London Palladium Theatre
8 Argyll Street, Soho, London W1F 7LA 020 3925 2998
- Where to buy tickets
- Best seat advice
- Seating plan/s
- Getting to the theatre
Buying tickets online
www.lwtheatres.co.uk - the theatre group's own website provide the service for this theatre. This site allows seat selection for most events.
Booking fees per ticket:
Normally, a £1.50 per booking, not per ticket, postage fee applies - if required and time allows. No fee for printing your own tickets at home or collecting them on the day at the box office. This policy may vary according to the production hosted, particularly for one-off concert events.
About the show:
Hello, Dolly!
Robin Hood
Other Online Choices (with genuine S.T.A.R ticket agencies):
Ticket agencies may sell for some events.
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. Current prices are advised at time of enquiry.
ALSO SEE Tickettree.com for great value "hotel and theatre ticket" packages.
Other Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.
TheatreMonkey Ticketshop
Hello Dolly
When the theatre does not have the tickets you desire available, it is well worth trying the Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), charge £28 on £140, £25 on £125, £19.90 on £99.50, £17.90 on £89.50, £15 on £75, £13 on £65, £11 on £55, £9 on £45, £7 on £35, £5 on £25, £4 on £20 seats on “off peak” dates, £30 on £150, £27 on £135, £21 on £105, £17.90 on £89.50, £15.90 on £79.50, £13.90 on £69.50, £11.90 on £59.50, £9.90 on £49.50, £7.90 on £39.50, £5.90 on £29.50, £4 on £20 seats at “peak” performances, £33 on £165, £29 on £145, £23 on £115, £19 on £95, £17 on £85, £15 on £75, £13 on £65, £11 on £55, £9 on £45, £7 on £35, £5 on £25, £4 on £20 seats at “peak +” performances per ticket booking fee - moderate by agency standards, though higher than box office fees, worth trying as they often have an alternative choice of seats available! Note that this system will confirm exact seat numbers prior to purchase. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases.
See Tickets
Hello Dolly
Another alternative is www.seetickets.com which charge £28 on £140, £25 on £125, £19.90 on £99.50, £17.90 on £89.50, £15 on £75, £13 on £65, £11 on £55, £9 on £45, £7 on £35, £5 on £25, £4 on £20 seats on “off peak” dates, £30 on £150, £27 on £135, £21 on £105, £17.90 on £89.50, £15.90 on £79.50, £13.90 on £69.50, £11.90 on £59.50, £9.90 on £49.50, £7.90 on £39.50, £5.90 on £29.50, £4 on £20 seats at “peak” performances, £33 on £165, £29 on £145, £23 on £115, £19 on £95, £17 on £85, £15 on £75, £13 on £65, £11 on £55, £9 on £45, £7 on £35, £5 on £25, £4 on £20 seats at “peak +” performances per ticket booking fee, and £2.75 per booking (not per ticket) postal charge.
Ticketmaster
Hello Dolly
Alternatively, Ticketmaster charge £27.50 on £140, £24.50 on £125, £19.50 on £99.50, £17.50 on £89.50, £14.75 on £75, £12.75 on £65, £10.75 on £55, £9 on £45, £7 on £35, £5 on £25, £4 on £20 seats on “off peak” dates, £29.25 on £150, £26.50 on £135, £20.50 on £105, £17.50 on £89.50, £15.50 on £79.50, £13.75 on £69.50, £11.75 on £59.50, £9.75 on £49.50, £7.75 on £39.50, £5.75 on £29.50, £4 on £20 seats at “peak” performances, £32.25 on £165, £28.50 on £145, £22.50 on £115, £18.75 on £95, £16.75 on £85, £14.75 on £75, £12.75 on £65, £10.75 on £55, £9 on £45, £7 on £35, £5 on £25, £4 on £20 seats at “peak +” performances per ticket booking fee.
Encore Tickets
Hello Dolly
Encore Tickets charge £27 on £140, £24 on £125, £19.50 on £99.50, £17.50 on £89.50, £15 on £75, £13 on £65, £11 on £55, £9 on £45, £7 on £35, £5 on £25, £4 on £20 seats on “off peak” dates, £29 on £150, £26 on £135, £20 on £105, £17.50 on £89.50, £15.50 on £79.50, £13.50 on £69.50, £11.50 on £59.50, £9.50 on £49.50, £8.50 on £39.50, £6.50 on £29.50, £4 on £20 seats at “peak” performances, £32 on £165, £28 on £145, £22 on £115, £19 on £95, £17 on £85, £15 on £75, £13 on £65, £11 on £55, £9 on £45, £7 on £35, £5 on £25, £4 on £20 seats at “peak +” performances per ticket booking fee. Discounts and "Meal and Show" packages may also be available.
London Theatre Direct
Hello Dolly
Londontheatredirect.com charge £29.50 on £140, £26.25 on £125, £21 on £99.50, £19 on £89.50, £15.75 on £75, £13.75 on £65, £11.75 on £55, £9.50 on £45, £7.50 on £35, £5.25 on £25, £4.25 on £20 seats on “off peak” dates, £31.50 on £150, £28.50 on £135, £22.25 on £105, £19 on £89.50, £16.75 on £79.50, £14.75 on £69.50, £12.50 on £59.50, £10.50 on £49.50, £8.50 on £39.50, £6.25 on £29.50, £4.25 on £20 seats at “peak” performances, £34.75 on £165, £30.50 on £145, £24.25 on £115, £20 on £95, £18 on £85, £15.75 on £75, £13.75 on £65, £11.75 on £55, £9.50 on £45, £7.50 on £35, £5.50 on £25, £4.25 on £20 seats at “peak +” performances per ticket booking fee.. Optional Ticket Insurance is also available.
Discounts may also be available.
Box office information
Telephone: 020 3925 2998
Operated by the venue, Monday to Saturday from 10am to 5:30pm.
Group bookings: 020 3925 2996
Operated by the venue, Monday to Saturday from 10am to 5:30pm.
Booking fees per ticket for telephone bookings:
Normally, a £1.50 per booking, not per ticket, postage fee applies - if required and time allows. No fee for printing your own tickets at home or collecting them on the day at the box office. This policy may vary according to the production hosted, particularly for one-off concert events.
For personal callers or by post:
Argyll Street, London. W1V 1AD
No booking fee for personal callers.
Note too that the advance box office has a separate entrance at the left side of the building - a sign marks the entrance. Just before a performance, tickets are sometimes sold / held for collection at a desk in the foyer - allow time to check if you will be collecting tickets on the night.
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 3925 2998
Operated by the venue, Monday to Saturday from 10am to 5:30pm.
www.lwtheatres.co.uk is the official venue website.
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.
A "View From Your Seat" facility has been added for some concerts at www.lwtheatres.co.uk. Run your cursor over the seating plan and photographs will appear from some seats.
- Stalls
- Dress Circle
- Dress Circle Boxes
- Upper Circle
Stalls
Layout
The Dress Circle overhangs the stalls at row N, the top of the stage is not visible from row S back, and rows V to XX may suffer from feeling very enclosed by the low ceiling.
The stalls are split into central and two side blocks by aisles.
The rake (sloped floor to help see over rows in front) is "negative" in rows B to D - they are lower than seats in front. It then rises and becomes noticeable in row F, good enough to allow fine views from many seats.
Boxes overhang outermost side block seats back to row N.
Sadly, secret seat Z1 was removed during the 2014 refurbishment. On the plus sides, the newly renovated seats are very comfy...
Legroom
Good throughout most of the stalls, best in B and F, then from row H back to T, slightly less in A, C to E (E has the least) and U to V. Rows W to XX have a little more than usual. Space to stretch feet under the seat in front helps, in all rows.
For some odd reason, the monkey noted that A 7 has half an inch less, and that B has more, as does F. It suspects that TV recordings have caused rows to be moved and replaced, leading to the variation in legroom. Likewise W to XX have extra as they are removable so that the sound desk can be extended
Slightly limited in row A 1 to 3 and 23 to 25. About adequate for all up to around 5ft 9 or so in the centre block part of row A, 5ft 4 or so in the outermost 3 seats. Bear in mind that there is no ‘foot stretching space under seats’ ahead of row A seats.
Seats B4, F40, N1 and N16 have extra space for one leg to stretch. A reader notes that V 16 and 35 also have more legroom for those up to 6ft tall.
Row B 1, 2, 3, 31 to 33, C 1, 2, 37, D37, I1, F1 and D 37 have nothing in front and / or more legroom than usual.
Seats C25, I15, I29, K31, L16 to18, N32, P1, P48, Q1, Q16, R49 and S 34 are wider than average.
Row W 29 to 35 seems to curve towards the row in front as it moves towards the sound desk. This leaves 29 a little more cramped than usual.
One reader notes that, "the seat I was sitting in was not lined up with the seat in front - which is a good thing for viewing as you are not directly behind perhaps a large person in front. I don’t normally have that problem being 6’ 2”, but on that occasion it meant that my right knee was literally wedged against the seat in front. As the chap on my right was a similar height I couldn’t move it towards him, so had a very uncomfortable two hours."
Choosing seats in general
Rows A to C are restricted view for most children and shorter adults, as the stage is high and they cannot see the back of it. The box office tries not to sell these seats to young people for that reason, and warns all buyers - a laudable policy which avoids problems, feels the monkey. The prices charged do not always account for this problem, though. A 5 to 21 are the best bargains when cheap, the monkey feels.
At performances where these seats are full price, monkey advice is perhaps to sit further back unless your have a particular liking for front row seating. For shorter visitors, further back is the way to go generally, of course.
Centre Block:
The orchestra conductor is in front of central seats in row A / B. Below stage height some purists might wish to know that while conducting the person can be seen from most central seats. Don't sit in row A / B, and avoid central stalls if that kind of thing bothers you particularly. Still, below top price, the centre of row B is a decent bargain for those willing to accept both this and the stage height.
Otherwise, centre block rows back to P offer clear views of the stage. Row J seats 16 to 31 are rated the best seats in the house by Theatremonkey. At top price pick rows J then K - which is slightly higher than J, the monkey notes - or I; then L, M , H, G (legroom issue aside), N or O, F or P then E depending on whether you are keener on seeing the whole stage, or being generally closer to the action.
Prices normally drop at around row R, making it a bargain – even if you do have to duck to try to see the top of the stage if anything exciting happens there.
Rows U to W are normally again cheaper, with row U another monkey possible under its usual rules of - cheaper than row in front, same view. Again, don’t expect to see anything happening at high level, but worth a try if the Upper Circle is too high and too tight on legroom for you. Probably not one for younger children, though, or anybody who wishes to see the show in its entirety. From here there really may be neat stuff going on that is only going to be heard, not seen. Please bear this in mind when booking any seat from row T back.
From row V, aside from seats around the sound desk, the value is just fair. If legroom is an issue, pay more to take seats in the rest of the rear stalls, otherwise the view from the Upper Circle make sitting there a cheaper option well worth thinking about. Also, have a look at restricted view side block stalls seats.
Next to the sound desk, XX12 is heavily discounted as you cannot see more than half the stage. In front of it, X6 is only a little better with more than a quarter of the stage blocked by the corner of the desk.
In general the usual rule of the jungle applies to the stalls. Insist on centre block seats as they are the same price as the sides. You are paying the same money so why settle for an inferior seat.
A side note is that for concerts rows W 16 to 21, X 1 to 6 and XX 8 to 12 may go on sale very near the performance date once the location of the sound mixer desk has been decided. Worth checking at www.lwtheatres.co.uk for those seats if the show you want to see sold out quickly.
Side Blocks:
Side block seats are almost all situated outside the proscenium. Most readers feel that only the last 4 seats in each row should be avoided totally in these blocks, though purists may want to make that 8 to be on the safe side – particularly as far forward as row F.
Those in the front four rows or so of the side blocks may find actors backs blocking the view for a few short sequences of a production, choosing row G back minimises the issue.
When in use row A (and often row B and even row C) seats often have the usual neck-achingly steep look upwards at the stage – this time with added angles to contend with to see over the other side of the vast stage.
Row A 1, 2, 23, 24 and 25 may also have a wall directly in front of them, making them the least desirable. Luckily, if that happens, those five seats are not on sale. If they are, then go 2, 23, 1, 24, 25 in that order. 1 has a better angle than 24 and 25, which really do have a wall in front - and often speakers blocking the view as well.
Row B ends also suffer a clip from the speakers too - and those who dislike loud sound might be advised to sit further back.
