Noel Coward Theatre

"Don't touch them as they are extremely side on (and I'm a great fan and user of boxes)."

"Million Dollar Quartet" (February 2011. A little word about the boxes (A to D I think) at the side of the theatre for this show: (contains possible spoilers), these are definitely restricted view, you sit in the ones to the left of the stage, you miss the actor playing. (This holds for many other productions too, feels the monkey).

"Box B: "Labour of Love" (September 2017), (MJ). Box B (stalls level) - Thought these had a very good view. You miss entrances/exits as the door is on that side but majority of action is central or on the opposite side of the stage (which might make Box B preferable to A for this show). Only a couple of moments where a speaker blocked the view of a secondary character's head. Absolute bargain as bought fairly last minute for £10 rather than listed top price!"

“Circle: (Alf) Outstanding view from all seats: great rake, not too far back from the stage, masses of leg room in row A by the way. Slips aren't too bad if you are happy to lean a bit"

"A3 and 4: "The Great British Bake Off Musical" (March 2023). Appreciate this show isn’t running anymore and set design may affect the view but for 'Bake Off' these were brilliant seats.
Sold as slightly restricted, they’re in the curve of the circle so you are a little bit side on but for 'Bake Off' that didn’t matter. There’s no one in front of you and no one behind you which is great.
I think I booked via Today Tix and got them for £25. I’m not sure I’d pay full price for them but if you can get a deal they’re great. Can’t comment on legroom as neither of us are particularly tall but you didn’t feel squished in like you can do at the front of a circle. No pesky rails blocking the view either."

"A3 and 4: (Pip). I see that it's red rated on the diagram, and I know they're at the side, but the view was brilliant! I didn't miss anything but one entrance. And there seems to be more legroom over here than in the centre and you can lean forward if need too and not bother anyone. Seats very comfortable and are cheaper than the middle."

"A18: "Peter & Alice" (March 2013. Perfect view."

“A19 and A20: (James Finchley). What a fantastic place to see the show from. No-one in front of you, no steel bar or high front to obscure the view. Sound is excellent from here and you can see all the actor expressions. Didn’t find legroom a problem at all. Definitely my new favourite viewing point!"

"Sat in A 21 and 22. Great seats (and at top price they should be!) I have to say I thought the leg room was very generous for a front circle seat. I'm only 5ft 4 though so had loads of room. 6ft Husband with laptop bag also seemed to think there was a decent amount of room for him - legs, laptop and all! (The monkey wasn't as keen on row A legroom - feeling it cramped, so welcomes another viewpoint and has raised the rating of these seats accordingly).

“A24 and 25: “Much Ado About Nothing” (Chris B). These seats are to the left as you look at the stage and have the bonus of A 25 being an aisle seat. The view is clear and unobstructed and feels very close to the stage. You are close enough to feel the full atmosphere of the show. The only drawback is the legroom is sufficient (for me being 5'8") but certainly not plentiful."

"A 27 and 28: "A Christmas Carol" (December 2015, (thespyinthestalls). This is a side section but offers a fairly adequate view (and no need to lean, though some will insist on doing so much to the annoyance of row B), Very tight leg room though - much better bet is to move to seats in row C or get the single golden seat in row D if on your own."

"A29 to 31: (Rich). We originally had these, at the extreme edge of the circle. These are restricted view but aren't too bad if you're prepared to lean forward. The play was almost sold out but the front of the circle had several seats free (premium prices?) and so after consulting a friendly usher, we sat in the middle of row A for the second half - amazing seats - great view and the leg room was OK too!"

"B1 and 2: "A Christmas Carol" (December 2015). Advertised as having a slightly restricted view but it really wasn’t too bad. The far right of the stage was obscured but it did not detract from the performance at all. The only problem I had was when a man in the row in front decided to bend forward and then my view was obscured by his shaggy, unkempt head."

"B3: "Good People" (April 2014). I was lucky to be up graded from AA14 in the Upper Circle to B3 in the Royal Circle. Although I'm a fan of my original seat."

"B6 and 7: "Half a Sixpence" (November 2017). Both seats had good leg room. I am 5' 11'' and I was very comfortable. B6 is also an aisle seat. From both seats there was an excellent view of the stage. These were expensive seats bought as a birthday treat, but I would highly recommend them."

"B14 and 15: "Hay Fever" (February 2012), (Chris B). Excellent clear view, centrally located, the dress circle feels close to the stage and is very easy to see over people on the front row. Legroom is reasonable if not ample."

“B22: A very good seat."

"B27: (Pez). It was actually a very good view, We had quite a lot of leg room, and most importantly I could see every one of the actors’ expressions, and we were quite close to the stage."

