Barbican Centre Main Theatre

Good in all seats up to 5ft 10 or so, even better in the front row if a row is removed for any staging reason.

B 5 and 33 and D 1 and 37 have nothing in front; B 6 and 32 and D 2 and 36 have nothing in front for 10% of the seat width.

For some reason, no matter which seat he chooses in this modern theatre, this monkey feels he cannot get a good view of the stage. The shape of the theatre and stage (no aisles, almost every row has a separate door leading into it) conspire to eliminate intimacy between actor and audience.

All seats officially have a clear view of the stage. Rows A to P seats 1 to 9 and 31 to 44 are at an angle to the stage. This is especially annoying in rows A to G, as the actors seem to be standing side on to the audience when viewed from these seats.

Frankly, avoiding the first and last 4 seats (6 in B to F, 5 in A) in all rows is worthwhile (unless heavily discounted, when they may well be worthwhile), and further back then row P is getting remote from the stage - poor value for money when you can usually sit near the front for the same price.

The good news is that sometimes the whole of row A is sold VERY cheaply - when it is, this can be a bargain for those happy with the angled view.

Otherwise, Theatremonkey's pick of the bad bunch are first, Rows E to G 11 to 27, then A to C 15 to 24, Row D 12 to 26, then Row H to P 11 to 30. 

Wheelchair spaces are at the rear of the stalls. The view here is on par with the rest of the seats, but users should take the Upper Circle first if possible as the view is better.

Claustrophobics: There are no aisles, entry is direct into long rows from each end, except rows A to C, which share an entrance.

Staging of all productions often restricts views for those at the ends of rows.

"A 18: "Les Misérables" (September 2010). Fantastic seat for seeing the show, really close, however you do miss some of the footwork because the stage height and also the conductor was slightly in view. The seat was uncomfortable though and I just couldn't get comfortable."

"A19: "Jesus Christ Superstar" (July 2019). On the front row with good leg room between the seat and the stage, and very central. The stage is about at eye level which means you may get a slight crick in your neck looking up. But for me, that was more than compensated for by being so close to the action for this high-energy performance."

B10 and 11: Big and Small – April 2012 (Chris B). This is the front row for this show so these seats have all the legroom you could wish for. They do feel very close to the stage but as it is a large stage that goes back a fair way you don't feel too close. They are, however, quite far the right as you look at the stage but if you are prepared to look slightly side on, it makes little difference to the viewing experience. It does feel very intimate and personal to be so close to the actors and especially for plays with only a handful of actors, I would recommend them.

"D12 and 13: "Antony and Cleopatra" (December 2017). Brilliant seats, great legroom and perfect sightline."

"D27 and 28: "Anything Goes" (July 2021). These seats are the last of the straight central part, with the bend between D28 and D29. This means that the people either side of the bend have their knees closer than they would normally be, but the ample legroom (as the seats do not flip up) should avoid problems unless your neighbour is a dreadful leg-spreader. The row is at a perfect height for stage-level action, but the height of the set means that some craning is needed when things happen on the upper levels of the set. These seats are close enough to the stage that much of the actors' singing and speaking can be heard directly rather than through the speakers, which is an unusual bonus."

"K31 to 35: "My Neighbour Toroto" (October 2022), (Taljaard). Great views."

P44: "Hamlet" (August 2015).  There's a balcony on stage (is it a balcony? - stage far left) where a little action happens - which I couldn't see from my seat. I may write."

"Row Q: "A Strange Loop" (July 2023), (Taljaard). Bang in the middle of row Q, great seats. Comfortable with great sight lines."

"Q27 and 28: "Anything Goes" (July 2022), (Bob Pickett). What a Very Peculiar Theatre.  It looks like it started out as an outside space, then the building developed past it, so they turned it into a performance area!  Each row seems to have its own door (not sure if this is a good or bad thing) and it appears to be lit by 1950s Sci-Fi movie ray guns! It also has the strangest Safety Curtain in Theatredom, being more of a shiny safety clamshell!  Having had a good look around, I’d avoid the wings (and especially the balcony), aiming for centre stalls. Which brings us to…
Row Q 27 and 28.  The seats are like a firm armchair.  They don’t lift up, which is a major pain when people want to squeeze past (giving more of an excuse to the “tilt my legs sideways instead of moving” brigade). That said, they’re comfortable when seated (had a couple of fidgets first half, just one in the second), with good legroom and the rake is enough that it will take a tallish patron in front to obscure the view.  They’re dead centre, giving about as good a view as you’re going to get here, still close enough for expressions but seeing the entire stage. Oddly, the sound (may have been an on the night issue) seemed a little one-sided at times."

