Charing Cross Road, Covent Garden, London WC2H 0DA 0844 482 5120
www.delfontmackintosh.co.uk the theatre group's own website provide the service for this theatre.
Booking fees per ticket:
Other Online Choices (with genuine S.T.A.R ticket agencies):
Ticket agencies offer an alternative way to buy tickets, with booking fees differing from those charged by the theatre box office itself. They may have seats available or special offers when theatres do not.
Ticket agency prices vary in response to theatres implementing “dynamic pricing” - which alters prices according to demand for a particular performance. Prices stated here were compiled as booking originally opened, current prices are advised at time of enquiry.
When the 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), offers £125 tickets with a £24.40 per seat booking fee, £21 on £107.50, £16.60 on £85, £10.80 on £55, £6.90 on £35, £4.90 on £25 seats / £22.50 on £115, £17.10 on £87.50, £13.70 on £70, £7.80 on £40, £5.90 on £30, £4.90 on £25 preview seats - 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.
Another alternative is www.seetickets.com which offers £125 tickets with a £25 per seat booking fee, £21.50 on £107.50, £19.50 on £97.50, £17 on £85, £15 on £75, £11 on £55, £9 on £45, £7 on £35, £5 on £25 seats / £23 on £115, £17.50 on £87.50, £14 on £70, £8 on £40, £6 on £30, £5 on £25 preview seats and £2.75 per booking (not per ticket) postal charge.
Ticketmaster.co.uk offers £125 tickets with a £24.50 per seat booking fee, £21 on £107.50, £19.25 on £97.50, £16.75 on £85, £14.75 on £75, £10.75 on £55, £9 on £45, £7 on £35, £5 on £25 seats / £22.50 on £115, £17.25 on £87.50, £13.75 on £70, £8 on £40, £6 on £30, £5 on £25 preview seats per ticket.
Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offers £125 tickets with a £24 per seat booking fee, £20.50 on £107.50, £19.50 on £97.50, £17 on £85, £15 on £75, £11 on £55, £9 on £45, £7 on £35, £5 on £25 seats. A postage charge of £1.45 per booking, not per ticket may be applied to bookings made from UK addresses more than 5 days before the performance.
Hotel / theatre ticket packages are also available.
Londontheatredirect.com offers £125 tickets with a £25 per seat booking fee, £21.50 on £107.50, £19.50 on £97.50, £17 on £85, £15 on £75, £11 on £55, £9 on £45, £7 on £35, £5 on £25 seats / £23 on £115, £17.50 on £87.50, £14 on £70, £8 on £40, £6 on £30, £5 on £25 preview seats. There is a £1 per booking, not per ticket, transaction fee for collecting tickets from the box office before your performance. Alternatively, if time allows, there is a postage to your home option, costing £2.95 (£4.95 to non-UK addresses) per booking, not per ticket. Optional Ticket Insurance is also available.
Telephone: 0844 482 5120
(020 7812 7498 if you cannot use the 0844 number)
Operated by the owners, Delfont-Mackintosh Theatres. At busy times / outside working hours - 9am to 8pm, See Tickets may answer on behalf of the venue.
Booking fees per ticket for telephone bookings:
For personal callers or by post:
Charing Cross Road, London. WC2H 0DA
No booking fee for personal callers.
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 0344 482 5137.
www.delfontmackintosh.co.uk is the official theatre 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.
The Dress Circle overhangs the stalls at row K and cuts off the view of the top of the stage from row N back.
Row R is set on a step in an alcove at the back of the theatre, fenced in by row Q in front - quite a cosy arrangement, thinks the monkey.
Rows A to D are not raked (sloped floor to help see over rows in front), the rake is reasonable from row E back and really elevates seats from row M back.
Variable in row A, depending on the stage size. Just acceptable in rows B to D, slightly better for all but the tallest throughout the rest of the stalls. K27 is clear for around 10% of its width. The only other exceptions are O25 to 27 and P3 to 14 which all have less than other seats.
Row Q and seat R16 and 17 have more, with aisle space in front.
The viewing angle of the first and last three seats in each row is a little annoying, so take more central seats first for the same price, but value for money is at least acceptable in all seats.
Neck ache allergy suffers may want to sit further back, as might children if the height of the stage is a problem.
Rows A to D are not raked, but the proximity to the stage makes them a favourite of Theatremonkey’s.
The stage corners are sharp in front of the end seats in row A - ending around or just above the average person's eyeline. This means looking steeply upwards, but no actual restricted view. Still worth avoiding for the shorter, perhaps.
Central rows E to O offer the best overall view of the stage, with a fairly decent rake.
Seats from row E back are offset so that each seat sees between the one in front, where possible.
If sold below top price (as some productions so), rows O to R are fair value, with any discount compensating for the distance from the stage and missing the top of it - though be aware that the price always reflects that fact. Just average at top price, though.
If only rows Q and R are cheaper then take Q before more expensive O or P (particularly O25 to 27 and P3 to 14) in front. Same view, lower price....
... plus row Q is always worth thought for legroom, if the upper circle at similar cost doesn't appeal. Do be aware you may miss something happening at the top of the stage, though... usually not much beyond set design, luckily.
Should Q and R ever be the same price as other rows, take rows further forward first... why pay the same as somebody 20 rows ahead of you and get trodden on by clumsy clowns moving along the row to their own seats, is the monkey feeling, unless legroom is a factor.
For those who don't like seats being kicked from behind, Q8, 9 and 10 are in front of a wall. Q8 is also by an exit door to the street (it does not connect to the foyer) so you are first out - but can hear traffic noise (and get a blast of cold air during winter) from the street. A reader with mobility issues also notes that you get pushed past. While the monkey simply stands behind Q8 (there's a small gap there) until the show starts, and evacuates at the interval, that isn't an option for everyone.
There is a little more space for someone in the aisle seats of central row R behind.
Cheap standing places at the back of the stalls in the corners of the theatre are not bad either in the monkey view.
