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Her Majesty's Theatre

Haymarket, St. James's, London SW1Y 4QL 020 7087 7762

  • Where to buy tickets
  • Best seat advice
  • Seating plan/s
  • Getting to the theatre

Buying tickets online - 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 fees.

About the show: The Phantom Of The Opera


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.


ALSO SEE for great value "hotel and theatre ticket" packages.
Other Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.

TheatreMonkey Ticketshop

When the theatre does not have tickets available, it is worth trying the Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), which offers seats with a fee of £21.90 on £87.50, £18.80 on £75, £16.30 on £65, £15 on £60, £13.80 on £55, £11.30 on £45, £7.50 on £30, £5.70 on £22.50 seats Monday to Thursday / £24.90 on £99.50, £22.40 on £89.50, £19.90 on £79.50, £16.90 on £67.50, £16.30 on £65, £14.40 on £57.50, £11.90 on £47.50, £8.20 on £32.50, £6.30 on £25 seats Friday and Saturday. Moderate by agency standards, though higher than box office prices, but worth trying! Note that this system will confirm exact seat numbers prior to purchase. Meal and Show Ticket Deals may also be available, click here. 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

Another alternative is which offers seats with a fee of £15 on £75, £13 on £65, £12 on £60, £9 on £45, £6 on £30, £4.50 on £22.50 seats Monday to Thursday / £17.90 on £79.50, £13.50 on £67.50, £13 on £65, £11.50 on £57.50, £6.50 on £32.50 seats Friday and Saturday; and adds a £2.75 per booking, not per ticket handling fee.



Another alternative is which offers seats with a fee of £17.25 on £87.50, £14.75 on £75, £12.75 on £65, £11.75 on £60, £10.75 on £55, £9 on £45, £6 on £30, £4.50 on £22.50 seats Monday to Thursday / £19.50 on £99.50, £12.25 on £89.50, £15.50 on £79.50, £13.25 on £67.50, £12.75 on £65, £11.25 on £57.50, £9.50 on £47.50, £6.50 on £32.50, £5 on £25 seats Friday and Saturday

Encore Tickets

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) which offers seats with a fee of £17.50 on £87.50, £15 on £75, £13 on £65, £12 on £60, £11 on £55, £9 on £45, £6 on £30, £4.50 on £22.50 seats Monday to Thursday / £19.50 on £99.50, £12.50 on £89.50, £15.50 on £79.50, £13.50 on £67.50, £13 on £65, £11.50 on £57.50, £9.50 on £47.50, £6.50 on £32.50, £5 on £25 seats Friday and Saturday. 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.

Quality and Value hotel / theatre ticket packages are also available.


London Theatre Direct

London Theatre Direct which offers seats with a fee of £17.50 on £87.50, £15 on £75, £13 on £65, £12 on £60, £11 on £55, £9 on £45, £6 on £30, £4.50 on £22.50 seats Monday to Thursday / £20 on £99.50, £18 on £89.50, £16 on £79.50, £13.50 on £67.50, £13 on £65, £11.50 on £57.50, £9.50 on £47.50, £6.50 on £32.50, £5 on £25 seats Friday and Saturday. 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. Discounts and Meal and Show Packages may also be available.

Box office information

Telephone: 020 7087 7762
Operated by See Tickets on behalf of the venue.

Booking fees per ticket for telephone bookings:
No booking fees.

For personal callers or by post:
Haymarket, London, SW1Y 4QR
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 7087 7966. is the official venue website.

Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.

A warning on some booking sites states that due to the nature of the staging of current production, 'The Phantom Of The Opera' all seats at every price may not have full view of all action. Theatremonkey considers this reasonable comment.

A reader says,
"Her Majesty’s theatre is beautifully acoustic, and most of the stalls and dress circle benefit from almost no amplified sound, which is a rarity."

Seat numbers and all reader reviews of them refer to the production before it reopened in 2021. All seat numbers have now changed. Theatremonkey can only update those in the dress circle and balcony, as only these have retained the original aisles. It will offer updated information on the other areas when available.

  • Stalls
  • Dress Circle
  • Dress Circle Boxes
  • Upper Circle
  • Balcony



A single block of seats with no centre aisle.


New seats improve it for all.