T25: "Hamlet" (August 2015). even though it was back row I got a good full view of the stage and the "balcony" where some action takes place. Didn't feel too far away from the stage (though it's always nicer to sit closer!). Only downside was I was sat right next to the sound desk so it was a little distracting. 

Good for those up to around 5ft 9 in rows A and B.

In the slip seats, row AA has no legroom whatsoever. Row BB seats 2 and 14 have nothing in front (but have rail firmly in view). The rest of BB are suitable for those up to around 5ft 6 at most. Rows CC to HH are suitable for those up to around 5ft 7 at most.

The majority of seats are at the back of the theatre, behind the stalls. Anyone sitting here gets a distant view of the stage. 

The only seats to consider are row B 9 to 51, followed at a pinch by row A 9 to 51. It is no surprise that circle prices are generally lower than the stalls.

A bar runs across the front of the circle's main block. This affects the view in all seats, and is only just tolerable in row B.

Theatre architecture ensures that the edges of the stage cannot be seen in side block rows AA to HH. The bar across the circle front further intrudes on the view here too, very noticeably in those legroom seats BB 2 and 14.

Claustrophobics: There are no aisles, entry into rows A and B is direct into long rows from each end.

None reported.

"Side Circle: "Hamlet" (August 2015). Tucked in at the side of the circle - view not perfect but still pretty darn good.

Adequate for those up to around 5ft 8 at most, in rows A and B.

When wheelchairs are not used, B 7, 8, 13, 14, 15, 53, 54 and 55 may be replaced with up to 2 movable chairs, offering maximum legroom.

Of the slip seats, row AA has no legroom whatsoever. Row BB 1 and 11 are "double width" but only half the seat has legroom - by using the gap between the seat in front and the wall of the circle, a small triangle. Those up to around 5ft 8 and slim can do this.

Row CC 3 and 11 can pull the same trick with a slightly smaller gap. CC 1 and 13 allow the narrow-hipped to squeeze legs into the aisle beside BB in front - unlimited legroom across 15% or so of the seat for the small. Otherwise, like CC 2 and 12, legroom is nil for those over 4ft tall.

Rows DD and EE are suitable for those up to around 5ft 5 at most, though 3 and 11 in both rows can again take advantage of a tiny gap in front, between circle wall and seat in front - not nearly as wide as the gaps further forward, though.

Lower prices and a closer view than the dress circle below make row A seats 8 to 14 and 51 to 57 quite good value, followed in order of merit by row B seats 16 to 52, then row A seats 15 to 50.

The pricing policy often sees row A seats 1 to 6 and 59 to 64 cheap but good value, even if the view is a little "sideways on" to the stage.

Wheelchair spaces are available in row B. These offer a fair view of the stage. Users may prefer these to the stalls as they seem closer to the action.

The only redeeming feature of AA and BB is the extra width of the seat and being in a row on your own. Shame about the legroom and view though. The extra wide seat was originally for two people, but the one and a half person width indicates why that idea was revised soon after opening - though it may make a comeback on singles night! At £20 or so each they are fair value, any more is way too expensive.

A bar runs across the front of the circle. This affects the view in all seats, and for the short is only tolerable in row B.

Claustrophobics: There are no aisles, entry into rows A and B is direct into long rows from each end.

Poor legroom in many slip seats.

Rows A and B end 4 seats appear lower than seats further along, and look over rows in front.

None reported.

"AA11 and BB11: "Fiddler on the Roof" (May 2025). We have booked these seats before and enjoyed then for the sense of space and proximity to the stage (and exit). In the 'Fiddler on the Roof' production, they mostly provide an excellent view as so much of the action takes place centre stage. However, in the wedding scene a false roof is lowered and while you can see the parents singing, you cannot see the wedding. I suspect this may be true for either higher seats as well." 

"BB11: "The Seagull" (February 2025). An amazing £20 seat."

"A11 and A12: "The Master and Margarita." Visibility very good from here. A clear view of the entire stage and the backdrop. This particular production involved clever interaction between stage and screen projections - I felt that we had the best of both worlds on this, had you been sitting in the stalls for example you wouldn't have been able to see the actors from an aerial position as we could. (sorry very complicated - you had to be there really!). There is a bar running along the circle but it's not obtrusive and I didn't find it restrictive. The seats are small and by that I mean not very wide and very poor on legroom. If you are over 5'6' you will struggle to stretch or get comfortable. Definitely not recommended for 6 footers. Wear something cool, it gets hot up here. Given the choice, at a push I would sit here again because the visibility was good and I am quite small in stature!