If there is a high stage, then both that and a lack of rake in rows A to D sometimes bother a few folk.
Row R may be bothered by a sound desk in the box behind.
Row Q8 now has a curtain behind it. Stops standees using the space now, and cuts the acoustic noise from outside a bit, but if you don't want it against your hair, be aware of it.
Rear stalls may be stuffy and have sound problems, according to one reader.
The auditorium is being re-modelled to accommodate this show. A boat will be central, with seating around and in front of it. The monkey will add more when it has it.
It notes for the moment that there are very cheap seats on the front and second row where the view will be restricted. Row B is also cheaper, and the only second price seats without a restricted view are on the ends of row K.
Rows L and M are expected to miss the top of the set.
Most seats in central rows D to G are at "premium" prices, central D to F "Super Premium." The monkey would take cheaper seats in central H to K first.
NOTE THAT THESE DO NOT APPLY FOR "Life Of Pi"
"Stalls: From my seat near the back of the stalls, under the overhang of the Dress Circle, I found it quite difficult to hear some of the actors on stage in ‘Ivanov’ and 'Twelfth Night,' although others were perfectly audible. Also the seat was rather uncomfortable and the theatre was very stuffy."
"Row A: Being 6 foot, I still found this too close and would rather have been 4 or 5 rows back. However, at £15 (what I paid for the show I saw in 2009) it was great value."
“Row A: “The Shawshank Redemption” (September 2009), (Mark). Got a cheap student standby. Great seat and could see everything, the stage was quite low so could see everything very clearly."
"Row A: "Much Ado About Nothing" (June 2011). At a late date an extra row was put in at the front and we managed to get seats in the middle of row A - in the neck ache zone, but so fantastically close to the actors that we felt intimately involved in the production."
"Row A: "Relatively Speaking" (June 2013). Got a centre day seat in the first row (which was brilliant since the stage is very low)."
"A9 and 10: (Craig). Seat 9 was marked as red on the seating chart, and I can kind of understand why. The stage rises slightly in front of this seat and A8 but to be perfectly honest the view from this seat was still superb with much of the action taking place literally two feet from me. You can see all of the stage from this seat apart form the back right, where nothing happens anyway. The seating in the stalls was great compared to other theatres - with the obvious sea of leg room in row A. Even though I had a (seemingly obligatory these days) very rotund person sitting next to me, the seats were wide enough for it not to be a problem."
"A9 and 10: "Don Juan in Soho" (March 2017). Lottery tickets for £20. Can't beat it for value, stage very low so could see everything fine. We were right at the side but the angle didn't affect our view."
"A11 and 12: GREAT seats. Right at the front of the stalls, and had great view! Only limited view is when the televisions come down, you have to really crane your neck up to look... But the actors, and actresses are dead in front of you - and all the looks and winks are amazing! Definitely worth the £20 I paid in 2009 per ticket!!"
"A15: "No Man's Land" (October 2016). Won through today tix lottery after about 10+ attempts. Clear view right in the centre. I found the play dull, although it is clear the actors are having lots of fun with it."
“A17 and 18: (Alun). Had front row seats but with the Wyndham stage not too high, it was OK."
"A19: "Red" (May 2018). Sold as £10 tickets for the front row. I don‘t know if the front row will always be available or just the balcony as usual. Anyway, plenty of legroom, and a great view of the rather low stage. Note: Front row seats are rather tight. So if your seat neighbour is a big, bald, burly guy, you will get to know each other…
Another note: There‘s a bunch of floor lights in the middle of the stage. They add another 10-15 cm to the stage‘s height for seats A18 to about A14. Nothing to worry, you won‘t miss anything, just thought I‘d mention it."
“A19: (Mark). A bargain as a cheap day seat.”
"A20 and 21: "People Places & Things" (April 2016). These are the seats to the far left of the stage, but there wasn’t any sense like you get in other theatres of constantly turning and straining your neck to one side. You lose people's feet, although as noted there isn’t anything going on around anyone's feet at any point. No action was missed at all, and I felt right in the midst of the show all the way through."
"A21: "Long Day's Journey Into Night" (February 2018). Front row, aisle seat. Limited leg room, but great for seeing actors up close."
“B13 and 14: “Driving Miss Daisy” (October 2011), (Chris B). These centrally located seats are obviously very near to the stage, being the second row back, but this works really well for a show with only a couple of actors. You feel close enough to reach out and touch them and this makes it feel incredibly intimate and personal, a wonderful way to fully appreciate world class actors up close and personal. However for a busier show such as a musical it may be too close as you don't get a good overview of the entire stage. There is plenty of legroom too which is a bonus.
"B 22 and 23: (HB). The view and sound were great. You had to look up a little as the stage is high but you are extremely close to the cast."
"C 7, 8 and 9: "Skylight" (June 2014). C7, 8 and 9 are famously 'behind the fridge'. Seats C7 and 8 are just terrible - whenever there is a conversation at stage right, one person disappears from sight. These seats are not regarded by the management as restricted view, but they certainly are. When we booked our group seats, we were also given B7 and 8 but Cameron Mackintosh contacted us in advance to say these seats had a restricted view and they exchanged the tickets for other seats. No such luck with seats C7, 8 and 9. These seats remain Top Price and are sold at no reduction - unfair! Others were sitting in B7 and 8 last night (not in our group) so I don't know how much they paid and A7 and 8 were fortunately empty.
It's the damned fridge in the way and really the designer/director should be aware of this. We complained at the theatre and were asked to write to the management as the house was full and no-one could be re-seated.
I see these seats are marked in red on your seating plan but frankly they should be condemned for this production. You may like to flag up this difficulty on your website."
"C21, 22 and 23: "Hangmen" (December 2015), (thespyinthestalls). Wyndhams is a lovely theatre and the layout is such that most stalls seats offer a fair view. Row C for this production was ideal - good view - comfortable and nice leg room."
