Earlham Street, London WC2H 9HU 020 3925 2998
www.lwtheatres.co.uk the theatre group's own website provide the service for this theatre.
This site allows seat selection and provides a view of the auditorium too.
Booking fees per ticket:
No booking fee. A £1.50 per ticket "restoration fee" is shown as the 'booking fee' on all prices - it isn't, it is just a restoration fee. Fair deal, feels the monkey.
The Royal Shakespeare Company:
www.rsc.org.uk also have a very small allocation of tickets, with a 75p per booking, not per ticket, optional postage fee. No fee if you wish to collect your tickets from the box office on the day of the performance.
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.
Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), which offers a fee of £22.50 on £125, £19 on £95, £14.50 on £72.50, £11.50 on £57.50, £9.50 on £47.50, £7.50 on £37.50, £5.50 on £27.50, £4 on £20 seats Monday to Thursday off peak dates / £25 on £125, £19.90 on £99.50, £17.50 on £82.50, £12.90 on £64.50, £11.90 on £59.50, £9.50 on £47.50, £7.50 on £37.50, £4 on £20 seats Friday to Sunday and peak dates. Moderate by agency standards, high by box office ones, but worth trying as they often have some choice available! Note that this system will confirm exact seat numbers prior to purchase and that prices may vary for some "Peak Date" performances. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases.
See Tickets offer a fee of £19 on £95, £14.50 on £72.50, £11.50 on £57.50, £9.50 on £47.50, £7.50 on £37.50, £5.50 on £27.50, £4 on £20 seats Monday to Thursday off peak dates / £19.90 on £99.50, £17.50 on £82.50, £12.90 on £64.50, £11.90 on £59.50, £9.50 on £47.50, £7.50 on £37.50, £4 on £20 seats Friday to Sunday and peak dates. plus £2.75 per booking, not per ticket, transaction fee. Note that fees are subject to change at this agency - the system will advise at time of enquiry.
Ticketmaster offer: £24 on £125, £18.75 on £95, £14.25 on £72.50, £11.25 on £57.50, £9.50 on £47.50, £7.50 on £37.50, £5.50 on £27.50, £4 on £20 seats Monday to Thursday off peak dates / £24.50 on £125, £19.50 on £99.50, £16.25 on £82.50, £12.75 on £64.50, £11.75 on £59.50, £9.50 on £47.50, £7.50 on £37.50, £4 on £20 seats Friday to Sunday and peak dates.
Note that fees are subject to change at this agency - the system will advise at time of enquiry.
Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer £23.50 on £125, £19 on £95, £14.50 on £72.50, £11.50 on £57.50, £9.50 on £47.50, £7.50 on £37.50, £5.50 on £27.50, £4 on £20 seats Monday to Thursday off peak dates / £25 on £125, £18.50 on £99.50, £16.50 on £82.50, £12.50 on £64.50, £11.50 on £59.50, £9.50 on £47.50, £7.50 on £37.50, £4 on £20 seats Friday to Sunday and peak dates. Discounts may also be available.
Londontheatredirect.com offer: £24.50 on £125, £19 on £95, £14.50 on £72.50, £11.50 on £57.50, £9.50 on £47.50, £7.50 on £37.50, £5.50 on £27.50, £4 on £20 seats Monday to Thursday off peak dates / £25 on £125, £20 on £99.50, £16.50 on £82.50, £13 on £64.50, £12 on £59.50, £9.50 on £47.50, £7.50 on £37.50, £4 on £20 seats Friday to Sunday and peak dates. Optional Ticket Insurance is also available. Discounts may also be available.
Telephone: 020 3925 2998
Operated by the venue, Monday to Saturday from 10am to 5:30pm.
Booking fees per ticket for telephone bookings:
No booking fee. A £1.50 per ticket "restoration fee" is shown as the 'booking fee' on all prices - it isn't, it is just a restoration fee. Fair deal, feels the monkey.
The Royal Shakespeare Company: 0844 800 1110 (Monday to Saturday 9am to 8pm) also have a very small allocation of tickets, with a 75p per booking, not per ticket, optional postage fee. No fee if you wish to collect your tickets from the box office on the day of the performance.
For personal callers or by post:
Earlham Street, London. WC2 9HU
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 020 3925 2998
Operated by the venue, Monday to Saturday from 10am to 5:30pm.
www.lwtheatre.co.uk is the official venue website.
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.
NOTE: Shorter children and adults should try circle rather than stalls seats, as the circles are tiered and may make it easier for children to see over those in front of them. Booster seats are also available.
http://uk.matildathemusical.com/ The official show website, has a handy "view from your seat" facility under the "Ticket Info" tab at the top of the main page.