"B28: "Photograph 51" (September 2015). Booked right after show was announced, before day seats were confirmed (which I would have preferred, of course). Actually a decent seat, satisfyingly close to the stage. Nothing to my left, so I had a little space for bag and legs. About a quarter of the stage was blocked from view (my left, stage right), but the staging was such, that I could see everyone and everything. Only hazard was the head of an eagerly forward-leaning gentlemen in row A, but that was easily manageable." 

“Row C (middle): The seat was great as I could clearly see the whole stage with nobody blocking my view as the cambering of the seats is first class."

"C11 and C12: (Rochelle). The view was great here; the only downside was the leg room (I have very long legs!)."

"C25: "Death of a Salesman" (April 2015) (Taljaard). An excellent seat indeed."

"C 25, 26 and 27: "Mrs Henderson Presents" (February 2016), (thespyinthestalls). There were only two of us but as this is part of the side section in the circle, there are only three seats so purchased all three to give us the option to move and not have a stranger squashed in next to us. Doing this actually also works out cheaper than two second tier price seats in the stalls. Really good view thanks to circle being quite steep. Even with a quite tall gentleman in front, I was able to see well. Would recommend over row A in circle."

“C28: “The Great British Bake Off Musical” (March 2023), (Broadway John). Good view and legroom. Lots of space to set bags and even a shelf for your drink!”

"D4: "The Inheritance Parts 1 and 2" (November 2018). I spent 7 hours in seat D4 and its mirror opposite D25. Here’s my opinion: Due to sight lines, a tall person in front of you may block a significant portion of the stage; however, as there is no one sitting on either side of you, it’s easy to lean right and left to get a perfect view. This solitary seat is an unexpected joy, especially in view of the long running time of this production. No one will see you sob uncontrollably or strain to see the nudity."

“D4: I asked for and was allocated D4 in the Royal Circle. This is one of two single seats that sit in front of the rear Royal Circle Boxes. Despite being on the side block, this seat offers fine unrestricted views of the stage and because people always go for the centre, there was also nobody in front of me. This is a seat that I would certainly recommend for the theatre goer who occasionally likes to go alone. With lots of room to stretch out it almost felt like having your own private box. The very friendly and helpful member of staff in the box office also informed me that the director will sometimes sit in this seat taking notes as it is often unsold. If it’s good enough for them then it’s good enough for me!"

"D4: "The Full Monty" (February 2014). A gem [I'd give it a green rating even at top price]. It takes less than a minute to get from outside the theatre into your seat, so perfect for those who always arrive with seconds to spare – and you are one of the first in the interval queue for the bar, or first to the exit at the end! The seat is square on to the stage and the rake on the seats in front gives you a fantastic view of the whole stage. There is masses of room to stretch your legs and plenty of space to tuck your coat and bag safely next to you on the side away from the aisle. It is also a wide seat with good back support, so very comfortable. Best of all, as the only seat in the row, there is no need to worry about falling over other people or have them trip over you."

"D5, 6 and 7: "Dear Evan Hansen" (November 2021). In a relatively small theatre these seats do not feel as remote from the stage as in some, and, with just 8 rows in the Royal Circle the actors' features and expressions remained clearly visible. 
Seat 5 was a little uncomfortable as cushioning was slightly lacking, but with a clear view (thanks to the more than adequate rake), decent legroom (5’10”) and close proximity to the main entrance I would say these are some of the best Royal Circle seats I’ve experienced.
Note : Having previously seen this show from the stalls (My go-to seating preference), I now realise that this show's viewing experience is far better from any of the circles, due to the many stage floor projections."

"D15: "The Full Monty" (February 2014), (EA). As a 5ft 4in female, I found that I had an absolute perfect view of the stage. Luckily for me, the fairly tall couples in the row in front of me leaned towards each other so I had an unobstructed view. Legroom would not be comfortable for people taller than me and anyone larger than my size (UK 12-14) would find themselves quite squashed in their seat particularly if the people on either side of them use the armrests. It's a bit like most of the seats on the Tube - but even then I had taken off my coat and had it on my lap!"

"D18 and 19: "Hay Fever" (February 2012). We arrived late and had to wait in seats at the rear of the circle. We were not disappointed with the view. However the balcony above does cut off some the view to the top of the stage if you are sitting further back than row D but as 'Hay Fever' was mainly acted at front of stage it does not obscure the view too much."

“D23: “The Great British Bake Off Musical” (March 2023), (Broadway John). Moved to this seat at interval. Couple of seats off the aisle, but the row was almost empty. Fabulous view. Legroom decent.”