"C22 and 23: "As You Like It" (August 2005), (Phil Ellis). All the front stalls seats are very close to the action"
"D9 to 11: A fantastic view, you could see everything and close enough to the stage to feel really part of the action. Legroom was OK – not much room to move but not nearly as bad as many. There is a "but" though – being on floor level, you are at the mercy of who sits in front of you. I had a pretty tall man in front of me which would have been a problem if I wasn't even taller. I shudder to think what sort of view the people had behind us. My wife had a small person in front of her and therefore had a perfect view. So overall, these are great seats if being close is important to you, but be prepared for the possibility of being slightly blocked by heads."
"D12 and 13: "The Truth" (August 2016). Good seats for a special offer, but if paying full price would try and get a bit further back. Lack of rake in first few rows could be a problem if you have someone tall sitting in front, and the stage is quite high, so you're looking up the whole time. Plenty of leg room, though a bit tight for moving along the row."
"E 1 and 2: "Skylight" (June 2014). The end seats on the right have their view of the bathroom part of the set completely obscured by the cooker and fridge in the kitchen part. As you only miss 2 minutes of action there it probably is a price worth paying for being so close, especially as I got them as a £15 day ticket."
"E19: "The Starry Messenger" (July 2019). I was able to get stalls E19 for £35 thanks to an offer from Delfont Macintosh. A great seat, really close, comfortable with reasonable leg room, and although not much rake at that point, close enough to the stage that everyone is looking up anyway. For the price I paid it was excellent."
"E14 and 15: Offered a super view of the stage and were comfortable enough even though slightly cramped."
"E22: "Long Day's Journey Into Night" (February 2018), (Josepha Murray). Very close to the stage so one felt very involved. However my height of 5 feet 2 inches meant that I had difficulty seeing one of the actors when he sat on a sofa on extreme right of stage. This did not really detract . I am short so not worried about legroom ; however I did notice the legroom was restricted and larger theatre goers in my row looked cramped. Considering the price of the ticket this seemed unreasonable."
F8: "The Mentalists" (July 2015). Very nicely upholstered seats - good clear view of stage and decent rake - legroom adequate for average height - several patrons very confused that the rows don't start at '1'."
"G9 to 12: (Avril). Had a marvellous view. Plenty of legroom, but altogether a feeling of being very close to everyone else."
"G21: "Heisenberg, The Uncertainty Principle" (September 2017). Great, but there was nobody sitting in front, and there didn't seem to be much of a stagger at that point. (I would have actually liked someone really small in front to give me a couple of extra inches legroom under the seat. Some people are never happy!!)"
"Row H: (Simon). Quite frankly I can't imagine having seats any better."
"H 21: "Lady Day at Emerson's Bar & Grill" (August 2017) An excellent seat, especially at the Day Seat Price of £20. Plenty of leg room and an excellent view of the stage."
"K22: Fine with a good view and adequate leg room."
"Row L: "Barking In Essex" (October 2013). We sat in the stalls in middle of row L. Great seats."
"L9: "American Buffalo" (April 2015). Got my ticket last minute through LoveTheatre (thanks to this site! ;)) and snagged the last available seat for the first performance on April 16th 2015. I got L9 in the stalls. Legroom and seats were pretty crammed, which made the show quite uncomfortable. In case readers are specifically interested in seeing John Goodman up close, I advise choosing seats in the front left section facing the stage. He’s hanging out there a lot. Since I am a big guy, I do sympathise with other big guys who may look for a comfortable seat. For American Buffalo I would think that only the end seats would be just that. The view shouldn’t be obstructed that the action takes place in somewhat of a box that doesn’t fill out the whole stage. View from L9 was unobstructed and good, could have been a bit closer, but I bet that would have decreased legroom even more, so I am not even trying to start planting crazy ideas here."
"M 13 and 14: "Hangmen" (November 2015), (Laurence). We had a great view from the middle of Row M. The Circle overhang has no effect and it probably only slightly obstructs the view for people right at the back of the stalls, as there is one scene which takes place much higher up."
“Row N: (James – regular reader). I would have preferred to have been a bit more central, but it didn't feel too distant from the stage."
"N17: "Curtains" (December 2019) A fairly central seat towards the back of the stalls. The balcony overhangs about four rows in front but doesn't obscure any of the action. There is decent legroom and rake (albeit I was lucky the two seats in front of me were empty, so an unobstructed view) but the seats are rather snug in width.
For the production I saw, the sound / lighting desk occupied the end of Rows O and P, about six seats to my left. This wasn’t really a distraction in the first half, although the couple to my immediate left didn’t return after the interval. This meant the light from one of the screens at the desk was just visible in my peripheral vision as there was no-one to my left to block out the light. It wasn’t really an issue, more of a momentary realisation that the ambient light was a bit different in the second half compared with the first."
"Row P: Centre seats in row P are in the rear row of the Stalls main block, good seats albeit near the back."
"Row Q: "Skylight" (June 2014). Lots of legroom, but watch your feet when people start moving."
"Q8: "People, Places & Things" (April 2016). I had my worst theatre seat in years at Q8, stalls: The staff directed stalls ticket holders to walk past me to get to the side aisle to my right (there is no centre aisle and no access to the stalls from the lobby except at the side aisle to my far left), and the legroom at Q8 is much less than at the centre of the row* as the row arcs at both ends. In addition, all women visiting the ladies' toilet walked past me before the performance and at intermission since it is off the side aisle. Anyone in the stalls who checked a coat needed to walk past me to collect the coat at the end of the performance since the so-called "exit" to my left led only to the Men's toilet and stairs to outdoors with no access to the lobby. Because my mobility is somewhat impaired and stairs are especially difficult for me, I thought Q8 would be a good seat for me as outlined by Theatremonkey. Not so." (The monkey notes that *the difference is around an inch compared to other seats in the row, also that the seat is indeed not suitable for the physically impaired as people do walk past it. For others, it is excellent, it still feels).