Two blocks, split by a central aisle.
The Dress Circle (called the Royal Circle here) overhangs the stalls at row O. This does not affect the view from the rear stalls.
The stalls have a very shallow rake (sloped floor to help see over rows in front) until the tiered steps kick in at row P.
Good for all but the tallest. Seats on row A and the centre aisle offer the most exceptional combination of comfort and view.
Best seats are rows D to J 9 to 20. The shallow rake means that from row K back to O the view is progressively worse for the less tall!
In general, the curved shape of the stalls make the first and last four seats in every row poor value as the view of the stage does not justify the price. The box office feel that the ends of rows are OK, as nothing is missed. They also feel that all the seats are fairly priced.
Stalls seats N1 and N34 are removable for wheelchairs. Theatremonkey rates the view below par for a top price seat, just acceptable if heavily discounted. Having a decent centre aisle seat removable would have been nice, though.
Rows P to S are progressively stepped, raising them a little more than a floor slope alone. With short folk in front, the view is pretty good, though seats on the very end of the row may feel a little far over - no action is missed, from here, however.
A sound desk is usually installed in the rear stalls. Avoiding row Q 10 to 17 and rows R and S seat 10 should put you furthest from any problem. Better yet, pick seats on the other side of the aisle. Seats near the sound / lighting control desk may suffer noise and disturbance to your enjoyment. R10 will be conscious of the desk when looking to the right, S10 will find it even more noticeable - though not totally sightline blocking in either case.
Rows A and B will find the stage fairly comfortably sloping towards them. The only issues are that at either end of the row the seats face a disconcertingly jagged edge to the stage, with staircases beside them; while in the centre of the row those seated in A 10 and 13 have a staircase directly beside them, which must be scrambled over to reach your seats.
A reader noted poor sound at the outer edges of rows A and B. Another in the centre of row C.
Central rows E to H are "premium" Tuesday to Thursday off-peak, E to L Friday to Sunday and "peak dates." They are split into two "premium" prices. Your call, feels the monkey, who would sit one row forward first, then one row back or even in the 2 seats beside the more expensive ones, and pay less for the same view. If you must sit in them, the extra cash gets you nearest the action on the aisle, while being relegated to "second premium" puts you at least 5 seats off the aisle. The monkey says no more, as it can't find the words...
Tuesday to Thursday off-peak sees prices drop at the ends of rows O to Q, monkey would take the seats next to the more expensive ones - a good way to be further forward for fewer bananas. Row S drops to third price and again is well worth taking.
Friday to Sunday and peak dates, row S seats 18 to 23 are second price. Well priced for worthwhile value, feels the monkey. The other side of the aisle is OK too, away from the sound desk.
"A2 to A7 and B1 to B5: "Matilda The Musical" (November 2011). Marilyn and Barrie Knight. In January 2013, most of the party could hear and enjoyed the performance, however we, the grandparents with no hearing impairment and sitting in A2 and A3 at the end of the row, were unable to hear the dialogue, particularly Matilda, and when, for example, she was talking to the librarian we could not catch even the gist of the story. The sound seemed distorted and not clear. We feel that the cost of those seats should be reduce to take account of that. The words of the songs were also difficult to pick up as the background was very loud. These comments apply also to the end seat B1. We paid a good deal of money for the experience and travelled a long way to get there. We have to say that sitting in those seats (A2, A3 and B1) at the top price did not give us a feel good factor or value for money."
"A 5 and 6: (Natalie). We were in row A seats 5 and 6 and had a great view, only missing the teeniest portion of the bottom of the stage."
"B15: "Matilda The Musical" (November 2016). Got these as unofficial "standbys" at a rate of £30, not publicised online according to the box office. It was a midweek matinee. Found the seat to be maybe a little too close if paying full price and would have chosen slightly further back. A bargain at £30 though."
"C8 and C9, paid £75 each. These seats are very central (2 away from the central aisle) but really close to the stage. There is no orchestra pit to give any distance from the action and you are so close you can virtually count the actors fillings. There is also very little leg room and the seats are very low down which may be a problem for some people. I think seats further back would be better to give you a sense of the whole spectacle but obviously the premium seats come at a much higher cost ... On balance, I would recommend these seats as the rake of the theatre is pretty shallow and I would rather be close to the front and seeing what was happening than near the back with a sea of heads in front of me obscuring my view."
