85-88 St Martin's Lane, Covent Garden, London WC2N 4AP 0844 482 5141
www.delfontmackintosh.co.uk the theatre group's own website provide the service for this theatre.
Booking fees per ticket:
A £2.50 per ticket fee is charged. No booking fee for "2:22 A Ghost Story"
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.
"Dear Evan Hansen":
When the theatre does not have the tickets you desire available, it is well worth trying the Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), offers seats with a £20 booking fee per ticket on £80 (£43.80 on £175, £31.30 on £125, £11.90 on £47.50, £8.20 on £32.50, £6.30 on £25 seats). Worth trying as they often have an alternative choice of seats available! Note that this system will confirm exact seat numbers prior to purchase. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases.
"Dear Evan Hansen":
Another alternative is www.seetickets.com which offers seats with a £16 booking fee per ticket on £80 (£35 on £175, £25 on £125, £9.50 on £47.50, £6.50 on £32.50, £5 on £25 seats). A £2.75 per booking (not per ticket) handling fee applies.
"Dear Evan Hansen":
Ticketmaster.co.uk offers seats with a £15.75 booking fee per ticket on £80 (£34.75 on £175, £24.80 on £125, £9.50 on £47.50, £6.50 on £32.50, £5 on £25 seats). There is also £1.75 per booking, not per ticket, transaction fee and a choice of a £1 per booking, not per ticket, handling fee for collecting tickets from the box office before your performance or £1.70 per booking, not per ticket, postage fee if required and time allows. This system allows you to select your own seats.
"Dear Evan Hansen":
Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offers seats with a £16 booking fee per ticket on £80 (£34 on £175, £24 on £125, £9.50 on £47.50, £6.50 on £32.50, £5 on £25 seats). A postage charge of £1.45 per booking, not per ticket may be applied to bookings made from UK K addresses more than 5 days before the performance.
Quality and Value hotel / theatre ticket packages are also available.
"Dear Evan Hansen":
Londontheatredirect.com offers seats with a £16 booking fee per ticket on £80 (£35 on £175, £25 on £125, £9.50 on £47.50, £6.50 on £32.50, £5 on £25 seats). There is a £1 per booking, not per ticket, transaction fee for collecting tickets from the box office before your performance. Alternatively, if time allows, there is a postage to your home option, costing £2.95 (£4.95 to non-UK addresses) per booking, not per ticket. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.
Telephone: 0844 482 5141
(020 7812 7498 if you cannot use the 0844 number)
Operated by Delfont-Mackintosh Theatres. At busy times / outside working hours - 9am to 8pm, See Tickets may answer on behalf of the venue.
Booking fees per ticket for telephone bookings:
£2.50 per ticket.
For personal callers or by post:
St Martin's Lane, London. WC2N 4AH
No booking fee for personal callers.
Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats and enquire about concessionary prices that may be available to them on 0344 482 5137.
www.delfontmackintosh.co.uk is the official theatre website.
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.
The Dress Circle (Royal Circle in this theatre) overhangs the stalls at row K, is noticeable at row P, but does not affect the view significantly from any seat until row S.
Seats are arranged in a single large block in front of the stage. Replaced in October 2005, they are rather comfortable, and an interesting shade of pink.
The rake (or slope of the floor to help see over seats in front) is noticeable from row F - and pronounced from around N. There isn't one in rows A to C, but a high stage means those 5ft or taller should see. Smaller folk will struggle, though.
Good throughout the stalls. Rows U and V have less - fine if you can put your feet under the seats in front, but those around 5ft 11 upwards may experience a lack of knee-room.
Seats G5 and 25 and J 26 have nothing in front of them.
Seat E7 has 90% of the width in front clear, H26 around 80% and H4 50% clear.
A 6ft reader rated row B 13 and 14 excellent, a 6ft 6 tall one the same for M 13 to 16.
Row A is great for proximity to the stage, and neck ache is unlikely if the stage is low. If it is high, you are not going to see the floor and be looking up. When they are discounted they are a real bargain, feels the monkey. Even undiscounted, not a bad place, really.
Moving further back, seats are elevated enough to see over the rows in front quite well. This ensures more than just the rear view of someone's head for most customers. Rows N and V in particular seem elevated. A high stage in the theatre also helps.
Rows S to V may find that the circle overhang can cut the top off the stage in these rows.
The view from all seats fairly reflects the prices charged, with even those in the last rows feeling reasonably close to the action. When action is missed, prices reflect this and even folk in the rear rows get fair value.
High stage can cause neck ache in the front three rows.
A sound desk can replace seats in rear rows. Purists may wish to avoid.
The front row is B. The stage is just above head height to someone 5ft 7, so shouldn't be an issue.
Central rows E to N are premium or "Super Premium" seats. Go for seats in central D or at the ends of rows E to N, feels the monkey.
A number of readers complained about row K. The monkey checked and found it is set directly behind row J without the seats being "offset" to allow you to look between the seats in front. The high stage this time improves things somewhat, but still not a great seat, it thinks.
Rows S to V drop to second price, and isn't bad, the monkey feels - maximum legroom for that price compared with the upper circle.
Rows U and V are about average due to the "offset" between seats - in row V particularly - which some feel isn't the greatest. The sound desk beside U12 and 17 and V8 and 13 won't worry anyone - no gap, but no matter.
(Larger reader): Big enough seats in the stalls, slightly cramped but I suppose O.K."
"Row A: "Girl from the North Country" (January 2018). Day seats fir £20. A real bargain and front row was fab. Stage at eye level and perfect view. I'll be back for sure."
"Row A: "A Christmas Carol" (December 2015), (Glen Morranjie). My seat was in the middle of the front row of stalls. Stage seemed high even for a tall person like me, but I didn’t think that I missed anything."
"Row A: "Shakespeare In Love" (July 2014). Day seat price. Quite bad view to be honest, the stage is toooooo high..."
“A13: "Million Dollar Quartet" (February 2011). At a discount I was more than happy with the view. As to the sound, I was perfectly happy too - a pleasure to listen to, even at their loudest."
“A14: I was quite surprised by the great legroom (I'm 6ft 2" tall). The seats were comfortable and I had a great time at the show."
“A 16, 17 and 18: The stage is a bit high but you get used to it..."
"A16: (Pip). An excellent view, right in the centre. Could see everything and almost touch the actors. Comfortable seats with a respectable legroom."
"A18: "A Christmas Carol" (December 2015). Loads of legroom. There is a need to look up, but this is not too much of a problem."
"A18: "Labour of Love" (October 2017). £10 day seat ticket. Great seat with no view restriction."
"A19 and 20: Having secured a cheap deal (£32.50 each for the show I saw in 2007). I'd say this was about fair value for money - definitely not a first choice at full price. Legroom was more than adequate for both of us."
"Row B: "All About Eve" (February 2019). Nice low stage so no neck ache from row B and amazing to be up close to those fantastic performances."
"B 10 to 14: None of us had any problems whatsoever. The sound is perfect and the view is outstanding. Also the theatre is very cool here, especially as it was boiling outside. These are the most comfortable seats I have ever had in a theatre, and the ones with the most legroom. In fact we had about 10 bags between us, and we didn't have to pick them up or stand up ourselves to let people by, because there was enough space to walk round us. The view is incredible. I recommend them every time!"
"B10, 11 and 12: Absolute perfection, best seats in the house."
"B14 and 15: "Deathtrap" (August 2010). I am six feet tall and there was lots and lots of leg room. The action is right in front of you and the actors do not come too far forward on the stage so you do not have to keep looking up at the actors."
"B 15 and 16: The Cripple of Innishmaan" (August 2013): It was great to be so close - there was a bit of neck scrunching but not much. Sat in J 5 and 6 second time round and these seats allowed you a good view of the stage etc. Given the choice I would probably go for row B as it was more up close and personal and we could see and hear everything. The seats were fine with plenty of legroom but as a preference I would sit more centrally in future."
"B20: "Photograph 51" (September 2015). Excellent seat for a tenner (day seat)."
“Row C: (Liam). The last 4 seats of the row but still excellent and almost seemed central."
"Row C: "Half A Sixpence" (November 2016). These £20 front row day seats are an absolute steal."
"C23: AMAZING seat. I saw absolutely everything - occasionally I missed a few facial expressions but very rarely."
"C15 and 16: "Avenue Q". These seats are 4 rows from the front and are central to the stage. These offer a fantastic view of the stage, and the action. I would not hesitate in purchasing these tickets again. At 5ft 9, the leg room was snug but comfortable."
