Charing Cross Road, London WC2H 0JP 0843 316 1082
Ambassador Theatre Group, the theatre group's own website provide the service for this theatre.
Booking fees per transaction:
A £3.65 per transaction (not per ticket) fee is made.
Other Online Choices (with genuine S.T.A.R ticket agencies):
Ticket agencies offer an alternative way to buy tickets, with booking fees differing from those charged by the theatre box office itself. They may have seats available or special offers when theatres do not.
Ticket agency prices vary in response to theatres implementing “dynamic pricing” - which alters prices according to demand for a particular performance. Prices stated here were compiled as booking originally opened, current prices are advised at time of enquiry.
When the theatre does not have the tickets you desire available, it is well worth trying the Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), offers seats with a fee of £20 on £125, £16 on £99.50, £13.20 on £82.50, £9.60 on £72.50, £10 on £62.50, £7.90 on £52.50, £6.80 on £42.50, £5.20 on £32.50, £3.20 on £20 seats Monday to Wednesday / £20 on £125, £15.50 on £100, £13.60 on £85, £12 on £75, £10.40 on £65, £8.80 on £55, £7.20 on £45, £5.60 on £35, £4 on £25 Friday and Saturday 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.
Another alternative is www.seetickets.com which offers seats with fee of £20 on £125, £19.90 on £99.50, £16.50 on £82.50, £14.50 on £72.50, £12.50 on £62.50, £10.50 on £52.50, £8.50 on £42.50, £6.50 on £32.50, £4 on £20 seats Monday to Wednesday / £25 on £125, £19.40 on £100, £17 on £85, £15 on £75, £13 on £65, £11 on £55, £9 on £45, £7 on £35, £5 on £25 Friday and Saturday seats. A £2.75 per booking (not per ticket) handling fee applies.
Ticketmaster.co.uk offers seats with a fee of £24.50 on £125, £19.50 on £99.50, £16.25 on £82.50, £14.25 on £72.50, £12.25 on £62.50, £10.25 on £52.50, £8.50 on £42.50, £6.50 on £32.50, £4 on £20 seats Monday to Wednesday / £24.50 on £125, £19 on £100, £16.75 on £85, £14.75 on £75, £12.75 on £65, £10.75 on £55, £9 on £45, £7 on £35, £5 on £25 Friday and Saturday seats. This system allows you to select your own seats.
Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offers seats with a fee of £24 on £125, £20 on £99.50, £16.50 on £82.50, £14.50 on £72.50, £12.50 on £62.50, £10.50 on £52.50, £8.50 on £42.50, £6.50 on £32.50, £4 on £20 seats Monday to Wednesday / £24 on £125, £19 on £100, £17 on £85, £15 on £75, £13 on £65, £11 on £55, £9 on £45, £7 on £35, £5 on £25 Friday and Saturday 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.
Meal and show packages may also be available.
Quality and Value hotel / theatre ticket packages are also available.
Londontheatredirect.com offers seats with a fee of £25 on £125, £20 on £99.50, £16.50 on £82.50, £14.50 on £72.50, £12.50 on £62.50, £10.50 on £52.50, £8.50 on £42.50, £6.50 on £32.50, £4 on £20 seats Monday to Wednesday / £25 on £125, £19 on £100, £17 on £85, £15 on £75, £13 on £65, £11 on £55, £9 on £45, £7 on £35, £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.
Telephone: 0843 316 1082
Operated by the Ambassador Theatre group's own phone room from 9am until 10pm (Sundays 10am until 8pm). Outside these hours the Ticketmaster agency answer calls on their behalf.
Booking fees per transaction for telephone bookings:
£3.65 per booking, not per ticket.
For personal callers or by post:
Charing Cross Road, London. WC2H 0JP
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 0800 912 6971.
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.
The Dress Circle overhangs the stalls at row K. The view of the top of the stage is slightly restricted from row P back.
The stalls are divided into two by a central aisle.
There is a reasonable rake (sloped floor to help see over rows in front) throughout the stalls from row C, noticeable from row E and really helping the back rows from L in particular.
All seats have a decent "offset" to see in front of those in front EXCEPT R1 to 8 and S 1 to 6. Here the seats are only very slightly - about 5% of the width - offset, making it hard to see around those in front.
Row S13 is set slightly behind the main entrance door, rather a nice private feel, the monkey felt.
Entrance doors are at the back of the stalls, beside all end seats in row S.
Fine in all seats for all but the tallest over 5ft 10 or so except row A.
Row A has a lot less legroom - those over 5ft 4 will be cramped in the end 2 seats, everyone over 5ft 6 in the rest of the row.
K 1 and 28 have about 50% of the seat with nothing in front - stretching space for one leg on the aisle side of the seat.
The first and last four seats in rows C to K should be avoided as they are closest to the side wall of the theatre and offer an inferior viewing angle and value for money compared with other seats at the same price.
All other seats in the stalls offer at least fair value for money, and a good rake ensures clear sightlines from seats at the rear of the theatre.