"C 14 to 16: This is so close to the action you are practically on stage, I would suggest 5 or 6 rows further back would be ideal, especially to get the best out of act one's big 'set piece' illusion. The view is great, obviously from being so close - but the rake is so shallow, any children's views could be obliterated by the person in front, even at this distance. My biggest qualm though is the legroom - when seats are so close together and low backed that you can't even comfortably read the programme without invading the personal space of the person in front then it is clearly too restrictive. I was wedged in my seat and unable to move for the entire performance. I had thought that given that seat 14 is an aisle that I would have room to stretch a little. This was not to be the case as the aisle is used continuously throughout the performance. Overall, I would say approach with caution - if you are the right size and the size of the person in front of you is not too restrictive, then the view is good. If not, it's a bit of a lottery. My other problem was the sound balance made the lyrics very hard to hear, particularly when the whole cast was singing together. As a teacher I really appreciated the portrayal of parents and children in the opening number, but as soon as there was more than one person singing the lyrics became lost. This happened a number of times, I thought what I heard of Tim Minchin's lyrics was great, a shame that so much was missed. Will stock up on painkillers for my next London theatre visit!"
"E8: (Nicky). was a fantastic seat - you could really see every expression on the actors' faces. It took a while to get used to at first, as there is so much going on on stage that at times I struggled to know where to focus my attention, but would definitely sit there again if the tickets were available at the same price. I wouldn't mind trying out something in the Dress Circle too though, to get a more panoramic look at the stage."
"E12: "Matilda: The Musical" (November 2011). This is a central aisle seat in the Stalls section. I am 6ft 2" and the leg room was fine. I had been advised to go for an end seat due to insufficient leg room, but the seats in this row are fine. I did have neck ache though as the seats are a little lower than the stage, with no incline, meaning I was looking up a lot. This theatre is quite small, and really seats in row K, L or M would have been perfectly fine too."
"G6: (Rattly Noise). I'm 6ft and found the leg room to be good, better than the train I'd travelled down on in fact. The view was great, even at full price (but obviously incredible, given what I'd actually paid for it)."
"G17, 18 and 19: (David). gave an excellent view and better legroom than most theatres."
“G29 and 30: “Matilda The Musical” (November 2011), (Bob Pickett).Row G is - outside of row A where we first saw Matilda - possibly the best row in the house. Still very close to the action, but far enough back for the whole stage to be in view. These seats are on the end of the row, not an issue at the Cambridge. But the (lack of) rake is; flatter than the reclaimed Polderland in The Netherlands, your view is a lottery. We moved to these seats (with permission) during the interval, as the audience in front were shorter patrons. We brought with us one of the plentiful booster cushions available in the foyer that Laura my wife used in the first half. We sat down, Laura realised she didn’t need the cushion (see little people reference) so put it to one side. A little later, the gentleman behind me tapped me on the shoulder to ask if *I* was sitting on a booster cushion! No, I’m a little over average height and sit up straight! As I’m a lovely fellow, I slid down in my seat (decent legroom and comfortable seat) and over to the side a little to give him a better view. Mind you, I’m not sure he quite understood the theatre experience (asking his wife at curtain call “shall we go now?”, well you can stay, but they tend to ask you to leave when they’re tidying up. The Cambridge B&B it isn’t). But my slightly over average height so comprehensively blocking another patron’s sightlines does highlight the rake(less) issue.”
"H16 and H17: (Ali P). top price tickets but good value, as we had an excellent view of entire stage. The seats provided good leg room (we are both tall) and have the added advantage of being aisle seats and pretty much centre stage."
"H23: (Alun of Basildon). Good seat, view good, but if some tall Monkey was in front of me maybe the view would not had been so good, luckily for me it was a short female."
"H23 to 26: Next to the side aisle, the view was excellent. The only complaint I could possibly make is that the seat/person directly in front squeaked."
"K12 and 13: (Cristopher H). The Cambridge theatre is quite simple absolutely nothing special, the rake is the shallowest of all west end theatres. K 12 and 13 were great, if only the rake wasn't so shallow. The legroom was not great, and I would definitely pay full price tickets only if the seats were located in the stalls."
“K28 and 29: “Matilda The Musical” (November 2011), (Bob Pickett). Off to the left (as you face the stage), but the Cambridge isn’t a wide theatre so you’re not craning your neck. Row K rewards with the whole stage in easy view, but you’re just at that point where the finer detail (perhaps not so important with Matilda) loses focus. K28 & 29 were comfortable (though a fidget towards the end of the first half) and legroom allowed movement. But the issue with the Cambridge is the lack of rake as evidenced by the large number of booster cushions available in the foyer (do get there early and take time to read the signs there, they’re hysterical). I’m fine at 5’10, but even with a boost Laura my wife (5’ ½”) struggled to see the stage, resulting in our request to move for the second half.”
K28 to 30: "Matilda: The Musical" (November 2011). Went on a Saturday in October 2016. We had K28-30 in the stalls, which were at £71 pounds ish. Great musical and seats were fine but there were small parts of the action missed due to scenery. However being close to the action made up for this. The slope of the theatre isn't great at this stage so my friend who isn't vertically challenged had issues with the tall guy in front to her!"
