim - those seats really "cram 'em in."
Rows F and G at fourth price are average value, apart from cramped row G, the rest are not uncomfortable under 5ft 9 or so.
Behind them, row H back at fifth price is a very decent buy, K is comfy, but also consider first the pairs of cheaper comfy movable chairs of row AA for being even better value, feels the monkey.
Row L, at the same price as the chairs, may miss the front of the stage, but again is worth consideration once the other cheapest option has gone.
"Row AA: "Dirty Dancing." Strange seats at the side of the upper circle. at an angle... not a good view in my opinion but not uncomfortable."
"Row AA 1 and 2. "Dirty Dancing." Both of us agree that these seats are under priced. At first when you walk up to them, they look like normal seats. You sit down and can't see anything! But the seats can be moved forward right to the edge of the bar in front and with a slight lean you can see everything but anything at the very edge of stage left (which is nothing really). The lean did not hurt our backs once, and I have had a bad back since a very young age. For £15 I would get these seats every time. No one is behind you so you can get up and dance, stretch your feet and there's plenty of room to put your feet up as well. These seats are so comfortable I took my shoes off like I was at home. Excellent, if you don't want them, I'll have them!"
"Row AA 1 and 2. "Beautiful" (Febuary 2015). (warning: "Extreme Impaired Side View") £15. IMHO incredible value for little discomfort. Seats 1 and 2 are the very first of these 6 slip seats (seats 12 and 11 are the ones one the other side) and you can if needed lean over the rail to see the very small area of the stage that is almost underneath you. The very top of some of the set is not visible but this is not real problem. You can look down onto the £127.00 seats and will probably have a better view. Not sure seats 3-4 would be as good as occupants of 1-2 would block your view Seats 4-6 can be arranged to get so to miss occupants in 4-1 and almost be sat on the Grand Circle front row. As has been said the Grand Circle front row was almost empty and others in AA11-7 and AA 4-1 moved there just before the performance. Notably AA12 stayed put. Overall I'd recommend these seats for this show."
"Row AA 2 to 6: "Beautiful" (February 2015) (Dan from Birmingham-On-Sea). For £15, I have to say these tickets are an absolute bargain. Yes, you do not see most of the side of the stage nearest you, and yes, you spend most of the show leaning forward onto the safety rail, but most of the show is based in the centre of the stage, and you don't lose any quality in any of the sound or music.
You get a superb view of the [SPOILER ALERT] keyboard player in the orchestra, and it's fun to see how amazingly the Carole actress matches the actual notes [END SPOILER]. All five in our party moved up as close to the Circle as we could, and AA6 was even rubbing knees at one point with the Circle for A LOT LESS in the ticket price. AA1, while not part of our party looked as though she was having a great time, as because these seats are movable and you have nobody behind you, you can get up and dance, as she kept encouraging us to do. In the end, we obliged and you get an even better view standing up! Just put your drinks on the floors, and not on the rail, as we nearly found out to our (and especially the people's below us) embarrassment. You've definitely got a friend in these seats.... Zing!"
"Row AA 3: "Beautiful" (February 2015). Slips (warning: "Extreme Impaired Side View") £15 read the ticket. I think the warning "Extreme Impaired Side View" is justified. Even leaning forward, I would say you probably miss half of the stage, because it is under your feet. At least two scenes went by under my feet, so I was just hearing the sound but with no visual. However to be honest for the majority of the show, it's directed in such a way that it doesn't really matter. I actually looked at the production shots on the website afterwards and realised that I had seen everything that they advertised. What's more, you're at the top of the theatre, but because you're so near the stage, the stuff that you do see you get a fantastic view of, if that makes sense! This show is also all about the music and you can see right into the orchestra pit, which is also cool. I think that since the next price band up is also in the grand circle and is £32.50 (more than twice the cost), these £15 seats are a good way to enjoy the show. I would definitely recommend them over the back of the upper circle. I would rather have a clear, up close and personal view of half the stage than a restricted view of the whole stage, more distant. But maybe that's just me. It's quite difficult to sum it up on paper but believe me at £15 I think I'd recommend them! The other thing is; lots of empty seats. We decided to stay where we were but on the slips opposite us, everybody just moved across. The ushers there are quite happy for you to do that before Act I or Act II if there are empty seats. We decided to stay where we were because we were nearer the stage and we were quite happy!"
"AA 11: "Beautiful" (February 2015). Fairly dire, ok for a real enthusiast of the show but requires a lot of leaning and contortion. Almost a third of 'stage right' (left side as you look at it) lost even when leaning."