"D25: "The Inheritance Parts 1 and 2" (November 2018). I spent 7 hours in seat D4 and its mirror opposite D25. Here’s my opinion: Due to sight lines, a tall person in front of you may block a significant portion of the stage; however, as there is no one sitting on either side of you, it’s easy to lean right and left to get a perfect view. This solitary seat is an unexpected joy, especially in view of the long running time of this production. No one will see you sob uncontrollably or strain to see the nudity."

"D25: "Death of a Salesman" (April 2015). Booked this on Monkey's recommendation. Great for the spy as loads of space for notebook, bag, wine etc. It is a single seat so you will look like you have no friends. There is a box directly behind so occasional feeling of someone over your shoulder. D25 has a distant twin which is equally lovely."

“E9: (David Fisher). The view was excellent however I found that the seat had little leg room and my knee pushed into the seat in front. I only have short legs as well."

"E15 and 16: "Hay Fever" (February 2012), (Mark - regular reader). Brilliant seats giving a great overall view

"F24 and 25: "Avenue Q" (2006 to 2009), (James). Have seen the show many times, once from the stalls (central row M) and the rest of the time from the Dress Circle (usually around rows B to D). Whilst the stalls seats weren’t bad by any means, I prefer seeing the show from the Dress Circle as you can take in more of the stage. I’ve never had a bad seat experience there yet and even F24 and F25 in the Dress Circle, whilst not marked as green, gave me a great view."

"F24 and 25: "Deathtrap" (August 2010), (Lee). Whilst this area was fine for “Avenue Q” I would recommend front stalls for a play like Deathtrap, you definitely feel a little out of the action being even in the first circle. I imagine the shocks and jumps are much more amplified being so much closer to the action. Legroom isn't great on row F so I was very glad to be on an aisle, there is definitely a wider gap behind for row G, the lady in front of me banged my knees with her head and arm a few times last night."

F25: "Gatz" (June 2012). I thought your readers might benefit from my experience. I sat in seat F25 in the Royal Circle. Booking for this theatre takes place via the Delfont Mackintosh website, not through the theatre directly. Because of the play's punishing length I was careful to select a seat with legroom. I'm about 6ft tall and like to stretch. On the online seating plan F25 is clearly marked as an aisle seat with no seat in front of it. I confirmed this with the lady on the DM booking line. "If you want leg room, that's the one!" she said. Well, sadly the seating plan on the website is fiction. In truth F25 has a seat in front of it. Why the online seating chart moves it along one is a mystery. So I got cramped over the long running time, with my knees just about ready to sue my brain by the close. I checked with the usher and the royal circle layout has remained unaltered for at least 5 years so the seating chart is completely misleading. 

Another thing to note about this seat is its proximity, along with that side of Rows G and H (and perhaps a couple in front) to the exit, which in this theatre, is but a stone's throw from the fire exit, which is a mere hop to the Lord Salisbury pub next to the theatre. As the performance continued, the hollering and ear bleeding laughter from near-by drinkers, was clearly audible from where I sat. This assumes the noise wasn't the theatre staff amusing themselves while the audience was busy, though one assumes they'd show some restraint in the volume department. Gatz was a low key production - mainly soft spoken word, little incidental music, so it was inconceivable that it could drown out the hyperactive fems and soaked bucks that pumped up the volume. I imagine the problem is most acute during evening performances. In this show, it completely took you out of the performance and refocused your attention on aching limbs. This seat, a jump from the street and without the promised leg room, was £77.50. The view's excellent but that's not enough. Incidentally, the corresponding aisle seat, at the end of row H on the same side, is nearly clear in front, as the chart promises, but not quite. About a third of it is blocked by the seat in front." (The monkey has never noted F25 as having extra legroom. It does, though, note that most seating plans (including its own) are unable to accurately show seats which do or don't have extra legroom. This is due to most graphic software requiring that seats are presented in a 'grid like' manner). 

"Row G: “Avenue Q” (2008). I think for the £17.50 I paid, this row provides a superb view for the stage. Views are totally unrestricted and although it’s at the back of the area the theatre is quite small. I think this is better than the back of the stalls."

"Row G (centre): “Avenue Q” (2008), (Lee). It was a great place to see the show from didn't feel far away at all, seats were comfy and even though I am 6 foot 1" I had more than enough legroom. I tried the seats at the back few rows of the Stalls and they felt much further from the stage than being in the Royal Circle for some reason. If a friend asked me I would say go for anywhere centre Royal Circle or front middle Stalls for this show." (That makes the monkey give G a higher rating, given the extra space available).