"L9 and 10: I was given these seats as an apparent upgrade after only paying £27.50 for seats in the dress circle; because of this I can’t be too critical of these seats. However, these seats are advised as top price tickets, and if I had paid top price for these tickets I would have been disappointed. They feel too far away from the stage. Some people may prefer this however I prefer to feel a little closer. The rake in the stalls is practically none existent; this can be a problem if someone taller has the seats in front."
"L31 and 32: "Matilda: The Musical" (November 2011). The sound wasn't as clear as it could be."
"O 7 and 8: (Danielle Knights). I was slightly worried about where we were sitting as it was row O seats 7 and 8, but they were both very good seats, enabling us to have a clear view of everything going on on stage. I was pleased with the size of the theatre - I was convinced it would be too big to see from everywhere, but I could confidently say that you could see from anywhere, certainly in the stalls."
"O 24 to 29: (Paul West). We got seats on row O of the stalls from TKTS (seats 24 to 29.) The view was great, the theatre is small enough to see everything really clearly, although the shallow rake meant that a couple of my group had a few problems with big people in front of them. however, I feel they were maybe unlucky, as with a quick swap, they could see perfectly. However, I found the legroom (or lack of it) pretty painful. Once my legs were wedged in, they weren't going anywhere! All the others (who are substantially shorter than me) were very comfortable."
"P24 and 25: "Matilda" (November 2011), 21st April 2012. £62.50 each. Our seats were amazing. Perfect view of the stage, undisturbed! Don't think there is a bad seat anywhere in this theatre - which made it even more amazing. The show was a sell out, and I would definitely be returning VERY soon to see this... and of course sitting in the same seats!"
"The seats in the rear stalls were great and provided a good view of the stage."
"S 18 and 19: "Matilda" (November 2011) (Laurence T.): I would recommend sitting in the stalls row S, you pay 55 pounds instead of 65, still feel close enough to the stage and get the added bonus (or negative) of the actors coming and going through the doors right by you. You also don't have anyone sat behind you, which is a positive thing for some people. I would try and get as close to the centre aisle as possible, to get the best view. I booked through the RSC as they had seats S18 and 19 which were on the centre aisle. There is a sound desk to the left of you but this did not impact the sound quality from these seats and the circle overhang is not a problem either. However if you want a truly immersive experience you should pay the extra ten pounds and sit closer to the stage."
One box, Box A, set into the back wall behind the last row of seats and the cross aisle.
Good, as normal movable chairs are used.
The monkey notes that other seats at the same price give a closer view of the stage, this one is pretty far back.
These are a long way back, depending on the production.
A reader noted poor sound in 2012.
"Box A: "Matilda." This box is actually at the rear of the stalls, in other words behind the last row of seats, row S. I thought it was very far back, quite difficult to hear and not really worth it. I wouldn't accept tickets in this box again - generally boxes are in a prime position (though off-centre) but seats in this box are really the worst seats in the stalls (though obviously one gets the benefit of being in a 'private' box)."
Called the Royal Circle in this theatre.
The Upper Circle (called Grand Circle in this theatre) overhangs the Dress Circle at row C.
This circle is tucked away at the back of the theatre, a long distance from the stage and almost behind the Stalls.
The rake of the seats is shallow, contributing to that distant feeling.
Just adequate for a five foot seven Theatremonkey in row A, try the stalls. Elsewhere it is pretty fair for those up to around 5ft 11 or so.
Aisle seats in this circle do offer slightly better legroom with space for a leg to shift into.
If you get sat here, rows B to G seats 12 to 24 are the prime seats in the centre block, the pick of the bunch. Theatremonkey says if you must sit in this circle, the centre block is the only way to go. The side blocks are not particularly poor, but if paying full price, you might as well be central.
The box office do indeed feel strongly that the Dress Circle is well priced and worthwhile. A reader also notes the sound balance in row B was excellent in November 2007.
Circle overhang affects the view of the top of the stage from row G back.
A metal bar runs across the front of the circle, it increases in height slightly at the aisles. This does not particularly affect the view from any seat other than those in row A, who may feel more conscious of its presence. A 5ft member of the box office staff confirms that feeling, though a reader in row C felt differently.
Row J has rails at either end of the row, slightly affecting sightlines if sat here.
Central A is at top "premium" price, B and C are at second "premium price." The stalls "top premium" price seats do get you right near the action on the stalls aisle. Your call, feels the monkey, who would go one row back for the same view... particularly skipping row A if taller than 5ft 8 or so. Paying extra for stalls will get you close to the show, though isn't suitable for the shortest, who will see more from the circle.