"Q 16 and 17: "Curtains" (December 2019). I didn’t think I was going to like them because of distance from the stage and the overhang of the dress circle, but actually I thought they were fine for the price, all the action was at stage level so we didn’t miss anything, and the extra legroom made them a comfortable choice. The only thing was they aren’t off-set from row P and my wife did have a rather tall man in the seat in front of her. Even the gap to row P didn’t help. He kept sinking in his seat though so that did help (I did offer to swap seats). I agree with your comments about Row R. Cosy was the word that came to my mind too, particularly for the end seats. I guess the extra height cuts off more of the stage though."
"O24: "Relatively Speaking" (May 2013). A good seat with adequate leg room. Despite being slightly towards the end of a row, this theatre isn't that wide so you don't feel "off to the side" at all. Rake seems to increase at a position a few rows in front of this so the view is very good, with the stage not being that high."
"Q16: The legroom and view were fine (I don't think anything was missed by not being able to see the very top of the set), although you do get streams of people filing past you at the interval (and spilling the occasional drink on you in my case!)."
"Q16: "King Charles III" (October 2014). The more I go to this theatre, the more I fall in love with Row Q. I'm mildly claustrophobic so usually end up buying aisle seats and missing action at the side of the stage. With Row Q I can sit centrally, and it's not so far back that you miss every facial expression. Plus points for your ability to beat the rush for the exit at the end, too. As Theatremonkey points out, for this production you are warned to keep the aisle in front clear of bags/coats/outstretched feet etc. With good reason - the actors move incredibly quickly as they pass!"
"Q18 "Lady Day at Emerson's Bar & Grill" (August 2017) An excellent seat and I would really recommend this row to everybody, if they are available at the cheap price of £19.50, which is the same as seats in the Upper Circle and Balcony. There is a gangway in front, which means there is plenty of room, also it is very close to the Gents Toilet, which is handy in the interval. There is a clear view of the stage, which can be seen in entirety. The seats are very comfortable and excellent value for money at the cheap rate."
"Q19 and 20: "Long Day's Journey Into Night" (February 2018). Lots of legroom, but the occasional sore toe..."
"Q19 and 20: “Much Ado About Nothing (June 2011). Nice seats, plenty of legroom, not too close to the stage, but a good view and well worth second price."
"Q19 and 20: "Driving Miss Daisy" (September 2011). Plenty of leg room and a reasonable view."
"Q19 and 20: "No Man's Land" (October 2016). My favourite seats. Good unobstructed view from the back."
"Q19 and 20: "Don Juan In Soho" (April 2017). Favourite seats as usual, not available for the matinee, hence a late night out for us."
"R15: "The Price" (March 2019). Has to be the best seat I've ever had in any theatre. It's the last row, and is two steps (literally) up from the row in front of it. Fantastic view of the stage - way above the rows in front so there are no heads interfering with the line of sight. Seats 16 and 17 were even better, as that's where the steps are and there's unlimited leg room."
Box A is behind row R in the Stalls, set into the theatre’s back wall.
A pillar splits the box into two.
Acceptable, as movable chairs are used.
This offers a central view but without the top of the stage. Try boxes 1 to 8 at Dress / Upper Circle level first.
Top of stage is missed due to circle overhang.
Pillar splits views into two.
Anybody standing in the stalls will also block views.
Fairly stuffy and claustrophobic location for some as the front wall is thick and the box recessed.
Used for access seating only. Average if sold.
Called the Royal Circle in this theatre.
The Upper Circle overhangs the Dress Circle at row C - a reader notes no loss of view, except for row G.
Rows A to F are a single block, curved at the ends towards the stage.
Row G is in a rear alcove, separated from the main block by an aisle and rails.
Seats have a decent rake on steps.
One 6ft 1 reader disagreed, and found the end of row A acceptable, though a shorter reader found an inner seat in the same row tight. The monkey checked again, and felt that rows B to E had more legroom and it would depend on leg length in row A as to how comfortable you may be.
Row G has space for those willing to put legs under the bar in front. Seat G17 has nothing in front, while 16 and 18 can get creative by manoeuvring legs around the posts - three quarters of both seats have nothing in front, though. Be aware that 16 and 18 also have nothing for anyone under about 7ft tall to rest at least one foot on.
Rows A to F seats 7 to 24 offer the most central view of the stage.
One reader notes the good view from row A, worth the slightly tight legroom!
The rest of the seats at the ends of each row offer less value at the same price. Two new rails on the stairs beside rows A and B assist the less able to manage, and, along with aisle end rails, do not affect the view.
A good rake ensures reasonable sightlines in all rows, though rows D back are hovering at the average mark at top price. If rows E and F are top price, the monkey would try for stalls or seats further forward first.
If rows F and G are at second price, the monkey prefers F 11 to 22 if short - decent view and no rail in the way.
Row G, on it's own at the back of the circle offers a fair - if distant - view at a reasonable price... when there is a discount or it is low priced. It can also be considered over the Upper Circle for comfort. At top price, go elsewhere. Be aware that there is a rail in front of these seats, except those most central, which will feature in the sightlines of the shortest. Also note that you will find anyone of average height in row F will block your view of action at the front of the stage.
Cheap standing places at the back of the Dress Circle are not bad either in the monkey view.
Theatremonkey cannot get excited about the Dress Circle here. Row G aside, the stalls at all prices beats the Circle on comfort and view in its opinion.
The rail in front of row G will affect sightlines for the shortest.
Central rows A to C are at "super premium" price, with central D and E at "premium" price. The monkey would take seats behind them rather than pay the extra if a bit strapped for cash. Premium stalls also have more legroom if taking a tall corporate client – though the view may not be quite as good.
Row G is second price. The view from same price row K stalls if taller, or the upper circle if shorter, is better - feels the monkey.