"C16: "Half a Sixpence" (November 2016). Middle of front row. The stage was slightly higher than eye level, but not uncomfortably so. Unlimited legroom!"
"C18: "Half a Sixpence" (November 2016). Got a day seat for the Thursday evening at around midday. Excellent place to sit for this show, occasional restrictions with tables etc slightly blocking the view."
"E9: "Million Dollar Quartet" (February 2011). Provided an excellent view of the stage with great legroom. The stage is quite high and I would advise readers to sit in Row D or further back if they want to see the full stage without craning necks."
Reader Paul Nicholls says,
"E11 and 12: (Paul Nicholls). A shade too close to the stage for my liking but, wow, I've never had so much leg room. You could almost lie down!"
"E17 and E18: "Million Dollar Quartet”. An excellent choice. Plenty of leg room and just far enough back to have the stage sight line just above the heads of the row in front."
“F19: No problems to report with this seat."
"F19 and 20: "Good People" (May 2014). These are premium seats – and it shows. The view is superb, there is ample legroom and you are at just the right height to have relaxed neck muscles (you look straight on rather than slightly upwards in some of the more forward rows.) We went on a Bank Holiday, and had booked to be in the Balcony but were bumped forwards, making these amazing value (we paid £12.50 per ticket as opposed to the actual £65!)."
"F20: "Half A Sixpence" (November 2016). Got for day seat rate of £20 at 6pm on 1st November 2016. Would be better to be a few rows further back for this production - lots of huge ensemble dance numbers. Rather surprised to learn that full price for that seat is £125. Definitely not worth that - the stage is still above your eyeline! Though lower than usual at the Noël Coward."
"F20: "Privates on Parade" (December 2012). I had an excellent view of the entire stage and didn't miss any of the action. Plenty of legroom in this row even for me at 6 foot, but the rake is quite shallow here."
"F21 and 22: "Hay Fever" (February 2012). Were fine - except that I had a huge man with a big head just to my right and he kept moving so that I was obliged to jiffle and peer for the first half. No-one was in seat 20 so I moved there after half time. That was fine then, excellent view."
"Row G: "Shakespeare In Love" (July 2014). Fine, even with the high stage. But thought I'd better write and warn that a lot of this play takes place on high balconies so stalls unaffected by the dress overhang or seats in the dress would be better."
“G7 to 10: Very good view and wouldn't hesitate getting these again if offered."
“G 7 and 8: (Thom). Excellent seats, right in the middle of the action."
“Row H last 2 seats: The view was rather good (even for a short person like me)."
"H25 and 26: “Shakespeare In Love” (July 2014). Splendid seats. Plenty of leg room in 26, and a good view of the stage. Nice comfortable seats too."
"H25 and 26: "Labour of Love" (October 2017). End of row, good view, plenty of legroom."
"Row J: (Alf). J or K the rake suddenly becomes a lot steeper, giving a much better view. However, the stage is fairly high as it is. I would recommend avoiding the rear stalls (row Q etc) as the dress overhang chops off the top half of the stage, when used for a show with high sets."
"J 5 and 6: "The Cripple of Innishmaan" (August 2013). Sat in B 15 and 16 the first time and it was great to be so close - there was a bit of neck scrunching but not much. Sat in J 5 and 6 second time round and these seats allowed you a good view of the stage etc. Given the choice I would probably go for row B as it was more up close and personal and we could see and hear everything. Row J was fine apart from the woman sat next to me who coughed continuously and laughed so loudly that she drowned out the actors. Why these people don't stay at home beats me! Bear in mind that the row starts with seat 3 so seats 5 and 6 are only really the 3rd and 4th seats in the row. The seats were fine with plenty of legroom but as a preference I would sit more centrally in future."
"Mid-row J: "Million Dollar Quartet" (March 2011). I'm not tall, and had a tall guy in front of me, but most action seemed to be slightly to either side of the stage so it wasn't a problem."
"K9 and 10: "The Lieutenant of Inishmore" (July 2018). Seemed ideal (good legroom!) until two tall men sat in front of us, after which we couldn't see anything of what happened on the floor of the stage. Unfortunately some significant staging takes place on the floor. It was also impossible to see the whole stage at once, so sometimes we'd have to choose to look at one actor of the two or three in a scene. If I had it to do over again I would book the Dress Circle, or the first front rows of the Stalls."
"K18: "The Lieutenant of Inishmore" (July 2018). Unless you're very tall, avoid this seat. I had to look either side of the head immediately in front of me (who found it necessary frequently to lean across to his friend in the next seat) in order to see the centre of the stage. Having gone - yes, I admit it - to see Aiden Turner (Poldark) who was often centre stage, it got tedious doing the side-to-side thing. The row in front seems to be the last of a block of rows that are staggered. The lady seated next to me commented on it during the interval, so it wasn't just my seat that was a bad one."
"K19 to 22: (Mark). Were as good as the monkey seating plan indicated and ideal for seeing actors expressions as well as everything that takes place on stage. Good rake at that level too so that the Munchkin and our other two friends were all able to see everything without any obstruction. And quite comfy seats too even if I did find myself sinking further down in them as the show progressed (though I think that is more to do with me and my poor posture than the well padded seats)."
"K23 to 26: "Shakespeare In Love" (July 2014). I.E. on the aisle. Can't say I'd choose these seats again! On the positive, the leg room was good and it was a comfortable but connected distance from the stage. However, the rake felt non existent - I was out on the aisle in K26 and as there were empty seats in front for about three rows, was congratulating myself on a lovely clear view of the stage when the curtain rose and the people in front moved one seat to the left! Because my view of the stage was diagonal from there, the staggering of seats worked against me and I suddenly had a head right in the middle of the stage. Fortunately, the aisle seat in front (J26) was still empty so by watching the show at an angle of 45 degrees to my left, I was able to see ... with an occasional swerve to the right to peer between heads when the action took place over there. Tall Daughter and Co seemed fine so maybe it's just K26... Beautiful theatre, but maybe the circle another time!"
“Row L (end of row): (Stephan Nicholls): The view was fine."
"L9 and 10: "Half A Sixpence" (November 2017). These are very good seats with a great view of the stage and a fair amount of legroom as well - my legs had a good couple of inches of spare space from the back of the seat in front - seats are nicely offset so you can see between heads - you still seemed to be very slightly under stage height even this far back as I was expecting to be able to see over the lip of the stage - seats were comfy for the main part although did seem a bit cramped width wise given the number of times I was poked in the side by the lady sitting beside me!"
"L17 and 18: Great seats, you can see all of the stage and the actors’ expressions clearly and you are pretty much central along the row. There is limited space for each seat even though legroom is good. I was constantly being poked in the side by the woman next to me who it seemed had made it her mission to battle me for arm room."
"Row M (centre): (Mel). Had a perfect view of the stage including the top. We are both quite short, so luckily the rows have an incline from row K upwards! Any rows further back I’m not sure if you could see. "
“M 13 to 16: We bought our tickets from TKTS for the show we saw in 2009. The view was fantastic, the rake allowing all my group to see, but close enough to the action to not miss a thing. Legroom was excellent (I'm 6ft 6 tall), so a comfortable night for me... Or at least it would have been if I hadn't had to share my seat with a lady with, shall we say, a fuller figure in the seat next to me. Never mind, I would recommend these seats and say they are worthy of full price, but an absolute steal at half price."
"M 17 to 19: "Enron" (February 2010). The circle overhang didn't cut off any part of the stage, but I wouldn't want to be any further back. The raking was good, and you still felt close to the actors and were able to see all their expressions."
"N9: "Half A Sixpence" (November 2016). Great, just the right distance from the stage, good rake, and can see everything clearly."
"N 10 to 13: “Shakespeare In Love” (July 2014). Following your advice, we'd booked seats in Stalls Row N, numbers 10 to 13, i.e. not premium price but next price level down. The 'staggering' of the seats meant that we all had good views, even my 5ft 0" wife who usually struggles with stalls seats and would normally opt for the circle."
"N13: "Labour of Love" (September 2017). Great, just the right distance from the stage, good rake, and can see everything clearly."
"N 13, 14 and 15: These were really great seats, excellent leg room and there is really quite a steep rake here so you get a really great view, although if I could pick any seat I would probably go a couple rows in front as they have the same rake but slightly closer."
"N16 and 17: "The Night of the Iguana" (June 2019). Dead centre in the stalls. Excellent view."