"G7 and 8: The seats were at the end of the row, which provided extra legroom, which was appreciated. We're both around 5'9", anyone much taller would probably find their legroom a little constrained anywhere else on that row. The view was entirely acceptable, and although you are a little off-centre, no part of the stage was cut off. I have to say that I disagree with the green rating achieved by these seats on the Theatremonkey page. The seats were absolutely acceptable, and certainly shouldn't be red, but for top price I would expect green seats to be a bit more central, and probably closer to the stage. Methinks the Monkey has been a bit generous with the green pen when colouring the seating plan for this theatre! (On consideration, the monkey agrees, and has changed things accordingly...).

"G8: “Deathtrap” (August 2010), (Mark). Not as good as front row stalls (obviously!) but a very good clear view of the stage."

“G13: “The Motive and the Cue” (November 2023). Maybe just a little too far back for plays that demand you pay close attention to the actor's expressions, so if seeing something actorley then maybe consider a small upgrade. Good rake means that a blocked view shouldn't be too problematic.” 

"G20 and 21: "Half A Sixpence" (November 2017). An excellent view, not obscured by anything or anyone and although we were only one row from the back, this didn't matter, they were very good seats."

"G22 and 23: "All About Eve" (April 2019). We bought end-row seats G22 and 23 in the Royal Circle (second-to-last row) at a hefty £85 (though those at the front of the Royal Circle are double that). Though it was nice to nip in and out of our seats, and the theatre, quickly due to the position of the seats chosen, I was uncomfortable by the end of the two-hour play with no interval. I am only 5 feet tall and, strangely, my left knee was pressed against the seat in front, as it seemed our row curved round slightly but the one in front (which was a couple of seats longer than our row) did not curve at that point. I could see most of the stage but the head of the man in front (who didn't seem to be taller than anyone else) obscured the left-hand side somewhat. Had hoped for better at £85 each."

"G22 and 23: "Shakespeare In Love" (July 2014). Got as day seats. Very good view."

"G22 and 23: "Mrs Henderson Presents" (February 2016). For this show of all shows I really did not want to be in the back of the Circle, Front stalls would have been perfect, but my companion couldn't make it down the stairs, so we had to settle for these. I sat in G23 and was wedged, my legs were forced against the seat in front (I'm 6ft 4 tall). There was no one in the back row and no seat in front of it so I thought I would move there but when I tried to stand up I couldn't get out of my chair. My mobile phone and bunch of keys were in my left pocket and were wedged against the arm rest. I tried really hard to stand and there was a ripping sound and my trousers split down the side seam about 8 inches. An usherette saw it happen and called the Manager and he apologised profusely and offered to pay for the repair. The staff really were exceptionally good to us and it was a great show but I would have liked to have been in the seats I had ear marked for us. The view would have been so much better!!!!"

“H6: “The Great British Bake Off Musical” (March 2023), (Broadway John). Great view. Legroom was OK, but part of it was a step so I found it a bit uncomfortable and awkward getting my feet in a comfortable position. Aware of the balcony overhang, but didn't affect the view at all. Felt fairly close to the stage even though at rear of the circle.”

"H19 to 21: Back row, reasonable leg room, OK rake. I was slightly impeded by the people in front, overhang was noticeable but not a problem, we could see the whole stage clearly. Dress circle is good as on ground level so accessible quickly. Seats seemed central but still near enough the end of the row for a quick exit at the interval."

"H22: "Privates on Parade" (Taljaard). Bought for £10, normally £57.50. Best ever day seat. Great view of the stage and could hear everything perfectly."

"H24: "The Great British Bake Off" (February 2023). I booked an access ticket via the DMT booking line. I was recommended Royal Circle and H24 which is the back row and classed as extra leg room.
The seat was good but I had a slight problem in that the seat is on a narrow ledge so to put your foot down you actually have to keep it bent at a 90 degree angle. I needed to keep my knee at a wider angle so it meant I had to rest it on the step below. This also meant I had to sit and lean forward to reach the floor as, if I sat back in my seat, my foot didn't touch the floor.
Anyway I saw that D26 was vacant and it is a single seat next to the aisle (and just in front of one of the boxes). I asked if I could move which they kindly did. This seat is perfect as there was a lot of space to my left so could stretch my knee out. So I would really recommend that seat if someone needs the leg room and is seeing a show alone. I think its in a higher price band than the seat in Row H though. Also you have a uninterrupted view of the stage as there is nothing in front of you."

"Box C: "The Lieutenant of Inishmore" (August 2018). Didn't get Day Tickets but my friends wanted to go so badly that we opted for a Royal Box (Box C) at £53 each ticket. It was fantastic! There were 4 seats (3 of us and someone else had previously booked the other) which were freestanding, so you could place them at a diagonal angle so you'd sit facing straight on to the stage (not craning your neck sideways). The view was brilliant and you were only a couple of feet higher than their faces. One missed a tiny bit of of the stage at the side, but it didn't affect one really. The box is huge, even had its own loo just outside the door, and it was nice way to look at the whole theatre and enjoy the experience."