"Dress Circle: "The Mentalists" (July 2015). The Dress Circle is quite high up in The Wyndham's, so we felt we had a bird's eye view in a squashed row."
"Row A: My friend is quite small and she said that legroom was dreadful up there!"
A9 and 10: “Abigail's Party” (August 2012), (Chris B). This is one of the more ornate and beautifully decorated theatres in the West End and you can really appreciate it from the raised position, more gold leaf than you can shake a stick at! Fairly centrally located seats on the front row of the dress circle, you cannot fault the view. This circle feels close to the stage and affords a nice clear overview of the entire stage. No need to worry about any tall folk in front or safety rails either as there are none. However the legroom is just ok, fine for me being 5'8" but you'd probably struggle being much taller.”
"A 27 and 28: "Clynbourne Park". From the end of the front row we could see all the stage perfectly with adequate leg room (I’m 6’1”). As we have an interest in getting the best seats for our members I took time to try other seats in the circle (except the ‘extra’ row G) and could see the entire stage to the full height even from the back row F."
"C15 and 16: "Abigail's Party" (May 2012). The seats were dead centre of the dress circle and a perfect view of the stage and all the action. Would highly recommend these seats."
"C16 and 17: "Avenue Q" (March 2010). Thought they were excellent seats. I know that I'm going to cause controversy here by disagreeing with the monkey that the 'Circle is nothing to get excited about here,' because I actually preferred it to the stalls, and didn't feel quite so squashed in and my knees weren't trapped either. The view was perfect from these seats and the sound couldn't be faulted, so you've probably guessed that I really rate these seats, although I would accept that all seats are pretty tight for room."
"C 20 and 21: "The Shawshank Redemption" (August 2009). A good rake and slightly staggered seating towards the end of the row gives clear unrestricted views of the stage. I would happily sit here again."
"Row D: Centre of row D. Excellent seats and view if slightly tight on legroom...."
"D3, 4 and 5: These seats were really good and you didn’t miss anything even though you were to the end of the aisle."
"D11: "Heisenberg, The Uncertainty Principle" (September 2017), (Taljaard). B11 an excellent view."
"D15 and 16: Were central (I like that), comfortable and warm but I understand the problem people with long legs would have - I tossed my head back at one point and encountered the knees of the guy sitting behind."
"E21: "Quartermaine's Terms" (January 2013). Excellent view and no obstructions at all. Feels a lot closer than I expected it to do and I had no problems registering the subtleties in the facial expressions and acting."
"E23: "Lady Day At Emerson's Bar and Grill" (May 2017). Slightly cramped but a good view of the stage."
"F19: "Long Day's Journey into Night" (February 2018). I would like to disagree about lack of legroom in the Royal Circle at Wyndhams - I am 6ft 6 (though very slim), and was pleasantly surprised, Seated in the middle of Row F seat 19 the view was excellent. Also has the advantage of nobody right behind you as it's basically the back row, so I could lean back a bit. Long Day's Journey into Night 4th February 2018 Matinee, so a very long play over 3 hours, and suffered little discomfort. Very good value at £40 and would sit there again."
Boxes 1 to 4 arranged in pairs either side of the stage between it and the Dress Circle.
Box 3 can take a wheelchair.
Acceptable, as movable chairs are used.
Be prepared to move your chairs around and lean for the best view possible here.
Value at second price is acceptable; at top price take these after stalls, and before Dress Circle only if legroom is a factor.
If all boxes are a single price, then choose boxes 3 and 4 first, then 7 and 8 (upper circle boxes) then 1 and 2, then back to upper circle boxes 5 and 6.
If upper circle boxes are cheaper, save money by taking 7 and 8 before 3 and 4, then decide between cheaper 5 and 6 or more expensive 1 and 2. The monkey might be tempted by 5 and 6 first...
About 15% of the view of side stage action is lost.
Narrow access down three stairs to wheelchair space in box 3.
Fair value at second price.
"Box 1: "The Weir" (January 2014), (Annie Gross). You miss a bit on the right, but very comfy."
"Box 3: (Annie Gross). Very nice for 'Barking In Essex' (October 2013)."
"Box 3: "King Charles III" (November 2014), (Iris). Great view in general, the box next to us (closer to the stage) was taken by the musicians. We may have missed few minutes of the show when Diana appears from the far right of the stage. Besides that, I thought the seats were great!"
"Box 4: (Annie Gross). Excellent view for 'Clybourne Park' (March 2011)."
"Box 4: "The Weir" (February 2014). In case it helps other users, the odd-numbered boxes are better value for this production because they give sight of the principal entrance to the bar and the fire. I know nothing's perfect in box seats, but the pricing of all at the same level puzzles me."
"Box 4: "Hangmen" (December 2015). Not excellent for this play, you miss quite a lot on the left."
Called the Grand Circle in this theatre.
In 2020 it was merged with the "balcony" behind it, by making holes in the back wall of the Grand Circle for audience members to walk up into the balcony section from it.
The whole area far above the stage - high enough for a reader to warn about it.
It is split into two parts by a wall between rows D and E.
In rows A to D, a single block of seats curves towards the stage.
Rows E to H are situated behind the front section and very slightly above it.
Seats are split into two blocks by a central aisle.
Seats E 5 and 26 are also split from the main blocks by aisle space.
Poor in all seats in rows A to D, worst in row A, for anyone over 5ft 7 or so.
The height of the seats in rows B to D creates a little more legroom. Those up to around 5ft 8 should find the outermost two seats in rows B and C acceptable - particularly the aisle seats.
From E to H it is tight in all seats for the taller over 5ft 9 or so, worst in row E (except E 5 and 26, if slim and creative - as one 6ft reader found).
Rows F to H seats 15 and 16 offer the central aisle to stretch one leg out into.
Row G seats rest on a ledge rather than being "flip down" variety, and are a bit deeper than average (but happily won't actually quote philosophy at you).
Row H seats are slightly wider than those in front.