"Row O (middle); (Carol Morrison). Had a perfect view. Although the Dress Circle overhangs the back of the stalls we were still able to see all the action on stage."
"O10 and 11: (Ali). Excellent legroom, a bit narrow, and for some unknown reason, I had quite an aching back afterwards. The view was unobstructed, and we had no problem seeing the top of the building set. I would like to be further forward, about row K next time, so I could see the actors’ expressions better."
"O19: “Shakespeare In Love” (July 2014), (Ray). Thoroughly deserves its green rating. At 5ft 7ins, I don't regard myself as tall, but the rake of that row meant that I had a perfect view of the whole multi-layered set."
"O22 and O23: “Enron” (January 2010), (Clive). With a good rake these afforded an excellent view and the legroom was also good. (Excellent show as well).
"O22 to 24: "Shakespeare In Love" (July 2014). As the stalls were half empty, we (self) upgraded ourselves 2 seat categories and moved to row O, seats 22 to 24. View is perfect and unaffected by the dress circle overhang. I cannot comment on "heads in the way" as the no one was sitting in the row in front (row N), but being tall (6'2'') I felt I was blocking the view for people behind, so I felt the need to slouch a bit, possible thanks to a very good legroom space (by West End theatres' standards)."
"Row P: For £25 was a great offer when I went. Good leg room and view. I am 6ft so sometimes suffer; very warm sat under the circle, but saw all of the stage."
"P2 and P3 (note there is no P1): (Stephan Nicholls). The view was fine."
"P 19 and 20: "Half A Sixpence" (November 2016): Got at a very good price thanks to Monkey. You are under the overhang of the Dress Circle but as Monkey says, it really doesn't bother you in this row. We could clearly see the musicians at the top of the set . This is such a joyous show, and being a bit further back meant that we could really appreciate the choreography. Leg room was also good here and although a tall man in front reduced my view at times, that's just down to luck- the seats were great overall."
“Row Q: We had to bend to see the top of the stage. Overall, the value for money was excellent when we paid less than £30."
"Q23 to 25: (Hannah M). £27.50 each, for the show we saw in 2007, which are really good. The overhang of the circle cuts off the very top of the stage, but I could still see everything that went on without stooping. As the theatre is so small you feel close to the action in row Q anyway."
“Row R: (Abbie Mason). It's true you don't feel far away, but I would describe rows R and S as restricted view - the circle overhang obscures the top half of the stage area. It may be the case that third price is the going rate for a restricted view in the West End, but these seats should be advertised as such."
"R16: "The Cripple of Inishmaan" (June 2013). Was very comfortable but a little too far to be able to see facial expressions clearly, maybe that's just me. No problem with set height for this show."
"R22: "Half A Sixpence (November 2016). Really great seat, great place to take in this show from could see everything clearly. Paid £25 through the dynamic pricing during previews, so a real bargain."
"S12 and 13: "Labour of Love" (October 2017). Sat in S12 and 13 for over £60 each!!! We could see the stage clearly and hear well. The only problem was the projected film of Blair etc setting the time line. We lost about a third of the picture due to overhang so more difficult to recognise the people shown. This maybe matters less where the audience is very knowledgeable. However the ticket price was very high!!"
"T2: "Girl From The North Country" (January 2018). Gave an excellent view."
"T9: "Deathtrap" (August 2010). Didn't find the distance a problem or the overhang. All of the action takes place at floor level, so all anyone who can't see the top of the stage will miss are a few roof beams. Whilst the actors make use of the front of the stage a lot, it hasn't been extended out at all through the proscenium, so views should be fairly good from all seats."
"T19 to 21: "Shakespeare In Love" (July 2014). Last row in current production, they are restricted views as advertised. From those seats you cannot see the upper part of the stage (2 levels, even though not much happening on the top floor)."
"U11: "Half A Sixpence (November 2016). Great seat with perfect view between seats in front! Would definitely upgrade to white!"
Boxes A and B are just above stalls level either side of the stage.
Acceptable as movable chairs are used.
The view offered is below average value for money at top price, and boxes should be considered only if extra legroom is needed or rear stalls at the same price are unavailable.
When in use, those sitting here cannot see a quarter of the edge of the stage nearest to them.
Not on sale.
"Don't touch them as they are extremely side on (and I'm a great fan and user of boxes)."
"Million Dollar Quartet" (February 2011. A little word about the boxes (A to D I think) at the side of the theatre for this show: (contains possible spoilers), these are definitely restricted view, you sit in the ones to the left of the stage, you miss the actor playing. (This holds for many other productions too, feels the monkey).
"Box B: "Labour of Love" (September 2017), (MJ). Box B (stalls level) - Thought these had a very good view. You miss entrances/exits as the door is on that side but majority of action is central or on the opposite side of the stage (which might make Box B preferable to A for this show). Only a couple of moments where a speaker blocked the view of a secondary character's head. Absolute bargain as bought fairly last minute for £10 rather than listed top price!"
Called the Royal Circle in this theatre.
The Upper Circle overhangs row F. This does not affect the view from any seat.
The Dress Circle is split into a main central and two small side blocks by aisles.
Adequate but less than other rows in row A (though others have a different view); the other rows all have just acceptable levels of comfort - a bit more legroom in row G. Reader Lee at 6ft 1 felt comfy sitting here, more so than in row F on another occasion, "Legroom isn't great on row F so I was very glad to be on an aisle. There is definitely a wider gap behind for row G, the lady in front of me banged my knees with her head and arm a few times last night."
Row H 6 and 24 have nothing in front for two rows in fact, and the very first and last two seats of rows B and C - the outer edges of the side blocks - may also help the taller, with row G preferable for them.
Side block seats in rows B and D also have space beside them for wrigglers. Outermost seats in row A should be acceptable for those up to around 5ft 7 or so too.
The view is good from all seats, though rows F, G and H are normally far enough from the stage for the discerning ticket buyer to wonder why they are being charged top price. Think twice before paying it in these circumstances. On the other hand, H 6 and 24 have a clear view without a head in the way for two rows - if someone leans, it's a problem, but otherwise, perfect!
Be aware of Row A 1 to 7 and 26 to 32, Row B 1 to 5 and 25 to 29, C 3 to 5 and 26 to 28 and D 4 and 26. Part of a small group of seats located either side of the main block, these seats are at the edges of the circle and have a sideways view of the stage. They are sold as top price, and an OK alternative to the rear of the circle.
At second price, the outermost two in B are worth considering as the view isn't that bad - better than the extreme edges of row A. Not ones for a special night out, but still worth a thought as they are closer to the stage than the rear stalls for the same money. All warnings of restricted views duly noted before purchase, though. Oh, and for the anti-social, those under 5ft 10 will enjoy the solitary splendour of D4 and 25 too.
Outermost seats have a restricted view.
Central rows A to E are "premium," in fact, central A to C are "Super premium." Remember that if tall and long legged, take stalls if paying it. Row B or C before A if around 5ft 7 or more.
At top non-premium price take seats beside or behind the premium ones, E and F have the same view.
Side block outermost pairs in side blocks rows A and B are second price. Take the cheapest B first - better view and comfort up to 5ft 8 or so than row A, but the row A pair are also a bargain for the particularly short, with nothing in front.
“Circle: (Alf) Outstanding view from all seats: great rake, not too far back from the stage, masses of leg room in row A by the way. Slips aren't too bad if you are happy to lean a bit"
"A3 and 4: (Pip). I see that it's red rated on the diagram, and I know they're at the side, but the view was brilliant! I didn't miss anything but one entrance. And there seems to be more legroom over here than in the centre and you can lean forward if need too and not bother anyone. Seats very comfortable and are cheaper than the middle."
"A18: "Peter & Alice" (March 2013. Perfect view."
“A19 and A20: (James Finchley). What a fantastic place to see the show from. No-one in front of you, no steel bar or high front to obscure the view. Sound is excellent from here and you can see all the actor expressions. Didn’t find legroom a problem at all. Definitely my new favourite viewing point!"
"Sat in A 21 and 22. Great seats (and at top price they should be!) I have to say I thought the leg room was very generous for a front circle seat. I'm only 5ft 4 though so had loads of room. 6ft Husband with laptop bag also seemed to think there was a decent amount of room for him - legs, laptop and all! (The monkey wasn't as keen on row A legroom - feeling it cramped, so welcomes another viewpoint and has raised the rating of these seats accordingly).