Theatremonkey chooses centre aisle seats in rows E to H first in the front stalls at top price.
It nominates "high numbers side" rows Q to S as offering good value at lower prices in the rear stalls. One reader did note that seats on the "low numbers" side were not as offset (so you can see between seats in front) as they could be. Take the high side numbers first... or hope for short folk ahead...
The first two seats on the highest number sides of rows A and B may have stage light fixtures in the way.
A sound desk can be installed in the rear stalls.
The front row is AA. Sold cheap as day seats, excellent value feels the monkey. Be aware the stage is high, and 1 and 12 have a little less legroom than the others - still acceptable to 5ft 8 at least, though. Those in row AA won't see the lower half of anyone seated in a chair at the back of the stage, but that is the limit of the restriction.
Well worth a glance, for bargain hunters, are outermost pairs (4 in row A) of seats from A to F at forth (third Thursday to Saturday) price. The monkey would go F first, then work forwards from there. There is nothing in front of the seats in A 1 to 3 and 18 to 20, but be aware 18 to 20 in particular are very close to the stage at a slightly odd viewing angle. A 4 and 17 the monkey likes if you want the front row.
Central A 5 to 16 are third price (second Thursday to Saturday). Monkey would take them only if willing to look up and other front restricted view stalls are gone. Restricted view seats in rows F to B only miss a rear corner of the stage, and nothing happens at all there. The monkey might also perhaps take the low numbers side before the high numbers side in A to C. Nothing wrong with the high side, it just felt the low side got a better view of an atmospheric bit of the set, really.
For all seats, the stage floor is visible from row F back. Any closer and you could miss action from the calf down from B, less the further back you go. Nothing important is missed, though, feels the monkey. Imagine a wooden kitchen chair at the back of the stage. Row AA day seats won't see below the seat, row A - a couple of inches below that, and so on as you go back a row. C is pretty OK, but F is where you see the whole stage floor.
Premium seats run central C to M, with "Super premium" seats on the centre D to F (G Thursday to Saturday) aisle. G, then F over E if loaded... Otherwise, there's fantastic stuff in the middle of row K Monday to Wednesday, or even the seats in front of in C or beside the premium ones in D to J if you wish. Go as close or far back as you feel, and always as central as possible.
Monday to Wednesday, there's a price drop in P 1 to 6 and 23 to 28 to third - making P 23 and 24 good value (off-set of seats is better on that side). Behind, Q centre drops to third, Q ends to fourth. The monkey would take S over Q and R as they are cheaper still, though, but if only R and Q are left, take them in that order.
A sound desk beside R6 and S4 shouldn't bother anyone except purists as there is a decent gap between them and the desk wall. On the other hand, the lack of off-set seating is an issue as always.
"Stalls: "Once" (February 2013). I have sat in front Dress Circle, and concluded then that I really want to see this show from the front of the stalls (my second visit was courtesy one of the group booking agencies in mid stalls so could hardly complain. but it confirmed my view about sitting down front). This is not a place I normally want to be but this show has such an intimate feel with simple staging, musicians on stage etc. I want to feel I’m sitting in the shop/bar with the actors."
"Row AA: "Come From Away" (February 2019). I was allowed to buy THREE (day seat) tickets, for the matinee performance for £20 each. Front row of stalls. High stage, so couldn't see actors feet/shins, but still wonderful seats for this show."
"Row AA: "Come From Away" (February 2019). Sat in Row AA and felt included in almost every way, and, in a small way, I was."
"Row AA: "Come From Away" (February 2019). My least favourite day seat. As a very short human all I could see was a set of speakers in front of the stage!"
"AA1: "Come From Away" (February 2019), (Taljaard). Day seat for £20 at 4.30pm. This seat is very restricted. So much so that I had to sign the back of my ticket to acknowledge I'd been given the warning. Could see three fifths of the stage, but was really up close. As it was my 4th time it was not a problem. Do not buy this seat if it's your first visit to this amazing show."
"AA6: "Once" (March 2013). There are great day seats (£19.50), EXCEPT AA6, typically the seat I was in! There is a small floor heater on the stage right in front of this seat, whilst I don't feel I missed anything it was very annoying to have black square in the centre of your vision. I'm 5'11 and some bits I missed but anyone shorter will miss out a lot more. Even more annoying is the fact it doesn't even get used as a prop, I don't know what the point of it is! It does get taken off the stage for act 2 anyway."
"AA 9 and 10: "Come From Away" (February 2019), (Bob Pickett). Foot fetishists, do not buy these seats! As The Monkey says, for the current production the stage is raised, meaning you are craning your neck. That said, you miss precious little: You can just about see the table tops of 'Tim Hortons' in the opening scene, but other than that you still get a good view of the stage. Be warned, Come From Away has no interval, so your head is tilted back for an hour and forty minutes. AA9 has the least leg room, but at 5' 10" I was comfortable.
