Gielgud Theatre

"Box A:  "Company" (October 2018). We sat in Box A, two of us. There were two seats. Leg room, with moveable seats, was great. The view was pretty good, especially for a box. The left most part of the stage is obstructed but doesn’t really take much away from the performance. I would chose this box over box C for this show given the staging. Pricing was fair. Slightly oddly, the box has an ante-room but this was use “to entertain” two guests during the interval - so we had to pass through a couple of times, however we were pre-informed on arrival so not a problem. Currently the site states each box states 3 people. This now appears to have changed - 2 people per box for this show throughout the bookings I looked at. Also, which Box A remains 2 moveable chairs, Box C is a fixed bench, flush against the back wall. Therefore I would chose Box A above box C."

"Box A: "The Curious Incident of the Dog In the Night Time" (August 2014). Bit of a restricted view but made the play, which was fantastic, even better. We even had a lovely ante-room to have an interval G and T!"

"Box A: "The Curious Incident of the Dog In the Night Time" (August 2014). Seat was slightly restricted view, but it did not really affect the play in any way as all the projections were clear."

"Slips": "Stephen Sondheim - Old Friends" (September 2023). Booked the Dress Circle slips with a mate. Other two seats were empty so we shoved them out of the way and had a wonderful amount of space!! And the view was fantastic too!"

"A6: "Company" (October 2018), (Tonyloco). In the Dress Circle Slips and was surprised at how comfortable it was, with all those slips seats being individual chairs so there was no problem with lack of leg room as far as I was concerned and the view of the stage was splendid."

"A15 and 16: I had a shock on the day, when I looked the the tickets and found I had paid a booking fee of about £50. How had that happened without my realising it? I had wondered how I had managed to get possibly the best seats in the house at a few weeks' notice.
As someone who walks with a stick, I found the journey down the vertiginous steps to my seat so terrifying that I refused to go to the bar at the interval even though there was a drink waiting for me. Never again will I sit in the front row: I really had the feeling I would tumble over the edge if I stood up."

"A16: At 6'1 tall, space a little cramped but certainly not uncomfortable."

"A21: "Company" (October 2018). Excellent view and a wonderful show, marred by the fact that A21 in the Dress Circle was so short of legroom that my knees were pressed against the safety barrier at the front of the circle and I had to keep shifting position to try and make myself more comfortable (I failed). At £148.25 for the seat I felt slightly shortchanged. And speaking of short - I'm 5ft 2."

“A30 and 31: “The Ladykillers,” (Chris B). These seats are in a small section curving round the dress circle on the left hand side. There are only four seats so it does feel special. However you have a side view of the stage and have to lean forward slightly, but the safety barrier is padded. In A30 I missed a small part of the far left of the stage (eg I missed Mrs Wilberforce's lavender dress) but nothing that's too important. But there is ample legroom. If you have the option choose A32 and 33 as you can be blocked further by people in those seats leaning too far forward. All these four seats are heavily discounted and are worth a shot.”

"A32: (Blithe Spirit): A32 Dress Circle for only £28 GBP. I had to lean slightly forward to see more of the action. But the price is reflective of this limitation, and I didn't mind. Dress circle is always my preference."

"A32 and 33: "The Curious Incident of the Dog In The Night-Time" (June 2014). Front row of the Dress Circle, to the far left. I would not recommend these seats for this production. It was very hard/impossible to see the action on the left side of the stage, even with leaning forward. At the interval we moved to B26, 27 in the dress circle as they were empty. The view was much better there, albeit with slight difficulty in seeing the far left side of the stage (and very slightly obstructed view in B27 from the small barrier). If I had to do it again in this price range, I would have chosen further back but more central - the dress circle isn't that big."

“A32 and 33: “Chariots of Fire,” (Chris B). These seats are significantly cheaper than the rest of the top price dress circle, but in my opinion are definitely worth it. They are in a little section curved around the left of the circle, with only four seats it feels very private and exclusive. Because of the curve you are actually about level with the first and second rows of the stalls, so very close to the stage and all the action. These seats also give a great overview of the unique stage for Chariots of fire (a small running track with seats all round) and although you do have to lean forward slightly to see the extreme left of the stage, the safety barrier is padded and quite comfortable. As there is no one to your left either your view is not blocked any further and there is a nice space to store coats and bags. There is plenty of legroom too, and for the discount price these seats are a good deal.”