Lighting can be mounted on the front of this circle, potentially intruding slightly on row A views and providing another reason (other than legroom) to sit further back.
Seats are fair value here, B and C seats 12 to 18 offering a central view of the stage and priced to take account of the distance from it.
Row A seats 2 to 5 and 26 to 29, B 2 to 4 and 28 to 30, C 2, 3, 28 to 30 and D 2 and 29 are designated restricted view. Boxes and the curve of the circle take away maybe a one fifth segment of the front corner of the stage away at most from the very end seats. Most productions have these cheaper and, at balcony prices, they are worth thinking about for being closer for the same money. The monkey feels them a fair priced option – particularly if you can nab the seats directly next to the expensive ones.
Avoid D 4 to 6 and 25 to 27, though, as they are full price but still lose a corner of the stage.
All seats from row E back offer a view in direct proportion to the price paid, the back rows looking downwards 'under the ceiling' of the theatre below. Value for money for those on a tight budget is very fair - you can see the stage through the bars and are not so far away as to require oxygen.
A safety rail across the front of row E affects the view slightly. Rails also run across the fronts of rows F and H, but don't affect the view.
As a general rule, take rows F to H seats 9 to 22 first, then the others... but be aware that pricing makes a difference:
Seats are usually priced one of two ways up here. When all seats are the same price, take F first, then G or H - leaving E unless legroom isn't a consideration.
If row G is cheaper than F, those offered row F may like to ask if cheaper G is available instead - similar view for less bananas, feels the monkey. It would also consider boxes 5 to 8 for the same money.
Also always consider cheap “nests” E5 and 26, an observation the monkey is now (in)famous for making. These are single seats in the front corners of the balcony, split from the rest of row A by aisle space.
They are literally miniature padded private "nests" - as the monkey has christened them. Facing the stage is still a narrow ledge seat with a straight back (originally, that was the official seat). However, to the side of that is a deeper padded seat (now the official seat, with a slightly lower than average (but very welcome) proper back-rest, and also side-rest, added partly a result of monkey observation, it thinks). If willing to look sideways at the stage, you could sit here (if of average hip width) and stretch your legs horizontal with the circle wall. The monkey rather likes this new arrangement but management have informed it that any sign of permanent residence (i.e. banana skins, cable TV installation etc) will result in an indefinite ban from the venue.
A reader also observes that they are the nearest seats to the ‘ladies’ and bar too... putting her first in line at the interval.
Cheap standing places at the back are not bad either in the monkey view, but try for stalls / Dress Circle ones first at the same price.
Be aware that the official www.delfontmackintosh.co.uk website describes the "nests" as having "restricted legroom." This refers to the width and NOT the space to stretch your legs out in front of you. So, if you have a er, wide waist and hips (as it were), you may have a problem, but those with a long thin frame will be very happy.
Standing space is acceptable, though one reader noted slightly less audibility on one occasion.
Lighting can be mounted on the front of this circle, potentially intruding slightly on row A views.
Boxes and the curve of the circle wall affects sightlines from outermost sets in all rows.
Sound can be an issue in the very back row and standing area.
A safety rail across row E affects the view slightly. Rails also run across the fronts of rows F and H but don't affect the view.
There are several flights of stairs up to this circle, and it is fairly high up, so consider health and vertigo at time of purchase.
A reader warns that this circle is high, "Sadly we were unable to see any of the production as the vertiginous height of this theatre where you are almost at the level of the ceiling made the two of us sick with anxiety and fear of the height. We had to leave at the interval having endured 50 minutes of pure fear (and having been unable to pay any attention whatsoever to what appeared to be marvellous acting down below). Apparently someone in the row in front of us was clutching the front of the balcony hard throughout the act as well. The sense of danger comes almost as soon as you try to get through the people in the outer seats and realise that if you topple you would easily go over the edge. Once stuck in the middle there is no escape at all, adding to the sense of fear."
Probably a better view from rows B to D than lower down in the stalls for the same cash – but less legroom. Central E and F for the same money seems a long way back, though, avoid.
Row A, "Restricted View" seats in B to D and the ends of E, F and central G are all the same third price. The monkey feels F and G edge it for comfort, but A to D are much closer. Take A 2 to 5 and 26 to 29 after B to D as they are the same price as non-restricted view seats further along the row.
Prices drop at the ends of G and in row H, so take central G over central H for the same view and save bananas.
Outermost 2 seats in row G and outermost seat on row H are "restricted view" but not cheaper. Last pick, feels the monkey.
The "nests" in the corners of row E are the same price and a good deal for singles, the monkey feels.
NOTE THAT SEAT NUMBERS IN COMMENTS ABOUT SEATS FROM ROW E BACK HAVE BEEN ADJUSTED TO ACCOUNT FOR CHANGES TO NUMBERING IN 2020.
"A16: "Fleabag" (August 2019), (Taaljard). Very good view."
"B4: "The Price" (March 2019). Going for the cheaper restricted view seat based on the info on your site - as it points out, B5 would've cost double what I paid. A pretty good view, didn't feel too distant and only lost a small portion of the front corner of the stage. I had a leaner in front though but generally for the money it wasn't bad at all. Leg room reasonably good for a circle too."
"Row C: "Skylight" (May 2014). Those in the restricted view seats (particularly on the "low numbers" side may miss a little action taking place at the side of the stage. It doesn't last long, but will be noticeable."
"C17: "Hangmen" (December 2016). Good seat but you do miss the top of some heads for about 5 minutes. Interestingly the Balcony above had screens to compensate."
"E5: "Much Ado About Nothing" (June 2011). I booked it for the 31st August 2011 performance, and it was a huge bargain. I am 6 feet tall, so while, admittedly, I sometimes did need to move around to keep the blood going, my view was of more than 90% of the stage, I had some privacy to myself, and got to lounge in that oddly shaped seat! Recommended to anyone who is fit and able!"