The flip side of such proximity is you get to see in close up things you can't pick up on from further back: Jonathan Andrew Hume's genuine tears (how he draws upon such raw emotion is so moving), and a tiny throwaway when an elderly resident of Gander is talking to the Rabbi from one of the aircraft; they pray after which he goes to give the prayer cap back to the rabbi who folds it into the gentleman's hand and gently closes it, was so special at that range.
Row AA is sold as day seats: at £20 per ticket we felt they were great value, though one of our friends thought they should cost a little less. Sorry, can't agree: at almost a quarter of the nearest "normal" price (row A behind is £75 on a Saturday and they had to crane their necks; the Phoenix rake is quite shallow), but losing such a small amount of the show is worth a little neck-ache.
(When you buy these tickets, you are warned, at least twice, about the stage height and have to sign the tickets to show you understand the issues)."
"AA 9 and 10: "Once" (March 2013). The view was perfect. The stage is not very high so you can see absolutely everything and there's a decent amount of leg room. SPOILER ALERT But don't stretch your legs too much at the very beginning as the leading actress walks through the central aisle and then turns to the right just in front of you in order to reach the stairs which lead to the stage."
"AA 15: "Once" (March 2013). I am a big guy, 6.3" and many seats are usually pretty crappy for me, but this time around I was fairly lucky. Got day seats for £25 for the Saturday Evening performance. The stage is high and was a little under eye-level but that was fine. View was great, sound was pretty good, you could make out the singers' voices individually since they sung in your face. The legroom is a bit tight and it was a bit uncomfortable after a while. For the price and view I would always go back to these though, especially since one can grab a drink on stage fairly quick in the interval."
“Row A: “Blood Brothers” (October 2004), (Emma). Far, far too close to the stage for comfort - your knees are touching it, we had to move otherwise it would have been unbearable. I think you should consider making all Row A seats at the Phoenix Theatre bad value for money and colour them a nice shade of red."
"Row A: "Bend It Like Beckham" (June 2015). I was there at 10am to buy the cheap tickets for row A from the box office. I have done it before to watch other musicals and never was that bad for the price... normally the orchestra space gives you a bit of distance from the stage of at least 2 metres... but if you buy row A stalls in the Phoenix Theatre, you are just about 30 cm from the stage what is quite disturbing. Also, because the stage is too high, I swear, after 20 minutes you really feel some neck pain... in some scenes the actors that speaks is so close they spit on you, I'm not exaggerating!!! People on row B were sorry for us. For this play I don't think it's worth paying for those seats, they should be sold for 5 pounds or not sold at all!! Even row B is too close - you can not see much of what happens on the back!! I think they should cut the sharp edge of the stage to give a bit more of view for row A in the stalls. You miss about 30% of what happens because you don't have view. First time I watched it, I was on the seat F central, what was perfect!! But you can't complain, they warn you and make you sign the back of the ticket at the box office, so don't ask for a seat upgrade, they don't accept complaints!!"
"Row A: "Bend It Like Beckham" (June 2015). A7, A10 and A15. The view from these seats was pretty similar so I’ll just group them together. These seats are my favourite in the theatre – the very front row of the stalls means you can see every emotion and interaction between the cast. The height of the stage means you do miss some of the footwork which is a shame in a show about football, and also a little of the action at the back of the stage is hard to see, but personally I find it’s worth sacrificing the view of the back of the stage to be in such close proximity to the actors, especially worth it when you consider these seats are being sold for £15! Legroom is fine here as there is only the stage in front of you."
"A 11: "Guys and Dolls" (March 2016). Front row was offered as day seats (£15). Got my favourite, A11, right at the middle aisle. The stage is fairly low. Very good view, okay legroom, couldn’t be happier."
"A11: "Bend It Like Beckham" (June 2015). Day seat, surprisingly for only £13.50 including an ice cream voucher (promotion at the time - editor). Access to the seat from the centre aisle is possible even with the staircase, although I won’t get any points for elegance (I fear my best climbing days are behind me…). The stage is very high indeed. Even at 6‘2‘‘ I needed to raise myself a little once or twice to be able to see the stage floor. Sound took some getting used to at first, because a speaker was slightly to my left, while the actor speaking might stand to my right. But even with minor inconveniences, I can only recommend dayseating. For that amount of money there are no better seats in the house."
"A11 and 12: "Bend It Like Beckham" (June 2015). We got day seat tickets in the front row right in the middle by the staircase (A 11 and 12). We were close to the action but I found the seats still pretty awful. I'm a 5'11 and had trouble seeing. There were two smaller kids who couldn't see anything. When we asked the ushers if we could move to the completely empty second or third row they basically said we should have paid more. During the interval they moved a student group from the circle to these rows. The students told us they would have preferred to stay up there since the sightlines were better there. The small kids in front row got seat cushions so they could at least see the second half (couldn't they have thought of this earlier?). I know I can't expect much from tickets that cost £15 pounds and to be fair the box office warned us when we bought the tickets, but I was still hoping for more."