"A33: "The Audience" (March 2013). Seat for me at 5ft 6 was fine, legroom was ok and for this production I didn't have to lean too much as much of the play is centre stage. At £27 knowing people 4 seats along have paid £61 these are an absolute steal, and a decent view way above proportion of the price in comparison to other seats. I wouldn't hesitate in taking slips seats again here."
"Row B: (centre), (Mark). Good seat, got for £25 student standby. Much prefer the stalls for 'Avenue Q' though."

"B6: "Company" (October 2018). B6. This is partly obstructed by a rail, but for £25 I had no complaints."

"B11: "Les Misérables: The All Star Concert" (August 2019). Great view, the bottom of the stage on the right is just cut off but it doesn’t matter much for the Les Mis concert version (just feet missing). Decent legroom but you might struggle if you’re on the taller side."

"B19 and 20: "Blithe Spirit" (March 2014). They were really comfortable seats with great legroom and an obviously fantastic view of the stage. Are seats worth £90 each? I still don't think so but then again I'm not a greedy producer!!"

"B26 and 27, C13 to 24 and E1 to 18: "The Ladykillers" (November 2011). All these seats had good leg room - even for those over 6' tall - and an excellent view of the stage. The rake is good, so there is no having to peer around the head of the person in front."

"B 26 and 27: "The Curious Incident of the Dog In The Night-Time" (June 2014). We moved to B26 and 27 as they were empty. There is a slight difficulty in seeing the far left side of the stage (and very slightly obstructed view in B27 from the small barrier). If I had to do it again in this price range, I would have chosen further back but more central - the dress circle isn't that big."

C12 to 15: "The Curious Incident of the Dog In The Night-Time" (June 2016). "Day Seats" at £15 each. Perfect seats. Could see all of the video projections on floor, all walls, and to the front of the stage. Got a pin for a name with a prime number."

"E 17 to 20: "The Curious Incident of the Dog In The Night-Time" (June 2014). Good comfy seats and a really good view of the amazing show. But sitting in front of us in, I guess, 'premium priced' seats were 4 American tourists who seemed to treat the show like a baseball game. Much eating and Coke slurping; and in both halves of the show we had to ask them to refrain from leaning forward (why did they need to in 'Premium View' seats anyway?!) as our excellent view was otherwise obscured by their supersized frames."

"F12: "The Curious Incident of the Dog In The Night-Time" (June 2014).This was an enjoyable experience with sufficient legroom for a tall chap (6ft 2) and a good view of the stage."

"F15: "The Curious Incident of the Dog In The Night-Time" (June 2014). Very good view (perfect to see the floor)."

"G15 and 16: "Opening Night" (March 2024), (Taljaard). Great clear view, good legroom and the bar and facilities were nearby."

"G 16, 17 and 18: "Company" (October 2018). Was offered seats in the Dress Circle for £27.50. View was good for price but felt a bit distant from the action, glad I didn’t pay anymore." 

"J14 to 16: Back row with a box section behind you. Good rake so a clear view. Legroom wasn’t great, no real stretching room, but knees didn’t quite touch the seat in front. No trouble with overhang despite being in the back row."

"J21 and 22: "Les Misérables The All Star Concert" (August 2019). Back row. Excellent seats at £55 each. Clear view. Great sound. Top of stage was very slightly obscured by upper circle overhang but nothing to worry about. Would definitely book these seats again." 

"Box E 1 to 4: "The Mirror and the Light" (September 2021). We had seats E1 - E4 in the Dress Circle Box yesterday, and all of us found the legroom cramped. You're also right at the back of the theatre and so vision and hearing are well tested. I wouldn't recommend these seats!"