Monday to Thursday outside peak dates, there are decent second and third price seats here. At second price the monkey would take the four seats off the centre aisle in the side blocks row F, or central row G. Saving even more, central row J at third price is well worth a look for those who may find the upper circle a little too high.
"B12 and B13: "Matilda" (November 2011), (Michael, Newmarket). The seats were top priced seats and, although they offered an excellent view of the stage, you wouldn’t want many tall people on front of you. If I went again I would definitely go for a stalls seat SPOILER ALERT as the characters do leave the stage and go into the stalls on numerous occasions. SPOILER ENDS. I note that other reviewers have mentioned that the lyrics are hard to catch and I can see their point. This was especially the case in the ensemble songs. I’m not sure if it is the orchestration or the acoustics in the theatre."
"C 10 and 11: We got these on a deal, but would have been good value at full price. Fabulous seats with a great view of the whole stage and all the action."
"C16 and C17: (Andy Ellis). I must disagree with negative comments about the Dress (or Royal) Circle. It was a gentleman called Chris at the box office (who I think works at the Cambridge) who recommended our seats, saying the view were very good, and I was pleased we took his advice. We sat in C16 and C17, and found the raking adequate, the leg room (I'm 6ft 1in) OK, and the view of the whole stage excellent. I accept that the back of the circle and extreme sides would have been less satisfactory, but the centre block was fine - especially for admiring the dance routines and action."
"C18 and 19: (Barry Liimakka). Our seats, in Dress Circle C18/19, were good seats, just as TM describes them."
"C19 and 20: "Matilda" (November 2011), (James - regular contributor). Paid regular top price rather than premium as the show is still in previews. The seats were superb. A perfect place to see the whole stage and the sound was great here too. It didn't feel far away at all, although when I go next, I'll go a row behind rather than pay premium price."
"C25 and 26: "Matilda" (November 2011). The bar certainly cut across the view of the front of the stage from C25 (aisle seat), and would do so more for row B as well as A. The bar is only at the bottoms of the aisles, not right across."
"D17 to 19: "Matilda" (November 2011). First impressions were wow when we walked into the auditorium."
“E22 and 23: “Matilda,” (Chris B). The seats offer a great view but the circle feels quite far back from the stage but you still get a good overview of the performance. There is quite a bit of action that takes place raised up on the stage so being in the circle means you can look directly forward rather than craning your neck in the stalls. The legroom was more than sufficient too, overall excellent seats.”
"F28: "Matilda" (January 2016). A really nice view of the whole stage and the set which is enjoyable for Matilda as you can try and spot words related to the production on the blocks surrounding the set. However, at top price I would personally prefer to sit further forward in the centre of the dress circle, or even better the stalls, as it can feel a little distant in the dress circle. Also, the seats here are annoyingly not offset very much so I did have to lean a little bit sideways to see around the head of the person in front of me!"
"G27 and 28: We sat in the Dress Circle - G27 and 28 and although we are not tall we had a great view and the sound perfect."
"G31 and G32: (James - regular contributor). sound is fine from here and the view is good, but feels a little distant at top price."
"H11 and 12: "Matilda" (November 2011). Paid £67.50 in total for the two tickets, with my daughter's ticket free through Kids Week (annual promotion kidsweek.co.uk - editor). Found the view of the stage good, with everything in view. The Upper Circle overhang didn't obscure the view of anything. Legroom was good by West End standards. Sound was good. I wouldn't say there is anything wrong with these seats, and we found them absolutely fine and excellent value in Kids Week and I actually preferred the view to that from the stalls, where we saw Matilda previously. My only negative comment would be that if I was going to pay top price (which these are), I wouldn't want to be sitting so far back."
"Row J: "Matilda" (November 2011), (Rich). The view was great, probably helped by the fact that the two seats in front of us were empty. Legroom - not so good for a 6ft 2 theatregoer."
Two boxes, one either side of the Dress Circle.
Good, as normal movable chairs are used.
The monkey notes that other seats at the same price give a fuller view of the stage, but for those willing to take a side view the above will certainly be of interest.
These have a restricted view - up to one fifth of the nearest side of the stage is not visible, depending on the production.
"Box C: Me and my family sat in Box C seats 1 to 4 (taking the whole box), Theatremonkey gave the seats a red rating saying that a 5th of the stage wasn't visible and perhaps that the seats didn't show value for money at £39 per seat. However on my experience of Chicago - these seats are fab - the view was great (though at an angle) none of the action was missed and only a small part of the orchestra stage left was unviewable. Even when Roxie and Val are extreme stage left and right on the ladders you are still able to see them perfect. At a great price (£39 slightly cheaper then stalls and equal to Dress Circle) these seats offer great views , a private area and great sound quality (which isn't too loud due to the speaker being side of the box) Great seats...will definitely consider again !!!!!!"