"B1: "Tina The Musical" (April 2018). Worst seat I have ever had in a theatre. Side view of only half the stage. When people sat in A row I then only had 1/4 of stage view with a large lady with large hair blocking my view. If people in row A lean forward because they can't see Row B then also can't see. The air conditioning was too much I was frozen. Not happy paying £80 for seat."
"B24: "Beautiful" (February 2015). Circle is nicely tiered, so fair view for price from here. Safety bar partially in view. Legroom OK if under about 5ft 9, otherwise may be tight."
"Row D: "Tina The Musical" (April 2018). Had rather good seats (quite by accident) in that handy row in the Grand Circle that has loads of legroom and is by the entrance to the bar."
"D 24 and 25 "Beautiful" (July 2017) Classed as a restricted view seat as there is rail behind the seats in front, however there is also a gangway between Rows C and D. Therefore there is plenty of leg room and I went with a friend who is 6' 3" who was able to really stretch out his legs. The rail is no problem at all, especially if you are 5' 6" or above, as it does not affect the view of the stage. These seats give a really clear view of the stage and are excellent value for money at £25, if you do not mind the climb. There are 50+ steps from the Foyer to the grand Circle."
"E7: "Tina The Musical" (April 2018). I bought via Today Tix for £25. The view was good but there was no legroom at all. Worse than in a plane, especially when a really heavily overweight woman is sitting next to you and you have the feeling that you're just squeezed into something."
"F 12 and 13: "Dirty Dancing." Excellent views for £33. I'm short so leg room was fine for me. But it was VERY hot up that high - one woman passed out!"
"F20: "Dirty Dancing." (James). View was fantastic and really didn't feel a long way from the stage at all, could almost see all the action, rake very good. I found leg room fine, more of a problem was width - I'm not a large person at all, and neither were any of the people around me, but I was very cosy to the people on either side!"
"F22: "Wolf Hall" (July 2014). The seats are really low down, the leg room is poor and the view whilst clear is distant. There are no arm rests on the seats which feel really narrow so unless you’re very small or don’t mind sitting in a squashed and uncomfortable seats, I’d avoid these. I'd say the Upper Circle seats that I had were among the most uncomfortable I've sat in for a long time and I'm pretty average size wise. Also the bar area is tiny so unless you want to be crammed in whilst having an interval drink, avoid this too.
"G15 and 16. "Dirty Dancing." (Karen). I have to say the view was great and it was raked so that not even the person in front could have blocked your view. HOWEVER, leg room is REALLY tight. I am 5"4 and I have never been so uncomfortable. We were packed in like sardines. I know they were the cheaper seats but for £35 we got fold down seats with not even an arm rest separating you from the person next to you."
"J24: "Beautiful" (February 2015). As sung in the show, "you're so far away". Wouldn't want to sit up here again. Will go with monkey's recommendation of row Z stalls next time (although I usually decide day of to go and get my tickets, will have to plan!)."
"L21 and 22: "Beautiful" (February 2015). Two seats by themselves, no one behind and the angle gives a great view of the whole stage.I guess you would see all the facial expressions closer, but a good pair of glasses helps! The seats were only £15 each which was a bargain to see such a great show on it's final matinee."
Total 1176 seats.
Air-conditioned auditorium. No food except ice cream and confectionery. Three bars one each at the back of the Stalls, Dress Circle and Upper Circle.
Nine toilets. Foyer 1 ladies with 9 cubicles, Stalls 2 gents 1 cubicle each, 2 ladies one with 1 cubicle, one with 5 cubicles. Dress Circle 1 gents 1 cubicle, 1 unisex disabled. Upper Circle 2 gents 1 cubicle each, 1 ladies 2 cubicles.
Occasional signed performances, Sennheiser Mobile Connect. 1 guide dog per performance allowed in box D only. Wheelchair users (non-motorised chairs only) must use the fire doors but have a level access to the front of the Dress Circle. Row C seats 1, 2, 24 and 25 are available for transferees and wheelchair spaces are available replacing C1 and 25. One adapted toilet has been fitted. Fuller details from the theatre on 020 7836 5537.
Theatres use "dynamic pricing." Seat prices change according to demand for a particular performance. Prices below were compiled as booking originally opened. Current prices are advised at time of enquiry.
Based on paying FULL PRICE (no discount!) for tickets, site writers and contributing guests have ALSO created the colour-coded plans for "value for money," considering factors like views, comfort and value-for-money compared with other same-priced seats available.