Row P has legroom for those up to 8ft tall. Only P16 and 25 have less due to the position of the pillars in front.

Row N has almost as much as row P.

Stalls row T on the “high numbers” side also has a lot of legroom.

Row A has the least legroom but is reportedly “not uncomfortable” as it was before.

All other rows are considered comfortable.

Choosing seats in general

The monkey is told that the real bargains are Q2, Q38, R2 & R39 on an aisle - restricted view prices with the pillar not really in front at all.

Good legroom in rows P, then N and ends of T make them worth considering.

Central seats are "premium" priced - take those in F back rather than the more expensive D and E. Be aware that the front dress circle is cheaper Friday to Sunday than stalls.


General hazard notes

Row A has the least legroom but is reportedly “not uncomfortable” as it was before.


Changes for the current production


Readers comments

Can be posted here.

Dress Circle


Called the Royal Circle in this theatre

The Upper Circle overhangs the Dress Circle at row C. The view of the top of the stage is diminished from row E back, but not sufficiently to affect enjoyment.

The circle is split into central and two side blocks by aisles. 

The rake of the circle is fairly shallow, except for row H, which is higher than the others. Moving the old stalls seats up here has helped with the viewing angle, as they are slightly higher.


Slightly cramped in all seats, worst in row A, a little better in row H, and seats B11 and 25, the monkey felt.

Choosing seats in general

Row A is considered to have an excellent view. Behind it, row B seems to see more of the circle wall than row A does.

Centre Block: 
Try row C 14 to 27 then D 13 to 27 in that order. B 14 to 26 is also prime, if lucky enough to be at a performance where "people leaning forward" isn't an issue.

Follow this with A 13 to 24 at top price or E16 to 24, depending how much an extra eighth of an inch of legroom matters to you. 

Of the cheaper seats, pick row F 17 to 24, then F 15 to 15 and 25 to 27. Choose G 18 to 23 then H 20 to 24 next. The rest of the seats are below average value and consider them only if stalls are unavailable.

Slim pillars appear in row E. Only a few seats in rows F to H are badly affected enough to be designated restricted view. Theatremonkey nominates row H seat 27 as best in the house. With a little sideways movement 99% of the stage is visible from here. Also try H33, H9 and F33. The other seats truly are poor, try stalls restricted view seats instead; or be prepared to see what you can and just enjoy the music if you take anything else in the Dress Circle.

Side Blocks: 
At top price choose B and C11 to 13 and B 27 to 29 and C 28 to 30. Then D 9 to 12 and 28 to 31, and E 9 to 11. Take stalls before choosing these seats though.

H6 and H36 have pillars reducing the view of the sides of the stage very slightly – could irritate the odd purist, perhaps.

Ignore the ends of rows, as the discounts do not justify the strange viewing angle. Good value may be had from row E 28 to 30, F 9 to 11 and 29 to 31, G 10, 11, 30, 31, and row H 11 and 31.

Seats A1 and A38 have been added. The view is better from A38, so it is more expensive. The feeling is that you do need to sit up a fair bit and lean slightly to see more than half the stage.

There are no aisles at the outermost ends of rows A, E, F, G and H.

General hazard notes

Shallow rake makes seeing over those in front difficult for the shortest in rows B to G. Folk leaning forward add to problems in this circle. New seats should help this.

Pillars in row E affect views from seats behind.

Row H has a step up to it at the ends - and it is quite a steep step, for those who find such things harder than average.

There are no aisles at the outermost ends of rows A, E, F, G and H.

Changes for the current production

The view of the top / sides of the stage are important for 'The Phantom Of The Opera'. In fairness to the producers they have priced any seat without a full view of the stage as less than top price. 

Seats A 14 to 25 and B 14 to 26 (plus A 12, 13, 26, 27 and B 12, 13, 2, 28) are sold at premium prices. A is even more expensive Friday and Saturday. The view is excellent here, whether you wish to spend the extra is totally your choice, feels the monkey...

Row H seats that are not behind pillars drop to third price. Monkey likes H 812 to 30. Yes, the stage top isn't fully in view, but these are dress circle seats for the price of upper circle ones, and have a pretty good height raise above the row in front.