The good news is that the endmost seats, often up to 4 of them as far back as row F, and two more back to row I are normally discounted – to as low as third (even fourth price). Well, they were... but the Monkey suspects producers have read its favourable comments as some are now less generous.
What is important to know is that ALL restricted view side block seats are NOT for 'first timers' or those worshipping 'front and centre' but the monkey feels that given the problems (missing anything happening high up) of other similarly priced seats in the rear stalls, these two rows are going to give a chance to catch the show's atmosphere and effects in a way not possible elsewhere for the price.
Experienced theatregoers, though, should read on...
Rows E and F restricted view seats have particularly decent views for the prices charged. F is better, and the persons in F4 and 37 will probably feel the smuggest.
That said, other reduced price seats from row D back are also acceptable - further back the better, the monkey feels. It would take B and C last (C 5, 6, 32 and 33 being the first of these last resorts) as they do feel 'corner.'
‘Low number’ side seats are preferable (and have nothing in front in B 1 to 4) and the cheapest of the seats (if the restricted view ones are split into two prices) shade the next price ones for value, slightly, it feels. Do also note that these seats suffer from the high stage though.
Moving back, and into the “clear view” seats, if you can’t get into the centre block then being “just over the aisle” from them isn’t a bad experience. From row H to L, you can go as many as 6 / 8 seats in rows from N to W, off centre and get a very acceptable view.
Worth knowing is that XX1 is officially not an aisle seat. Behind it is a tall wooden screen. Next to XX1 a long row of metal props keep that wooden screen upright. You could squeeze past them in an emergency, but really advisable not to. Still, it means there is actual space next to that seat.
As in the centre block, go for seats in rows J then K - which is slightly higher than J, the monkey notes - or I; then L, M , H, G, N or O, F or P then E depending on whether you are keener on seeing the whole stage, or being generally closer to the action AND how close to the centre aisle you can get. Always take the seats closest to the aisle, dropping back / going forward a row to do so.
Below top price, take the seats closest to the front and the centre aisles as possible, again following the centre block rule of taking the row just behind the more expensive one in front.
Wheelchairs can replace seats around B32 and C35, and also L46, O48, Q48 and S49. The view from B and C is sideways but at least close - provided your chair is high enough to cope with the height of the stage. Further back, the view is poor from the other seats. O 48 is the best of a bad bunch with distance offsetting the poor viewing angle. Transfer is possible to any aisle seat. See notes.
General hazard notes
The regularly mentioned high stage.
Overhanging boxes and supporting pillars won't enhance enjoyment of those in N1 much...and in N47 may be a minor irritant too. Not blocking a view, just a heavy presence by the seat.
A reader notes that those in row O on the "low numbers" side, "is directly opposite to the entrance to the Men’s toilets. If someone goes to the loo during the performance, you can hear the sound of the hot air hand driers!"
Row W22 to 28 is in front of, and rows X and XX are beside, the sound desk. This is annoying, so choose W 16 to 20 and 30 to 35, and X and XX 1 to 5 and X 15 to 20 and XX 8 to 11 to avoid the worst of the problem. These seats offer very fair value and Theatremonkey prefers them to the Upper Circle on grounds of legroom, though accepts they are a tad more expensive. Do remember that the desk will really block views for those directly next to it.
Changes for the current production
Hello, Dolly!
The front row is not yet confirmed, and will depend on the stage height. If row A is sold cheap as "day seats" it is often a bargain. Likewise, ends of side block rows A to K are similarly not yet available. The monkey will update nearer the time, but suspects some good deals may be had.
The first row on sale is currently D.
Premium seats occupy centre block from D to O, with F to I "super premium" and D, E, J and K (with L on "peak +") dates at mere "premium plus" price. Over the aisle, premium seats run D back to O, just pairs of "premium plus" D to K, with pairs of premium L to O on "off peak" dates. The rest of the time, premium spreads 2 more seats in D to H and for seats I to L then six M to O.
In the centre block views are good, though shorter folk will prefer centre block dress circle premium seats, feels the monkey. There is nothing "premium" about being seated in the side blocks. If you must, don’t go any more than two seats off the centre aisle in those.
Still, if you want them, F to J are pretty good and the monkey would go for J as it probably has the best view, or L if trying to save a relative sum at off-peak dates. It really wouldn’t go further back than that at premium price at all.
Otherwise, at top non-premium price, skip central O, as the monkey often gets reports that it is not that well off-set to see around those in front for some. Take P or wait to see what happens with A to C.
Side blocks at top non-premium prices off-peak are tolerable – pairs next to the premium ones in D to H, single I8 or 36, three next to the premium ones in J to L, six in M to O, all as close to the middle as possible and perhaps K to G in that order first for the best viewing angle.
At row T prices drop and T 12 to 39 are good - central first. Another drop at V, same numbers.
Out to the sides, V 8, 9, 42 and 43 hit fourth price and are well worth a grab. Ends four seats in T back are also fourth or fifth price and again worth having, choose according to your pocket. More centrally X and XX are in the same bracket.
Be aware the circle overhang does cut the top of the stage from W back in particular, but you get almost the same view as the more expensive rows in front.
Rows V to XX are the cheapest way to avoid the upper circle and a decent bet for those needing stalls legroom and happy to look past a lot of rows of heads in front.
A sound desk may irritate purists in V 21 to 29, W22 and 28 and XX 15, but most won't notice it. XX15 is bottom price and worth avoiding as the desk will cut off half the stage.
Robin Hood
As usual "premium seats" occupy many seats in both central and side blocks from row C back as far as row P at some performances. They divide into “premium,” "sub-Super Premium" and "super premium" in the centre, “premium” in the side blocks, with some “sub-Super Premium” there on peak dates. There is nothing "premium" about being seated in the side blocks. If you must, don’t go any more than two seats off the centre aisle in those.
Shorter folk will prefer centre block dress circle premium seats, feels the monkey.
Still, if you want them, G to K are pretty good and the monkey would go for J as it probably has the best view, or L if trying to save a relative sum on all but the highest peak dates. It really wouldn’t go further back than that at premium price at all. In fact, on the highest peak dates, the most expensive tickets go back to L, with a mall drop at M and again at O. Skip O, and really don’t go further back than L at all.
At normal top non-premium price, take central B first, and be aware that if you have children / shorter adults with you, the slope of the seating and stage height may mean they won't see the back of the stage.
Those in centre block row A may miss the floor of the stage.
Otherwise, go back to central row P (Q on peak dates). Row O is the first to drop to that price at off-peak performances, but the monkey often gets reports that it is not that well off-set to see around those in front for some.
Side blocks at top non-premium prices off-peak are tolerable – take the four furthest out in rows L back / four next to the restricted view end seats in B to K last as they have the least viewing angle. Skip B26 for having not the best angle, likewise C9, 10, 28 and 29 may be a bit close and to the side for some.
The end pairs of seats in rows A to D are not yet on sale. When they are, skip A as they face a wall, take D, C then B, but do expect that you will not see at least a quarter or more of the stage, up to a half at times due to stage edge scenery. Just about fair value at lowest price, feels the monkey.
On peak dates, premium seats take up most of D to P, so skip those as you are paying as much for a side view as others pay for central ones. If you have to, the seats beside them at top non-premium price are at least close to the stage but the monkey isn’t keen. It thinks anything in the dress circle at the price will have a better view overall.
Prices drop to second in all sections at row T, take the most central you can get, or the four seats off the centre aisle in the side blocks.
They drop to third price at W – again side block four seats also included as a good thought. Somewhat expensive in X and XX but you have the legroom you will not get elsewhere.
Be aware the circle overhang does cut the top of the stage from W back in particular, but you get almost the same view as the more expensive rows in front.
Still, they are the cheapest way to avoid the upper circle and a decent bet for those needing stalls legroom and happy to look past a lot of rows of heads in front.
A sound desk may irritate purists in V 21 to 29, W22 and 28 and XX 15, but most won't notice it. XX14 is worth taking at bottom price, but XX15 at bottom price is worth avoiding as the desk will cut off half the stage. Take X7 if you must, but it has a similar view.
Restricted view row ends in the front corners of the stalls are discounted to between fourth and seventh price this year, with plenty to think about.
E and F 1, 2, E37 and 38, F 39 and £40 are the cheapest in the house and a good grab even if you do miss a bit. Much closer than the upper circle and far more comfortable.
Next to them, prices go up a step for two (four seats in G) and up again two more seats along. If you take the seat next to the more expensive one, you can’t go wrong, feels the monkey. It would work forward from K to D, then L and M, then C and B for the best angle.
Skip the row B ones if possible, not a great view for the bananas, feels the monkey.
Standing places are cheap - arrive early to bag the best spots, as they are not numbered.
Dress Circle
Layout
Called the Royal Circle in this theatre
The Upper Circle overhangs the Dress Circle at row C. The top of the stage is not visible from row J back. A reader notes this isn't usually a problem.
The Dress Circle is split into three blocks, centre and two sides by aisles.
Double height rails at the ends of all aisles can affect views from some seats.
Legroom
New seating has improved things, but in some rows it may well prove a real problem for anyone over 5ft 5 tall who will be seated for more than 30 minutes or so - though a 5ft 8 and a 6 foot person reported no real issue in rows F and G, and H has more too. Row L then K also have far more.
Row A is worst and Theatremonkey would not willingly sit here even if given free tickets (though many readers would!.) B is nearly as bad, C just tolerable for those under 5ft 6. Legroom does improve slightly as the circle curves to the centre, so it is the outermost six or so which suffer most.
Inner aisle seats at the ends of rows B, D, F, H, J and L have a little more space for one leg to stretch into; while seats two seats off the outermost aisles in rows B to D seem to have a tiny bit less.
If below five foot five tall, try any seat in the circle; all others use the stalls when in doubt or at least aim for row F back.
Choosing seats in general
The view from almost all seats is normally fine, set design issues aside.
Seats in the centre block rows A to C are "premium." Your choice, feels the monkey, who would sit in row F instead. More comfortable and cheaper. If you must go "premium" note that premium stalls are the same price and closer to the Edna herself - also more comfortable for the tall.
Double height rails at the ends of the aisle affect views from central aisle seats, particularly in the front three rows.
Row A14, 15 and 29 won't notice it - the rail is to the side, A28 has it intruding into an eighth of the stage view.
The rail becomes very intrusive for B and C 15, 16, 28 and 29 - really not "premium" seats, and even those on D may notice it at the corners of the stage. Just over the aisle, B and C4 and 30 will also be aware of it.
Row F particularly offers good views of the stage. Those in the side blocks in these rows also have little to complain of, though choose the centre block first.
Rows G to J offer only moderate value if sold at top price, since it is a long way from the stage for the money, though G and H do have a bit more legroom than other rows.
Rows K and L at top price have the same fault - L has an inch of extra legroom over the row in front and is a comfortable pick at second price and below.
General hazard notes
Aisle end rails will affect views from seats on the centre aisle at some points in a show.
The first and last six seats in the side blocks from row G back sometimes suffer a bit from bad set design / lighting positions / overhang.
Opera glasses and booster seats are not available in this circle.
Changes for the current production
Hello, Dolly!
"Premium seats" occupy many seats in both central and side blocks from row A back as far as row G at some performances. They divide into “premium,” "premium plus" and "super premium" in the centre / just the first two in the side blocks.
Stalls premium seats have more legroom for the tall - particularly compared to row B; and there is nothing "premium" about being seated in the side blocks.
Be very aware that new safety rails are going to be very much in view from seats A 15 and 28, plus B and C 15, 16, 28 and 29. Not a premium experience, feels the monkey.
The monkey would go central E off-peak dates (F on other dates) if taking them.
At standard top price it likes row G centre “off peak,” but feels it is a bit far back on other dates.
Good news is that row L centre and rows K and L at the sides are very well priced. Second price gets comfy row L centre or slightly less legroom just over the aisle in K. Prices then drop to third and fourth in the sides of K, while a seat just off the centre aisle in the side block of L is a bargain third price, or you can move along the row through fourth and down to fifth for the outer ends. All offer great value and more comfort than the upper circle, feels the monkey. Just let your pocket guide you, it feels, though be aware you could miss staging at the sides in the outermost seats.
Robin Hood
As usual "premium seats" occupy many seats in both central and side blocks from row A back as far as row H at some performances. They divide into “premium,” "sub-Super Premium" and "super premium" in the centre / just the first two, even, at the least busy performances, a single part of row A at “off” performances, in the side blocks.
Stalls premium seats have more legroom for the tall - particularly compared to row B; and there is nothing "premium" about being seated in the side blocks.