"AA12: "Come From Away" (February 2019). Day seat for £20. Note that there is a very high stage right in front of the day seats (legroom isn't a problem). I'd recommend a cushion or soft prop-up, even though I am 5ft 10."
"A 16 and 17: "The Girls" (March 2017), (Mark). Dayseats £20. I was initially worried about the high stage but it was OK (and for mum who's 5 ft 6). Really great to be up close and personal. Would highly recommend these seats."
"B 10 and 11: "Come From Away" (February 2019).
B10 and 11. The monkey was right in that you couldn't see the actors' feet due to the height of the stage but that didn't matter for this show at all. Perversely, having to look up at the stage, your view wasn't obstructed by folk sitting in front of you in rows A and AA!
So, we had an excellent view from row B, but due to the height of the stage you probably wouldn't be able to see the stage floor until rows E or F. The seats weren't particularly comfortable, but legroom was good."
"B 18 to 21: "The Last Tango" (September 2016). There was a peculiarity about the seating plan currently in use by the theatre in that it isn't quite accurate. Row B only goes up to seat 21 (not seat 22 as shown), so if you are looking for an end of row seat, it's worth double checking with the Box Office the layout of whatever show you are going to see. Our seats had plenty of legroom (even more if you stretch your legs out under the seats in front), but B21 is even better, since it has nothing at all in front. B20 has about a third of the seat with nothing in front. The seats weren't the most comfortable we had ever sat in, and gave us a slight sensation of being tipped forward rather than sitting back and relaxing. Row B is very close to the stage and on the same level as Row A. The seats are offset, but even so we were very pleased that the seats in front of us were empty, which ensured we had a perfect view. You can see the whole stage from both B18 and B19, and if you are about 5'6" tall and sit up straight (as opposed to slouching down in your seat) seeing the dancers' footwork didn't involve any element of neck craning."
“C2: I found excellent as row B only starts at "3" (not any longer - editor) so I could stretch my legs out (although the seat was a bit lumpy and I as usual had to cheek shuffle!). OK, the view would have been detrimental if there had been much going on stage right, but only an odd part was there so I could see almost everything. There were a couple of close PA speakers but they were not excessive."
C7: "The Girls" (February 2017), (Tonyloco). Excellent, except for the stage spotlights that shone directly into my eyes for most of the first act."
"C9: "Bend It Like Beckham" (March 2016). This is probably the closest row to the stage where you have a clear view – the high stage means that even here you lose some of the stage but not a significant amount. A great seat for being up close to the action and legroom was decent too."
"C24: "The Girls" (February 2017). Classed as restricted view but not too bad really, just a sideways view. Occasional missed bits when they are in the flower shop." (Got this one at £20 reduced at the last moment, but there are definitely better seats to be had at full price!)."
"Row D: "Once" (March 2013). I recall the monkey admonished me to sit close - so we sat on the aisle (where I usually try to land). It was great. Thanks."
"D2: "The Girls" (March 2017). £20 at day seat rate. It was a slightly restricted view, but the leg room was good and there was a clear view of 98% of the stage."
"D2, 3 and 4: "Once" (March 2013). These three seats incur a significant discount when compared to other seats in the same area (D1 I believe also discounts substantially). When booking, there is a specific warning that D2 is “side facing”. D2 loses a section of the stage. For ‘Once’ this meant the drum kit could not be seen (which does slightly spoil one scene), but does just allow a wide enough view to see [SPOILER ALERT] ‘ex-girlfriend’ talk on the tape of the recording of ‘boy’s’ music. The drum kit can be seen from D3 by leaning slightly to the side. D4 would appear to have an unencumbered view, making it a real bargain. All three of these seats are worth every penny and any slight loss of view. You are so close to the stage you can pick up on every expression."
"D6: "Once" (March 2013). It cost £21.50 (plus £2.50 booking fee) discounted, and was a great seat."
"D10: "Come From Away" (February 2019). Seems lovely - on a bit of a rake, and almost central."
"D24 and 25: "The Girls" (March 2017). Managed day seats, £20 for D24/25. We got them at around 5pm. Absolute bargain. Great seats at this price."
"D26: "Once" (March 2013). For the price it is a fantastic bargain! Only for the first couple of scenes does it feel like the performers have their backs to you a little more but after about 10 minutes it was fine. I would take this higher numbers over the lower ones as there is a heater onstage for act one that is in view. (it was moved in the interval, not sure why it was there). For £20 the view was barely restricted and I would certainly recommend to people if they want a good seat at a good price."
“Rows E, F and G: (Alison – group visit). Sight lines lost of scenery if sitting at outside extremities of rows, but not the action as most is centre stage or areas which can be viewed by all. I found the leg room ample as I am only 5' 3" - some of the 6' + complained of being cramped but they did not view this as a big problem as they were so absorbed in the show!"
"E1: "Come From Away" (February 2019), (Mark). Stalls E1 - great seat, nothing really missed with the viewing angle for the show."