Readers comments

"Dress Circle: (The Johnson Family). We sat in the Royal Circle and found the seating cramped and the view inferior to a good Stalls seat."

“Row A: The view could simply not have been better."

Row A and B: (Monique). "Be sure you book good tickets to enhance the experience. My favourite are in the middle of row C stalls, front row of dress circle and even front row of upper circle is fine, a bit more distant but offers good value for the money. However stay clear of cheap side seats! I've once bought a single seat at the very end of row B and the view was terrible. Couldn't see half of stage from there."

"Rows A and B (Lizzie). (Ccouldn’t get 6 tickets together) and although one or two parts of the performance are out of view when they go to the far side of the stage generally good seats"

"A16 and 17: (Wendy). Couldn’t have asked for a better first experience of The Phantom of the Opera. From here I could literally feel the vibrations of the music, especially the first dramatic bits when the chandelier rose up. It was directly in front of the Phantom when he appeared in the suspended decorations and a great position as the chandelier swooped past. Having now also sat in the Stalls, the depth of the stage is more visible from the upper levels, for example from the Dress Circle I could see the entire blanket of smoke covering the stage floor, whereas from the Stalls (F16, F17) the floor of the stage is at eye level so from that angle the blanket of smoke appeared as a thin layer overflowing the stage.
I thought these seats were a real treat, especially with with no seats in front so no heads to obscure the view. My boyfriend did say his knees hurt from no leg room, although this was not a problem for me as I’m shorter. From my angle I couldn’t see the orchestra pit so I actually didn’t even know there was a live orchestra playing until after the curtain came down and there was a bunch of people clustered around the railing at Stalls level and I went over to have a look - this discovery then added to my awe of the show.
I would like to add that having now sat in both the Dress Circle and the Stalls, it somehow felt like the singing sounded clearer (could hear nuances and soft breathy bits) in the Stalls F16/17, whereas the orchestra sounded better (could feel vibrations and hear clearer contrast between strings and percussion) in the Dress Circle A15/16."

"A24 and A25: Good seats - - not much legroom"

"A23 and 24: Excellent seats. I never have a problem with legroom in the dress circle; I find the D/C my preferred place to sit in the theatre to the stalls. However, I did find this seat a little bit tight myself, however not tight enough to decrease my enjoyment of the show."

"A26 and 27: Perfect seats for us – we only had to sit upright (as opposed to lolling right back, which I can’t say I ever do and nor does Tall Daughter who is always far too excited for lounging about) to see everything clearly. After reading everyone’s reviews here, I was conscious of the need to sit back, but felt no need to lean forward. No railing, just a wide velvet shelf. You lost the very front left corner if you sat right back, that was all. Leg room was very good, even for long legs. We really felt the circle was best for a good view of the various elements of this show."

"A28: I fell in love with this production upon first seeing it in April 2003. I did not find the legroom too restricting ( I am 5'11"), and the view was spectacular, so close to all the action and with a clear sight of everything, without having to lean forward at all.

When I recently returned to see this production again however, I sat just one row back and a couple of seats over from where I had watched from the first time. I sat in B 32, (also top price seats), and the difference in view from this slight shift in position was dramatic.

There are many important parts of the Phantom of the Opera that occur at the front and to the left (from the observers point of view) of the stage. These include the opening, with the Vicomte du Chagny sat in that position, many important conversations between characters frequently occur in this position, the Phantom shows Christine the image in the mirror in this location, stairs to 'down below' open up here, and the phantom disappears into his chair at the end here.

From these seats, I could hardly see any of that, and this grossly impeded my enjoyment of the performance. To make matters worse, the people in row A in kept leaning over to see, and infringing more upon the limited view we had. It was only after the interval that this stopped, as we specifically pointed it out to an usher, who I must say was very professional.

The similar seats at the opposite side of the auditorium are not full price, yet I feel from the side I refer too, the view must be affected more. These seats should not be full price, perhaps not even second price. Do not sit here if you can avoid it!"