Be very aware that safety rails are going to be very much in view from seats A 15 and 28, plus B and C 15, 16, 28 and 29. Not a premium experience, feels the monkey, and prices are now slightly lower to reflect it.
The monkey would go central E (G on “Peak” dates) if taking them.
At standard top price it likes row H centre “off peak,” but feels I is a bit far back on other dates.
The whole of L (just side blocks on peak dates) are second price. Good legroom, and slightly cheaper dress circle seats may also help those attending with children who won’t see so well from rear stalls for the same bananas.
Do note that booster seats are not available in this circle.
Readers comments
"A23, 24 and 25: "The Wizard of Oz" (February 2011), (Mila). Right in the middle, amazing! To see this show, the Royal Circle is absolutely the best place to sit. People have mentioned the bad view from the stalls - well, from the Royal Circle you can see everything, definitely sit in the Royal Circle."
"B20 and B21: “The Sound of Music”, (James – regular reader). For the view, best seats in the house!"
"B 21 and 22: “The Wizard of Oz”. We could see everything; I think they're some of the best seats I've ever had. The circle is well raked from row A so the people in front of us were not in the way at all, and the wall of the circle is low enough that row A doesn't have to lean forward and therefore does not obscure anyone else's view.
The stage is incredibly high, so we could see how easy it would be for people in the stalls not to be able to see what's going on. A lot of the action takes place quite far back on the stage so I would imagine that quite a lot would get missed. However the Royal Circle is a perfect place to sit. The stage doesn't seem far away at all and as we were in seats 21 and 22 we were dead centre and had an amazing view."
"B27 and 28: "The Sound of Music," (James from Finchley). The view was excellent. Having previously sat in row I of the Stalls, I much preferred the Dress Circle as I could see the whole stage without moving my head from side to side. The absence of any safety rail at the front also contributes towards a great view. Having read various comments and seen the whole section “in red” I was very concerned that I might be very uncomfortable. However, I am 5’7” and found I had plenty of legroom – I’ve sat in theatres that are far worse. (The monkey has since relented and revised things to a "white" average rating, taking into account view... It still warns all concerned that there isn't the legroom expected for the price, though).”
"B28 and B29: "Cats" (December 2014). The view from here is amazing, and you could take in the full spectacle when all the cats were dancing together on the stage. B29 is on the aisle so you can put your bags / stretch out one leg here. I was in B28 and my knees were a couple of inches away from the seat in front (I'm 5 foot 10) so it wasn't as cramped as I had feared. Also worth noting is that, as another reviewer said, "although row A does not need to lean forward there is a good chance that unfortunately some of them will." The people sitting on the front row a few seats to the right in front of us were constantly leaning forward, and it must have been annoying for those sitting behind."
“B37, 38 and 39: Very little legroom between the rows of seats."
“Row C: Super unrestricted view but as has been said so many times about The Palladium 'don't go in the Royal Circle if you have long legs'. I'm 6' 2" and not only was there a mountain on stage I had one sitting next to me. About 20 stone covered in a pink pullover. His legs were so fat he couldn't put them together so mine were wedged against the seat in front and with the elevation of the circle it meant the sharp edge of the top of the seat was wedged against the bone just below my knee. It is still painful to the touch now 2 days later."
“C15 to C29: "Sister Act", (James – regular reader). Everyone said they had a great view and the sound is excellent here too."
"C28 and C29: "Sinatra" (September 2015). Excellent view of the stage. Not a great deal of leg room but that's something you get used to in most theatres so no gripes from us."
"C30, C31 and C32: "I Can't Sing" (March 2014). Paid £55 for each seat. Nothing very much to say about these seats to be honest! The view was excellent, sound was fine and we had no problems with the legroom."
“C31 and 32: (K Fried). Very good and the view was perfect. Leg room is cramped, but not dire. Just check your bags and coat and unless you've got unusually long legs, you'll do just fine."
"C31 to 37: “Sister Act”, (James – regular reader). The view is great from most seats here although you are getting a little side on as you get to the higher numbers. Sound is no problem from here. We got the tickets for a special offer price of £19.50 which was an absolute bargain!"
“Row D: “Sinatra” (February 2006). Could see everything”
"D 1 to 5: "Snow White" (December 2018). Fabulous seats. Plenty of leg room, great sightlines and an acceptable price."
"D 8 to 15: "Sister Act" (June 2009), (Hannah). The view from these seats was great, with a steep rake and pretty good leg room. We only paid £20 for the tickets, as we got them through a friend, so I don’t know if I would pay the usual £62.50 for them. But if you have money to burn, they do offer a good view."
“D16-19: “The Sound of Music” (Tim Powell). a little tight leg-room wise but the view was excellent and at least, being the tallest, I had an aisle seat to stick my leg down!”
"D 38 to 40: "The Wizard Of Oz" (February 2011), (Graham). Although I thought they might be a little bit too far over to the left hand side, were actually really good seats with an excellent view. Legroom was fairly tight for me, being 6', but I managed to wedge myself in without too much knee ache throughout the evening. I've sat, and prefer to sit, in the Circle here because I think it offers the best view of the stage."
“E1: “Doctor Zhivago The Concert” (May 2023), (Broadway John). Great view, only missed a tiny bit of the on stage orchestra. Cast was always easy to see. Legroom a little bit tight.”
"E8: "Cats" (October 2015). E8 I was really happy with this seat as I originally booked to sit in the upper circle, but was moved down to the dress circle it was a quiet performance and they closed the upper circle! I really enjoyed the show from here – I could see all of the cast and the set but felt a lot closer to the stage than I normally do in the upper circle."
“E20 to 24: Must have been the best seats in the house perfect view at all times"
“E20 and E21: "Sister Act" (May 2009). Great view and the sound is good from here too."
"E23 and 24: "I Can't Sing" (April 2014). Excellent seats with a great view."
"E 33 and 34: "The Wizard Of Oz" (February 2011), (Claire and Daniel). Fantastic seats. They cost me £62.50 per ticket but were well worth the price. I'd read up before on Theatremonkey about the best places to sit, and to me the Royal (Dress) Circle was the best bet. Previous reviews had mentioned people sitting in the Stalls or Upper Circle missed various parts of the show, but you saw everything from our seats. Leg room though is very tight so that's why I opted for two side seats - so me and my brother could swap over to stretch our legs in the aisle. Try to get seats in the Royal (Dress) Circle - you will not be disappointed."
"F10 and F11: Legroom was not as bad as I thought it would be (I am 5ft 11). There was no one in F9 which meant we had some extra space which also made the difference."
"F10 and F11: "Sister Act" (May 2009). Sightlines were perfect, we saw everything and felt very close to the action. Legroom was not as bad as I thought it would be (I am 5 ft 11). There was no one in F9 which meant we had some extra space which also made the difference. (It would, notes the monkey... hope for the same luck if you sit there and are taller...).
"F20: "The Sound Of Music" (2007). It was a fantastic view. It didn’t seem distant which it can do from the 6th row of some Dress Circles. A very clear view and excellent sound."
"F21: "A Chorus Line" (February 2013). Upgraded, so got a £65 seat for £19.50. What a bargain ! Fabulous! View - very nearly central and gave an amazing overview of the stage and that final magnificent dance. Legroom was OK. Had empty seat next to me so could stretch out therefore not sure about legroom when full."
“F24 to 27: Almost centre stage so good view of all the action and adequate leg room."
"F27: "A Chorus Line" (February 2013). I actually had no issues with legroom (being 6 foot) in this seat. Plenty of clearance for my knees and I never felt uncomfortable. The views were truly spectacular, especially as this is a dance musical you may want an overview of the stage. Completely central too, perfect seats I think."
"F48: "The Wizard Of Oz" (February 2011). I would have liked to have been more central (late booking) but nothing was missed on the stage, I probably wouldn't want to be any further back though. Leg Room was tight and it was warm up there. The stage is quite high so I would advise readers to sit from Row E in the stalls back and the Royal Circle Row A to F to be able to take all the scenery in."
“Row G: (LIF). Fine view, but were expensive through the agency we bought them from.”
"G23 and 24: (James – regular reader). Even seven rows back here, the view was still great although I did get discounted tickets. Perhaps at full price it is a little too far away."
"G27: "Eat, Laugh, Pray" (December 2013). Superb seat. Dead central and perfectly clear view of stage. I think all of the seats in the Royal circle would be fine but seats in the rear two or three rows would probably be a bit high and far from the stage at full price."
“H5 and 6: (Bob Pickett). As ever with the Palladium, once you leave the stalls it’s a lottery as to view, comfort, legroom. These seats were probably as close as you get to winning that lottery. Comfortable(ish - fidgeting was in evidence), view was OK but you’re a bit distant up there. Legroom was… in existence (unlike the nightmare that is row A) if not impressive.
If you can afford the Stalls (with the other lottery of ‘will you be able to see over the head in front’) go there. If you’re moving to any of the upper levels, try to be central, try to be not too far back, read all the reviews on this site and good luck!”
"H25 to 28: There seemed to be plenty of leg-room even for my husband who is 6 feet tall - however the bloke behind me seemed to find it hard not to keep kicking my seat especially during Do-Re-Mi which rather had me on edge for that number - a few choice stares seemed to make him realise he wasn't at home on the sofa able to lounge about regardless."
"H35 and 36 (Bob Pickett): What’s not to like? Raised up nicely to give a clear view of the whole stage, close enough to see the performer’s faces. End of a row, but nicely central. Good comfort, decent legroom, I’d book these seats again."
"I 16 and 17: "Cats" (December 2015). Despite being quite far back I have to say we did not feel distant from the stage at all and thought that it was quite an intimate atmosphere. Legroom was limited though. Neither I nor my partner are particularly tall and we both struggled with the legroom."
"I43: "A Chorus Line," (March 2013). View perfect (almost being just off centre but you don't miss anything on stage), the rake is good no head in front and the legroom was good too. Definitely go for circle seats for this one, the dance numbers are spectacular viewed from here, and so is the stunning lighting which makes the black bare stage look great. The use of the mirrors is also visually good from here."
"I48 and 49: Unfortunately, the view of the stage and a small amount of the action was slightly obscured due to the angle, and it must have been worse for people in seats 50+"
Though this isn't always, monkey advice is still be careful in the back rows at the ends of this wide Circle.
“Row J: I did feel a little distant from the stage and think the Upper Circle rows C to G (in the centre block of course) may well give a similar view, and £20 saving on top price."
"K10 and 11: "The Wizard Of Oz" (March 2011), (James – regular reader). A little far away at full price, but no problems with the sound or the sightlines from here."
"K12: "Scrooge" (October 2012). Had a perfect view with no obstruction from the overhang, despite the fact that the theatre monkey in his wonderful book marks K row in red.* The sound was very good up there as well and for £18 it was a terrific bargain. (*That is in the book, which is a general guide, and didn't apply for "Scrooge" as the price was far lower. Editor)."
“L17 to 19: Back row of the circle but no overhang, plenty of legroom, great rake, clear central view of the stage, all good and would snap these seats up to avoid the cramped upper circle.”
Dress Circle Boxes
Layout
Boxes B, C, BB and CC are at the sides of the theatre just below Dress Circle level. Boxes E, F, FF and EE are above them nearer Upper Circle level.
Boxes E and F and EE and FF are connected little swinging door between them, just below the circle wall.
Boxes B and C and BB and CC have a full height movable partition wall which can be swung into place to divide them. There is also a retiring room behind B and C for when it is used as the Royal Box.
Boxes D and DD, not usually on sale, are plinths off the main dress circle rather than fully enclosed boxes. They are between the dress circle and main boxes, at the front corners nearest the stage, raised above the main block of seating.
There are also two "undesignated" boxes with space for a single chair, located either side of the stage right next to the proscenium arch. Not sold and often housing technical equipment.
Legroom
Acceptable as all seats use movable chairs.
Choosing seats in general
All boxes except D and DD usually offer a fair, sideways view of the stage with only a minimal portion of the edges not visible for concerts. For theatre, you will expect to miss a fifth or so of the stage. For concerts, you will be very close to the performers when they are working from the centre of the stage.
Sold at third price they offer average value for money and decent legroom at higher than stalls level.
At top price, they are tending towards expensive. Choose front stalls for the same price first.
That said, all boxes often provide a view of 'effects' not available elsewhere at the price, and might be 'fair value' at a cheaper price - or as 'day seats' for those willing to accept noise and sightline restrictions.
For those in B, BB, CC, E, EE and FF the seat further from the stage offers the better view. Leaning is required.