“A24 and 25: “Much Ado About Nothing” (Chris B). These seats are to the left as you look at the stage and have the bonus of A 25 being an aisle seat. The view is clear and unobstructed and feels very close to the stage. You are close enough to feel the full atmosphere of the show. The only drawback is the legroom is sufficient (for me being 5'8") but certainly not plentiful."
"A 27 and 28: "A Christmas Carol" (December 2015, (thespyinthestalls). This is a side section but offers a fairly adequate view (and no need to lean, though some will insist on doing so much to the annoyance of row B), Very tight leg room though - much better bet is to move to seats in row C or get the single golden seat in row D if on your own."
"A29 to 31: (Rich). We originally had these, at the extreme edge of the circle. These are restricted view but aren't too bad if you're prepared to lean forward. The play was almost sold out but the front of the circle had several seats free (premium prices?) and so after consulting a friendly usher, we sat in the middle of row A for the second half - amazing seats - great view and the leg room was OK too!"
"B1 and 2: "A Christmas Carol" (December 2015). Advertised as having a slightly restricted view but it really wasn’t too bad. The far right of the stage was obscured but it did not detract from the performance at all. The only problem I had was when a man in the row in front decided to bend forward and then my view was obscured by his shaggy, unkempt head."
"B3: "Good People" (April 2014). I was lucky to be up graded from AA14 in the Upper Circle to B3 in the Royal Circle. Although I'm a fan of my original seat."
"B6 and 7: "Half a Sixpence" (November 2017). Both seats had good leg room. I am 5' 11'' and I was very comfortable. B6 is also an aisle seat. From both seats there was an excellent view of the stage. These were expensive seats bought as a birthday treat, but I would highly recommend them."
"B14 and 15: "Hay Fever" (February 2012), (Chris B). Excellent clear view, centrally located, the dress circle feels close to the stage and is very easy to see over people on the front row. Legroom is reasonable if not ample."
“B22: A very good seat."
"B27: (Pez). It was actually a very good view, We had quite a lot of leg room, and most importantly I could see every one of the actors’ expressions, and we were quite close to the stage."
"B28: "Photograph 51" (September 2015). Booked right after show was announced, before day seats were confirmed (which I would have preferred, of course). Actually a decent seat, satisfyingly close to the stage. Nothing to my left, so I had a little space for bag and legs. About a quarter of the stage was blocked from view (my left, stage right), but the staging was such, that I could see everyone and everything. Only hazard was the head of an eagerly forward-leaning gentlemen in row A, but that was easily manageable."
“Row C (middle): The seat was great as I could clearly see the whole stage with nobody blocking my view as the cambering of the seats is first class."
"C11 and C12: (Rochelle). The view was great here; the only downside was the leg room (I have very long legs!)."
"C25: "Death of a Salesman" (April 2015) (Taljaard). An excellent seat indeed."
"C 25, 26 and 27: "Mrs Henderson Presents" (February 2016), (thespyinthestalls). There were only two of us but as this is part of the side section in the circle, there are only three seats so purchased all three to give us the option to move and not have a stranger squashed in next to us. Doing this actually also works out cheaper than two second tier price seats in the stalls. Really good view thanks to circle being quite steep. Even with a quite tall gentleman in front, I was able to see well. Would recommend over row A in circle."
"D4: "The Inheritance Parts 1 and 2" (November 2018). I spent 7 hours in seat D4 and its mirror opposite D25. Here’s my opinion: Due to sight lines, a tall person in front of you may block a significant portion of the stage; however, as there is no one sitting on either side of you, it’s easy to lean right and left to get a perfect view. This solitary seat is an unexpected joy, especially in view of the long running time of this production. No one will see you sob uncontrollably or strain to see the nudity."
“D4: I asked for and was allocated D4 in the Royal Circle. This is one of two single seats that sit in front of the rear Royal Circle Boxes. Despite being on the side block, this seat offers fine unrestricted views of the stage and because people always go for the centre, there was also nobody in front of me. This is a seat that I would certainly recommend for the theatre goer who occasionally likes to go alone. With lots of room to stretch out it almost felt like having your own private box. The very friendly and helpful member of staff in the box office also informed me that the director will sometimes sit in this seat taking notes as it is often unsold. If it’s good enough for them then it’s good enough for me!"
"D4: "The Full Monty" (February 2014). A gem [I'd give it a green rating even at top price]. It takes less than a minute to get from outside the theatre into your seat, so perfect for those who always arrive with seconds to spare – and you are one of the first in the interval queue for the bar, or first to the exit at the end! The seat is square on to the stage and the rake on the seats in front gives you a fantastic view of the whole stage. There is masses of room to stretch your legs and plenty of space to tuck your coat and bag safely next to you on the side away from the aisle. It is also a wide seat with good back support, so very comfortable. Best of all, as the only seat in the row, there is no need to worry about falling over other people or have them trip over you."
"D15: "The Full Monty" (February 2014), (EA). As a 5ft 4in female, I found that I had an absolute perfect view of the stage. Luckily for me, the fairly tall couples in the row in front of me leaned towards each other so I had an unobstructed view. Legroom would not be comfortable for people taller than me and anyone larger than my size (UK 12-14) would find themselves quite squashed in their seat particularly if the people on either side of them use the armrests. It's a bit like most of the seats on the Tube - but even then I had taken off my coat and had it on my lap!"
"D18 and 19: "Hay Fever" (February 2012). We arrived late and had to wait in seats at the rear of the circle. We were not disappointed with the view. However the balcony above does cut off some the view to the top of the stage if you are sitting further back than row D but as 'Hay Fever' was mainly acted at front of stage it does not obscure the view too much."
"D25: "The Inheritance Parts 1 and 2" (November 2018). I spent 7 hours in seat D4 and its mirror opposite D25. Here’s my opinion: Due to sight lines, a tall person in front of you may block a significant portion of the stage; however, as there is no one sitting on either side of you, it’s easy to lean right and left to get a perfect view. This solitary seat is an unexpected joy, especially in view of the long running time of this production. No one will see you sob uncontrollably or strain to see the nudity."
"D25: "Death of a Salesman" (April 2015). Booked this on Monkey's recommendation. Great for the spy as loads of space for notebook, bag, wine etc. It is a single seat so you will look like you have no friends. There is a box directly behind so occasional feeling of someone over your shoulder. D25 has a distant twin which is equally lovely."
“E9: (David Fisher). The view was excellent however I found that the seat had little leg room and my knee pushed into the seat in front. I only have short legs as well."
"E15 and 16: "Hay Fever" (February 2012), (Mark - regular reader). Brilliant seats giving a great overall view
"F24 and 25: "Avenue Q" (2006 to 2009), (James). Have seen the show many times, once from the stalls (central row M) and the rest of the time from the Dress Circle (usually around rows B to D). Whilst the stalls seats weren’t bad by any means, I prefer seeing the show from the Dress Circle as you can take in more of the stage. I’ve never had a bad seat experience there yet and even F24 and F25 in the Dress Circle, whilst not marked as green, gave me a great view."
"F24 and 25: "Deathtrap" (August 2010), (Lee). Whilst this area was fine for “Avenue Q” I would recommend front stalls for a play like Deathtrap, you definitely feel a little out of the action being even in the first circle. I imagine the shocks and jumps are much more amplified being so much closer to the action. Legroom isn't great on row F so I was very glad to be on an aisle, there is definitely a wider gap behind for row G, the lady in front of me banged my knees with her head and arm a few times last night."
F25: "Gatz" (June 2012). I thought your readers might benefit from my experience. I sat in seat F25 in the Royal Circle. Booking for this theatre takes place via the Delfont Mackintosh website, not through the theatre directly. Because of the play's punishing length I was careful to select a seat with legroom. I'm about 6ft tall and like to stretch. On the online seating plan F25 is clearly marked as an aisle seat with no seat in front of it. I confirmed this with the lady on the DM booking line. "If you want leg room, that's the one!" she said. Well, sadly the seating plan on the website is fiction. In truth F25 has a seat in front of it. Why the online seating chart moves it along one is a mystery. So I got cramped over the long running time, with my knees just about ready to sue my brain by the close. I checked with the usher and the royal circle layout has remained unaltered for at least 5 years so the seating chart is completely misleading.