Called the Grand Circle in this theatre.
This circle is above the Dress Circle, overhanging it to row C.
It is split into a front and rear block, divided by a wide gangway.
Both are fairly steeply raked, feeling a little disconnected from the stage once past row C or so.
The front block is split into three by aisles.
Aisles divide rear section seats into four blocks, with only the back row, M, running the whole width of the circle.
Best in M 7, 8, 24, 25, 41 and 42 with nothing in front.
Barely adequate in rows A and G, cramped for anybody taller than around 5ft 10 elsewhere except in aisle seats with a little space. The theatre have, though, placed the seats higher than usual to maximise legroom for all, and this seems to work rather well unless 5ft 11 or over, the monkey felt.
Like the Dress Circle, the centre block offers best value for money. Select row C 13 to 23 first, then D to F - though row A is also possible at the same price but with less legroom.
Next best are side blocks B to F 12 to 7 (12 being an aisle seat with good legroom), and equally B to F 25 to 30 (25 also aisle). The other seats here are too far to the side to offer good value.
The rear block is very high up and a long way from the stage.
If you have a problem with low bars in view, then skip rows G and H - even J for purists - but K back are about fairly priced, felt the monkey. Go for the centremost seats possible at each price - it's worth taking side blocks last up here.
When sold at a discount, notable value is row G 7 to 10, 15 to 18 and 23 to 26, skip when sold at normal prices, though.
Behind the stairwells are also some cheap seats. The monkey would still skip row J, but those looking for a cheap seat (and prepared to accept the limitations in view) might well find K 13 to 16 and 25 to 28, worth a thought as central seats for a low price. NOT for those who expect a full and good view, though, the monkey points out.
Row M 7, 8, 24, 25, 41 and 42 are worth considering for children, allowing for the fact they are in the back row, since they are at the top of the aisle and offer a view down it, and maybe a bit more legroom. just about fair value for money.
Some sensible pricing prevails in the rest of rows L and M too. Central rows L and M may also suit anyone seeking a more central view who don't mind being a little further back.
A metal bar runs across the front of the circle, restricting the view in row A. Row G also has a bar in front.
In the rear section, the two middle blocks suffer from stairwells let into them. The walls around and on top of the stairwells affect views in rows G and H 11 to 14 and 19 to 22, also row J 11 to 18 and 23 to 30. The row J seats particularly suffer from both this and poor legroom, and a restricted view (a bar which annoys children and shorter adults, but is not noticed much by other people), in the monkey's opinion, provided you accept the limitation.
The shallow rake in the rear section further diminishes the view, even allowing for low prices.
The monkey has registered several complaints about poor sound quality in this part of the theatre, though one reader reports this problem has now been fixed.
The height of seats above the floor left a shorter 5ft 2 reader in row D dangling - they suggest borrowing a booster cushion to rest your feet on.
In the rear block there are no aisles at the extreme ends of the row. Claustrophobics may like to avoid these!
Monday to Thursday on off-peak dates, side blocks of row C drop to third price - the ones just off the centre aisle are a way of being quite close for fewer bananas. Centre D at the same price is also worth a thought.
At all times, row G is not priced for the restricted view (a bar which annoys children and shorter adults, but is not noticed as much by other people), they are only worth thinking about, in the monkey's opinion, if you accept the limitation. Indeed, the whole central three blocks seemed expensive to the monkey for this production, with nothing below £29.50 in the first four rows except a few restricted view tickets.
The outermost 4 seats either end are somewhat expensive for "Matilda: The Musical" (November 2011), feels the monkey, as there are centre block seats going for the same cash.
A reader feels that the "day seats" have obstructed views, "The seats at the centre were good but the ones on the side are awful. You can hardly see what's going on."
"Upper Circle: (Alun Moss). You are up very high in these seats and I felt a little bit as if I was out of the way out of the show in the first half. I would say if you go for the Upper Circle try as hard as you can not to go for any further back than row F."
"Row A: (Chris). "We sat in the central block of the upper circle, row A. I'd seen that this was coloured red according to Theatremonkey but was actually quite pleased. There is a safety bar which runs across the front of your view, but sitting up straight and leaning slightly forward, you pretty much eliminate it's effects. I was surprised how far forward I felt, and how clearly I could see all the cast and their facial expressions, the upper circle didn't seem as high as it has done elsewhere either."
"Row A: (Jackie). As the monkey notes, there is a safety bar which does rather obscure the stage, however, sitting forward gave a good view (although by the end of the show a bad back!)."