“A28 and 29: (Rebecca, 4ft 11). I saw Phantom of the Opera at a sold out Thursday evening showing in July 2010 from. Immediately when we sat down we realised that these should be sold as restricted view, and not the very expensive full price. If I sat back in my seat I could not see the stage at all due to the thick velvet wall at the front of the circle. Most people on the front row around me were leaning forward to see the stage. Fortunately at certain times in the show the action is elevated on a variety of platforms, which gave us the opportunity to sit back for a while. Patrons taking row B should be aware that their view might be obstructed by people on row A leaning forward, necessarily, to see the stage. Some views of the set were excellent from the royal circle, but I would recommend the stalls in future, or further back in the royal circle. A friend who is 5ft 7 struggled a little, but not as much as me.”

“B 18 to 21: “The Phantom of the Opera,” (Chris B). This certainly feels like one of the most lavish theatres in the West End, which perfectly befits one of the most successful musicals ever performed. These seats are centrally located in the dress circle and are very comfortable with plenty of legroom. They offer a great, clear view of the whole stage and are set so you can see between the heads in front so the view shouldn’t be obscured. The circle feels quite low and I think being raised above the stalls for this show is really worth it as you get a much better appreciation of the stage, from top to bottom.”

“B22: (Jon). This should have been fine as I'm 5'11" but two people in front of me actually blocked a lot of the view (they also rustled bags to show each other their shopping for large sections of the show). They were asked by the staff to stop leaning forward onto the front of the Dress Circle though, but they still obscured a lot of my view. A child near to me was given a cushion but still had problems seeing properly".

"B36 and 37: Right on the outside of the row, clearly without full view of the stage. (We used an offer but...) would have been happy to pay full price for better seats."

"C10: Has a partially obstructed view seat. You could not see all of Andre and Firmin in their theatre box and you could not see the top of the staircase in Masquerade. However, for £35 (face value £65), excellent value."

"C16: Having read the various comments on this site regarding the poor sightlines and restrictions of viewing the stage in this theatre, I thought I might be safe sitting here. Unfortunately, due to the very low rake, the 6ft high man in front of me completely blocked my view of the stage and I had to spend most of the evening with my head tilted at an angle. In addition, he was very drunk and kept on humming, waving his arms along to the music and talking to his friend throughout the show. Overall, the seat could have been really good (it was especially good when viewing the Phantom during the roof scenes) but like others in this row, it really depends on how tall (and irritating) the person in front of you is”

"C19 and 20: We sat here on the recommendation of this website - the very best seats in the entire theatre. They were dead centre; we had not a single obstruction and could see every aspect of the production perfectly. Legroom was ample, and so long as nobody in front of you leans forward, you needn't move for the entire duration of the show. The tickets were £40 each, reduced from £55 each as part of a Christmas offer; I would have happily paid full price given the quality of the seats and of the show."

"C26 and 27: (Emma). Brilliant view, although little leg room - but that is because the theatre is old, so has to be expected."

"D7 and D8: (James, Finchley). I was lucky enough to get a £25 offer - there is no way I would pay full price for these seats. I found the viewing angle quite peculiar and I missed quite a bit on the right of the stage. People kept leaning forward which obscured the view from time to time and the overhang cut off a few bits at the top which would have been nice to see, although not essential. Also, the Masquerade scene which is usually quite a spectacle is not best viewed from here either."

"E4: My view was very good. I couldn't see the chandelier rise all the way up to the ceiling due to the next level overhanging, but of the stage it was very good. I just about saw Raoul and the managers in their box during 'Think Of Me.”

“E16 and E17: (William Cooper, Phantom fan and theatre observer). With regards to the Dress Circle, I recently fed my addiction with another Phantom fix from dress circle seats, the view was not particularly special as it was a last minute (relatively- THIS IS Phantom) booking.

That said however, I have paid top price for far worse seats in the past and there wasn't really a problem with people leaning forward in their seats - it certainly wasn't enough to diminish the performance.

I was however outraged by the over-excited Welsh ladies next to me who insisted on commenting 'He comes from Swansea' every time the Phantom appeared and rustling their sweet packets all through 'Music of the Night' If I didn't know the words by heart it would have been unacceptably distracting."

"G17: I've seen the Phantom only once and from a terrible place in the Dress Circle row G seat 14. Being 1m 84cm tall I had to bend to see the chandelier and the phantom when he was inside it. Besides it feels very far. I don't suggest seeing it from this row. An exciting piece of theatre though."