Another thing to note about this seat is its proximity, along with that side of Rows G and H (and perhaps a couple in front) to the exit, which in this theatre, is but a stone's throw from the fire exit, which is a mere hop to the Lord Salisbury pub next to the theatre. As the performance continued, the hollering and ear bleeding laughter from near-by drinkers, was clearly audible from where I sat. This assumes the noise wasn't the theatre staff amusing themselves while the audience was busy, though one assumes they'd show some restraint in the volume department. Gatz was a low key production - mainly soft spoken word, little incidental music, so it was inconceivable that it could drown out the hyperactive fems and soaked bucks that pumped up the volume. I imagine the problem is most acute during evening performances. In this show, it completely took you out of the performance and refocused your attention on aching limbs. This seat, a jump from the street and without the promised leg room, was £77.50. The view's excellent but that's not enough. Incidentally, the corresponding aisle seat, at the end of row H on the same side, is nearly clear in front, as the chart promises, but not quite. About a third of it is blocked by the seat in front." (The monkey has never noted F25 as having extra legroom. It does, though, note that most seating plans (including its own) are unable to accurately show seats which do or don't have extra legroom. This is due to most graphic software requiring that seats are presented in a 'grid like' manner).
"Row G: “Avenue Q” (2008). I think for the £17.50 I paid, this row provides a superb view for the stage. Views are totally unrestricted and although it’s at the back of the area the theatre is quite small. I think this is better than the back of the stalls."
"Row G (centre): “Avenue Q” (2008), (Lee). It was a great place to see the show from didn't feel far away at all, seats were comfy and even though I am 6 foot 1" I had more than enough legroom. I tried the seats at the back few rows of the Stalls and they felt much further from the stage than being in the Royal Circle for some reason. If a friend asked me I would say go for anywhere centre Royal Circle or front middle Stalls for this show." (That makes the monkey give G a higher rating, given the extra space available).
"G7 and 8: The seats were at the end of the row, which provided extra legroom, which was appreciated. We're both around 5'9", anyone much taller would probably find their legroom a little constrained anywhere else on that row. The view was entirely acceptable, and although you are a little off-centre, no part of the stage was cut off. I have to say that I disagree with the green rating achieved by these seats on the Theatremonkey page. The seats were absolutely acceptable, and certainly shouldn't be red, but for top price I would expect green seats to be a bit more central, and probably closer to the stage. Methinks the Monkey has been a bit generous with the green pen when colouring the seating plan for this theatre! (On consideration, the monkey agrees, and has changed things accordingly...).
"G8: “Deathtrap” (August 2010), (Mark). Not as good as front row stalls (obviously!) but a very good clear view of the stage."
"G20 and 21: "Half A Sixpence" (November 2017). An excellent view, not obscured by anything or anyone and although we were only one row from the back, this didn't matter, they were very good seats."
"G22 and 23: "All About Eve" (April 2019). We bought end-row seats G22 and 23 in the Royal Circle (second-to-last row) at a hefty £85 (though those at the front of the Royal Circle are double that). Though it was nice to nip in and out of our seats, and the theatre, quickly due to the position of the seats chosen, I was uncomfortable by the end of the two-hour play with no interval. I am only 5 feet tall and, strangely, my left knee was pressed against the seat in front, as it seemed our row curved round slightly but the one in front (which was a couple of seats longer than our row) did not curve at that point. I could see most of the stage but the head of the man in front (who didn't seem to be taller than anyone else) obscured the left-hand side somewhat. Had hoped for better at £85 each."
"G22 and 23: "Shakespeare In Love" (July 2014). Got as day seats. Very good view."
"G22 and 23: "Mrs Henderson Presents" (February 2016). For this show of all shows I really did not want to be in the back of the Circle, Front stalls would have been perfect, but my companion couldn't make it down the stairs, so we had to settle for these. I sat in G23 and was wedged, my legs were forced against the seat in front (I'm 6ft 4 tall). There was no one in the back row and no seat in front of it so I thought I would move there but when I tried to stand up I couldn't get out of my chair. My mobile phone and bunch of keys were in my left pocket and were wedged against the arm rest. I tried really hard to stand and there was a ripping sound and my trousers split down the side seam about 8 inches. An usherette saw it happen and called the Manager and he apologised profusely and offered to pay for the repair. The staff really were exceptionally good to us and it was a great show but I would have liked to have been in the seats I had ear marked for us. The view would have been so much better!!!!"
"H22: "Privates on Parade" (Taljaard). Bought for £10, normally £57.50. Best ever day seat. Great view of the stage and could hear everything perfectly."
Boxes C and D are either side of the stage at Dress Circle level.
Boxes L and M are at further back within the Dress Circle, level with row E.
Acceptable as movable chairs are used.
All boxes have a restricted view.
Where not used for technical equipment, boxes are usually sold at top price, getting heavy in this monkey's opinion.
Take box L or M first, but only if you have to - it is tending to expensive at top price. The view is slightly less than perfect but extra legroom compensates.
Box M can take a wheelchair. The view may be better than most wheelchair positions, but access is hard.
From boxes C and D you cannot see into the back corner of the stage, nor is the nearest edge of the stage visible. A reader feels better than 95% of the stage is visible, sometimes the whole of it, depending on production layout.
Boxes L and M are recessed and the overhang of the circle / production design can affect the view of the edges, top and front of the stage.
All on sale at top non-premium price. About average, feels the monkey.
"Box C: "The Lieutenant of Inishmore" (August 2018). Didn't get Day Tickets but my friends wanted to go so badly that we opted for a Royal Box (Box C) at £53 each ticket. It was fantastic! There were 4 seats (3 of us and someone else had previously booked the other) which were freestanding, so you could place them at a diagonal angle so you'd sit facing straight on to the stage (not craning your neck sideways). The view was brilliant and you were only a couple of feet higher than their faces. One missed a tiny bit of of the stage at the side, but it didn't affect one really. The box is huge, even had its own loo just outside the door, and it was nice way to look at the whole theatre and enjoy the experience."
"Box C: "Labour of Love" (November 2017). Sold for £10 online the night before the show. Play was fantastic but the side view of the stage wasn't great for this particular production, as a television screen on the right of the stage (fairly significantly involved in the play) wasn't viewable without leaning heavily forward. Had I paid full price I would not have felt it value for money, but for a tenner I can't complain too much and still enjoyed the performance."
"Box D: Lovely box, very comfy, excellent view."
"Box D: "Half a Sixpence" (November 2016). Very pleased with the view. There were just the two of us in there, so we could move the chairs as we liked, would be a bit crowded with 4 though."
"Box M: (Alf) is great! It is NOT rear of the dress, but about in line with row D or E, has a full, clear view of the stage, is nice and roomy (with your own curtains) and is a really good way of getting in to see the show last minute. Still a bit greedy as first price, but arguably better than rear dress or stalls."
"Box M: One of my very favourites."
Called the Grand Circle in this theatre
A high circle.
The balcony overhangs to row B but does not affect the view from any seat.
The stepped central tier of seats have a good rake.
Slip seats extend in a single row from the circle front along the side walls towards the stage.
Acceptable in rows B to E for those of an average height of 5ft 6 or so, poorer in row A and tight in all seats for those over 5ft 10 or so. A 6 and 23 are particularly cramped, row F also seems to have a little less legroom.
Seats B24 and C25 have about 5% of the seat width clear in front of them.
Central six seats in row E has a bit more legroom than others, for those up to about 5ft 8.
In row AA it is uncomfortable except for 14 and 15 which have the advantage of being the ends of the row nearest the aisle, 2, 13 16 and 26 where the wall is still a little further from the seat, and 2 and 27 where it bulges even further away. Those up to 5ft 7 should be about adequately served in these.
Aside from rail-blighted seats in row A, the rest of the centre block represent acceptable value for money at second price.
If discounted below second price, the extreme ends of each row (and Row A for the vertically challenged) are very reasonable choices. The monkey would take row B, then C or D first as it is taller – but central row A will please the shorter, even accounting for the bar in view, it feels.
Row AA is that set of 28 seats curving around the side wall of the theatre on a narrow ledge extending from the front of the circle. Known as 'Slips' the view is best from seats 2 to 4 and 24 to 27. Elsewhere, be prepared to lean to see much. At low prices these are usually a bargain for those willing to accept a precarious perch...not for the unadventurous or long legged, though, feels the monkey.
A single metal bar runs across the circle affecting the view in row A. Seats A 6 and 23 should be particularly avoided as a double bar protects the end of the aisle.
Lighting may be placed on a platform replacing seats in the centre of row F.
Those in row AA, particularly seats 12 to 8 and 21 to 27 may experience vertigo peering over the narrow balcony’s edge.