For a full discussion, opinions, reviews, notes, tips, hints and advice on all the seats in this theatre, click on "BEST SEAT ADVICE" (on the left of your screen).
On the plans below:
Seats in GREEN many feel may offer either noticeable value, or something to compensate for a problem; for example, being a well-priced restricted view ticket. Any seats coloured LIGHT GREEN are sold at "premium" prices because the show producer thinks they are the best. The monkey says "you are only getting what you pay for" but uses this colour to highlight the ones it feels best at the price, and help everybody else find equally good seats nearby at lower prices.
Seats in WHITE, many feel, provided about what they pay for. Generally unremarkable.
Seats in RED are coloured to draw attention. Not necessarily to be avoided - maybe nothing specific is wrong with them, other than opinions that there are better seats at the same price. Other times there may be something to consider before buying – perhaps overpricing, obstructed views, less comfort etc.
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.
Tuesday Evening, Wednesday Evening, Thursday Afternoon
Tuesday Evening, Wednesday Evening, Thursday Afternoon
The Upper Circle is known as the GRAND CIRCLE in this theatre.
Some details may change, the monkey will update as available.
Please note: The seating plans are not accurate representations of the auditorium. While we try to ensure they are as close to the actual theatre plan as possible we cannot guarantee they are a true representation. Customers with specific requirements are advised to discuss these with the theatre prior to booking to avoid any confusion.
Covent Garden - Piccadilly Line (dark blue).
An ILLUSTRATED PHOTOGRAPHIC version of this route is available by clicking here.
For mobility impaired audience members, the Society of London Theatre provide a "photo map" - illustrated walking route to this venue from a near landmark and also Waterloo Station (the nearest fully accessible station) on their website www.officiallondontheatre.co.uk, via the theatre's listing page on that site.
On leaving the station, turn right and walk into the large pedestrian plaza that is Covent Garden. If you see a long road with cars in front of you, wrong way. On entering the plaza space, turn to your left and walk along the colonnaded area. If you see Tesco Metro Supermarket or a bank, Wrong way. Keep walking ahead as far as the colonnaded area will allow (it forms the outer part of the market Square). Follow it to the right. At the end of the building is Russell Street.
Walk along Russell Street, crossing one road, until you reach a street corner with the Fortune Theatre to the left and the Drury Lane theatre ahead of you on the opposite side of the road. Take the road to your right, Catherine Street and walk on past the entrance of the Drury Lane theatre. If you do not pass the entrance doors, or pass the Fortune theatre, wrong way. Pass the Duchess Theatre. Cross to the other side of the street and come to the Strand Theatre. Turn to your left and walk across the front of the Novello Theatre along the curved road. Pass the Waldorf Hotel doorway and the Aldwych Theatre is ahead of you on your left at the next corner. If you come to a bridge or the Lyceum theatre, wrong way.
An alternative worth considering is that also close to the theatre is Temple Station - Circle Line (yellow) and District Line (green). This is closed on Sundays and some other times, so check before using. If it is open, then leave the station turning left. If you see the river, wrong way!
Go up the steps and cross the road ahead of you. Keep walking straight on up Arundel Street (the road sloping upwards ahead of you). Make sure you are on the right hand side pavement. At the top of Arundel Street is "The Strand" and The Aldwych", a busy road intersection and cluster of buildings. Cross the road so that you are on the curving street ahead of you. Follow this street as it curves to your left. Keep going and cross "Kingsway" - a busy multi-landed street. The Aldwych Theatre is ahead of you.
1, 6, 9, 11, 13, 15, 23, 26, 59, 68, 76, 77a, 91, 168, 171, 172, 176, 188 and 341 all stop outside or near the theatre.
A rank for Black taxis is at Charing Cross Station - a long walk down the Strand from the theatre, if you cannot hail one in the busy street outside the venue.
Parker Street, under the New London Theatre. Exit the Car Park and stand with your back to the main foyer of the theatre. Cross the road ahead of you and turn to your right. The street corner is there ahead of you. If not, wrong way. At the corner of the street, Turn left into Drury Lane and walk along it. If you pass the New London Theatre, wrong way.
Walk straight on, crossing Great Queen Street, Kemble Street and Kean Street on your side of the road. At the end of Drury Lane is the Aldwych. Without crossing any roads, turn to your left. The Aldwych Theatre is ahead of you on your left. If you see the Novello Theatre, Wrong way.