In D and DD, only the second seat from the stage has a view and then only if adjusted to face the stage by placing it into the curve of the rail. The seat nearest the stage is next to a wall with no view. The other two seats need to be positioned sideways at an angle to see around three fifths of the stage. Leaning is required.
General hazard notes
Sharing your box with loudspeakers – noisy; or lighting – blocks views and hot.
Side views at best, less satisfactory for events other than concerts.
Everybody cranes to see who is sitting in the “Royal” box.
Those "undesignated" boxes are tiny, and the monkey isn't sure about the bare floorboards... or how easy they are to escape if you don't know where the door key is...
Changes for the current production
Hello, Dolly!
Not yet on sale.
Robin Hood
Boxes BB, CC, E, EE, F and FF for 2 people, and B for four are likely to be on sale. Seventh price, which reflects that they have heavily restricted views. Skip them unless you really want to see (part) of the show.
Readers comments
"Boxes: I was quite impressed by the view even though you can't see the right hand side of the stage."
“Box BB: “The Sound of Music”. Avoid for this show. Totally restricted view. We were in Box CC which was just okay (slightly restricted view), but the people next to us in BB had to be moved half way through - couldn't see a thing thanks to large speakers in the way!!"
"Box CC: ("A Chorus Line") (March 2013). You lose a bit on the left, and for this production we always had one or two people missing off the left of the line, but very comfortable and plenty of room."
"Box EE: "The Wizard of Oz" (July 2023). Just wanted to chip in some feedback after seeing the Wizard yesterday. Booked Box EE and would strongly NOT recommend for Wizard of Oz. The seats are sold as "extremely restricted view" which I usually take with a pinch of salt as it's never usually quite as bad as the theatres make out.
This was 100% correct in this case though. I think normally they might be OK, but for Oz they've built out the Pros Arch to project on so it's maybe 5 or 6 foot further downstage than it usually is meaning you can see pretty much zippedy squat from EE; even jiggling the (very comfy) chairs round to get the "best" view, it was still terrible.
You could see maybe the front fifth of the stage, and some action does take place down here but probably miss about 75% of the show. You can't see the back wall at all so miss all the projections and any upstage action.
Box FF was empty so at the interval we shuffled ourselves across and the view was definitely better but still quite restricted. From here you could probably see maybe almost all of the front third of the stage and pretty much up to the upstage left back corner.
You still couldn't see the back wall projections and you missed anything upstage centre and anything from mid stage right to upstage right.
We still really enjoyed the show though, and loved being able to see down into the pit and into the stage left wings.
Ultimately the seats were pretty cheap and FF was significantly better than EE (The other side boxes E and F aren't on sale for Oz, there's a bit of Witch business up there).
And the main bonus for us was we were away from the constant chattering, rustling and chomping from all the kids in the audience. You could still hear it but it was better being distant than right in the middle of it.
For us, that was our trade off and we were happy with it. And for £25 compared to the rest of the pricing centrally it wasn't bad.
But you get what you pay for and you do still miss a fair bit, even in FF."
Upper Circle
Layout
The Upper Circle overhangs the Dress Circle at row C. It is high above the ground but is does not feel particularly distant from the stage or vertigo inducing.
It is split into three blocks, centre and two sides by aisles.
Bars run across the front of each aisle and rails end each row.
The front wall of the circle has been built up so that the rail can be removed except at the ends of aisles, where it is double height.
Legroom
Dire in most seats.
Row A is especially bad, too awful to make it, even at restricted view price, value for money.
Row E is the next worst, with only an inch more than A.
A quirk of architecture though means row K 19 to 36 gets a little more than the rest, for those up to 5ft 6 or so; and a reader noted side block L is also more generous.
Best legroom is in row M, particularly seats 53 to 57 which are suitable for those up to at least 5ft 7.
Seat F55 has nothing in front to the left, so legs can go into that space if willing to shuffle sideways a little.
Seat A2 is beside two seats which are never usually sold, so you may be able to move a foot sideways into that space.
Choosing seats in general
Row A has a high wall in front If you are under 5ft 4 you will not see over it. If slightly taller and prefer being closer to the stage than row L (which is normally the same price), take B over A. If REALLY short, you may cope with row A’s legroom... and avoid having anybody leaning forward in front of you.
The view from almost all seats in the centre block is impressive considering the height and distance from the stage. Those in the seats beside the centre aisle in both central and side blocks will notice the aisle end rails in view right back to row G. Row B 20, 21, 23 and 33 notice it most, but it does align with the sides of the stage rather than the centre.
In the side blocks, for concerts very little is lost of the stage even in the outermost seats. For full stage productions, the outer four seats will lose up to a fifth of the view - mainly the front and back corners of the stage depending how the production is staged. This is down to the curve of the circle and intrusion of the boxes.
At the fifth price pick row B, C, D (E if legroom really isn't an issue) F, G, H. Choose centre over side blocks for the usual reason of if all blocks are the same price, centre is best value, no? Also, check rear stalls / restricted view stalls prices. You may find them the same or be willing to pay a little more for rear stalls / restricted view legroom, comfort worth the extra bananas.
Rows L and M seem very high above the stage and isolated due to an intruding wall at the back of the circle. The view is OK but the position does induce vertigo in some non-treetop dwellers. On the other hand, given both price and legroom, they are well worth a thought.
The monkey also liked F55 for comfort somewhat closer to the stage than that back row too.
General hazard notes
The high wall in front of row A makes seats there unsuitable for those under 5ft 4.
Rails at the ends of each aisle may affect views from aisle seats.
Metal posts at the ends of all rows do not intrude into views.
Opera glasses and booster seats are not available in this circle.
Changes for the current production
Hello, Dolly!
With all the front rails removed except at the ends of aisles, views are much improved from all seats here.
Skip row A for legroom – though seats A 9 to 2 / 42 to 52 are worth a thought for the shortest (but over 5ft 4 to see over the front wall) as they are very cheap with nothing in front. Row E for legroom is another to avoid, second only to A for cramped. Shame, as the view is good.
Otherwise, B to D at third price in the centre block are the way to go if the general legroom issues with most seats up here are not a problem. Be aware those on the aisles may have a rail slightly in view, but shouldn’t be a problem as the panto is staged centrally.
In the centre block still, take H over G for the same view cheaper. Row K is cheaper still and has an inch or so more legroom, making it first pick before H to J to the monkey mind.
In the side blocks, row M, plus F55 score highly for maximum legroom at the lowest price in the venue. Row M has the better views as well.
Otherwise, at other prices, the choices are pretty much determined by how close to the front and the central aisle anyone wishes to pay for.
If you cannot get into the centre block at fourth price, then the two seats off the aisle on B and C are worth a look, even with a rail slightly in view.
At fifth price, an aisle seat on D or F for comfort and closer to the stage against central G for view is a personal choice.
The monkey’s fifth price note is to skip the two closest to sixth price – and take the sixth price seats next to them instead. Similar view, cheaper.
At both seventh and eighth price, and indeed the rest – assuming legroom isn’t an issue - go for the ones as close to the more expensive seats as you can, and as far forward as you prefer. The trade-off is that closer rows miss a little more front stage, while rows further away are well, just further away.
Robin Hood
With all the front rails removed except at the ends of aisles, views are much improved from all seats here.
Skip row A for legroom – though seats A 9 to 2 / 42 to 52 are worth a thought for the shortest (but over 5ft 4 to see over the front wall) as they are very cheap with nothing in front. Row E for legroom is another to avoid, second only to A for cramped. Shame, as the view is good.
Otherwise, B to D at third price in the centre block are the way to go if the general legroom issues with most seats up here are not a problem. Be aware those on the aisles may have a rail slightly in view, but shouldn’t be a problem as the panto is usually staged centrally.
In the centre block still, ignore E for legroom. At most performances E to J are the same price, so go as forward as you wish. “Peak Dates” you pay more for E to G, skip them as H has a similar view cheaper.
Better yet, on all but the most expensive dates, K is cheaper still and has an inch or so more legroom, making it first pick of the three to the monkey mind.
In the side blocks, row M, plus F55 score highly for maximum legroom at the second lowest price in the venue. Row M has the better views as well.
Otherwise, at other prices, the choices are pretty much determined by how close to the front and the central aisle anyone wishes to pay for.
If you cannot get into the centre block at third price, then the two seats off the aisle on B and C are worth a look – in fact, a good examination outside peak dates when they are cheaper than centre block seats, even with a rail slightly in view.
For the rest of the side blocks, skip E for legroom, and take the two seats next to the more expensive ones in B to D, then F (and also G outside the highest peak dates). This holds for both sixth and seventh prices.
Assuming legroom isn’t an issue, once these are gone, still do go for the ones as close to the more expensive seats as you can, and as far forward as you prefer. The trade-off is that closer rows miss a little more front stage, while rows further away are well, just further away.
The front corners of the circle are cheapest in the house, along with the restricted view E, F, X and XX stalls pairs and single. If you can’t get stalls, take aisle seats (F55 in particular) if you need to move a leg into it, or just again go as close as you can to the more expensive seats.
Do note that booster seats are not available in this circle.
Readers comments
NOTE THAT THE FRONT CIRCLE RAIL WAS REMOVED IN EARLY 2023 AND THE FRONT WALL RAISED INSTEAD.
"A2 and 3: (March 2023), (Bob Pickett). They've remodelled the wall here. It's removed the rail, but is taller. That said, both myself and my wife (at 5ft ½ inch) were able to see over it. You do lose a little of the stage, but nothing significant.
But the legroom! Or rather lack of it. BOTH of us had problems (as I said my wife's not tall and I have short legs, yet we were both squashed up against the wall.
A pity as the view was decent but only book these if you have VERY short legs.”
"A14 to 17: "The Wizard Of Oz" (February 2011), (Katie). Although we had to jiggle a bit to see stage left, the view was fine. The leg room, however, was appalling; no-one over 5ft 5 need apply!"
A30 and 31: (Jess). "My Grannie and I, both 5ft 7, and also my parents (who are both 6ft), sat here d in the central block of seats in the upper circle. Thanks to theatremonkey, we had already been warned of the lack of legroom and the metal rail running horizontally across the front of the upper circle, but we didn't find either of these a problem.
However right in front of seat 31 there was a shorter vertical metal bar supporting the rail which was awkward as you had to try and look around it. I think these metal bars were in front of all the odd numbered seats in the front row of the central block of the stalls. Overall, very good seats for the price, although should be avoided by tall people who need legroom, and also shorter children may find it hard to see."
"A34: (Teresa Gustafsson). They warned us about the safety rail but for me (5.4), that wasn’t a problem at all, I think it all depends on how you sit. We had a perfect, clear view and the sound was great!"
"C10 and 11: "The Sound Of Music" (2006). Yes there is a metal rail which cuts the actors in half, but this is always there. The main grievance is that even from seat 10 you could not see Stage Left (right hand side of stage as they looked - editor). If C10 / 11 had problems then the poor souls who sat in seat numbers 1 to 9 would have been far worse. If you go to a theatre and have seat numbers 1-4, you expect some lack of visibility down one side, but from Seat 10? Additionally the audience in Row A when the action was at the front of the stage had to lean forward, which meant that the rows behind also had to lean forwards as well, a concertina effect.
In the second act, the person sat in C12 who is a bigger lad had no room to sit, with knees which wouldn't fit into the space provided and ended up standing at the back. This unfortunate situation at least meant the person in C10 could move across one seat which was a slightly better view. (The monkey notes both the view and poor manners of the "leaning" people...).
"D10 and 11: (James F). The seats offer a full view of the stage as the railings appear just below the stage. If I were to sit here again I would chose the centre block in rows D to F only!"
"D10: "A Chorus Line" (February 2013), (David Hurrell). I was assured by the Box office that, even at 5'6'', I would have a clear view of the stage... Not true! The awkward curve of the Upper Circle clips the stage severely until well into the row. If I were to sit in the Upper Circle again I would sit only in the centre block (to be safe) and avoid the first 4 or 5 rows because of the difficulties with the rail and those leaning forward ( well documented in the Theatremonkey seating advice). Having said that, there are seats being sold at £39.50 that will encounter all of these problems - as reprehensible as false statements at the box-office!"
"D30 to 32: On the end of the centre block giving an opportunity to stretch out a bit. This row was cheaper than E behind as they mentioned the safety rail was in view but I didn’t find this to be a problem at all and would sit here again. Legroom is poor and you’re a long way up but you can still see facial expressions and appreciate the spectacle as the rake is extreme and you’re not disturbed by the row in front."