"Box F: “The Ladykillers” (November 2011). Tickets are very expensive (like most London shows nowadays) but we took the Theatremonkey's advice and got £45 seats in Box F. This is actually a great little collection of seats because it's right at the back of the Dress Circe but with its own entrance, which makes it feel quite private. Visibility is as good as most of the Dress Circle, bearing in mind that the Upper Circle extends across a good deal of it. In this show you can see all the action on stage including a very novel depiction of the robbery. My only comment would be that my hearing is no longer in its prime, so I did have to listen very hard. If you've good hearing, go for these seats definitely."

F7 and F8: "Yes, Prime Minister" (October 2011). Refusing to pay over £80 each for front-row circle seats, we opted instead these at less than half the price. What a delight! We were the only people in the boxes, so we could spread out and relax. Entry is direct from the Dress Circle corridor, with no steps down to the seats: something I normally dread because I walk with a stick. There are large glass windows at the back of the boxes, but someone pulled curtains over them at lights-down, so we had total privacy. The view was fine. The very top of the scenery was lost, but that was hardly noticeable and didn't matter in any case. The front of the stage was lost if I slouched in my seat.

Beforehand, my main concern had been about the sound because my companion normally uses a non-inductive hearing-aid to give a slight boost to her hearing, but she had left that behind -which meant I could always blame her if she couldn't hear properly. The higher pitches tended to be lost so we had difficulty at times with the only female player and with the male with the highest-pitched voice, but for most of the time there were no problems although a bit of concentration was occasionally needed.

All of the front-row seats (E1 to 4, F5 to 10 and G11 to 14) seemed to be equally acceptable. But I'm not sure I would choose the second-row seats, F21 to F24, which seemed to have nothing going for them even without anyone sitting in front, and could only have been worse for sound and vision. If returning to the Gielgud, we would certainly choose these seats again."

“Grand Circle: “To Kill A Mockingbird” (April 2022). Gave a good view apart from slightly missing the very left hand corner. But no major issues with that.”

"Grand Circle" "The Curious Incident of the Dog In The Night Time" (February 2016). From my seat in the centre of the Grand Circle I had a good view of all but the extreme forestage, and for many of the stage effects the high viewpoint was a positive advantage. All but a very few ensemble lines were clearly audible."

"Row AA5 and 6: "Stephen Sondheim's Old Friends" (September 2023). These seats are slip seats, with not enough legroom to actually fold the seat down while standing in front of it. You step down into the row. If anyone needs to get in after you can’t just stand up to let them pass as there’s not enough space for them to get by.
My knees were wedged up against the balcony barrier, as were my friend and she’s 5’3”. View was one third of the stage. What puzzles me is there are no seats behind these, just a slightly raised up area, they’d be better off raising the seats up a bit, and shifting them back for more room, and better visibility." 

"Row A: "Stephen Sondheim's Old Friends" (September 2023). We sat in the front row of the upper circle on Saturday at The Gielgud and I’d disagree with your rating of the seats and change them to red! They’re okay if you’re not tall. The knee room is shockingly bad all the way along the entire row! The central seats are not worth what they charge!”"

"A 19 and 20: "Les Misérables The All-Star Concert" (July 2019). All I can say is if you are sitting here you are in for a treat knowing you have spent around 2/3 less than a full price ticket in the stalls and getting a fantastic view for the money.
I'm 5 foot 10 and my knees were more than an inch away from the wall so legroom is OK thanks to the flat back seats.  As long as you don't have any shopping bags with you you should have no problems if you are around my size.
 You are obviously looking down on the stage but you don't miss a lot.  You can see to the back of the stage and the whole orchestra and at no point do you miss any of the main performers on the stage. You have around half of the rear projected screen at the back of the stage cut off from your view but you are so busy paying attention to the performers you don't really notice it.  A couple of times you get heads cut off by the lighting rig on stage but again not much is missed as it's mainly during the barricade sequence so you can work out what is going on.
The safety rail didn't impede at all for me and didn't cut off any view at all.
The sound up here is crystal clear (i had heard first couple of nights the orchestra were drowning out Ball / Boe but they appear to have sorted those sound issues out).
You also get a good view of all the lighting effects (the barricade attack sequence is amazing and also during javerts suicide the effect looks really good from up here.
Would definitely sit here again if I had to."