"C17, 18 and 19: (Liz). In the middle of the centre block - we had a perfect view of the whole show and felt fairly close to the stage even though we were in the upper circle. Couldn't fault these seats. I noticed there were a few comments on the sound and I also found it a bit difficult to hear the lyrics of some of the songs as the background music was louder than the children singing."
"D15 and 16: "Matilda" (November 2011). Gave a pretty decent view of the entire stage as you're sat quite centrally. The only draw back is that the very front of the stage isn't visible but for this production it didn't cause any problems as none of the action takes place there."
"D20: "Matilda" (November 2011). The view was excellent for an upper circle, even when people in the three rows in front leaned forward a little at times. The sound was also excellent (people I know who have sat in the stalls say it is rather loud down there, but the balance was perfect for me upstairs). HOWEVER, the problem I had was that the seats in that row (perhaps also in other upper circle rows?) seem to have been raised, meaning that my feet did not touch the floor when I sat down. I am around 5'2" and I would guess that anyone under around 5'4" would have the same problem. You may wish to get a booster cushion to put your feet on!"
"E13 and 14: "Matilda" (November 2011). They were great seats and I'd recommend for this show!"
"E13 and 14: "Matilda" (November 2011). (green on monkey’s plan) were great. Clear enough view without feeling too far away. A teensie-weensie bit greedy in pricing at just over £40 but cheaper than Ghost (for example) for similar seat positions. There is quite a bit of action towards the front of the stage, so when folk in Row A began to lean forward, it was a little bit bothersome. Stalls centre aisle seats I imagine would be great for the show as there seems to be a fair amount of coming and going down the centre aisle."
"E13 to 18: "Matilda" (November 2011). In the middle of the Upper Circle were reasonably good for the price (£40). I had a good view of everything, but the kids had to lean forward a bit to see the front of the stage and felt a bit far away. It wasn't helped by the fact that about 10 minutes after the start a large group of students arrived in the row behind us and proceeded to take their seats very noisily and then talk throughout most of the show!"
"E25: (Chris May). I was sat up in the Upper Circle on seat E25 and was perfectly happy with my view and the sound quality and rather chuffed with my legroom. I had a wander up into the " gods" of the Upper Circle and really there is no point paying for these seats."
“F 10,11,12: "Matilda" (November 2011). Back row of the front section so nobody behind you, just off centre and also aisle seats so easy access. Reasonable legroom, good rake so a clear view of the stage. Would sit here again."
"F11 and 12: "Matilda" (November 2011) (Paul Nicholls). Climbed what seemed like about a thousand steps to get there ( it was probably fifty or sixty steps in reality but seems more when you get to a certain age!). Great seats on the back row of the front section. Clear view to the stage but unable to see the very front of the stage. I don't think that mattered very much and I don't feel that we missed anything. Sound was fine, we could hear everything clearly. I would book these seats if we came again, no worries."
"G1: "Matilda" (June 2016). I was a bit apprehensive about sitting here due to bad reviews of side seats in the upper circle, but I actually found this seat to be fine! Bearing in mind I have seen this production before and am used to restricted view seats and looking through bars, I had a decent view of the stage, only having a bit of the set in the way that blocks a bit of the stage on your right. There is also a rail in view which is slightly annoying but at the day seat price of £5, I think this seat is definitely value for money!"
"G12: "Matilda" (November 2011). This seat is sold on the day for a bargain £5 to those under 25. This is a single day seat so if you are buying more than one day seat they will give you the ones further back. There is a rail which obstructs the view and the upper circle does feel quite far away from the stage, but legroom is good as there are no seats in front. Really worth the price if you don’t mind leaning around the rail!"
"G12: "Matilda" (November 2011). The railing in front of this seat does slightly obstruct the view however, it is quite minimal and is excellent value for £5!"
"G25 and 26, an inch closer to the action, than G31 and 32, more central but leaning forward required!"
"G29 and G30: would have a much better view than G31 and 32, without the bar."
"G31 and 32: Got these as £5 day seats - there was a hand rail in the way which did obstruct the stage somewhat and we had to sit forward to see. Wouldn't recommend these seats. Sound quality fine in all areas."
"G31 and 32: Restricted view, but just minor. I think 32 is better view than 31. You sit far in the back so you won't see much expressions, but for £5 (student rate - editor) these seats are definitely worth it. Wouldn't recommend for someone who has never seen Matilda though."
"H28 and 29: These were fine and I could even lean back in my seat!"