"Box C: "Labour of Love" (November 2017). Sold for £10 online the night before the show. Play was fantastic but the side view of the stage wasn't great for this particular production, as a television screen on the right of the stage (fairly significantly involved in the play) wasn't viewable without leaning heavily forward. Had I paid full price I would not have felt it value for money, but for a tenner I can't complain too much and still enjoyed the performance."

"Box D: Lovely box, very comfy, excellent view."

"Box D: "Half a Sixpence" (November 2016). Very pleased with the view. There were just the two of us in there, so we could move the chairs as we liked, would be a bit crowded with 4 though."

"Box M: (Alf) is great! It is NOT rear of the dress, but about in line with row D or E, has a full, clear view of the stage, is nice and roomy (with your own curtains) and is a really good way of getting in to see the show last minute. Still a bit greedy as first price, but arguably better than rear dress or stalls." 

"Box M: One of my very favourites."

"Circle: The view from the front few rows of the Grand Circle is dizzy."

“Circle: (Alf). Much higher than the Dress...I would only take the first 3 rows of it. Avoid the slips here too if you can."

"A 11: "The Cripple of Inishmaan" (May 2013), (Taljaard). Not too high but the rail in front is a tad annoying to start with but I got used to looking below it quite quickly. The Theatre is very well air conditioned so despite it being 30 degrees outside it was comfortable within." 

“A21 and A22: "Calendar Girls" (April 2009). At discount price. As pointed out already there is a safety rail in front of you but for me (at 5ft 2 I could see under it and for my friend at 5ft 8 could see over it – without altering our sitting position and others in the row lent forward). The view was great and the ticket price a bargain, as you could see all the facial expressions... and more to the point didn’t see anything you shouldn’t when the cast went ‘nude’."

"B 5 and 6: (Paul). The seats offered a good view, we could see everything. Although the numbers are 5 and 6 this was on the end of a row - I asked specifically for seats with extra legroom. As it happened, unless I sat in the seat sideways there was no extra room here than any other seat, but it was perfectly adequate. The rail in front was slightly distracting for about the first two minutes but then I didn't notice it."

"B 7 and 8: "Dear Evan Hansen" (November 2019). Fantastic seats, great view. Front of stage slightly difficult to see if people in row A lean forward but not a major problem."

"B18: "Half A Sixpence" (November 2016). A central seat with an excellent view of the whole stage. I paid just £47 by booking in advance on the theatre's website. Bargain! There is a safety rail in view which is annoying for about three minutes, then, strangely, you just don't see it any more. I imagine that people in Row A leaning forward may cause a problem but nobody actually did lean forward while I was there so I assume the view is just as good from Row A....the trip from the entrance to the Grand Circle down to the seats on Row B was down some extremely steep and scary steps which made me feel a bit strange but, once seated, I was fine."

"B 18: "The Cripple of Inishmaan" (May 2013), (Jude). Quite a central position, although fairly high up. Could see quite clearly, although at times the bar was restricting (but more so for Row A). You did get used to it, and the set was such that you didn't miss anything."

"B20 to 22: "Patriots" (May 2023): Good view, with just the front of the stage cut off, which doesn’t matter much for 'Patriots.' It doesn’t feel too far away either.
Leaners in row A are a bit annoying but again it’s not too distracting because they have a good view without leaning, too…
Less satisfactory was the legroom and actual seat. Seat wasn’t level so felt like I was slipping off forward, which was not ideal in this very steeply raked level. Legroom was tight for 5’ me, so even more uncomfortable for taller friends.
Not for the vertiginously challenged given the drop (had to help someone further along the row)."

"Row C: "Half a Sixpence" (November 2017). Got grand circle row C for £12.50 about two hours before the show. View was great!"

"D11 and 12: "Henry V" (November 2013). Great seats and very good value for money."
 
"D20 and 21: I personally think they are JUST fair for money as you can see everything but the corner of the stage. I think the price could be lower. However, the view is acceptable and for a second time to a show worth the money. Otherwise, first timers avoid here because you won't see as much expressions (which are vital for musicals and comedies). There is no legroom, but otherwise seats are comfy. Sound is fine."

"E13 and 14: (Ian Grace). Visibility was very good (we had fairly average sized people in front) but not having anyone sitting behind meant we could also lean forward or shift about without having to worry that we were blocking the view of others behind us. I haven't been to that many London theatres but these seats felt very high up in the building (there are higher!) which could just possibly be an issue for those who suffer from vertigo, especially when standing up getting to some of the seats."