"A 19 and 20: "Les Misérables The All-Star Concert" (July 2019). I was concerned it would be cramped but it was fine - knees weren’t right against the wall and view was great and I am 5 ft 10 as well - were great seats IMHO."

"B7: "Opening Night" (March 2024). I sat in seat B7, but looked at the view from other locations. The front curtain for this production is a semi-transparent gauze, so it is quite easy to assess the view beforehand and in the interval. I paid £30 on Todaytix rush, which I would regard as fair to good value (by current west end standards!).
For the live action, I think it is important to be able to see the on-stage screen, because it would destroy the concept to need to keep looking away from the stage for the monitors (they are right at the sides).
From my seat (Grand circle B7), I could see around 85% of the height of the screen, interrupted slightly by lighting fitments. I did not find this annoying. The view from seats closer to the centre of the block is probably worse, because the central speaker cluster gets in the way. Annoyingly, these lights were flown in slightly for only one scene mid way through the second act, but were not flown out afterwards.
However, by Grand Circle row D, you can only see the bottom half of the screen, and by the back row you cannot see it at all.
Sitting at the sides is less of a problem provided that you can see the rear screen, because any action at the side is shown on the screen. In any case, for this production almost all of the main action is in a small area in the centre of the stage.
General comment about B7:
You can see most of the stage apart from downstage left. Because of the steep angle of the seating, the heads of audience in row A do not obstruct the view - especially as they do not need to lean forward to see over the circle front."

"Row B 9 and 10: "Strangers on A Train" (November 2013). I would not particularly recommend these seats. Although the bar at the front didn't infringe on the view, the people in the seats on row A directly in front of us did - they kept leaning forward and at times I had a very narrow field of vision which was between them. Quite irritating! I would have much preferred the dress circle, but was unable to get tickets in that section. Also, I felt the sound wasn't as good as it could have been - I was straining to hear the dialogue at first but then I think my ears must have adjusted."

"Row B 15 and 16: "The Audience" (March 2013) "Graham." I was dubious about the Grand Circle (B15 and 16) visit as don't normally do 'top tier' but have to say what excellent seats these were. Dead centre and for a 6' bulk I had knee room to spare so disagree entirely about the 5'10" comment (an approximate advisory as always - editor). The view was great and could hear everything, wouldn't hesitate booking these again, a definite green seat from me I'm afraid. Wouldn't want to be in row A as tried that when everyone left and it was very tight on legroom."

"C 8 and 9: “Macbeth” (September 2007). Unfortunately we booked quite late so we didn't have much choice but found seats - which AREN'T in the restricted view area and wouldn't seem TOO far along from the seats which ought to be the best. So I thought these might be OK. I'm pretty used to sitting 'in the gods' so I don't expect an 'amazing view' but I thought these seats were some of the worst I've ever had, I think, principally because the curve of this circle seems quite exaggerated? I don't know, I've sat much higher up in other theatres and enjoyed a much better view. 

From my calculations, C 8 and 9 are 4 or 5 along from the restricted view seats but they really don't warrant the £37.50 price. A good quarter of the near corner of the stage was obscured but when folk in row A lean forward (as they mostly do, because of the bar) this rises to about half the stage, even if you lean forward yourself. Effectively, we were only able to see the left-hand triangle as it were. Added to this, I think the leg-room and seat angle were pretty poor up here - it wasn't just us shuffling about. After the interval, we were able to move to C16-17, which hadn't been available at booking. All the stage was viewable from here, though leg-room is unchanged. Be aware that if you get someone with a big head in front of you in these rows of the upper circle, the rake isn't steep enough for you to see over them - and we're quite tall! I think, on balance, C16 and 17 were reasonable value for this price range but in future I wouldn't consider any seats beyond 12 and would, in preference go for a higher row. (The monkey would welcome further comment on this from other readers. It felt (having had another long look) that the restriction in fact feels greater than it actually is: while it seems like huge lumps of circle are cutting off the whole view, it felt the circle lines up pretty well with the very front of the stage, and you don't actually lose much of the playing area itself.).”