"J9 and 10. (Pip). We were meant to be in Row K seats 15 and 16 but as it was quiet and hardly anyone was there, they told us to sit where ever. We decided that these two seats were the best on this side of the circle. They are fairly cheap and they best avoid the metal bar that separates the front and back of the circle. You can see everything and the seats are comfortable, though legroom could be better (though is acceptable). The seats we were meant to be in were far worse because of a bar across which is why they are worth less."
"J14 and 15: "Matilda" (July 2016). Weren’t bad for their price (day seats), and gave a very clear view of the stage if you were willing to peak through the two horizontal bars in front of you, or lean forward in your seat!"
"J16: "Matilda" (March 2016) The metal bar in view would make this a restricted view seat, but I didn’t have any problem with it getting in my way as I tend to lean forward in my seat anyway. Being near the back of the upper circle, you do feel quite a distance away from the stage, but as this was a day seat costing £5 I won’t be complaining!"
"K35 and 36: (Hannah). We were sat in seats K35 and 36, which we got for a discounted £19. I would say for this price they are very good. Whilst being very far from the stage, you can see everything, except for although one tiny safety bar which occasionally comes into view."
"M7 and 8: "Matilda" (November 2011). £25 seats, Perfect view. It felt a bit far from the stage, but the view was excellent. Perhaps I missed some action, 3 or 4 times, when the actors stood or lied down close to the edge of the stage. It was very brief, didn't bother me at all."
Total 1249 seats.
Williams Sound Infrared. Some signed and audio described performances. Guide dog sitter available. Level access with a gentle slope through Earlham Street fire doors to Stalls seats N1 and N34, removable for wheelchairs. The adapted toilet is at the back of stalls and is kept locked until requested.
Food: Ice Cream and confectionery available.
Three bars. Stalls, Dress Circle and Upper Circle.
7 toilets in all; Stalls 1 gents 3 cubicles, 1 ladies 4 cubicles, 1 unisex disabled; Dress Circle 1 gents 2 cubicles, 1 ladies 3 cubicles; Upper Circle 1 gents 2 cubicles, 1 ladies 3 cubicles.
A reader adds, "Ladies loos - cubicles were too small for people to get in!"
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.
Tuesday to Thursday "Off Peak" performances:
Saturday, Sunday and "Peak Week" performances:
The Dress Circle is called the "ROYAL CIRCLE in this theatre.
The Upper Circle is called the "GRAND CIRCLE" in this theatre.
Certain seats - often in row J of the upper circle - may be sold as "day seats" to those aged 16 to 25 for £5 each. Contact the box office for details.
"PEAK DATES": These are during public and school holiday periods. The box office will advise of exact applicable dates when enquiring.
Prices shown include a £1.50 "Restoration Levy" on all tickets. This sum may be shown as part of the booking fee on some websites, or added to the ticket price itself on others.
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.
Covent Garden - Piccadilly (dark blue) line.
Leave the underground station and turn to the left. Walk straight on to a road called Long Acre. If instead of a road you see a pedestrianised area, Wrong way, turn around.
Cross Long Acre to the other side of the road from the underground station. Turn to your left.
Keep walking. Cross Langley Street, don't go down it though.
The next street is Mercer Street. Turn right into it and walk straight on, crossing Shelton Street on the way.
At the top of Mercer Street is an open space with a column monument in the centre of it. The Cambridge Theatre is on the right of this.
Careful - in the absence of kerbstones, cars and pedestrians mix on the cobbles of this junction.
None stop outside the theatre. Number 1, 14, 19, 22, 24, 38, 55, and 176 stop on Charing Cross Road or Shaftesbury Avenue. As a starting point, stand in front of the Palace Theatre. Turn your back to it. Cross the road ahead of you to put yourself in front of the large Pizza Hut restaurant. Turn to your left and walk past the restaurant to Shaftesbury Avenue. This is the only road to have traffic divided by heavy railings in the centre of the road. Got it, good. Turn right into Shaftesbury Avenue, Cross over West Street, then notice the next road, Earlham Street, right next to it. Walk down Earlham Street, passing the Mountbatten Hotel. At the top of the street is an open space with a column monument in the centre of it. The Cambridge Theatre is behind this. Careful - in the absence of kerbstones, cars and pedestrians mix on the cobbles of this junction.
A rank for Black taxis is at Charing Cross Station - a long distance from the theatre. Walking up Earlham Street to Charing Cross Road may well improve your chances of hailing one in the street.
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. Go straight on, entering the other half of Shaftesbury Avenue for a few moments. continue up it, crossing West Street. Just past that is Earlham Street. Turn into it and walk to the end, crossing Tower Street. Ahead of you is an open space (Seven Dials) with a pillar in the centre of it. The Cambridge Theatre is clearly visible behind that.
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.
For a full list of car parks and theatres that participate in the 50% off theatreland scheme see http://www.q-park.co.uk.