"E 9 and 10: "Calendar Girls" (July 2009), (Jos Hockley). I chose to save money and go for the grand balcony. I have to say they were well worth the money; yes, it's high (but not as high or steep as the Palace Theatre where you need a mountaineering kit), and I didn't need to sit forward in my chair to see the edge of the stage - and I'm only 5'4". We could also perfectly see the expressions on the actresses faces, though if you don't wear glasses 20/20 vision is a must; don't be vain - get the specs out! On such a hot day we were blessed with air-conditioning at it's most effective and it was a perfect temperature but it may be a little too cold on cooler days. The seats comfy and legroom reasonable for a theatre. If I have to make one criticism it would be that from our seats we couldn't see the tops of the first two photos to drop down in the finale - but then we wouldn't have seen them from the back of the stalls either due to the overhang of the balcony above. It's a minor detail that really makes no difference to the enjoyment of the show."

"F17 and 18: "Mrs Henderson Presents" (March 2016). The view was excellent (except for the odd occasion when those on the first couple of rows leaned forward but this didn't happen too often). It would have been nicer to be nearer the front but we had an excellent view, nothing was obscured (and I mean, NOTHING!) and I think we got a great ticket deal for £15 each (thank you, Amazon tickets). There is virtually no leg room but that's just something you have to put up with if you want to sit in a beautiful, old theatre."

“F18 and 19: Provided a very good view (although probably wouldn't be worth it if they were paying full price of £27.50 upwards for them."

“Slips: “Avenue Q” (2007), (Gavin). I bought a £10 ticket at the box office and sat in the Upper Circle slips - view was practically nonexistent, backache severe so probably not even worth a tenner."

"Slips: "Dear Evan Hansen" (November 2019). Not the £12 ones with a bit of a view, but the £5 that aren't even great to listen from.  However I had a perfect view of Duke and Duchess Cambridge (he laughed in the right places) front of the Royal circle."

"AA2: "Dear Evan Hansen" (November 2019). Arrived to the box office, asked if they had any Day Seats left. I was told that I could have a regular Slip seat in the Grand Circle for £5, or Slip AA2 for £12.50. They explained that this seat was more expensive because it had a much better view than the other Slip seats, which are very restricted. This is due to shape of the curve.
 I accepted AA2 and it was excellent. You need to lean forward but you see 95%of the stage and it's close enough to see the expressions in the actors' faces. Really good value for £12.50. It also has extra room on the right hand side which came very handy for my bag."

"AA2: "All About Eve" (February 2019). The end seat up here, on the far right hand side.  For £15 (which seemed a bargain compared to what they were charging for premium stalls!), it was great.  Yes, I lost about 1/4 of the stage on my side, but was close enough to see faces clearly, and for this show where they used the wings too, I had to rely on the video projections for what was happening on my side, but had a clear view of the other side.  So for the money I'd definitely sit here again - especially for this sort of production where anything at a reasonable price with a good view had been snapped up months earlier."

"Slips AA 2: "Photograph 51" (September 2015). Big thanks for the grand circle end slips recommendation. Super view and absolute bargain at £10."

“Slips AA2: “Enron” (February 2010). Interesting that the Upper Circle slips have gone up an awful lot in price for "Deathtrap" (August 2010). I'm sure they were £12.50 or so and now they are £19.50. I sat in AA2 for 'Enron' and thought my £10 lastminute ticket was just about fair value. And the woman next to me was not pleased with her seat. (The monkey thinks the reader means the woman was unhappy with the view, rather than the size of any part of her anatomy, of course).

"Slips AA5: "Privates on Parade" (December 2012). Saw this in AWFUL seats at the Noel Coward - AA5 in the grand circle - sold as restricted view but the website says the view is obstructed by the safety bar - NOT ENTIRELY TRUE - actually the angle makes it impossible to see much of the stage - the safety bar is the least of the problems. More of a problem for this production, since a fair proportion of the action seems to happen near the wings (especially stage right).”

“Slips AA7 and 8: Although I'm not really complaining as they were only £5, these seats are not great. If you sit properly, you can't see anything at all, but with leaning forwards you can see a half to two thirds of the stage, although there are some poles in the way but I think you get used to them and sort of stop seeing them. Legroom was very poor though, However, at 7.30pm, nobody else had turned up to sit in the slips, so we moved along to AA 2 and 3. These are much, much better, you can pretty much see all of the stage apart from the extreme left side and back corner, and the legroom was a bit better, especially in AA 2. So you want the £5 tickets I would definitely recommend asking for AA 2 an 3, or 26 and 27 on the other side which I assume have a similar view. These seats are great if you're just looking for something to do of an evening as it's actually cheaper than going to the cinema (and about 1/3 of the price of going to the cinema in Leicester square!), and they're not as bad as the price suggests... they're certainly not 5 times worse than seats in the balcony, but if it's a special treat definitely go for some proper seats."