“E 5 to 11: (Lizzie Loves the Theatre). Bought on monkey recommendation and were excellent. Probably couldn’t have been better. The Monkey comes up trumps again!"
"E13 and E14: "Once" (October 2013). By the centre aisle, pretty much based on your advice "Theatremonkey chooses centre aisle seats in rows E to H first", paid £69.50 through ATG. Excellent seats, great view of the stage, could hear and see everything perfectly. Legroom fine. Would recommend these seats without reservation."
"E19 and 20: "Once" (October 2013), (Katherine). We had a perfect view of the stage and the actors."
"F 7 and 8: "Come From Away" (February 2019). The stage floor seemed very high – perhaps to accommodate the revolve. I wouldn’t want to sit in the front row at this show, even at £20 Day seat price. From our vantage point the row seemed very close to the front of the stage and I’m not sure how much you would see beyond the front ¼-1/3 of the stage – perhaps I’m exaggerating. Our eyeline was level with/marginally above the stage floor. Very good view of the stage, good offset etc (helped by the seat in front of me being empty), but I would recommend not being any further forward than row E for this show.
"F14: "Guys and Dolls" (June 2016). Got this as a "day seat" for £34.50 which I was delighted with! Great view from there."
"F17: "Once" (October 2014) (Iris). Perfect view, Thee seats from the aisle, not too close or too far from the stage. The ticket was only £40 (£37.50 + £2.5 fee) for this fantastic seat. I must have got the matinee discount, usually seats like that would be sold for £65+ (!)."
"E27 and E28: We paid £28 each for these seats through lastminute.com on a '50% offer for best available seats' and so didn't know which seats we'd end up with. I'm 6ft tall and felt legroom was just about tolerable in E27 while my friend had the aisle to stretch out in on E28. I can see why these seats are marked as red because you're not able to see scenery on the left side of the stage though you still see all the actors. I don't think these should be marked as top price, but we loved Blood Brothers (my fourth time watching, my friends first) so didn't mind too much for what we paid."
“Row F: (Fiona). An outstanding view! Could even see Amy's tears!)."
"F 6 to 8: "Come From Away" (February 2019). Oh my word, we felt exactly the same as you. Our current strategy for these big shows is to sit close to the Premium seats while not paying Premium prices! These were terrific. Good legroom, good sightlines, good price."
"F11: Got for £20 for on the day student ticket from the box office. Was a fantastic view, no complaints."
“F19: “Blood Brothers”, (James). A fantastic seat. You certainly don’t feel you’re craning your neck event though you are very close. Personally, I prefer to sit in the 15+ numbers for this show. You definitely feel more involved in the Stalls here, although I’ve seen the show from Dress Circle central Row D and the view was also good… perhaps if you prefer to see more of the stage rather than be closer to the action then the Dress Circle might be preferable."
"G 3, 4, 5: "Chicago" (April 2018). Seats were OK, not brilliant legroom but acceptable. Almost no rake so a bit of dodging back and forth."
“G7: (Mark) Amazing.”
"G14 and 15: "Come From Away" (February 2019). These are normally marked up as premium seats for £125 but due to a chance meeting we paid £50 which was great. G14 is on the centre aisle and totally clear view. However there is very little rake in this theatre and my Dad did end up having his view obscured by the person in front. Not great if you had of paid full price."
"G17: (Ian). (Which I got for just £20 from the box office about an hour before curtain-up in January 2010): Excellent seat, just the right distance from the stage and height relative to the stage. For the second half I moved a few rows further forward so I had some space on either side for my lengthy legs, but that proved to be a mistake as the amplified parts were a bit too loud that little bit nearer the speakers."
"G23 and 24: "Once: A New Musical" (May 2013), Tony. Gave a good view and decent leg room. However, I wouldn't want to be any further towards the end of the row as it might impede the view of anything happening extreme stage right."
"H17 and 18: I wasn't sure that I was going to be particularly comfortable sitting so far back from the stage, as I'm used to sitting in the first few rows so I get a close view of all the action, but with these particular seats I felt that we were just a stone's throw from the action and we could see everything up close (and personal :)). The legroom was actually pretty generous and the seats were comfortable enough (although as with every show I see I did get a slightly numb derriere towards the end!"
"G2 "The Girls" (March 2017). Discounted, felt it was a very good seat and being to the side didn't really affect the view."
"J10: "Come From Away" (February 2019). Definitely better than the row N seats I had last time, as benefited from being a few rows closer and more central. Comfortable leg room and a decent view from here."
"J 10 and 11: "Come From Away" (February 2019). I think our seats this time (not at full price) ) were just about perfect."
“J14: Legroom was very good and could have accommodated someone quite a bit taller than me (I’m 5’ 6”). Sightlines were fine provided I leant out a bit – the very tall and broad individual in front of me had quite a blocking effect on the centre of the stage, but as the action takes place all over the stage it really didn’t matter much."