“Row E: (Stephen).I mentioned that sitting in the middle of row E of the Upper Circle may be just as good as the middle of row J in the Dress Circle which was where I was seated last time. At £20 cheaper it is tempting and may just be worth it - but don't go further back than row F, and certainly don't bother with rows A to D unless at a last resort.
Row E in the Upper Circle is quite a good view. You are able to avoid the leaners in row A and those in row B who are trying to look over the top of the leaners. You are aware of the metal bar at the front of the Upper Circle, but it appears in your eyeline at the front of the stage and is just out of the way. However, the leg room is dire, worse than the Dress Circle and I am only 5ft 8."
“E 25, 26 and 27: “Pantoland” (December 2021). Oh dear god the legroom!! Not much other comment really but I'll try ... When you (finally) arrive at the top of the stairs up to the circle the steps going down to the seats are quite steep and not great if you’re a vertigo sufferer. You are very high up but have a largely clear view because of the rake. You’re in the middle of the centre block, slightly impeded by the safety barrier but not a huge issue. The only reason I booked here (again) was because I couldn't justify spending more on the tickets to sit elsewhere.”
"E34, 35, 36: "Goldilocks and the Three Bears" (December 2019). There was a safety rail in our sight line but it’s not overly intrusive. You are high up but far enough forwards for the stage not to seem too distant. We were not looking forward to climbing up to the Grand Circle but it wasn’t too bad as there were ramps as well as stairs (in fact, it seemed worse getting to the upper circle in Wimbledon the week before than getting up here!). The seats are slightly off centre and I wouldn’t want to be too close to the end of a row as the angle there seemed quite severe. Leg room is atrocious, you’re not able to put your legs under the seat in front, your knees are touching the seat in front and I’m 5 foot 3. However, as the panto prices are very high, it was this or nothing and on balance it was worth it to be able to go."
“F30: “The Sound of Music”. The view was very good and unobstructed apart from the nuns vanishing out of view at the start as they moved towards the front of the stage and the mountain looking like a UFO! The leg room however, wasn't good... I am 5'5 and felt very cramped."
"F34 and 35: "The Wizard Of Oz" (February 2011). Offered a great view of the stage albeit from a huge height!"
"G45 to 47: "Joseph and the Amazing Technicolor Dreamcoat" (July 2021). My friend had booked these so I had no say in the seats and I don’t think your fantastic website had been consulted! To be fair, for £35 a ticket the view wasn’t bad at all, we only lost a small portion of the front left hand corner of the stage, and nothing much happened there for more than a moment or two. Sight lines were good and we could still see faces despite the distance. There’s not a lot of leg room but it’s a fairly short show we we coped! I’d definitely say if seats are available though, it’d be worth paying a little more to be in the centre block up there, or at least closer to the centre aisles."
"Row H: "Lord of the Dance" (September 2014). Cheap seat in the upper circle, great view of the stage but there was no leg room. It was really cramped and uncomfortable and not the place to sit if you don’t like heights."
"J7 and 8: As a six-footer I struggled for leg room but the view of the stage was mostly unrestricted, although if you don’t like heights – and it all became a bit too much for one heavily pregnant lady in the row in front of us – sit lower down."
“J12 and J13: (Steph Nicholls). The Upper Circle should maybe be renamed the ‘incredibly high circle with no leg room’. My wife (5ft 11) had to wedge her knees into the space provided and has the bruises to prove it. I’m shorter, but found there little room to move when I needed a change of position. The view was generally good, we couldn’t see the nuns when they came in front of the pit and lost some of the action when it was downstage left."
"J30: "The Wizard Of Oz" (February 2011). A fantastic show, but nearly ruined by the lack of leg space. I am 5' 9" and found it incredibly uncomfortable. I can't imagine how anyone taller, or with longer legs, managed. Shame because the seats themselves are very comfortable, and it's a lovely old theatre."
"J34 to 36: "The Wizard Of Oz" (February 2011). We were pleasantly surprised with the view for the price range, saw everything and felt in the right perspective."
"J42 and 43: "Sister Act". Our enjoyment was somewhat marred by the dire seats, for which we paid £40. I am 5 foot 5 and my knees were right up against the seat in front. The seats themselves are comfortable, but the leg room is dire and all the men around us looked like they were in agony. We had a very tall man in front of us who was obviously uncomfortable; we could not blame him, but because he kept moving and fidgeting this blocked our view to the stage a lot of the time. It also meant that every time he threw himself backwards he practically was in our laps!! I have been in plenty of upper circles but have never had such a bad experience before. These seats were worth £20 at the absolute top price and were so uncomfortable my knees were sore. Every single person around us was complaining about the legroom. It is a shame because the actual seats are actually very comfortable. (One more feels it dire for those of 5ft 8'' too).
“K19 and K20: Excellent view, and just about enough legroom to accommodate a 5’6” person without undue discomfort."
"K19 and 20: "Cats" (December 2014). I actually booked these seats because a previous reviewer had said they were good and I have no complaints. However, I did note that the steepness of the steps seemed to be a problem for quite a lot of people. One of the ladies in our row practically clung to me on her way past to her seat, I was just disappointed it wasn't a young man!!
I had the usual problem of the person in front leaning forward, but being at the back I was able to do so without causing a problem for anybody else. We couldn't see the very front of the stage, but not a lot happened there anyway, so that wasn't a problem. The rails at the end of the row in front could have been a bit inconvenient if things had been happening at the front right of the stage, but to be honest I'm just being picky."
“L10 and 11: “Joseph and the Amazing Technicolor Dreamcoat (July 2021) (Bob Pickett). When you first sit down, you would be forgiven for thinking you'd screwed up. In fact, they're OK (especially if discounted). You only lose a small corner of the stage due to it's shape (In Joseph there were just two times we lost part of an actor). That said, legroom isn't great, even for smaller theatregoers.”
"L47, 48, 49: Great seats. I'm 6ft 2 and felt very comfortable, much more so then when I sat in the stalls two weeks previously - with tickets that were £65 - when I was really cramped. These were only £17.50 and on the second last row from the back of the upper circle; and, in my opinion they were a bargain. I could see absolutely everything and felt very comfortable. Highly recommended."
“Row M: My dad and I are both around 6ft tall and found the legroom to be very good. Also, sitting here means you can lean forward for a completely head-free view without disrupting other people.”
"M 5 and 6: "The Wizard Of Oz" (February 2011), (N Ansari). I trawled Theatremonkey to check all the seat reviews as there were limited seats left. There were a lot of bad reviews for the theatre and the seats so I was a bit worried how it would be. In the end we went for Upper Circle, last row M as one reviewer said there was more space. The seats were comfortable, as much as you would expect from a London theatre. It was a bit draughty as we were sitting in front of the exit but it wasn't too bad. The overall view was good, apart from a bit of leaning and a couple of bits 'high stage' that we missed, but we saw pretty much everything. I would say that most people who go to see the show know the film and the story so it isn't such a big issue and the scenery is really bright so it is still very visible from high up. On some occasions you do feel far away and don't get the full effect of some scenes but for £25 I think that's reasonable."
"M11 and 12: “Sister Act” (June 2009). For £17.50 had a clear view but were the last row of the upper circle."
“M41: "So this seat is right at the back but for me was fine, end of row. View OK. You miss some of the higher stage elements (perhaps the opening scene) but it doesn't distract too much (you use your imagination!) and some of the top stairs."
"M43 to 46: Provided a fab view for only £25 and I don't think it would be worth paying an extra £10 for seats 4 rows in front, especially if those seats were towards the far sides of the theatre."
"M49 and 50: For a back row the seats are well priced for the view which is excellent. However, legroom is very little as my mum is 5ft 6ish and even her legs were having trouble. The seats can be quite uncomfortable unless you fidget. I wouldn't avoid these seats, but not put them first choice."
Notes best seat advice
Total 2298 seats.
Air-conditioned auditorium.
Induction loop and Sennheiser Infrared. Occasional signed and audio described performances. Dog sitter available. Two adapted toilet in Stalls - one new in the Val Parnell Bar. Wheelchairs can replace stalls seats around B32 and C35 and L46, O48, Q48 and S49. Access is via a fire exit and is level Alternatively, a ramp can be placed over the three steps from Argyll Street (the former box office door) to a reception room, then the user can be taken down to stalls bar level by stair-lift, then on to their place in the auditorium. The auditorium rake is steep, good for the view but chair users should check their brakes. Specific information from www.lwtheatres.co.uk or 020 7087 7966.
Booster cushions for small children can be obtained from ushers. These are limited, and are available on a first come, first served basis - early arrival is recommended. Child heights are often checked. The monkey noticed a larger stash appears to be kept in the dress circle.
Food: Ice Cream and confectionery available.
Four bars; The Variety Bar (Stalls); The Val Parnell Bar (Stalls); The Cinderella Bar (Royal Circle); The Long Bar (Upper Circle).
Eleven Toilets; Stalls 2 gents 3 cubicles, 3 cubicles, 2 ladies 30 cubicles (7 new off the Val Parnell Bar, 8 in the other stalls toilet) - the monkey notes that the Val Parnell Bar can be reached up a spiral staircase from the stalls rear foyer. When not closed for hospitality, it should be a useful one to know to avoid interval crowds; Dress Circle 1 gents 2 cubicles, 1 ladies 10 and 4 cubicles respectively; Upper Circle 2 gents 2 cubicles, 1 cubicle respectively, 2 ladies 2 cubicles and 6 cubicles respectively.
General price band information
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.
CLICK SEATING PLAN TO ENLARGE IF REQUIRED. USE "BACK" BUTTON TO RETURN.
By value for money:
Hello, Dolly!
Some details will change, the monkey will update as available.
Three price layouts are currently in use, with actual prices varying by performance time and date. The booking system will advise current prices at time of enquiry.
Robin Hood
Some details will change, the monkey will update as available.
Four price systems with three layouts are currently in use, with actual prices varying by performance time and date. The booking system will advise current prices at time of enquiry. Monkey advice below is for each system, from lowest priced to highest peak date priced performances.
Standing places in the rear stalls are not numbered, first come first served the most central.
For events in general - more specific information is posted when the theatre has a long-running resident production.
By price:
For events in general, visit www.lwtheatres.co.uk.
Hello, Dolly!
Some details will change, the monkey will update as available.
Three price layouts are currently in use, with actual prices varying by performance time and date. The booking system will advise current prices at time of enquiry.
Robin Hood
Four price systems with three layouts are currently in use, with actual prices varying by performance time and date. The booking system will advise current prices at time of enquiry.
Standing places in the rear stalls are not numbered, first come first served the most central.
Notes
The Dress Circle is called the "ROYAL CIRCLE" in this theatre.
The Dress Circle may present legroom issues for those over around 5ft 7 tall in the front four rows particularly. The actual view is excellent from most seats. Also please read information regarding rear and side stalls recommendations before purchasing. Click "Best Seat Advice" on the left.
Some details may change. The monkey will update as required.
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.
-0.1426478, 51.5145575
Nearest underground station
Oxford Circus - Bakerloo Line (brown), Central Line (red), Victoria Line (pale blue).
The escalators from the platform deposit passengers in a large underground space with multiple exits, one of which is onto Argyll Street itself. Once through the barrier, look to your left. An insignificant exit in the corner, marked "Exit 6, Argyll Street" is the one to take.
Go up the stairs and when you leave the station look to your left - if it is a pedestrianised area then the theatre is right there, just past the street restaurants!
If you see a busy road instead then try...orientating yourself by looking for the large 'Top Shop' clothing outlet on the corner of the major road junction of Oxford Street and Regent Street.
Stand with your back to both it and the Oxford Street traffic. You will be facing some exits from Oxford Street Underground Station.
Turn to your left and take the next turning on the right, a pedestrianised space called Argyll Street - an exchange bureau is on the corner. Walk to the end of the pedestrianised part, dodging restaurants, market stalls and street vendors and the London Palladium is to your left.
Buses
1, 3, 6, 7, 8, 12, 13, 15, 16A, 23, 25, 53, and 73 all stop on Oxford Street.
Look for the large 'Top Shop' clothing outlet on the corner of the major road junction of Oxford Street and Regent Street.
Stand with your back to it and cross Oxford Street so the traffic is behind you as well. You will be facing one exit of Oxford Street Underground Station.
Turn to your left and take the next turning on the right, a pedestrianised space called Argyll Street. Walk to the end of the pedestrianised part and the London Palladium is to your left.