Row A is discounted - worth a punt if bars and reduced legroom don't worry you, feels the monkey. If they do, then row F is the same price, as are the outer pairs of seats in rows B to E. The monkey would probably go for the ends of C, D, B, E in that order to put a leg into the aisle - or the seat one in or central F if legroom isn't a factor.
The second price centre block of this circle is about average value. Rear stalls will be more comfortable for the taller, but the view is better up here for the shorter limbed.
Slips are cheap - with numbers 3, 4, 5, 24, 25 and 26 on this level just £5 (cheapest price in the theatre) because they won't see anything much without leaning. The £5 are not a bad deal if willing to accept you have to lean and someone else will lean into your view (3 and 26 have the least chance of the latter). Of the rest, the monkey rates them about fair value for the cash if willing also to lean - again, they do have some view (provided nobody leans into it). Even though they are more expensive than the £5 slips, take 14 and 15 first, then 2 and 27 for comfort alone - then pick between the rest and balcony slips at the same cash. Views are similar - upper circle is closer, balcony maybe edges the viewing angle.
The monkey also notes a souvenir counter actually inside the theatre by the "high numbers" seats row D. Saves queuing at the desks in the foyer as they sell exactly the same merchandise.
"Circle: The view from the front few rows of the Grand Circle is dizzy."
“Circle: (Alf). Much higher than the Dress...I would only take the first 3 rows of it. Avoid the slips here too if you can."
"A 11: "The Cripple of Inishmaan" (May 2013), (Taljaard). Not too high but the rail in front is a tad annoying to start with but I got used to looking below it quite quickly. The Theatre is very well air conditioned so despite it being 30 degrees outside it was comfortable within."
“A21 and A22: "Calendar Girls" (April 2009). At discount price. As pointed out already there is a safety rail in front of you but for me (at 5ft 2 I could see under it and for my friend at 5ft 8 could see over it – without altering our sitting position and others in the row lent forward). The view was great and the ticket price a bargain, as you could see all the facial expressions... and more to the point didn’t see anything you shouldn’t when the cast went ‘nude’."
"B 5 and 6: (Paul). The seats offered a good view, we could see everything. Although the numbers are 5 and 6 this was on the end of a row - I asked specifically for seats with extra legroom. As it happened, unless I sat in the seat sideways there was no extra room here than any other seat, but it was perfectly adequate. The rail in front was slightly distracting for about the first two minutes but then I didn't notice it."
"B 7 and 8: "Dear Evan Hansen" (November 2019). Fantastic seats, great view. Front of stage slightly difficult to see if people in row A lean forward but not a major problem."
"B18: "Half A Sixpence" (November 2016). A central seat with an excellent view of the whole stage. I paid just £47 by booking in advance on the theatre's website. Bargain! There is a safety rail in view which is annoying for about three minutes, then, strangely, you just don't see it any more. I imagine that people in Row A leaning forward may cause a problem but nobody actually did lean forward while I was there so I assume the view is just as good from Row A....the trip from the entrance to the Grand Circle down to the seats on Row B was down some extremely steep and scary steps which made me feel a bit strange but, once seated, I was fine."
"B 18: "The Cripple of Inishmaan" (May 2013), (Jude). Quite a central position, although fairly high up. Could see quite clearly, although at times the bar was restricting (but more so for Row A). You did get used to it, and the set was such that you didn't miss anything."
"Half a Sixpence" (November 2017). Got grand circle row C for £12.50 about two hours before the show. View was great!"
"D11 and 12: "Henry V" (November 2013). Great seats and very good value for money."
"D20 and 21: I personally think they are JUST fair for money as you can see everything but the corner of the stage. I think the price could be lower. However, the view is acceptable and for a second time to a show worth the money. Otherwise, first timers avoid here because you won't see as much expressions (which are vital for musicals and comedies). There is no legroom, but otherwise seats are comfy. Sound is fine."
"E13 and 14: (Ian Grace). Visibility was very good (we had fairly average sized people in front) but not having anyone sitting behind meant we could also lean forward or shift about without having to worry that we were blocking the view of others behind us. I haven't been to that many London theatres but these seats felt very high up in the building (there are higher!) which could just possibly be an issue for those who suffer from vertigo, especially when standing up getting to some of the seats."
"E 9 and 10: "Calendar Girls" (July 2009), (Jos Hockley). I chose to save money and go for the grand balcony. I have to say they were well worth the money; yes, it's high (but not as high or steep as the Palace Theatre where you need a mountaineering kit), and I didn't need to sit forward in my chair to see the edge of the stage - and I'm only 5'4". We could also perfectly see the expressions on the actresses faces, though if you don't wear glasses 20/20 vision is a must; don't be vain - get the specs out! On such a hot day we were blessed with air-conditioning at it's most effective and it was a perfect temperature but it may be a little too cold on cooler days. The seats comfy and legroom reasonable for a theatre. If I have to make one criticism it would be that from our seats we couldn't see the tops of the first two photos to drop down in the finale - but then we wouldn't have seen them from the back of the stalls either due to the overhang of the balcony above. It's a minor detail that really makes no difference to the enjoyment of the show."
"F17 and 18: "Mrs Henderson Presents" (March 2016). The view was excellent (except for the odd occasion when those on the first couple of rows leaned forward but this didn't happen too often). It would have been nicer to be nearer the front but we had an excellent view, nothing was obscured (and I mean, NOTHING!) and I think we got a great ticket deal for £15 each (thank you, Amazon tickets). There is virtually no leg room but that's just something you have to put up with if you want to sit in a beautiful, old theatre."
“F18 and 19: Provided a very good view (although probably wouldn't be worth it if they were paying full price of £27.50 upwards for them."
“Slips: “Avenue Q” (2007), (Gavin). I bought a £10 ticket at the box office and sat in the Upper Circle slips - view was practically nonexistent, backache severe so probably not even worth a tenner."
"Slips: "Dear Evan Hansen" (November 2019). Not the £12 ones with a bit of a view, but the £5 that aren't even great to listen from. However I had a perfect view of Duke and Duchess Cambridge (he laughed in the right places) front of the Royal circle."
"AA2: "Dear Evan Hansen" (November 2019). Arrived to the box office, asked if they had any Day Seats left. I was told that I could have a regular Slip seat in the Grand Circle for £5, or Slip AA2 for £12.50. They explained that this seat was more expensive because it had a much better view than the other Slip seats, which are very restricted. This is due to shape of the curve.
I accepted AA2 and it was excellent. You need to lean forward but you see 95%of the stage and it's close enough to see the expressions in the actors' faces. Really good value for £12.50. It also has extra room on the right hand side which came very handy for my bag."
"AA2: "All About Eve" (February 2019). The end seat up here, on the far right hand side. For £15 (which seemed a bargain compared to what they were charging for premium stalls!), it was great. Yes, I lost about 1/4 of the stage on my side, but was close enough to see faces clearly, and for this show where they used the wings too, I had to rely on the video projections for what was happening on my side, but had a clear view of the other side. So for the money I'd definitely sit here again - especially for this sort of production where anything at a reasonable price with a good view had been snapped up months earlier."
"Slips AA 2: "Photograph 51" (September 2015). Big thanks for the grand circle end slips recommendation. Super view and absolute bargain at £10."
“Slips AA2: “Enron” (February 2010). Interesting that the Upper Circle slips have gone up an awful lot in price for "Deathtrap" (August 2010). I'm sure they were £12.50 or so and now they are £19.50. I sat in AA2 for 'Enron' and thought my £10 lastminute ticket was just about fair value. And the woman next to me was not pleased with her seat. (The monkey thinks the reader means the woman was unhappy with the view, rather than the size of any part of her anatomy, of course).
"Slips AA5: "Privates on Parade" (December 2012). Saw this in AWFUL seats at the Noel Coward - AA5 in the grand circle - sold as restricted view but the website says the view is obstructed by the safety bar - NOT ENTIRELY TRUE - actually the angle makes it impossible to see much of the stage - the safety bar is the least of the problems. More of a problem for this production, since a fair proportion of the action seems to happen near the wings (especially stage right).”
“Slips AA7 and 8: Although I'm not really complaining as they were only £5, these seats are not great. If you sit properly, you can't see anything at all, but with leaning forwards you can see a half to two thirds of the stage, although there are some poles in the way but I think you get used to them and sort of stop seeing them. Legroom was very poor though, However, at 7.30pm, nobody else had turned up to sit in the slips, so we moved along to AA 2 and 3. These are much, much better, you can pretty much see all of the stage apart from the extreme left side and back corner, and the legroom was a bit better, especially in AA 2. So you want the £5 tickets I would definitely recommend asking for AA 2 an 3, or 26 and 27 on the other side which I assume have a similar view. These seats are great if you're just looking for something to do of an evening as it's actually cheaper than going to the cinema (and about 1/3 of the price of going to the cinema in Leicester square!), and they're not as bad as the price suggests... they're certainly not 5 times worse than seats in the balcony, but if it's a special treat definitely go for some proper seats."