"C23 and C24": "Blithe Spirit" (March 2014). I  would usually avoid the third level of a West End theatre but needs must. At £29 + booking fee these are excellent value during the preview period. C23 and had a very clear view of the stage. I had good sightlines and was able to view everything without having to crane my neck. My partner sat in C24 however, and he found that the action that took place on the left hand side of the stage was obscured slightly and he missed some of the action. We had some good fortune in that two seats were empty in the row during the first act. Therefore during the interval everyone shuffled up a seat. I was therefore in C22 for the second act and my view was even better. My other half commented on the much better view he had in C23. I would say that the only issue was that the sound didn’t always carry, especially Dame Angela’s words. I did have to strain to hear all her dialogue. Legroom was ample and a particular comment should be made on the very comfortable seats which were clearly quite new."

“D5: Grand Circle. Restricted view. The restriction is felt. It is not negligible. The lady in front of me (C4) kept leaning forward ALL THE TIME. It was just too bad. I had to move my head around. Actually, I have been around a bunch of leaning people. At one point, they even stood!!! Leg room is just about acceptable. Considering the price, I probably go along with the Monkey’s assessment of this seat. (Bad manners never help, feels the monkey).”

“D5 and D6: “God of Carnage”. £15 each (preview prices for that production in 2008). The seats are OK for the price but it is restrictive view indeed.

We were lucky enough not to have anyone in the row in front for the first part, but then two latecomers joined and blocked our view, especially since these people kept on changing position in their seats and leaning forward and annoying everyone who had already settled down. We moved up and again were able to get empty seats in front (the ones we left). Personally I would not have wanted to pay the higher prices for a more central view but we were lucky there was some margin for keeping empty seats in front, otherwise the restrictive view would have really been annoying, at least in this show, which has only four people on stage. It is not the part that is really cut from your view (which may be behind the restrictive view classification), but that fact that if the rows in front are full, your view is really reduced. So my advice for this price range and this show would be to try and go in a less popular day so that there are free seats close to you and you can somehow ad! just your position. If other people's heads are going hinder the view, better go for a discounted price."

"D 10 and 11: “Hair”. The Monkey was totally right about these seats being the last ones in the section where you could really see the whole stage (the view was even better when I decided to move to the unoccupied D12 for the second act)."

"D17: "Company" (October 2018).  Very central and gave an excellent view of almost all the action. Just occasionally I missed the odd actor at the very front of the stage but I am short."

"D18: "Blithe Spirit" (April 2014), (Lily). I had a full view of the stage, and felt the price for the seat was not bad. I am a very short person so legroom is rarely an issue for me anyway, and this theatre was no exception. I had no problem when it came to anyone in the rows in front blocking the view either."

"D23: "The Curious Incident of the Dog in the Night-Time" (May 2017), (tonyloco). I paid £42.50 for a fairly central seat, but the stage projects about six feet forward of the proscenium, so my view was semi-restricted. I am fairly certain that most seats in the Grand Circle must have some kind of restricted view of parts of the stage, even those seats right in the centre, because those old theatres were designed for the show to take place behind the proscenium not in front of it! The person directly in front of me was of medium height and nobody ahead of me leaned forward and yet I was getting a poor view of the stage, certainly the downstage area. It really was quite uncomfortable perched up in the vertiginous top shelf in a cramped seat with a semi-obstructed view of parts of the stage. Also, most of the seats in the Stalls and Dress Circle were £65 for that performance, so how can the Management justify £42.50 for those distinctly inferior seats in the front of the Upper Circle? When I started going to the West End theatres, the seats in the ‘gods’ were cheap in absolute terms but I do not consider £42.50 cheap, even in 2017, for an uncomfortable seat with a poor view of the stage. The moral for me is never again to sit in the Upper Circle or Balcony of an old theatre, and that includes the Palladium after my disaster with the pantomime last Christmas!"

"D26: "Les Misérables In Concert" (August 2019), (Taaljard). Missed a tiny bit of the left hand side of the stage. The sound was very good and I had a very good view of the harpist who was kept very busy."