“G17: I was in Dress circle row G seat 14, the same seat where another correspondent who is 1.84m tall said he had to lean forward to see the Phantom in the chandelier. Well, I'm 1.73 and could just about see him without leaning forward, that is until the chandelier moved higher.

He also said it seemed far away. I have seen Phantom twice from the Upper Circle, and where I was on Friday seemed nearer, although I must admit it would have been better if I could have got a centre seat in the Upper Circle, but the best I could get from the web site was row C seat 5 which I thought too far from centre. Maybe I should have rung them but I booked out of hours. I think I heard the words clearer this time although there were the usual people who can't sit still, paper rustlers and talkers!"

"G26: Wouldn't advise it - there's a pillar right in the way of the view."

"H10 and 11: (Denise). Had restricted viewing especially when it can to scenes where you needed to be looking at the top of the stage, for example the chandelier scene and the angel phantom scene."

"H21 and 22: (Ed). Our Valentine’s celebration was ruined by a) the restricted view we had from our seats on the back row of the Royal Circle - H21 and H22 and b) the intolerable heat. The overhang of the upper circle blocks the view of the upper part of the stage from row H. The restricted view prevented us from seeing significant action. Particularly the graveside scene at the start of Act 2, not to mention the spectacle of the chandelier and the phantom observing the scene on the rooftop. I deliberately didn't buy the cheapest tickets available as I wanted a good quality viewing experience, but I fail to see how we had anything other than the worst seats in the house. As we bent double to look at the action it was obvious that even one row forward in G the view was much, much better. I think it is criminal for the seats in the back row of the Royal Circle to be advertised and sold in the same price plan as seats with a far better viewing angle either elsewhere in the RC or in the stalls.

Not only this but the heat in our seats was intolerable. The size and space of the seats is uncomfortable enough to start with, but the added discomfort of the heat made for a very unpleasant and painful experience. This utterly detracted from the action unfolding in front of us as we were unable to focus or immerse ourselves in the performance due to the distraction of our pain. (The monkey notes that this reader wasn't aware of the "view in proportion to ticket price" policy in operation until it told him - at which point he mentioned he would have bought more expensive seats so as to see the whole show... worth underlining the problems in this venue again, feels the monkey).

Dress Circle Boxes


Exist either side of the stage, and are newly available - the monkey will update when it can.


Good, as movable chairs.

Choosing seats in general

Not bad at all, feels the monkey.

General hazard notes

Side views.

Changes for the current production


Readers comments


Upper Circle


Called the Grand Circle in this theatre

Split into a central and two side sections by aisles.


Centre block row K has extra legroom. Sadly, this has taken legroom from row J in front, though J is considered to be adequate.

Legroom is considered adequate in other rows. The monkey hopes to update soon.

Choosing seats in general

The monkey hopes to update soon, but is told that the aisle safety rail has gone, improving views from all seats.

The outermost ends of rows A to C still have the least views. Other seats have a better view of the slightly wider stage.

There are no aisles at the outermost ends of rows A, H, J and K.

Central row K has more legroom and is fourth price - better than the same price balcony above and behind that row, feels the monkey.

General hazard notes

There are no aisles at the outermost ends of rows A, H, J and K.

Row J centre block seats have less legroom.

Changes for the current production


Readers comments

Can be posted here.



Above and behind the Upper Circle. The location makes it feel far from the stage and tucked away, but not high enough to induce vertigo.

The circle is divided into two centre and two side blocks by aisles. 


Poor, especially in row A.

The theatre itself notes that the outermost seats in the side blocks are next to a wall, and that all side block seats have limited legroom and a restricted view as well...

They also note that A to C 10 and 27, plus B and C 18 and 19 have limited legroom and a restricted view.

Choosing seats in general

These seats used to offer a cheap way of seeing the show for those on the tightest budget. The view isn't good, but the bargain basement price reflects this strongly. Now they are VERY overpriced and should be avoided unless seeing the show is important enough to you, but be prepared to compromise on both view and sound quality - as well as a feeling that the tickets are at least £5 too expensive.

The monkey would take upper circle K8 to 29 for the same bananas, closer to the stage and more legroom.