"Slips AA 9: "The Inheritance Part 1 & 2." Both times I was AA9 on the Grand Circle. Although there was a bar obstructing the view the entire time I could clearly see the actors throughout and the only things missing was the very top right corner, but no action seemed to take place up there. I could lean forward without obstructing anyone else's view and the bar didn't detract from the fact that I laughed and cried during both parts! For £14 each I was happy with what I had, but I know the bar really bothered the two people beside us (AA8-AA7)."
"AA15: "Dear Evan Hansen" (November 2019). (last of the slip seats towards the main section) is an utter steal for £15, you miss absolutely nothing if you lean a bit forward, there‘s plenty of leg room and you can actually stretch your legs fully if you feel so inclined and there‘s even storage space for bags and coats behind the seat."
"Slips AA15: "Deathtrap" (August 2010). You have to do a bit of leaning out but as there is no one behind it's guilt free. Nicely prices at £15 for the previews."
"AA15 and 16: "Peter and Alice" (March 2013). Very good value and although you have to lean forward occasionally it was fine."
“Slips AA24 and 25: “Million Dollar Quartet” (Chris B). These seats are heavily discounted (just £10 for million Dollar quartet) And for good reason, they face the stage sideways on and are quite high up. But they are very good value if you are prepared to lean forward for pretty much the whole show. They were perfect for a show like million dollar quartet as its primarily the music that takes centre stage but for a play or musical with an elaborate set, I would recommend you think carefully. I'd say you miss about a third of the stage. There is a cushioned barrier to lean on though, you just have to arrange with the people to your left not to lean too far forward. And worth noting plenty of legroom. However, expect back ache!”
"Slips AA27: "Dear Evan Hansen" (November 2019). These are restricted view seats, you have to lean forward, but you have quite a clear view of the stage missing probably 15% of the stage. A real bargain at £15! In the 1st seat of the side slips you can lean without blocking view of your neighbour. Other seats in side slips (only £5) require much more intensive leaning and they will block the view. But what could you expect for that price? I recommend standing instead of £5 slips."
"Slips AA27: Girl From The North Country" (January 2018). Sat here for "Labour Of Love" - got a decent view with some leaning, especially for £10. Went back to the same seat for "Girl From The North Country" - to find that a light has now been placed right in the field of view (on both sides of the slips too, so I imagine the corresponding seat on the other side is the same) - very irritating (especially as the ticket was more expensive at £15!).
Asked usher if there were seats I could swap to (as many below were free) - but they refuse to 'upgrade' seats without you paying the (large!) difference. Was offered standing at the back of the grand circle, which you may like to tell readers is an option (and gives a good view of whole set if you are not too tall)."
These seats are tucked up high on a shelf directly under the theatre roof.
A centre block, well tiered on steps.
Row A has some “satellite seats” just over the aisle from the main block, between it and the slip seats.
Like the Upper Circle below (yes, the monkey knows how that reads!), slips are available along the walls at the edges of the circle between seating and stage.
Seats here have been renewed...rather comfy.
Acceptable for those up to around 5ft 11 or so in B and E, and probably only slightly cramped for those taller - except in row A where it is cramped for anyone over 5ft 4 or so. The very tallest may still find lack of room a problem and require the stalls instead.
Seats B and C 3 are wider than normal.
A distant view is possible from all central seats. The bars at the front of the circle do intrude for everybody, but sitting in row D or E minimises the problem most - D 7 to 22 being optimum, then E 6 to 20. Take D first, then E, C then B at full price. Do be aware that row E backrests are more upright than normal.
Those not requiring legroom and happy to accept bars may find row A also satisfactory - the central ones, not the slips, though. In particular, A 1, 2 and 22 to 26 are cramped for the money. A 1 and 2 are like a sofa split in half and jammed near a wall, the monkey felt.
Row AA slips offer just below fair value. The view is best from seats 1 to 4 and 15 to 18. All will have to lean (which may feel a brave act, given the height) to see that much. Take these only when other seats are unavailable.
Around 90 feet from the stage - straight down! Not for vertigo sufferers – and that goes double for slip seats.
The climb up the stairs is VERY long. Those not in best health should not buy these seats.
A double height metal bar runs across the circle, this becomes a triple bar at the ends of the aisle and in front of rows A seats 3 and 19.
Row AA are benches, so arrive early to stake your place.
Central block seats are fourth price. Row D, then E is the pick here, feels the monkey. Take before A to C, it feels. Be aware that lighting equipment is installed in the centre of E, though. This annoyingly removes some good seats, including making 4 in the centre of row D unusable - but shouldn't worry anyone.
Row A is not cheaper, and if you can put up with the rails and legroom, they at least have a better view than slips.
Slip seats (with a few exceptions) are the same price as those in the upper circle below. Those that are more expensive than the equivalents below have a little more of a view due to the higher angle to the stage. Take these before those cheaper upper circle seats - those in the cheaper upper circle ones have to be happy to mostly only hear the show unless leaning forward / chancing others won't lean into your own view.
"Circle: (Alf). Very distant and very high. Especially when much humour is in the expression of the actors. The price seems a bit greedy. HOWEVER, for anyone that likes bit of extra legroom or a wider seat, the first and last seats of the central block (e.g. Row A; seats 3 and 19, Row B; seats 3 and 21 etc) are double width - literally twice as wide as the rest of the seats - they are like sitting on a throne! The one next to them (Row A seats 4 and 18 etc) are also a tad wider than normal."
"Enron" (January 2010) . I would probably want to avoid the Balcony as the set is fairly high."
"B4: "Million Dollar Quartet" (February 2011). Not bad at £5 for previews! Would hesitate to pay anything more though as the view is high and slightly restricted."
"B7 to 10: "A Midsummer Night's Dream (September 2013) (Taljaard). Having booked them before reading other peoples thoughts I was quite concerned. But then pleasantly surprised. Yes you are a bit high up and yes the bar got a bit in the way to begin with but you then of forget it's there. The leg room was good and the seats really comfortable. At £10 each they were well worth it."
"B15 and 16: (Pip). I personally don't see what the problem is. I was dreading sitting up so high from all the reviews, but it really isn't as high at some theatres I've been too. It's also closer to the action then other balconies I've been in. Could see everything; yes the bar got in the way, but the price makes up for that. Legroom is brilliant and the seats are so wide and the best ever. I kept forgetting that they weren't folding ones so had an amusing time thinking the seat would fold as I sat down."
"B23: "Dear Evan Hansen" (November 2021). Came with a warning about restricted view because of handrail - the handrail was annoying but not too much of a nuisance (and very little of the stage was lost). If the person in row A in front of you decides to lean to their left to get around the handrail in their line of sight, this will block you. However, the seat is very high so unless you are very tall, you will be swinging your legs (or using the step to the side as a foot rest, as I did) and/or risking kicking people in row A in the head. it’s probably more a warning to those who value their heads than people who can’t reach the ground. The balcony is very high up and steep, so not recommended if you don't like heights.
Separately, they've put in place this one way system so that everyone keeps to their row to get in or out - I wanted an ice cream but being at the farthest end of the row meant having to walk all the way along the row to get out, and then all the way back to get in, and I really couldn't be bothered. Not sure if it's always been like that, but it doesn't seem like the best solution. Couldn't see whether there was an actual aisle at the top or anything."
“Row D: (August 2006), (Jan). Not recommended simply because you can hardly see anything from that distance, let alone any expressions on the faces of the actors. The sound was good though which was just as well as there wasn't much to look at. Nice view of the very decorative ceiling though!!! These seats should be free they are so bad. Avoid the upper Balcony like the plague."
"D11: "Half A Sixpence" (November 2016). Have sat in the Noel Coward balcony a few times before so knew the sort of view I would likely to be getting, plus only paid £10 through Get Into London Theatre offer. However at the interval there was a lot of grumbling and some people asking ushers if they could be moved. I could quite agree with them where they had paid face value of £27.50 for tickets not marked restricted view but providing a rather poor experience. It was fine for any full stage ensemble routines, but a large proportion of the show was played by the principals on the enlarged forestage area that has been pushed some way into the auditorium by the revolves. For once people sat in the centre block were looking quite enviously at those in the slips who possibly had a better view of the leads at half the price."