"J26: "The Exorcist" (December 2017). I was there as a guest, and they gave me stalls J26, so not my choice! I see from your site that it is full price, it shouldn't be, because I felt I was missing a lot of things that were happening on the left hand side of the stage, particularly to do with the way the set changes to represent whether they are currently upstairs or downstairs. Certainly couldn't see all of the projections properly. Also a lot of the show (the bedroom scenes) all happen on the extreme right of the stage, and I felt a long way removed from them, despite being quite far forward.
Worth mentioning that there are a lot of *total* blackout scenes in this (with fire exit signs off for those parts as well) so maybe not a show for people who don't like the darkness. Also, a scene near the end does have some nifty lighting effects around the auditorium which you probably miss out on in the front few rows."
"K1: "The Girls" (March 2017). At 6' 1'', I think I would have struggled with a mid-row seat, even in the stalls, but this was perfect. Not only is it on the aisle, but because row J is offset, there is no seat fully in front, giving almost unlimited legroom with a little manoeuvring. There was also an usher sitting nearby throughout, keeping a check on any bad behaviour."
"K11 and 12: "Come From Away" (February 2019). I think our seats this time were just about perfect."
“L3 and 4: “Blood Brothers” (September 2012), (Chris B). These seats feel close enough to the stage to feel part of this very intense musical. Although they are quite far to the right, didn't feel any of the set was missed and as there is quite a good rake, you get a clear view over the heads in front. There is plenty of legroom too and the seats feel more comfortable than some others. An added bonus is that there is a central aisle so the times you need to stand up to let those pesky late comers through is halved.”
"L15: (Diego). Had a fantastic view."
"L 17 and 18: "Once" (March 2013), (Matt & Sam). We had a great view of the stage. There is a slight overhang from the dress circle but it doesn't impede the view so these seats are really good."
“M3 and 4: We could see everything, but would say that if you were any smaller you might have struggled. Legroom was at a premium though and would be uncomfortable for anyone taller."
"M20: I could see very well (the joys of being 6ft 2) but some of my more averagely heighted friends struggled to see over peoples' heads when tall people were in front of them. The way in which the stalls rake makes it harder to see the stage as you go back."
“Row N: The view was great, however my mum had a bad view as a very large and tall lady sat in front of her."
"N 5 and 6: "Come From Away" (February 2019). "Rush Tickets" on Today Tix so a bargain for these seats, especially at Saturday prices. A really good view despite being over to one side a bit, but still close enough to see faces clearly. The rake isn't great in there at all, but didn't have anyone overly tall in front so we were happy. Legroom not bad at all."
"N13 and 14: "Come From Away" (February 2019). Unfortunately I had someone tall in front of me - so it made seeing a portion of the stage difficult. There does not seem to be much of a rake to the stalls so if you get someone tall in front of you it will be a struggle."
"N15,16, 17: (Brianj). Pricey, and the view was not the best."
"N27 and 28. "Come From Away" (February 2019). Despite our seats being right on the outside we had a good view of the stage not missing anything at all. The rake was quite good and you could easily see the stage floor. Legroom was just about reasonable."
"O 15, 16, 17: "Bend It Like Beckham" (June 2015). Very good seats with a clear view of the whole stage and excellent sound. The circle overhang didn't obscure any part of the view and the rake was good. Leg-room was better than a lot of seats I've sat in. I'd happily sit there again."
"O15 to 18: (Regular contributor). We paid £25 each for our tickets through an agency. I had a tall person sat directly in front of me and so had to keep moving from side to side to properly see the stage (I myself am 6' tall). Legroom was OK for me in O16. My friend in O15 had the luxury of the aisle being next to him so he could stretch his leg out, and could also lean towards the aisle to see around the tall person sat in front of him. Our other two friends in O17 and O18 had no one sat directly in front of them and reported a perfect view of the entire stage and great legroom (both are 5' tall)."
"O19 and O20: "Once" (March 2103). We got these seats based on Monkey's suggestions, and the tickets available online the night before the matinee show. I can see why the back rows are good value since you can still get a very good view of the stage. Our seats were great. I had a rather large man in front of me, so needed to lean most of the show, but luckily the seat next to me was empty. There were quite a few seats free actually, so we moved over to O23 and O24 I think. Also great views. For £39.50 each, I think they are good value."
"P26: "Bend It Like Beckham" (June 2015). OK view, though not the greatest rake, so some bobbing about needed. Leg room good."
"Q 7 and 8: "Come From Away" (March 2019). Got them for £35. The view was fine and great for the price, I could see faces pretty well and the overhang didn't obscure anything. I had no problem with the offset in Q7 (I'm quite short, but then the people in front weren't especially tall either). Q8 seemed less well offset to me but apparently the view was also fine. There seems to be more legroom the further from the central aisle you get, and we had plenty of room in 7 and 8."
"R 3 and 4: "The Girls" (March 2017). Second row from the back of the stalls but you'd never know it, the view was absolutely fine, from the perspective of being to the side, and to the rear. No part of the top of the stage was lost for this production, as a cheaper option I was more than happy with these. The leg room was more than adequate too."