Taxi
Walk up Argyll Street to Oxford Street, or along Great Malborough Street to Regent Street to hail a taxi in the street.
Car park
Poland Street, Soho.
The "Theatreland Parking Scheme" may be available. See www.q-park.co.uk for details and to book. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost for entry after 12 noon and for a maximum of 4 hours (after that parking is at the normal rate).
If you choose the "Theatreland Parking Scheme", you must book in advance at www.q-park.co.uk and have a theatre ticket stub dated for a theatre performance on the day you are parking there.
For a full list of car parks and theatres that participate in the 50% off theatreland scheme see www.q-park.co.uk.
NB: The Kingley Street Car Park, often listed on other websites as near this theatre, has now closed.
Legal
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Readers comments
"Front Row, centre section: ”'Sister Act” (Rebecca, 4ft 11) several times from the front row (centre section). Leg room is acceptable, and maybe slightly above normal from my experience. The stage is very close so occasionally footwork from those at the back is cut off, but with 'Sister Act' that's not important. This is my favourite seat in the theatre, but does require some slouching and neck bending, especially in the opening of the show where the actors spend some time above the stage. Recommended from me."
"Row A: "The Wizard of Oz" (June 2023). "It’s a great show but totally ruined by not being able to see. No booster seats, We cannot see much at all from row A. When Dorothy starts to sing "Over the Rainbow," she is towards the back of the stage and I can only see the top half of her head. Can’t see any of the dancing properly, it’s a shame as it’s ruined for the front few rows and we need these seats if visually impaired."
"Row A: "A Chorus Line" (2013). Stage not too high and we are 163cm tall."
"A1: “Sister Act”, (Mark). Seeing as though all the front row are top price for Whoopi Goldberg's run (August 2010) except A1, 2, 24 and 25, I felt that my seat was a STEAL at £25. I went in on the off chance they had a single cheap upper circle seat left and got offered this seat when I asked for the absolute cheapest single seat. I was extremely impressed with it, especially as I was SO close to Whoopi when she came out. Excellent value."
"A7: The front row is the way to see this show!"
"A7 and A8 (discounted day seats): “The Wizard of Oz”. I’d say they remains the pick of the day seats, being just off centre (no conductor’s head in the way) and on an aisle (enabling a longer legged person like me to stretch out). The yellow brick road is barely visible from so close to the front, but in this production isn’t as integral to the plot as you’d perhaps guess. So the front row seats would have a big vivid green hue in my opinion but for one flaw. The orchestra is more visible from these seats than previously (certainly much more visible than for 'Sister Act') and there was much rolling of eyes, face-pulling and yawning from some of them during the more saccharine scenes - not what I’d exactly call professional."
"A8: “The Sound of Music” (2006), (Angela Xu). I noticed some comments on the site about the front row seats being too close to the stage and hence problematic for shorter adults- would like to say that there is really no real issue- I am 5'2 and enjoyed the show thoroughly. There were a couple of kids sitting in the same row and I didn't notice them sitting on bolster seats or craning their necks at all! for 20 pounds the day seats are amazingly good value for money!"
“A8, A9, A10: "The Sound Of Music" (2006). Cheap as 'day seats’. These were fabulous viewing - the view was fine, can't see the people's feet but not that you would want to!!!"
"A12: Got to the box office at 4pm and my friends and I got 5 seats centre front row. For £25 it was just perfect! The stage isn't overly high and I could see pretty much everything. Because I couldn't see the stage floor the set was so magical because it just appeared, I had no idea where it was coming from which made it spectacular!!! Definitely recommend sitting here for this show"
"A14: “Sister Act”. Got a day seat for £25 - this seat for the price is a BARGAIN at 6ft 5 there was more than enough leg room to sit comfortably and could see virtually 99% of all the stage action! and speaking to a woman next to me who was 5ft6 she said her view was fantastic too!"
“A14: (Kirsty). Fantastic
"A16 and 17: (Elaine). I was lucky enough to get A16 and 17, which is slightly off centre (so the conductor was not in our way) but not too far to the side for much action to be obstructed by actors' backs."
"A23 and 24: “Sister Act”, (Kirsty). It was brilliant being sat so close, as I got to look more closely at facial expressions and costume detail. Good value for money but, being right at the side, you do miss some of the action on the far left of the stage and right at the back as the stage is very high."
"Row B: "The King and I" (July 2018). We sat in Row B centre - great view."
“Row B: "The Wizard of Oz" (February 2012). I was able to purchase row B for £25 last month. I had a very good view of the stage and close-ups on all the actors' faces. I only really seemed to miss seeing the yellow brick road, and I had to turn around in my seat to see The Wicked Witch hanging from the ceiling."
"Row B: Second row stalls bookable for £25 in advance. Very little is missed and worth considering as a cheaper option as row behind is top price! I could just see feet although I am very tall."
"B12: "The Wizard Of Oz" (February 2011), (Paul). For £25. Great price as I’m not too bothered about ruby slippers or yellow brick roads (you do, however see glimpses of both from here!). A little too close to take everything in, but giving an excellent way to see it for those on a budget (or who like to go to the theatre more often than they should..!) and to see costumes and facial expressions close up."
"B 14 and 15: "The Wizard Of Oz" (February 2011), (Luke). I paid £25 each. After reading the reviews from the Monkey (before the stage was adjusted - editor), I had doubts about these seats, but was pleasantly surprised, I didn't have a single problem with these seats. I was able to see everything, including the yellow brick road, Toto, and the ruby slippers. If you need to see this show and are on a budget, row B is definitely the way to go, better to be second row stalls rather than the back of the upper circle - you feel so engaged in the show. I would not take row A though; the woman in front of me was unable to see some things and jumped up a few times (mildly annoying). Also, from these seats, the conductor isn't a main problem, so for brilliant seats at a cheap price go for row B :)"
“B15 and 16: “The Wizard of Oz,” (Chris B). I got these tickets because they are vastly reduced at just £20 and classed as not suitable for children, so I thought win win. But it turns out whilst they are the second row back and the stage is quite high, you can still see pretty much everything on the stage. And you don’t have to be tall as I’m only 5’8”. However, a big but is that they are directly behind the conductor and so we were head bobbing the whole time left and right to see around which got very tiresome. I would strongly recommend against these seats."
“B22 and 23: “The Wizard of Oz,” (Chris B). These seats are only second row back and whilst the stage is quite high, being slightly to the left really helps and you can see the stage easily, including little Toto. You are far enough to the side to not be distracted by the conductor either. We didn’t have anyone sat in front which is a bonus. The huge discount for these seats makes them very easy to recommend and I don’t think you miss anything from the show either. Will be sitting in these seats again. But as has been stated, do avoid these seats if you have children as they won’t be able to see.”
"B 24 and 25: "I Can't Sing" (April 2014), (Kate Neaves). Excellent view. I am only 5 foot 1 and view was superb, could see everything. Only bad row looked to be A If you are very short. We paid £25 for our tickets, and at that price you can't complain."
"C3 and 4: "A Chorus Line," (March 2013). Managed to get these seats on a 'day seat' rate a few hours before the show. The action is all obviously to the side and I would say you can't see about 25% of the stage nearest you in the corner. Also as the seats are quite low you can't see the 'white line' or the feet. Due to the closeness and angle the mirror effect didn't really work too well as we were too low to see the reflection. After all that though, it was great to be so close and feel really immersed in the action - you could sometimes hear their actual singing over the speakers (which are directly in front of you). I am 6'4" and was able to stretch my legs out at an angle into the aisle. Also, whenever anyone goes into the toilet at the back of the theatre, the light from the lobby area manages to shine on the wood panelling in front of you, making it feel like someone is nearby with a torch."
"C13 and 14:”Sister Act”. An excellent seat in an excellent show!"
"C13 and 14:”Sister Act”. Being 6'5" I had no problems with the height of the stage, and my considerably shorter wife found looking up at the stage helpful as it meant the people in front did not block her view - she was really happy with where we were sat. These are good seats if you do not mind not always seeing the actors feet, legroom is OK (It's never going to be better than that!) and being on the aisle was great. If you have children with you, I would recommend going further back or to the circle where the rake is steeper."
“C24 and 25: "Sinatra”, (Val). ”Booked at top price. My companion felt unwell having to look up at the stage. we couldn't see the dancers feet. At the interval we told the manager and he upgraded us to stalls row J 14 / 15 where we could see everything."
“C25 and 26: “A Chorus Line,” (Chris B). These seats are to the left in the middle section on the third row in the stalls and offer a wonderful up close view of the stage, but aren't too close to not be able to see everything. The stage is much lower than previous recent productions here so the view is not obscured unless you are very lucky to get a rather tall person in front. The legroom is sufficient for us (5'8") but may be a squeeze for longer legs.”
"C26 and 27: “The Wizard of Oz” (April 2011), (Sarah Louise). I knew from reviews across the web that we would have problems with the view regarding the Yellow Brick Road and Ruby slippers, but I was not prepared to not see ANY of it at all!! Not only did we not see the road or slippers, we did not see the house falling on the witch or her apparent legs sticking out from under it ! The stage is sooooooooo high, I honestly think these seats should be bottom price." .
“Row D: Close enough to see the facial expressions but sitting 2 rows back would have been better as, the stage is high so it blocks the view a bit and you can't see the dancers feet when they are towards the back of the stage".
"D3 and 4 (restricted view zone when the stage was higher) "The Wizard of Oz", (David and Katie). My wife, 5' 6" and I, 6' 7" like being close to the front. We were advised this was a side view with partial loss of sight lines to the right but didn't mind - we're seeing the show again anyway.
However, as soon as the lights went down and the curtain went up it became apparent there is a much bigger problem for all stalls Row B, C, D, E and F, probably G and H too. The stage is sooo high that all the actors were cut off at the knee. Apparently the show features a yellow brick road, sparkling ruby slippers and I've heard there is a dog at the end of the taught lead! We saw none of it. And that honestly includes me at 6' 7", I couldn't see ANYTHING! I had to raise myself out of my seat to glimpse the feet of the wicked witch of the east sticking out from under the house.
Remember, we paid preview prices of £45 each last night and the seats we were proposing to buy for my mother's 80th would have been £62.50 each all be it more central in the same row.
Needless to say we ended up buying Royal Circle for June. We popped up there during the interval and can assure readers it's a different show altogether from that perspective.
These front stalls seats are really not worth more than £20 a ticket. The whole evening is spoiled by the severely limited view. DO NOT BE TEMPTED TO TAKE FRONT STALLS."
"D 13 to 15: "Sister Act," (Paul). A fabulous view from these seats, but would not recommend it for children due to the flat rake and high stage. This was demonstrated by the Americans behind who spent ten minutes after they sat down pacifying their child who couldn't see, even with a booster. Legroom adequate but no better."
"D18 and 19: "Cats" (December 2014). I saw these come up and decided to go for it - was worried they'd be too close but given we really wanted to see Nicole Scherzinger in it and that it's mostly sold out now I grabbed them. I was worried the stage would be too high and we'd struggle to see, and that was compounded when we walked in and I saw they've removed both row A and row B making C the front row, and our seats therefore second row. There's no rake for several rows, but we were lucky enough to have two small ladies in front of us, and with my partner and I being 6ft, our eyes were perfectly level with the stage - allowing us to see every bit of footwork even at the back of the stage. The stage seems to slope upwards slightly from front to back, so that helped as well. If you were shorter then I suspect it'd be a struggle to see quite as much, but we were fine, and I was absolutely delighted with the seats, probably some of the best I've ever had. Being precisely dead centre was great too! Plus, with the costumes and make up being so impressive for this show, it was brilliant to be able to see every detail up close. So I'd definitely recommend them."
"D19: "The Wizard Of Oz" (after the stage was altered, in January 2012), I got my ticket for £35 through the Get Into London Theatre ticket promotion. I'm 6ft tall and thought I might have trouble with the seat at first glance but when I sat down there was about an inch between my knees and the seat in front which I was able to tuck my legs under throughout the show. This made the seat of average comfort. The seats in row D are not staggered with those in row C and so the head of the person in front is directly in the way (person in front of me was about 5ft 8 inches). There is also very little rake in the first four rows. I did miss the feet of the actors when they were near the back of the stage and developed a slight neck ache from looking up but I felt these were bearable at the ticket price."
"D28 and 29: “Sister Act, (Rebecca). The view from there was generally good, but suffered some from the lack of rake in the front section of the stalls. As I am only 4'11 and unfortunately had tall people in front of me, I had to require a child booster cushion to get a good view."