Centre Block:
Best seats are rows B and C 10 to 27. Then A 10 to 27 due to bars and legroom.

Side Blocks:
Side blocks A to C 5 to 9 and 29 to 32 and A 33 are adequate (row A problems also apply here); rows D to F feel isolated and far from the stage.

General hazard notes


A spotlight position behind row D 5 to 9 affects nobody much.

Changes for the current production

The view of the top / sides of the stage are important for 'The Phantom Of The Opera'. In fairness to the producers they have priced any seat without a full view of the stage as less than top price.

Aisle seats in the centre block drop a price due to restricted legroom - no bargain unless short, feels the monkey.

Readers comments

"Balcony: (William Cooper). Another word of advice, steer clear of the balcony. Compared with similarly priced seats in other theatres the view from here is very distant and the rake appalling. On top of this, you could get better sound quality listening to the show from the bottom of a lake in a biscuit tin. I definitely recommend paying a bit extra for the Upper and Dress Circles. (This is backed up by another reader who complains about missing half the show from up there. The sound problem, though, was addressed in 2008 when a new system was installed - editor).

"Row A: (Teresa). I sat in the middle of the first row of the balcony recently (2008) and I saw everything! I can really recommend that seat. The first time I saw 'Phantom' I sat in the stalls with the roof over me and, even though the sound was great and I saw everything on the stage, I still like the balcony better because you see all the action that goes on over the stage and, the best of all - you get to see the chandelier falling :)"

"A 23 and 24: Front row. Leg space is limited but OK for us. However, if you are tall, I imagine it would be uncomfortable. The view was OK, but quite far from the stage. My friend said she has missed some of the details (for example, in the 'auto-playing' keys from the piano in the Don Juan rehearsal scene). The row of stage lights blocks off the view of the Chandelier and the top 'Angel decoration'. It is a mild drawback. I would recommend you to sit in the stall or Royal Circle if you want the full Phantom experience (the excitement of seeing the Chandelier falling!) We have paid £28 for the Balcony seats, I would say for that price, we have got more than expected."

Notes best seat advice

Total 1219 seats.

Air-cooled auditorium. One reader in the Upper Circle suggests a light jacket as it was rather efficient!

Induction loop and Williams Infrared. Dog sitters available. Some signed and audio interpreted performances. Three wheelchairs can park in stalls row S or users can transfer to any aisle seat. Access is through a fire door with level access to the seat. Adapted toilet near seat at fire exit. A theatre which tries. Specific information from or 020 7087 7966

Reader Jamie Coniam says:
"I must comment on the helpfulness of the theatre staff, as my grandmother uses a wheel chair, we were approached on entering the theatre by staff and taken round to a side door, shown the disabled toilets and taken to our seats before the crowds came in.

Our interval drinks order was taken and a selection of gifts from the kiosk was bought round to our seats of which nanny bought ............the lot!!

We all thoroughly enjoyed the show and when the crowds had dispersed the staff bought out our wheelchair and had a good old natter with nanny asking her what she thought of the performance. 

Customer service at its best!"

Food: Ice Cream and confectionery available.

Three Bars, Stalls, Dress Circle and Upper Circle.

10 toilets in all. Stalls 1 gents 3 cubicles, 3 ladies 8, 2, 2 cubicles; Dress Circle 2 ladies 3, 2 cubicles; Upper Circle 1 gents 2 cubicles, 1 ladies 4 cubicles; Balcony 1 gents 2 cubicles, 1 ladies 2 cubicles.

General price band information

Theatres use "dynamic pricing." Seat prices change according to demand for a particular performance. Prices below were compiled as booking originally opened. Current prices are advised at time of enquiry.

Based on paying FULL PRICE (no discount!) for tickets, site writers and contributing guests have ALSO created the colour-coded plans for "value for money," considering factors like views, comfort and value-for-money compared with other same-priced seats available.

For a full discussion, opinions, reviews, notes, tips, hints and advice on all the seats in this theatre, click on "BEST SEAT ADVICE" (on the left of your screen).

On the plans below:
Seats in GREEN many feel may offer either noticeable value, or something to compensate for a problem; for example, being a well-priced restricted view ticket. Any seats coloured LIGHT GREEN are sold at "premium" prices because the show producer thinks they are the best. The monkey says "you are only getting what you pay for" but uses this colour to highlight the ones it feels best at the price, and help everybody else find equally good seats nearby at lower prices.