"E5: "No Man's Land" (September 2016). What a view from that balcony seat, may have to book that one again for other shows."
"E10 and 11: (2009). I am a regular theatre goer, and I regularly sit in the 'cheap' seats. In fact I always choose the front row of the balcony or upper circle despite the monkey’s advice that usually they are a bad or restricted view!! I like to be in the front and have nobody else in front of me, plus I can rarely afford more expensive seats!! Hence I felt compelled to write after sitting in the Balcony at the Wyndham’s theatre, Row A, seats 10 and 11. All I can say is that never have I sat in more uncomfortable seats than these! The backs are so upright that you simply cannot relax. Plus, there is leg room, however there is no space under your chair, so if you have a bag with you, as I did, there is then no leg room as your bag takes up the space. I sat with my feet on top of my bag!! OK, we only paid £10 for the tickets, but even at this price, I wish I had splashed out an extra £15 for better seats. Or if nothing else, that I'd sat in Row B, as they had space under their chairs for bags, though they still have the upright straight backs to the chairs, and so are probably still quite uncomfortable, but they cannot have been as bad as Row A! I just wanted to write to advise readers that I would honestly advise NOBODY to sit in Row A of the Balcony at Wyndhams, and this comes from somebody who regularly sits and doesn't mind sitting in Row A of the balcony!!!!"
"E26: Marked both on Theatremonkey and by the box office as "restricted view" due to the lighting rig that obscures part of stage right (audience left), so I only paid about £20 for it. That was a great price for the view I got - I could see some facial expressions (not too well but some) and the lighting rig didn't take away from ANY of the action as most of it takes place on stage left anyway and the light only took up at most 1/10 of the stage. I was next to the safety pole so that wasn't a problem, and I had the balcony rail right in front of me that didn't obscure the view at all, only gave me a place to put my programme and ice cream and to lean my elbows on as I watched the show. I was sad that at times some of the actors had their backs to me as I was in the curved to the left section of the balcony, but otherwise it was a great view."
"E26: "Much Ado About Nothing" (June 2011). I just wanted to thank you for the information posted on your site about the balcony seats in Wyndhams Theatre, especially the details about the two "nest" seats. The seat was just great! I wasn't disappointed. I had a clear view and was pretty comfortable in that seat (I'm slim, average height, and pretty flexible, so I was able to find a number of creative ways to use the space, and had a lot of room to put my stuff)! Well worth the £22.75 to see the production. Also, it's a quick hop at intermission to the loo or the bar -- bonus!"
"E26: "No Man's Land" (September 2016). If you can find a semi-comfortable seating position, this is certainly preferable to being tightly squeezed into the regular seats on the balcony. At least you can move around without knocking your neighbours from their seat, and while legroom is scarce, there’s plenty of “armroom”. Sitting sideways to the stage isn’t that bad, the view was unobstructed. A bit high and far, but that’s why they call it the balcony."
"F12: "Skylight" (June 2014), (Taljaard). Great view and value for money."
"F12 "A View from the Bridge" (February 2014) (Taljaard). Very good. Sat there three times now and the sound and view have been perfect for the reasonable price charged."
"F15: "The Price" (February 2019). You need a head for heights up here - it is very high and you have to go very carefully down large steps to reach your seat. However if that does not bother you I can recommend this seat. You are on the aisle in the centre. You have an excellent view of the whole stage and there is no head blocking from the row in front due to the steep steps."
"F22 and 23: "Driving Miss Daisy" (October 2011). Even though quite a height, these still gave a decent view; so offered value for money."
"G15: "Red" (May 2018), (Taljaard). Got a £10 seat in the Balcony, C15. Normally book row B15 which is far better. Rows B and D have a much better rake for me. The seat in Row D was empty so I moved up one."
"G 24 and 25: "The Mentalists" (July 2015). The play was fine but walked out at the interval as the view from these seats in the balcony was atrocious. The slope of the balcony is not staggered correctly so consequently you have someone sitting in front of you who is sitting only 2 inches lower than you are. If you are 5' 9" or smaller avoid these seats at all costs, unless you're don't mind not being able to see the stage, and spend the whole play staring at the back of someone's head whilst they twitch and shift around in front of you. You may as well go and listen to a radio play. Only value with these seats would be for the blind. Avoid, avoid, avoid. If you're as tall as Stephen Merchant, who is in the play, you'd be fine. Just."
“Row H: (Lesley). We were seated in the seats furthest away from the stage - Balcony seats row D - and could hear everyone except for one person who obviously hasn't been trained to throw her voice as the other actors managed to do. Balcony seats were excellent value for money at £10."
“H3: "Clybourne Park" (February 2011), (Taljaard). Went to the box office at 5pm and was offered a seat in the front row of the stalls at £25 or the back row of the balcony at £20.50. Took the latter (D3) and it was fine. Clear view and not too high for me. Could hear every word crystal clear and missed 90 seconds due to sight lines."
"H10, D11 and D12: "Much Ado About Nothing" (June 2011), (Laura). OK view for the price (the bottom of the left hand corner of the stage was cut off slightly but if you lean forward slightly it's OK - although based on the steep rake if you're not good with heights these may not be the best seats for you), but legroom not great - my friend and I are under 5'4" but we still felt squeezed in. Plus in comparison to other theatres in the area £25 a ticket seems a little steep, but if the price jump is too great to the next level - and frankly it feels like it is - then they are tolerable for a couple of hours if you stretch your legs in the interval. Were I a little earlier in getting tickets I might go for row C next time though."
Boxes 5 to 8 are above boxes 1 to 4 arranged in pairs either side of the stage between the stage and Upper Circle.
Acceptable, as movable chairs are used.
All offer sideways views of the stage, losing around 15% or so. Be prepared to move your chairs around and lean for the best view possible here.
Be prepared to move your chairs around and lean for the best view possible here.
Value at second price is average, much more acceptable at third price. A good choice for legroom when compared to upper circle seats at the same price.