“Row E: “Sinatra”. We did enjoy the show but even row E was far too close. We couldn't see the dancers feet and had to crane our necks when the movable screens were high. I would recommend anyone to sit dress circle or mid to rear stalls rather than what is normally regarded as the best seats in near to front stalls. (That isn't generally an issue for other musicals, but the monkey felt it advice some may find helpful, especially for sequences taking place on raised areas of the stage).”
"E37 and 38: "Cats" (December 2014).The view is abysmal and not even worth £10 let alone £25. I would say all the so called "day seats" offer views of barely 60% of the stage and miss many vital parts of the show."
"F 1 and 2: "Cats" (October 2015). The view was poor. I would rather pay more than be frustrated at a wasted early morning buying these as "day seats."
"F8, 9 and 10: "The Wizard Of Oz" (February 2011). I always like to buy front stalls seats to be near the action, this time it backfired. I ought to point out that although I'm short at 5ft 4, my husband, who is 5ft 11 was with me, and he couldn't see the stage floor either. There were 2 little children (aged about 5 or 6) in row E in front of me who I felt really sorry for, because they obviously couldn't see very well at all.
The stage is so high that we couldn't see the yellow brick road, the actors' feet, (which is pretty crucial with the red slippers), the Wicked Witch of the West in one scene and most of Toto because he was so small. It REALLY spoiled the performance. Very disappointing."
"F10 and 11: “The Wizard of Oz”, (Mutti, on behalf of her daughter). When I bought the tickets back in May 2010, no mention was made of them being restricted view. So I was really cross to learn from my daughter how disappointing it was for them not to be able to see the Ruby Slippers, Toto or the Yellow Brick Road lighting up, from their seats. They only knew about the latter from hearing comments from other members of the audience sitting further back. (Thinking about it, the monkey recalled the road raising as it lit, but on the other two issues it thought they can only be solved by making Toto a Great Dane and giving Dorothy platform Ruby Slippers, it guesses).”
"F12 and F13: “The Wizard of Oz”. We were very impressed with our allocation as we were given F12 and F13 (F13 being an aisle seat so I could even stretch out a bit!). I (being 5’11) thought the view was great from this location and was very happy with this price paid. However, as others have said, shorter people and kids will struggle to see the shoes at times and I found it difficult to make out the witch’s legs sticking out from under the house. These are really minor issues I found though as being that close to the stage was great! One thing I noticed though, the conductor (situated centre-stage, standing in the pit) must block the view of those sitting in the rows immediately behind him (perhaps as far back as D or E?)."
"F19: Excellent seat not too close to the stage but close enough to see facial expressions. Also great leg room."
"F 22 to 25: “The Wizard of Oz” (Avril ). Had a great view with plenty of legroom. Wouldn’t want to be any further forward though, or the stage is obscured."
"F 39 and 40: "Cats" (December 2014). Day seats at £25 each. These are end seats, fourth row from the front for this show. Seats offer side view but are close enough to see the singers' facial expressions. Note that these seats are directly underneath the loud speakers. The music volume could be loud at times. I missed about 10 minutes of the show, where the actions happen deep into the back of the stage. I saw 90% of the show for a fraction of the price."
"Row G: "The Wizard of Oz" (July 2023). Sat in the centre of Row G in the stalls. Hardly able to see Dorothy’s shoes, but everything else was fine."
"Row G: “The Wizard of Oz” (day rate seat): Although this is far right I don't feel I missed too much, only a couple of times at the most was a cast member hidden from view, by the side of the stage or the loudspeaker. The stage is very high, I was able to see Toto fine, and the majority of the time I was able to see at least part of the ruby slippers.
"Row G: (Mila). Our seats (thanks to Theatremonkey and dogged persistence at the box office) were excellent, a perfect view."
"G11 to 13: (Yvonne Coombes). Myself, my husband and daughter (4 and a half) sat in these seats and they were fantastic. Great views throughout and close enough to really see the expressions on the faces of the cast members. We got a booster cushion for my daughter. I would recommend these seats and those immediately round them to anyone."
"G 16, 17 and 18: "Cats" (November 2015). The seats were great! They were 5 rows back from the front, and just a little off to the right from centre of the stage. Enough leg room, although I am 5' 5, so a taller person could struggle a little with knees touching the seat in front. My eyes were level with the stage floor, so a little incline of the head required, but no hardship really. Close enough to the actors to see their faces very clearly, and a great view of the entire stage. The row behind was the start of premium stalls prices, so these seats were a bargain at second price stalls."
"G20 and 21: "Sister Act" (June 2009) (Rupi). Fantastic seats! Close to the action whilst still being able to see the whole stage."
"G21 to 23: (K Favelle). We really enjoyed the show from these seats as we felt close enough to the stage to really be able to see the actors' expressions clearly but not so close that we had to strain our necks back or lose a wider view of the whole stage. Legroom felt fine (though none of us was taller than 5 foot 6 inches) though I suspect it would have been tight for my very tall husband had he been with us."
In the same seats at, reader Oliver Dickinson says at his visit in February 2012,
"G22 and 23: "Wizard of Oz" (after the stage was lowered in May 2011), (Oliver Dickinson). Perfect seats! We saw everything; ruby slippers, yellow brick road and Toto!"
"G24 and 25: ("A Chorus Line") (February 2013). I arrived intending to buy day seats in the front row, but was told that as a student I could get better seats at the same price. I was given stalls G24 and 25 for a total of £37. A ridiculous bargain for a fantastic view of the whole stage - it would be worth it paying full price for the view. You can see the dancing head to toe as well as all facial expressions. Tall person in front didn't obstruct because of a decent rake."
“G25 to 28: (Georgie Harris). Seats were perfect.”
“G26 to 28: (Mandi). "Myself, my mum and my 6 year old son had seats Stalls G26-28. These seats were great as we had a perfect view of the stage"
"G33 and 34: "Scrooge The Musical" (December 2012). We paid £35 per ticket through the GILT offer. At 6' tall I had decent legroom. We had a great view of the stage for the most part (sometimes the heads in front got in the way but that was probably because they were tall people) and I had a slight neckache from having to turn my head to my right slightly because the stage is rather wide and we were sat off to the side. Still, very good seats."
"Row H: "Sister Act" (June 2009). Was great for the view if a little tight in the leg space."
"H11: "Sister Act" (May 2009). Secured this ticket for £35 on an offer. Legroom was decent, and the view was very clear – however bear in mind that the Palladium has a very wide stage in comparison to other London theatres – so if you’re paying full price, then the middle section of the stalls is definitely preferable."
"H14: "Bare: A Pop Opera Concert" (April 2024). Pretty good view, although not offset well. Had to sometimes look around the head of the man in front of me. Legroom was comfortable enough but not overly generous."
"H24 and 25: "Joseph and the Amazing Technicolor Dreamcoat" (July 2021). The rake of the stage means that for average height people, this row is not too close and all of the stage floor can be seen. Distance to the stage was very good, with all of the action visible without much side-to-side scanning needed. Some of the raised action needed looking up slightly, but this was far from being a problem."
"H 26, 27, 28 and 29: "Cats" (December 2015) (Paul Nicholls). Sadly, these were not great seats. Too close to the stage, no rake to speak of and directly behind the seats in the row in front. My youngest (7) had to use two booster seats to see over the person in front and this had the knock on effect of making life difficult for the person behind. For a big show with a big set, I think you need to be much further back in the stalls to get a better overall view."
“H40-H42: (Julie). Myself and 2 children were these seats. While we enjoyed a lot of the show, our view was very restricted - apart from H40, we could not see the rear of the stage at all, and missed some of the plot. Very disappointing".
“Row I: “The Wizard of Oz” (?after the stage was lowered). I was in row I and there is a very obvious slope of the stage allowing sight of feet etc, not sure if that is any different from before but we had seats from row C back to J and no one made any comment about not being able to see feet etc. Everyone loved the show."
"Row I: "The King and I" (July 2018), (John Vigar). Sat in row I, perfect sightlines. Comfortable seats."
“Row I: If I were to guess and from my recollections of sitting there for Chitty I would say that the best seats for me for this show (The Wizard of Oz) would be the first few rows in centre block of the Dress Circle. Although further back than our row I you will see everything really well. However, I don’t know the pricing up there so maybe these are now “premium? (mostly, editor).
Also, even from row I you sure can feel the heat off the flares and even off those bright stage lights on the side of the stage that they blind you with (I’m sure they’ll have a technical name)! ALW’s team must have got a taste for the flares at “Over The Rainbow”. We managed to get tickets to one of the early rounds and Graham Norton warned those sitting right in front of the flares they might get a little warm – no kidding!"
"I 1 and 2: "Cats" (December 2014). Day seats. I was offered these, being first in the queue, and they told me it was a "side view" which is fine for me to save some money. But when we got in, we were sat underneath a platform for the set so we couldn't see that when it was used. Also, the platform had thin pillars going down to the stage so it blocked some of the view. Also, due to the platform and the theatre wall jutting out, we had no view of the top right of the stage so we missed a few speeches and songs at the back and of course the iconic moon. I actually asked for a box, because I read on your site that they are day seats too, but he recommended stalls. Since we had a good view of the top left of the stage, I think that if we sat on the other extreme side (I42 and 43) we would have had a perfect view of the top right with the moon etc. I couldn't tell if there was a similar platform on that side. The people in the boxes would have had a more end on view but I think they wouldn't have missed as much of the set? Perhaps my view was the best for seeing the dancing. One good thing about aisle seats though is that the actors come right up to you and interact at a few points and that was really fun! You would also get this on the front row if you wanted to pay top price."
"I 11 to 14: "The Wizard Of Oz" (February 2011) before the stage was lowered. I’ve been to the London Palladium many times - have they raised the stage even more for this show (perhaps that’s why row A has gone)? I’m 5ft 10 and the front edge of the stage was at eye level. As the stage isn’t heavily raked I couldn’t see the stage floor from this position (when flat) so anyone shorter risks losing actors feet (and those red shoes – although my 10 year old on a booster cushion says she could see them so perhaps not)!"
I could see people’s feet, but just literally couldn’t see the stage floor and felt I shouldn’t really be expecting to look up at the cast in quite the way I was in this row – so a comment for the really picky to watch out for perhaps - because otherwise very good position to the stage (at the risk of repeating myself) – I’m certainly not complaining though, we didn’t pay full price as it was...
So, a good position in relation to the stage - so agree with 'fair value' rating for where we were; but for this row in the centre block I would say perhaps should only have a “white” rating and not “green” - same of course for G and H, so perhaps only rows L to O as “green”.
"I16 and 17: "The Wizard Of Oz" (June 2011). The right hand aisle seats in the centre block. The view was excellent, no doubt helped in that nobody was sitting in front of us, and legroom was good. No problem in seeing the yellow brick road, Dorothy’s red shoes or Toto the dog."
"I 21 and 22: "Madame X" (February 2020). We sat / stood in the stalls Row I 21 and 22. Very central, slightly raised and a superb view. It felt much closer to the stage than I was expecting. My somewhat shorter friend was helped by the fact the woman in front really really did not want to be there so sat for pretty much all the show so he had a pretty much unhindered view. However, I feel that the Palladium could do with some money spending on it, bring it back to its full glory, maybe some new seats."
"I 27: “The Wizard of Oz “, (Danni C). Right in the centre. I saw on Theatremonkey’s seating plan that from the front row to row I, some people said they couldn't see Dorothy's red shoes or Toto the dog. In Row I, I could just about see her shoes and I saw the dog perfectly. Any further forward and I wouldn't have seen either. In fact, another person told me that in the third row they could hardly see anything as the stage is VERY high for this production."
“I27 and I28 (Nigel Williams). Approx 8 rows from the stage and one seat in from the aisle. They were superb and as I looked around I honestly couldn't see any seats I'd much rather be sat in."
"I32: "A Chorus Line" (February 2013). Good view."
"I40 and 41: "Cats" (December 2014). It was my misfortune to be 6' 2 with unacceptably little leg room. Intriguingly your seating plan shows the seats to our right (38 & 39) as red and those to our left (42 & 43) as green. It should be the other way round for views of the stage but I accept that at least 42 has leg room. It's the ultimate theatrical conundrum: legroom vs view! My advice would be be to sit as centrally as possible and only go if you are related to a munchkin." Editor's note: seats were in 3 different price bands.
"J1 and J2: (Edward). Afforded very good views of the stage, but we couldn't see the right side and hence missed the whole of the part where the children bid goodnight to the party and ascend the stairs."