Seats in WHITE, many feel, provided about what they pay for. Generally unremarkable.

Seats in RED are coloured to draw attention. Not necessarily to be avoided - maybe nothing specific is wrong with them, other than opinions that there are better seats at the same price. Other times there may be something to consider before buying – perhaps overpricing, obstructed views, less comfort etc.

Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.

By value for money:

Only seats in the dress circle and balcony are rated, in a general way, as the aisle locations and layout in the stalls and upper circle have been altered during 2021. The monkey hopes to visit the theatre soon to update details.

Her Majesty's Theatre value seating plan 2021


By price:


Monday to Thursday, except "Peak" date performances

Her Majesty's Theatre prices seating plan week days

Friday to Sunday, plus "Peak" date performances

Her Majesty's Theatre prices seating plan weekends

The Dress Circle is called the "Royal Circle" in this venue.

The Upper Circle is called the "Grand Circle" in this venue.

NOTE: Stalls Row B seats 10, 11 and 12 have the orchestra conductor in view. These seats are highly rated by fans, but MAY NOT BE SUITABLE for everyone - buying these are a personal choice. Read more before choosing by clicking the "BEST SEAT ADVICE" link on the left.

A "restoration fee" contribution is included in all prices above.

Please note: The seating plans are not accurate representations of the auditorium. While we try to ensure they are as close to the actual theatre plan as possible we cannot guarantee they are a true representation. Customers with specific requirements are advised to discuss these with the theatre prior to booking to avoid any confusion.

-0.1340517, 51.5082429

Nearest underground station

Piccadilly Circus - Piccadilly (Dark Blue) and Bakerloo (Brown) lines.

The escalator from the platforms ends in a large circular underground area. 

After leaving the barriers, turn to your left, and follow the curve of the barriers around until you see an exit to your right with the sign "Subway 4" over it. Walk under this sign.

Keep walking through this tunnel and ignore the first staircase marked "Shaftesbury Avenue". Continue along the tunnel passing the "Trocadero" doors, and follow it as it curves past another set of doors. Follow the arrow on the sign ahead of you that says "Eros" (the tunnel continues to the right). 

In this new section of tunnel, take the stairs ahead and to your right up to the street.

You will emerge near the Criterion Theatre. Walk ahead of you. If you see two roads - Piccadilly and Regent Street - with a shop between them..., wrong way. 

You will come to a busy road, Haymarket. Railings prevent you crossing it. A large statue of horses is to your right. Turn to your right and walk down Haymarket. 

Cross Jermyn Street, continue walking downhill. Cross St James's Market and Norris Street and pass the UGC cinema Haymarket. Cross Charles II Street, and the theatre is there on your right.


6,12,13,15,22B,38,53, 88,159 to Haymarket. Haymarket is a one way street. If you are travelling by bus from Trafalgar Square to Piccadilly Circus, leave the bus at the first stop in Lower Regent Street. Cross Lower Regent Street. Turn to your right, looking downhill towards the Crimea War Memorial column with the road either side of it. The first side street after the roads rejoin in front of the monument is Charles II Street. Walk along it. Her Majesty's Theatre is at the end on the right. If you come to a garden square instead, wrong way. Turn around, walk back to Regent Street, cross it, and walk down the other part of Charles II Street.

If travelling from Oxford Street or Shaftesbury Avenue you will be able to leave the bus on Haymarket itself. Do so at the second stop in the street.


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.

Car park

Whitcomb Street. Leave the car park, turn left and walk uphill. The first street on your left is Panton Street. Turn down it and pass the multiscreen film complex. Keep going straight on. Pass the Harold Pinter (formerly Comedy) Theatre. At the end of the street is Haymarket, a busy road. Cross it and turn to your left. Walk downhill. Cross Charles II Street. The theatre is in front of you. If you pass the Pizza Hut, wrong way.

Spring Gardens / Trafalgar Square is also nearby, and for these car parks the "Theatreland Parking Scheme" may be available. Call Q-Park car parks on 0870 442 0104 or see 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

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