R17 to 20: "Come From Away" (February 2019). We paid full price on a Friday night and they were worth every penny. Overhang was not an issue at all; I didn’t even notice it once the show started. Good offset between seats in rows Q and R, and elevated enough that the patron with the serious bouffant in row P was no problem."
"R19, 20 and 21: (Paul). Got to say that even though this is almost the back row these seats were absolutely fine, clear view of the stage and we could clearly see the actors faces and expressions and hear all the music and talking. Having said that I am not sure I would have been amused if I had paid full price for them. "
"R35: "Come From Away" (February 2019). Didn’t miss anything. :)"
"S 1 and 2: "Midnight Tango" (February 2013). Could see clearly and legroom generous but top of stage seriously cut-off (didn't really matter for much of this particular show which was great). However, wouldn't book these seats again since usual seat off-set was out of sync and as such our view was blocked by heads in front. Row R seemed to suffer from exactly the same problem to us but Row Q forwards was OK. Would have consequently been very unhappy if we'd paid full price!"
The Upper Circle overhangs the Dress Circle at row A. The view of the top of the stage is slightly restricted from row G back.
The Dress Circle is split into two blocks by the centre aisle.
Seats are well "staggered" to see between the seats in front. The circle has a fairly gentle rake - the height between rows isn't as steep as in some other venues. The combination means that it may be an issue seeing around the largest person in front, but at least you won't get vertigo.
Cramped in all seats for anyone over around 5ft 6 or so in rows B and C, and very poor in row A. From row E back things improve, particularly in the outer 8 and central 2 seats - for some reason the row floor curves in and out and the seats ahead are fixed further from the step behind. Those up to 5ft 8 should be OK here, except perhaps row G, which some feel a little tight.
Only row K has a little more across the whole row - those of 5ft 8 or so should be OK here, and even 6ft persons have squeezed in... there's a bit more space (fraction of an inch) in the outer aisle seats of the row.
Also on the plus side, in all but row A, the traditional theatre seats have curved backs, creating foot space between each seat.
Theatremonkey avoids row A for the bar and legroom.
Row A seats 27 and 28 can be transferred into by wheelchair users. Theatremonkey thinks box C preferable for comfort.
It chooses rows B then C then D seats 6 to 22 (except B 14 and 15) at top price. The stalls though, with extra legroom, are a better choice for the taller jungle dweller.
In the rear circle row G is best if the higher view of the stage is wanted, but again, for the same money, Theatremonkey prefers the stalls for comfort and value for monkey, sorry, money.
Seats 1, 2, 27 and 28 in all rows should be accepted as a last resort as they have the least central view of the stage.
Row K is particularly affected by the overhang of the circle above and should be avoided, though at a lower price, the monkey upgrades its rating accordingly.
A metal bar runs across the front of this circle slightly intruding on the view in row A.
At the end of the centre aisle a double height bar annoys patrons sitting in rows A to D seats 14 and 15.
Premium seats in the centre of B to F, with "Super Premium" seats in B and C (and D Thursday to Saturday). If you must, then at weekends, E ones will have greater comfort and view over the front rail. Stalls have more legroom than B to D for sure. IF going "Super Premium," skip the aisle seat if you don't want a rail in view.
For everyone else, avoid these by going for E Monday to Thursday (four off the aisle in F Thursday to Saturday), a seat off the central aisle, for maximum view and legroom - or take stalls for the same cash.
Monday to Wednesday, end pairs in H, plus the outer 6 in J drop to third price (second Thursday to Saturday). The monkey rates them average. If short a way to get a row G seat cheaper is all. Likewise a pair at the end of row A are fourth price (third Saturday), same applies.
The real action is more legroom row K. Fourth and fifth price Monday to Wednesday, second and third Thursday to Saturday. Either go for the seat next to the one that is more expensive, or even take the cheaper ends first. Either way, good value, it feels.
“Circle: (Randy Grauerholz - has seen the production 14 times). This is a "brilliant" show which must be viewed in the front of the Dress Circle. Luckily, I am persistent with my booking, and wind up in the first 5 rows."
"Circle: "Once" (February 2013). I have sat in front Dress Circle, and concluded then that I really want to see this show from the front of the stalls (my second visit was courtesy one of the group booking agencies in mid stalls so could hardly complain. but it confirmed my view about sitting down front). This is not a place I normally want to be but this show has such an intimate feel with simple staging, musicians on stage etc. I want to feel I’m sitting in the shop/bar with the actors."
"A17: "Bend It Like Beckham" (February 2016). Loved sitting here! Really good view of the entire stage but still close enough to see faces. The bar running around the front of the circle didn’t get in my way but would have been annoying for the two people on my right, the only thing that wasn’t great about this seat was the legroom."
“A19 and 20: (Simon). The view was spot on - wouldn't have wanted to be anywhere else."