"J7 and 8: "Beauty and the Beast" (July 2022), (Bob Pickett). Positioning is good, far enough to take in the whole stage but able to see all expressions. You’re a bit to the side, but not enough to be craning your neck. Rake is fairly shallow, but as long as you don’t get anyone too tall in front you should be OK. Legroom? Adequate at best. But the seats are narrow and not the most comfortable, lot of fidgeting towards the end of the quite long first half."
"K 25 and 26: "The Wizard Of Oz" (February 2011). I must say these seats where fantastic! None of the stage was obstructed (the Red slippers where visible and the yellow brick road was clearly visible) also with plenty of room. SPOILER ALERT Only problem there is a possibility of jerking your neck when the witch appears from the rafters (but that's all part of the fun of the show.) SPOILER ENDS."
“Row L: "The Wizard of Oz," (March 2011).My group were in rows L, M and N and from row L my sight line just saw the floor of the stage. I am 6'1" so I suspect anyone sitting much closer than that would have increasingly restricted views of some of the action the closer to the stage they are. I would say that our rows were just about perfect for this show."
"Row L 11 and 12: "Cats" (December 2014). You get to best appreciate this show from the stalls because of the audience interaction. From row L you feel very close to the stage and I felt this was about the perfect distance. However, I wouldn’t have wanted to be any closer to the far side, so probably best avoiding being any lower than 9 or 10 to be able to see the entirety of the show. There is a lot of dancing and movement on stage so this is a show where a full view of everything matters. One of the benefits of sitting in the side blocks is usually don't have a problem if someone tall is sat in front as you are not looking directly forward but to your side, in between two heads, meaning you usually get an unrestricted view of the stage."
“L16, 17 and 18: “The Sound of Music” (Caryl). We had perfect viewing seats in the stalls."
“L20 and 21: (Tamara). Perfect for me, centre stage, not too far forward or too far back. Just right to feel part of the action and see the actors’ faces, without having to crane the neck".
"L26, 27, 28: "Joseph and the Amazing Technicolor Dreamcoat" (July 2021). Good view if you don’t have the tallest person in the theatre in front of you. You are sat directly behind the seat in front and not easy to see between heads. Seat extremely uncomfortable."
"L35 and 36: "Cats" (December 2014). First time ever buying full price top price tickets. Was worth it, great seats with a very clear view. Close enough to see all the expressions but far enough away to fully appreciate the choreography."
"M9 and 10: "The King and I" (July 2018). We got £25 rush todaytix Stalls M9 and 10. Fabulous view at this price, but rightly red for top price. I think it would, probably, be best viewed from the Dress Circle."
"M30 and 31: "I Can't Sing" (March 2014) (Chris). Decent legroom, decent view and (according to Monkeys pricing map) about £20 per seat cheaper than the row in front of me."
“M40 to 46: “Sister Act" (May 2009), (Steph Nicholls). £37 each from the ticket booth in Leicester Square underground. I had a good view from M40, others at the far end (M45/46 coloured red by Theatremonkey) were happy with the view though commented that occasionally the walkway towards the back of the stage was obscured by scenery in front."
"M41: “Sister Act”. If only my lovely relative had seen this site before spending A LOT of money on tickets. This was one of the worst I've ever experienced in a theatre. My own relative was sat in front of me and at 6ft is not extraordinarily tall. I (at 5ft 8) could not see the centre of the stage for any of the show because his head entirely blocked it - which meant missing a great deal. Also, a very strong cold breeze blew at the block from M39 to M45 - we were all putting our scarves back on! Wonder if it came from the exit that was at the back or an air con unit? Such a shame."
"N15: "Wizard Of Oz" (February 2011), (Suh). The Palladium has very few stalls seats without a good view - unless Horse from 'Bonanza' is in front of you. I was very happy in row N, though I always try for row E in any theatre."
"N27: "A Chorus Line" (February 2013). Couldn't see anything happening in the centre of the stage at all because of the head in front."
"O3 and 4: "Eat, Pray, Laugh" (December 2013). Got a very good bargain price, but the view of the left hand side of the stage where most things were happening in the first half was pretty poor. I would be a very grumpy theatre goer if I had paid full price. Also, row O (on the this side of the theatre at any rate) is directly opposite to the entrance to the Men’s toilets. If someone goes to the loo during the performance, you can hear the sound of the hot air hand driers!"
"Rows O to T 28 to 40: "Sister Act" (May 2009), (Gill). No problems mentioned at all regarding the seats, the view was good and audio perfect."
"O 18 and 19: "A Chorus Line" (February 2013). Unfortunately picked the short straw with our seats. Anyone buying the same seats should be made aware that Stalls seats row O18/19 have very bad sight-lines as they are not staggered. I could not see the centre third of the stage, and this obviously affects enjoyment of a chorus LINE show (!) with much happening in the centre of a non-raked stage, and directed straight to the audience - e.g. I could not see some characters' featured scenes at all! The people either side of us were also affected by heads directly in front of them and I guess others in the same row were too."
“O44: “Robert Plant” (2023). Sort of depends who sits in front of you, really. Nobody did and the view was great. Some neighbours were moving their heads around a bit to see past people.”
"P9: “The Wizard of Oz” (April 2011). View good, but sitting below the circle. Above this overhang a ventilation panel is fitted, blowing strong cold air. A number of us both in row P, and in rows immediately behind and in front requested at the interval that the air conditioning was turned down. No action was taken."
"P12 and 13: "A Chorus Line" (February 2013). It’s been mentioned before but to reiterate: we were sat in P12 and 13 and had cold air blowing on us from above for the entire show. We were very uncomfortable."
"P16 to 21 and Q16 to 20: "Sister Act," (Joss). On the aisle. The seats were small but comfy, and there was more legroom than most (but not great if you have long legs). None of our group had cause to complain. The view was great, you could see the whole stage, nothing was missed and the overhang of the balcony above does not obstruct the view of this show at all."
"P32/33: (Tim Powell). Gave a perfectly good view (but I would probably be aggrieved at having to pay the same top price as the front rows if we weren't on a half price discount)."
"P34: "The Wind in the Willows" (June 2017).
A real bargain at £30, however I think this seat is normally more expensive. There was a clear view of the stage and again leg room was very good."
"Q32 and 33: "The Wizard Of Oz". (Took my) 5 year old daughter. Get there early to get a booster seat as you'll definitely need them. Our seats were fine. You have the benefit of being on the end of a row and you are in the centre block and can see all the stage. The only downside was they were a couple of rows too far back to get the full effect."
“Row R: We were seated right in the middle of row R in the stalls and found the view to be very good, apart from at the end where the escapees on the mountain were lost for a few seconds as the mountain turned. Leg room was excellent."
"R2 and 3: "Joseph and the Amazing Technicolor Dreamcoat" (July 2019). Paid £50 through a theatre club. They were ok. They were to one side and under the overhang of the dress circle but as nothing happened high up in this production this wasn't a problem and only a slight part of the right stage was missing. There isn't much of a rake here so it you did get someone tall in front it may be a problem. I wouldn't of wanted to pay anymore than I did for these seats."
"R7 and 8: “'Sister Act” (May 2009), (James F). The Dress Circle obstructs the view of the top right hand corner of the stage and because of the angle to the stage some of Stage Left, but you don’t miss a single thing! The leg room is OK, but not great, but unless you get a really tall person (or someone wearing a habit that they brought from the merchandise stand), your view should be unobstructed."
"Row S: “'Sister Act” (September 2009), (Mark – regular reader). Good clear view but felt quite distant. The other two times I was in Row A stalls and I honestly don't think there is anywhere better to sit for this show than right at the front."
"S43: "Dick Whittington" (December 2017), (Tonyloco). In the back stalls was fine - for which I paid £39.50 despite the fact that it is showing on this website as £65 – presumably thanks to dynamic pricing."
"Row T: "The Sound Of Music" (2006), (Jackie). Was very good (cheaper for this show) and given the rake we had a very good view – leg room was less desirable though."
"T5: "The Sound of Music" (February 2009). Great seat - when got for £25 for No complaints but would have liked to be maybe a little bit further forward."
"T26 and 27: "The Wizard Of Oz" (April 2011), (Lisa). Limited view - however I could see all the stage and we only missed two very small sections of the show, but this didn't spoil anything for us. I did feel a little bit far away at times, but not too much. Overall thought view was fantastic, especially for the cheaper price.”
" T15 to 18: “The Sound of Music” (2006), (Paul Jones). These were the second tier prices (although the operator discounted them even further... they were excellent value. With a 5 and 7 year old in tow we were not sure how it would go, as they like to be closer to the action, but no grumbles and with the eye glasses in use, albeit sparingly, they did not move much, the kissing scenes being the exception! We got there early to get the booster seats; but the rake is quite good at Row T... The sound was fine where we were and, as someone noted, you cannot see the top of the stage quite - but this does not matter as all scenery is below it a little, so we did not miss anything."
“T33 to 35: "The Sound Of Music" (2006), (Cristopher H). Absolutely wonderful as the rake is very noticeable."
"T38, 39 and 40: Good rake, clear - if a bit distant - view, decent legroom, overhang high enough not to be an issue. Quite a novelty to be at the Palladium and in the stalls as I usually have to frequent the upper circle and the experience is very different from here as so much less remote."
"U29: "Joseph and the Amazing Technicolor Dreamcoat" (July 2019). Good central seat provided you don’t have a tall person in front of you (or if you are tall yourself). The rake isn’t great and the seats aren’t staggered such that you can look between people. That said, I didn’t have to lean a lot, and it didn’t feel too far away from the stage. The Dress Circle overhang just touches the top of the stage here, so row V would have the very top cut off. Very decent legroom, I thought."
"V1: My knees were wedged in which detracts from enjoyment. It was too far back to see or hear properly for me."
"V16 and V35: I went on a backstage tour yesterday, and took the chance to try out a few seats. The curve of the row means these two have much better legroom than others in the same row – should be good for someone up to about 6'."
"V19: "Dick Whittington" (December 2017). This seat, although at the rear of the stalls, is in the centre block, so it has a good clear view of the stage and plenty of leg room and a bargain for £27.50. There is plenty of leg room and I am 5' 10" tall. The only disadvantage with this seat is that it is not on an aisle, which has its disadvantages in the interval. The seats at the Palladium are well raked and therefore even with a tall person in front of you, the stage is not obscured. At the Palladium, the Dress Circle, overhangs the stalls at about Row L and obviously the further you go back the more of the top of the stage is cut off. However in no way did you miss any of the action which took place higher up on the stage."
"V36: "Sister Act" (May 2009), ( Kirsty). Despite being right at the back, the set design wasn't so big that my view was hampered. I saw the actors, I saw the set and I felt I paid the right value of money for the seat (£41)."
"V49: "Dick Whittington" (December 2017). Got this for £22.50 through “dynamic pricing”... GREAT seat at that price. Not too far back to see faces and no restriction from the overhang. Would definitely sit here again at a low price."
"Row W: "The King and I" (July 2018). It was amazing!! I was worried but actually Row W still felt quite close to the stage. I didn’t feel like we missed anything important staging / design wise. Although if you have the money, I’m sure it’s great to sit nearer the stage. I’ve sat in the dress circle before in the Palladium many times, which is technically a better view, but in back of the stalls I did feel closer to the action and I think I prefer it. Would recommend those seats at (ballot price) £25 to anyone!"
"Row W: "The Wizard Of Oz" (February 2011). I can say that the Palladium is still one of the most uncomfortable seats for leg room that I have ever sat in. Last time I was at the Palladium I was in the Upper Circle, and swore never again, but unfortunately the stall seats are only marginally more comfortable. The end seats have the most leg room because of the way it curves, so as it was pretty empty, we all moved around and got slightly more comfortable seats. If it had been sold out it would have been a nightmare. Some of the set could not be seen from so far back in the stalls. I think the best view would have been the dress circle. It was not a problem though; they were brief things that were not upsetting to miss, although if possible they would have been good to see. (The monkey observes the legroom problem may be even more acute up there, though...).
"X1 and 2: (James). My dad is tall and likes an aisle so he can stretch his legs. They have informed me that the view was brilliant, they couldn't make out facial expressions, but and they didn't suffer from being next to the sound desk."
"XX 8, 9 and 10: "I Can't Sing" (February 2014). For seats right at the back we had a pretty decent view. The overhang would be a problem if you were watching a show which had a lot of high up staging, but the show we saw didn’t. Choosing central seats seems to be the best option in this theatre, even if you are a little way back."