If all boxes are a single price, then choose boxes 3 and 4 first, then 7 and 8 (upper circle boxes) then 1 and 2, then back to upper circle boxes 5 and 6.
If upper circle boxes are cheaper, take 7 and 8 then 5 and 6, before more expensive 3 and 4 then 1 and 2.
About 15% of the view of side stage action is lost.
Fair value at second price once boxes 1 to 4 directly below (at the same price) have been sold.
"Box 6: "Hangmen" (December 2015). Sold as day seats, this box for 2 people is great value. Loads of room (of course). There is some restricted view (to the side of the stage), but otherwise great value. At a higher price, an alternative seat might be preferable."
"Box 8: "Much Ado About Nothing" (2011), (Sinead). After perusing the info about which seats were best, I ended up getting last minute tickets for Box 8. These seats were great for the price! Yes, be prepared to lean forward, but it is much closer to the stage, and it’s nice to have the space! I would recommend it heartily to those who want to pay less than premium but like to be close to the action on stage."
Total 780 seats.
Air-conditioned auditorium, but the balcony still gets very hot in summer according to many.
Sennheiser infrared system and induction loop. Some signed performances. Some audio described performances for the blind, and guide dogs allowed in theatre or dog sat outside. Narrow access down three stairs to wheelchair space in side box. The box has a very restricted view and is poor in theatremonkey's opinion. It has a private toilet, too narrow to take a wheelchair, but better than nothing, which is the usual alternative in the adapted toilet department. Tries hard, given the constraints of the building. The "registered disabled" concessionary price policy here is generally (though can be subject to change) for a quota of accessible best seats to be made available at the lowest regular price charged. This quota is increased for designated performances such as signed / audio interpreted. Check with the box office at time of booking. Fuller details from the theatre group dedicated phoneline on 0844 482 5137 or www.delfontmackintosh.co.uk.
No food except Ice cream and confectionery. Bar snacks also available.
Four bars; Stalls, Dress Circle, Upper Circle and Balcony.
8 Toilets; Foyer 1 gents 1 cubicle, 1 ladies 4 cubicles; Stalls 1 gents 1 cubicle, 2 ladies; Dress Circle 1 gents 1 cubicle; Upper Circle 2 ladies; Balcony 2 ladies 2 cubicles.
Android and I phones can be charged at the cloakroom for a fee of £2.
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.
All performances after press night
Preview performances until press night only
The Dress Circle is called the "ROYAL CIRCLE" in this theatre.
The Upper Circle is called the "GRAND CIRCLE" in this theatre.
Some details may change. The monkey will update as available.
Please note: The seating plans are not accurate representations of the auditorium. While we try to ensure they are as close to the actual theatre plan as possible we cannot guarantee they are a true representation. Customers with specific requirements are advised to discuss these with the theatre prior to booking to avoid any confusion.
Leicester Square - Northern (black) and Piccadilly (dark blue) lines.
The escalator from the platforms deposits passengers into a circular space with a number of staircases leading to the surface. Beside each staircase is a vast white panel listing the places accessible from that exit. So look for the one showing the Wyndham's theatre. It is marked "Charing Cross Road South" and is to the left when you leave the ticket gates. Go up the staircase. At the top, in front of you will be Charing Cross Road. On the opposite corner, notice the Hippodrome Nightclub and a wide pedestrianised street. Turn to your left. Wyndham's theatre is there.
If at the top of the underground stairs you see a narrow street with only a row of small shops and offices in front of you, this is Cranbourn Street. Turn to your right and change to the other side of the road. Walk to the end of the street. If you see the Hippodrome Nightclub on the opposite corner across a busy road, good. Do not cross the road to it! Turn to your left. The underground exit you should have used is on your left. Walk past it and you are in front of the theatre.
24, 29 and 176 stop on Charing Cross Road by the Wyndham's Theatre.
A rank for Black taxis is at Charing Cross Station - a fair distance from the theatre. Best chance of hailing one is in the street outside or walk down to Trafalgar Square.
Newport Place, China Town.
On leaving, use Gerard Street to get you onto Shaftesbury Avenue. On Shaftesbury Avenue look to your right. The brown brick building to your right is the Palace Theatre. Don't bother crossing the road, but turn to your right on Shaftesbury Avenue and walk in the direction of it. When you come to the main road intersection in front of Shaftesbury Avenue, cross Charing Cross Road at the traffic lights. Now turn to your right and walk down Charing Cross Road, crossing Litchfield Street as you go.
Next is Newport Street. Cross that too and head on, crossing Cranbourne Street towards Leicester Square Underground Station. Wyndhams Theatre is just beyond that on your left.
An alternative car park is Trafalgar Square Spring Gardens.
From the car park, turn up the road on the left to bring you on to Trafalgar Square. Face Nelson's Column and cross the road towards it. In front of you is the National Gallery. You require the road to the right side of it - Charing Cross Road. Do not enter the Trafalgar Square area itself, but follow the pavement round towards the right corner of the National Gallery. Continue along so that you pass the National Gallery on your right and so that you enter Charing Cross Road. Cross Charing Cross Road where you can, and keep walking, passing the Garrick Theatre. The Wyndhams Theatre is ahead of you, to your right.
The "Theatreland Parking Scheme" is in use in both car parks. The "Theatreland Parking Scheme" may be available. Call Q-Park car parks on 0870 442 0104 or see www.q-park.co.uk for details. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost. Spaces CANNOT be reserved at these prices, so choose whether you would prefer to book and pay more, or use this scheme.
If you choose the "Theatreland Parking Scheme", you must get your car park ticket validated at the theatre's box office counter (the theatre attendant will insert the car parking ticket into a small machine which updates the information held on the magnetic strip on the reverse, thus enabling the discount). When you pay using the machines at the car park, 50% will be deducted from the full tariff. You may park for up to 24 hours using this scheme and it is endorsed by the Society of London Theatre.