"Slips AA 9: "The Inheritance Part 1 & 2." Both times I was AA9 on the Grand Circle. Although there was a bar obstructing the view the entire time I could clearly see the actors throughout and the only things missing was the very top right corner, but no action seemed to take place up there. I could lean forward without obstructing anyone else's view and the bar didn't detract from the fact that I laughed and cried during both parts! For £14 each I was happy with what I had, but I know the bar really bothered the two people beside us (AA8-AA7)."

"AA15: "Dear Evan Hansen" (November 2019). (last of the slip seats towards the main section) is an utter steal for £15, you miss absolutely nothing if you lean a bit forward, there‘s plenty of leg room and you can actually stretch your legs fully if you feel so inclined and there‘s even storage space for bags and coats behind the seat."

"Slips AA15: "Deathtrap" (August 2010). You have to do a bit of leaning out but as there is no one behind it's guilt free. Nicely prices at £15 for the previews."

"AA15 and 16: "Peter and Alice" (March 2013). Very good value and although you have to lean forward occasionally it was fine."

“Slips AA24 and 25: “Million Dollar Quartet” (Chris B). These seats are heavily discounted (just £10 for million Dollar quartet) And for good reason, they face the stage sideways on and are quite high up. But they are very good value if you are prepared to lean forward for pretty much the whole show. They were perfect for a show like million dollar quartet as its primarily the music that takes centre stage but for a play or musical with an elaborate set, I would recommend you think carefully. I'd say you miss about a third of the stage. There is a cushioned barrier to lean on though, you just have to arrange with the people to your left not to lean too far forward. And worth noting plenty of legroom. However, expect back ache!”

"Slips AA27: "Dear Evan Hansen" (November 2019). These are restricted view seats, you have to lean forward, but you have quite a clear view of the stage missing probably 15% of the stage. A real bargain at £15! In the 1st seat of the side slips you can lean without blocking view of your neighbour. Other seats in side slips (only £5) require much more intensive leaning and they will block the view. But what could you expect for that price? I recommend standing instead of £5 slips."

"Slips AA27: Girl From The North Country" (January 2018). Sat here for "Labour Of Love" - got a decent view with some leaning, especially for £10. Went back to the same seat for "Girl From The North Country" - to find that a light has now been placed right in the field of view (on both sides of the slips too, so I imagine the corresponding seat on the other side is the same) - very irritating (especially as the ticket was more expensive at £15!).
Asked usher if there were seats I could swap to (as many below were free) - but they refuse to 'upgrade' seats without you paying the (large!) difference. Was offered standing at the back of the grand circle, which you may like to tell readers is an option (and gives a good view of whole set if you are not too tall)."

“Standing places 10 to 12: “Dear Evan Hansen” (November 2019). Clear view, good height wall to lean on which was a decent distance from the people below so you didn’t feel as though you were breathing down their necks. 
Very close to the bar so you can go for a sit down at the interval, obviously great early access for the toilets at the interval and exit at the end. 
I’ve not stood for years and am pleased to report I would do it again without hesitation. It’s far better for my ailing back than the seating position forced upon you by some of the seats we pay a fortune for!”
 

"Circle: (Alf). Very distant and very high. Especially when much humour is in the expression of the actors. The price seems a bit greedy. HOWEVER, for anyone that likes bit of extra legroom or a wider seat, the first and last seats of the central block (e.g. Row A; seats 3 and 19, Row B; seats 3 and 21 etc) are double width - literally twice as wide as the rest of the seats - they are like sitting on a throne! The one next to them (Row A seats 4 and 18 etc) are also a tad wider than normal."

"Enron" (January 2010) . I would probably want to avoid the Balcony as the set is fairly high."

"B4: "Million Dollar Quartet" (February 2011). Not bad at £5 for previews! Would hesitate to pay anything more though as the view is high and slightly restricted."

"B7 to 10: "A Midsummer Night's Dream (September 2013) (Taljaard). Having booked them before reading other peoples thoughts I was quite concerned. But then pleasantly surprised. Yes you are a bit high up and yes the bar got a bit in the way to begin with but you then of forget it's there. The leg room was good and the seats really comfortable. At £10 each they were well worth it."