"A49 and 50: Carousel – August 2012 (Chris B). This circle does feel very high up but allows for a good overview of the entire stage, useful as there are plenty of people on stage at any one time. These seats are slightly left of centre but allow viewing of the whole stage. As this is the front row, there is a safety rail that is about 12 inches above the circle wall in front but as long as you sit back or lean forward slightly, it doesn't hinder the view at all. The legroom is sufficient if not ample, with plenty of space for your knees but I found my feet a little constricted, especially if you like to stretch out. An added bonus for musicals is you get a bird’s eye view into the orchestra pit which is always a treat."

“A63 and 64: “Anything Goes” (July 2021), (DJW). The seats are in the penultimate row of the upper circle, but on the whole, the viewing experience is pretty good. In both seats you cannot see a chunk of the front left of the stage (if you were in A62 downwards this gets better), and you have some brutalist concrete overhangs constantly at the top of your field of vision, which also blocks some action at the top of the stage, but you can hear everything fine, and for the few bits you can't see when the action is in either of these places, it's obvious what's happening, so you don't miss out.
The seats are on the end of the row, so you can get in/out fine and be close to see the unique closing theatre doors of the Barbican! At £35 (for a Sunday matinee), they seemed a bit pricey for the view (compared to other theatres), but they were still the cheapest in the whole place, so I think that's just a Barbican/show thing. Being on the end, you can stretch your legs to the side a bit, which you can't do the further into the row you go, so in this instance you get more (leg room) for less (£s). Certainly ones worth going for if rock bottom price, as the seats four to the right of us were nearly double the price, and you get much better value with these!"

“B4 to 6: “Fiddler on the Roof” (May 2025). I hate the claustrophobic feel of the long rows and doors which shut you in so this time sat towards the end of a row.  View was ok, high up but you can see the whole stage and you can lean forward as much as you like as no-one is behind you.
The specific problem we had with Fiddler was the huge roof on the set which cut off the back of the stage and when it lowered for the wedding scene impeded the view even more. For any other show this wouldn't be an issue.” 

"B23 to 25: "Kiss Me Kate" (July 2024): Very central seats, and quite high up. View is good if you can tolerate the heights!"

Good in all seats for those up to around 5ft 8 or so, except row AA and BB, which have none. Row BB has a bit of toe-space on a black rubber strip behind row AA. Using it may annoy the occupants of that row, though...

The pricing policy often sees row A seats 1 to 8 and 55 to 62 and row B 1 to 8 and 56 to 63 cheap but good value, even if the view is a little "sideways on" to the stage.

Rows AA and BB project forward from the circle. The view is poor since they are at the very edges of the stage.

A bar runs across the front of the circle. This affects the view in all seats, and is only tolerable in row B.

The height may bother vertigo sufferers.

Claustrophobics: There are no aisles, entry into rows A and B is direct into long rows from each end.

Rows A and B end few seats are lower than the rest and look through more bars.

Views can be through a lot of lighting, which is often hung on bars below the level of the front of this circle.

Zero legroom in slip seats.

None reported.

"Balcony": "Gross und Klein." Sat in the Upper balcony (almost on the roof - it was all I could get!!) - dreadful seats - shame on the Barbican for even selling them."

"A41: "Good Night Oscar" (July 2025). Probably best to only take this seat if the others are booked and/or too expensive. You'll be looking through two safety rails and a lighting bar that may have lights hanging off it. Leaning helps but tends to just bring a different bar into vision.
Legroom is OK, but there's no real room for people to squash past you to get to their seat. It's high, but it's a balcony, and not so bad in that respect. But mostly you won't really feel like part of the audience."

“BB14, 15 and 16: Eye wateringly high (not for vertigo sufferers) just on the curve but still just about central enough. The safety bar is in sight if you don’t lean forward. Enough legroom but no space under the seat for coats, bags etc. Appalling toilet provision - none at gallery level and we had to go 2 floors down (having just gone up to get to the seats). Also stiflingly hot. I hate this theatre!!”

"B31 and 32: "A Strange Loop" (July 2023). We were in the very centre at the very top. But hands went up to the eyes all around us in the row and in row A.
I was told that we were all lit up and visible in the side balconies. The view was good when we could see and have sat there before without problem.
Had middle seats in the row for central view, but would have sat towards the side if had known of the issue. Alternatively sort out the lighting. It may be pretty but it doesn't compensate for not being able to see the stage & cast!"