"D23: "Photograph 51" (September 2015). My seat was up in the Gods - D23 in the Balcony for ten pounds. I was expecting the worst after reading reviews online but I was pleasantly surprised at just how good the view was for the price. While you're never going to have an outstanding view from a Balcony seat, the seat was far more impressive than some balcony allocations I've had in the past. Faces of the cast are just visible and I didn't feel too disconnected from the action. The safety barrier does obscure a fraction of the stage, especially with the barrier height rising towards the end of the aisle (where I was sat), but it's not too distracting. With the play sold out for the most part, I was very lucky to get my hands on a ticket so affordable at the last minute. I would take this seat again for the price."
"E3: "The Lieutenant Of Inishmore" (July 2018), (Taljaard). Got this 20 minutes before evening curtain up for a tenner, quite a bargain. Although it's the first seat in the very back row of the top shelf of the theatre it's not too bad at all. Could see and hear everything and the restricted view due to the safety rail doesn't impact on this row."
"E4 and 5: "All About Eve" (February 2019). Very high and a very slight viewing issue to the right hand side of the stage, but otherwise clear view (with glasses!)."
"E19 and 20: "The Lieutenant Of Inishmore" (July 2018). There were a couple of £10 tickets left on the day - balcony slips (AAs) and balcony last row (E). Was tempted to go for the slips as they seemed nearer the stage but very glad we didn't. Opted for balcony E 19 and 20 where we could see the whole stage. For this play you need to be as central as possible as some crucial action happens at the back of the stage, so a side view would be frustrating. A great choice for a tenner."
"Slips AA12: "All About Eve" (February 2019). Stage right seems restricted, and definitely a case of leaning forward to see that side."
"Slips AA12 and 13: "Dear Evan Hansen" (December 2021). I would say for the price of £15, the seats on the whole were great value. In both seats you cannot see a chunk of the front left of the stage (if you were in AA14 upwards this would be even worse), but you can hear everything fine, and for the few bits you can't see when the action is here, it's obvious what's happening, so you don't miss out, and as long as everyone in the row leans forward, you can peer over the safety rail and see, without blocking others' views. Leg room is horrendous for anyone of any size, and we were very thankful for the interval to have a stretch. You are pinned in, and have to walk through an entire row, then an extra bit of Row A to get to the seats, so if you have a weak bladder, I'd recommend a different seat, as getting in/out is a pretty arduous and very inconvenient effort if everybody is seated! But bear this in mind and plan liquid intake wisely, and for £15, they're not to be sniffed at!"
Total 886 seats and 21 standing in rear stalls.
No food except Ice cream and confectionery. Bar snacks also available.
Three bars. Two in the Stalls - one at the back, one on the stairs leading down to stalls, One in the Dress Circle. The stalls bar in 2015 had a "Noel Coward" display including an actual Tony award.
Sennheiser infrared headset system for the deaf. Occasional signed performances. Guide dog sitter available. Wheelchair access to box M in Dress Circle (2 spaces or 1 plus 1 non-chair escort). A steep portable ramp is needed to gain access via St Martin's Court. An adapted toilet is available next to the cloakroom just past the Royal Circle entrance - with flat access to it. There are 33 steps to the stalls, and exits are by row G (to foyer via steps) or behind row T (to street - via steps). The "registered disabled" concessionary price policy here is generally (though can be subject to change) for a quota of accessible best seats to be made available at the lowest regular price charged. This quota is increased for designated performances such as signed / audio interpreted. Check with the box office helpline at time of booking. Fuller access details 0344 482 5137.
8 toilets; Stalls 2 gents 1 cubicle in each, 1 ladies 3 cubicles: Foyer 1 ladies 4 cubicles; Upper Circle 1 gents 1 cubicle, 1 ladies 4 cubicles; Balcony 1 gents 1 cubicle.
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.
In this theatre, the DRESS CIRCLE is also known as the ROYAL CIRCLE.
The UPPER CIRCLE is also known as the GRAND CIRCLE.
Boxes L and M are not usually sold in advance to the public.
Note that Balcony row A and Upper Circle row AA seats have less legroom. They are rated "Red" for taller readers (over 5ft 6 or so). Click "Best Seat Advice" (left) for details. Also note that row end seats do have seats in front of them unless specifically mentioned in the text.
Please note: The seating plans are not accurate representations of the auditorium. While we try to ensure they are as close to the actual theatre plan as possible we cannot guarantee they are a true representation. Customers with specific requirements are advised to discuss these with the theatre prior to booking to avoid any confusion.
Leicester Square - Northern (black) and Piccadilly (dark blue) lines.
The escalator from the platforms deposits passengers into a circular space with a number of staircases leading to the surface. Beside each staircase is a vast white panel listing the places accessible from that exit.
Look for the one showing the Noel Coward theatre. It is marked "Charing Cross Road East" and "Cranbourn Street". When you leave the ticket gates, do a 180 degree "U" turn. This exit is hidden behind you, between the gates! Go up the first little staircase. At the top of it, turn right, taking the "Cranbourn Street" exit (to your right, exit number 4). Go up the stairs. In front of you will be Cranbourn Street, with a row of shops. Cross the road to them, and turn to your left. Follow it round and the shop curves into St Martins Lane! The Noel Coward Theatre is ahead of you!
If you take the other staircase at Leicester Square station then at the top, in front of you will be Charing Cross Road. On the opposite corner, notice the Hippodrome Nightclub and a wide pedestrianised street. Turn to your left. Wyndham's theatre is there. Walk all the way across the front of it. At its far corner is St Martin's Court, a wide pedestrian alleyway of small shops and dustbins. Walk down it. You will pass the shared stage door of Wyndham's and Noel Coward theatres (say hi to the cast). At the end of the alleyway, the Noel Coward theatre is on your left.
An American visitor puts it this way:
"Exit Leicester Square tube station via the most leftward exit, up the stairs, turn an acute angle left at the top, placing you in an alley with the shared Wyndham/Noel Coward stage doors straight ahead. This alley is L-shaped to the right. Taking that turn, you face two big red phone boxes and, across another alley, J. Sheekeys. Turn left in front of J. Sheekeys, left again at the street, and you are in front of the Noel Coward, having gone round the building back to front. You will have walked the equivalent of just over one block." Well put and great advice. The only warning the monkey would add is that the alley is a dark and unsavoury place at night. The monkey prefers a "street" route itself..
Incidentally, the left hand exits of the Noel Coward auditorium open into this alley. On leaving through this exit, turn right for the underground station.
24, 29 and 176 stop on Charing Cross Road. Walk to the Wyndham's Theatre. Go down St Martins Court (the alleyway at the right hand side of the building). The Noel Coward theatre is on your left.
Newport Place, China Town. On leaving, use Gerard Street to get you onto Shaftesbury Avenue. On Shaftesbury Avenue look to your right. The brown brick building to your right is the Palace Theatre. Don't bother crossing the road, but turn to your right on Shaftesbury Avenue and walk in the direction of it. When you come to the main road intersection in front of Shaftesbury Avenue, cross Charing Cross Road at the traffic lights. Now turn to your right and walk down Charing Cross Road, crossing Litchfield Street as you go.
Next is Newport Street. Cross that too and head on, crossing Cranbourne Street towards Leicester Square Underground Station. Before you reach the station, though, turn left into Cranbourne Street. Follow it round and the shop curves into St Martins Lane! The Noel Coward Theatre is ahead of you!
An alternative car park is Trafalgar Square Spring Gardens, about an equal distance, the monkey feels.
From the car park, turn up the road on the left to bring you on to Trafalgar Square. Face Nelson's Column and cross the road towards it. In front of you is the National Gallery. You require the road to the right side of it - Charing Cross Road. Do not enter the Trafalgar Square area itself, but follow the pavement round towards the right corner of the National Gallery. Continue along so that you pass the National Gallery on your right. At the junction of roads just by this corner of the National Gallery, cross the road. You should have Charing Cross Road to your left and be facing towards the same side that St Martins Church is on. Walk a few steps past the building on your left and see how the road curves round. This is St Martin's Lane. Turn left into it and keep walking up, passing the Duke of York's Theatre on your own side of the road and London Coliseum on the opposite side of the street. Keep walking and the Noel Coward Theatre is beyond the Duke of York's Theatre on your left.
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.