"B15 and 16: (Pip). I personally don't see what the problem is. I was dreading sitting up so high from all the reviews, but it really isn't as high at some theatres I've been too. It's also closer to the action then other balconies I've been in. Could see everything; yes the bar got in the way, but the price makes up for that. Legroom is brilliant and the seats are so wide and the best ever. I kept forgetting that they weren't folding ones so had an amusing time thinking the seat would fold as I sat down."

"B23: "Dear Evan Hansen" (November 2021). Came with a warning about restricted view because of handrail - the handrail was annoying but not too much of a nuisance (and very little of the stage was lost).  If the person in row A in front of you decides to lean to their left to get around the handrail in their line of sight, this will block you.  However, the seat is very high so unless you are very tall, you will be swinging your legs (or using the step to the side as a foot rest, as I did) and/or risking kicking people in row A in the head. it’s probably more a warning to those who value their heads than people who can’t reach the ground. The balcony is very high up and steep, so not recommended if you don't like heights.

Separately, they've put in place this one way system so that everyone keeps to their row to get in or out - I wanted an ice cream but being at the farthest end of the row meant having to walk all the way along the row to get out, and then all the way back to get in, and I really couldn't be bothered.  Not sure if it's always been like that, but it doesn't seem like the best solution.  Couldn't see whether there was an actual aisle at the top or anything."

“Row D: (August 2006), (Jan). Not recommended simply because you can hardly see anything from that distance, let alone any expressions on the faces of the actors. The sound was good though which was just as well as there wasn't much to look at. Nice view of the very decorative ceiling though!!! These seats should be free they are so bad. Avoid the upper Balcony like the plague."

"D11: "Half A Sixpence" (November 2016). Have sat in the Noel Coward balcony a few times before so knew the sort of view I would likely to be getting, plus only paid £10 through Get Into London Theatre offer. However at the interval there was a lot of grumbling and some people asking ushers if they could be moved. I could quite agree with them where they had paid face value of £27.50 for tickets not marked restricted view but providing a rather poor experience. It was fine for any full stage ensemble routines, but a large proportion of the show was played by the principals on the enlarged forestage area that has been pushed some way into the auditorium by the revolves. For once people sat in the centre block were looking quite enviously at those in the slips who possibly had a better view of the leads at half the price."

"D23: "Photograph 51" (September 2015). My seat was up in the Gods - D23 in the Balcony for ten pounds. I was expecting the worst after reading reviews online but I was pleasantly surprised at just how good the view was for the price. While you're never going to have an outstanding view from a Balcony seat, the seat was far more impressive than some balcony allocations I've had in the past. Faces of the cast are just visible and I didn't feel too disconnected from the action. The safety barrier does obscure a fraction of the stage, especially with the barrier height rising towards the end of the aisle (where I was sat), but it's not too distracting. With the play sold out for the most part, I was very lucky to get my hands on a ticket so affordable at the last minute. I would take this seat again for the price."

"E3: "The Lieutenant Of Inishmore" (July 2018), (Taljaard). Got this 20 minutes before evening curtain up for a tenner, quite a bargain. Although it's the first seat in the very back row of the top shelf of the theatre it's not too bad at all. Could see and hear everything and the restricted view due to the safety rail doesn't impact on this row."

"E4 and 5: "All About Eve" (February 2019). Very high and a very slight viewing issue to the right hand side of the stage, but otherwise clear view (with glasses!)."

"E19 and 20: "The Lieutenant Of Inishmore" (July 2018). There were a couple of £10 tickets left on the day - balcony slips (AAs) and balcony last row (E). Was tempted to go for the slips as they seemed nearer the stage but very glad we didn't. Opted for balcony E 19 and 20 where we could see the whole stage. For this play you need to be as central as possible as some crucial action happens at the back of the stage, so a side view would be frustrating. A great choice for a tenner."

"Slips AA12: "All About Eve" (February 2019). Stage right seems restricted, and definitely a case of leaning forward to see that side." 

"Slips AA12 and 13: "Dear Evan Hansen" (December 2021). I would say for the price of £15, the seats on the whole were great value. In both seats you cannot see a chunk of the front left of the stage (if you were in AA14 upwards this would be even worse), but you can hear everything fine, and for the few bits you can't see when the action is here, it's obvious what's happening, so you don't miss out, and as long as everyone in the row leans forward, you can peer over the safety rail and see, without blocking others' views. Leg room is horrendous for anyone of any size, and we were very thankful for the interval to have a stretch. You are pinned in, and have to walk through an entire row, then an extra bit of Row A to get to the seats, so if you have a weak bladder, I'd recommend a different seat, as getting in/out is a pretty arduous and very inconvenient effort if everybody is seated! But bear this in mind and plan liquid intake wisely, and for £15, they're not to be sniffed at!"