"D26: "The Ferryman" (July 2017) I wish to complain about upper circle D26. Once everyone in rows A-C realised what 'restricted view' meant and leaned forward, I lost everything but the fireplace and the staircase. Would suggest downgrading it from green on your seating chart. (Happy ending for me though, moved to a stalls standing space with permission, perfect view!)."

"D29: "Les Misérables In Concert" (August 2019).  I could see very little if the show in the first half as my view was severely restricted by a 2 bar safety rail and was also hampered by a lady in the second row who continually lent forward. My seat was D29 in the Grand Circle. During the interval I asked if I could move to an empty seat a couple of rows further back and was told that I couldn't as the seat had been sold - even though the person hadn't turned up. In fact there were 4 empty seats together. I asked if I could stand at the back and this was also declined. I also asked why the ticket wasn't sold as restricted view and was advised that the restriction would depend on how tall you are. I am 5 foot 10. I accept that sides of the stage may be restricted but not most of it which was due to the safety rail. I spoke to the manager and she allowed me to sit in seat F1 in the second half as long as I moved if the person turned up - they didn't. This seat was so much better and priced exactly the same. The side slip seats - at £17.50 - would have provided a much better view than D29 although you would need to lean forward ( but not blocking anyone else's view). I am returning to see the show a few more times but in different seats. I would avoid D29 at all costs and am amazed that no-one else has complained since opening night last Saturday - which I was advised by the usher."

"F 5 and 6: "The Ferryman" (July 2017). Can't see the stage left portion of the stage. This area is crucial for Aunt Pat's caustic remarks, the boys' discussion of Mr Muldoon and the climax at the end. You'd be better off on the stage right side of the theatre."

“F7: At first I thought, woah I'm high (and the lady next to me was scared of the height). But once the play started the distance between me and the players didn't matter. I could hear and see everything. If you're in this section, it is best to be nearer the middle if possible. I thoroughly enjoyed the play and the seat was fine."

"F12 and F13: "Chariots of Fire" (June 2012). Offered a decent view of the stage. The whole stage was visible - there was just some parts at the very top of the set which weren't visible but that didn't cause any problem for this production."

"F24: "The Ferryman" (July 2017), (Rhys). Was moved to F24 by an usher and given a Sennheiser - could hear everything, along with every cough, rustle and whisper from the whole auditorium, very clearly - but my view was restricted by 25%."

"G5: "The Ferryman" (July 2017). Can't see the stage left portion of the stage. This area is crucial for Aunt Pat's caustic remarks, the boys' discussion of Mr Muldoon and the climax at the end. You'd be better off on the stage right side of the theatre."

"G18: Les Misérables, the all-star staged concert" (August 2019). I was in G18 in the Grand Circle which is a long way up from the stage, but you lose nothing sitting at that distance...especially when Alfie Boe hits his top notes...incredible, I could feel the vibrations in the air."

G25 and 26: “Equus” (2007), (Marcus Chaplin). These were excellent value as they are sold as restricted view tickets but for "Equus" the area of the stage you can't see is very rarely used, it all focuses on the centre of the stage. Good seats if you're on a budget."

“G23 to 26: “Comedian Bill Bailey” (December 2008), (James). I thought the view was fine (the show was fantastic too). Once you first sit down you do seem to think it is fairly high, however once you get into the show you really don’t notice it at all, G26 and G25 (which I was in) has only the very side of the stage slightly, and I mean slightly, obscured by a rail but things are still visible and no problems at all. I would definitely recommend these seats as they are great value for money." 

"J14: "The Ferryman" (July 2017), (Taljaard). Back row of the gods. Great seat for the price. Missed nothing."

"J19: "The Ferryman" (July 2017), (Rhys).  Could not hear a word. I'm 20 and my hearing is superb and I have never had an issue before. Only the odd smattering from a few actors made it to the back of the theatre. Was moved to F24 by an usher and given a Sennheiser - could hear everything, along with every cough, rustle and whisper from the whole auditorium, very clearly - but my view was now restricted by 25%. I've been assured measures are being taken to improve the sound, but short of a miracle, if you want to hear any of the production, book a seat costing £60+. A shame."