"B19 and 20: (Kevin). The Monkey rates these as better than the same seats in row A. However, I would have preferred row A first and I'd suggest that these are better seats for short people like me - not bothered by minimal leg room. Total row B satisfaction is dependent on whether or not the person in A has 'big hair'. I was unlucky enough to have someone whose perm paled Leo Sayers into insignificance and therefore had the front third of the stage obscured for most of the show."
"B26: "Bend It Like Beckham" (May 2015). Picked it up for £15 about 2 hours before the show. No restrictions for this show but agree at top price you may want to be a bit more central. I don't think you would get the full impact of the dance from the stalls. The cast is massive (32) and all onstage together during the big numbers. Also there is a very high platform which I'm almost certain would be obscured from the back of the stalls."
"C9 and 10: (David). We got £55 seats reduced to £23.50 using a Theatremonkey offer at the time. During the first half of the show there was nobody sitting directly in front of us in rows A and B, although a couple moved into row B at the interval. This didn’t really matter as the way the seating is arranged – the rows are staggered so no seat is directly behind the one in front – made sure you still had a good view of the stage. I actually thought leg room was quite good, although I am only 5’8" tall! I’ve sat in a lot worse Dress Circle seats at other theatres!"
“C13 and 14: (Hazel). There was not too much legroom although the view was very good."
"C25: "Evita" (August 2017). Great clear view of the show. Very good value as I got a half price deal, normally £65 I think. Only downside for my 6 foot tall companion , was the lack of leg room, as others have mentioned."
"D17: Half price and I thought the seats were excellent. Only complaint here was that there was too little leg room and I felt somewhat cramped. Other than that the seats were excellent."
"E18 to 20: "Come From Away" (February 2019), (Taljaard). Bought tickets in the top part of the theatre about 6 months ago. Bit more cash in my pocket today so asked to upgrade and was delighted to be upgraded to dress circle for a very fair price. Obviously I checked we wouldn't be being moved away. Box office team were great. E18 to 20 very good."
"F 5 and 6: "Evita" (August 2017). I was really impressed with the view of the stage from my seat - the actors on stage do appear remarkably close - sound was also spot on and every word was crystal clear - what I hadn't banked on was how cramped it was up here - I'm 5 foot 10 and my knees were pressed right up against the back of the seat in front - luckily there was no one sitting to the right of me so i could twist myself a little bit so my legs got a little rest or I had to place my knees in the V's where the seats met each other in front - it was also very hot."
“F20 and 21: “Come From Away” (February 2019). Sat in the Dress Circle for the first time - got row F 20/21 for £39.50 each on TodayTix which seemed to compare well to standard prices. A good view, legroom not too bad (not as cramped as the upper circle in the Phoenix) but a bit more leaning from side to side was needed to see round a couple of larger people in rows E and D. The show seemed to sound slightly different in terms of mix/balance from there too (versus stalls or upper circle). Overall the seats were good but given the upper circle is cheaper I’d probably pick seats up there again as I think looking down from the slightly greater angle enhances the view of the choreography. To get the full effect of that though, either circle is definitely preferable to the stalls.”
"G6 to 9: The view of the stage was very good indeed."
"G19 and 20: "Once" (May 2013). The view is excellent: the rake is just right to ensure a clear view over anyone in front of you and far enough back to avoid guard rail issues, but still close enough to the stage that the actors are real human beings. But the lack of leg room is a real issue. In G20, at 5'10" (with shortish (29") legs), my knees were right up against the seat in front. My wife (5'1/2") found in G19 that she had barely any room as the opera glasses were taking up additional space. For the second act we were able to move further down row G to the aisle seats (G15 and 16) and there was notably more room. This takes you a little away from the centre of the stage but not by much and the added leg room was a real benefit."
"Row H: (Rob). Good view, but very little leg room."
"H 7 and 8: (Alan). Great view."
"K15 and 16: "The Exorcist" (December 2017). Only £35 each, but absolutely fine. Good, clear view of whole stage marred only by a slightly irritating lamp attached to the overhanging Grand Circle which obscured our view when the action was at the very top of the stage... nothing to worry about, though. I'd book these seats again, no worries."
"K17 and 18: "Come From Away" (March 2019). These seats were fairly reduced because a little far back but the view was clear and because it’s back row of dress circle, you can lean or sit as high as you like. Pretty good value."
"K28: Didn't miss anything right at the back in the corner! The Phoenix has really good sightlines in the dress circle. Would be worth considering the back row just because it is cheaper."
To the side of the stage, between circle and stage arch opening.
Acceptable as movable chairs are used.
Both boxes normally have similar views – only set / staging may cause one to be better than the other.
Worth taking for legroom over circle seats, if cheaper.
Box C can accommodate a wheelchair. Preferable for comfort, for transfer users, to Dress Circle row A..
A tenth of the nearside stage is not visible.
Lights and / or speaker fittings may be nearby.
One reader felt very “on show” sitting here.
C is sold first to wheelchair users. Fair when they are, feels the monkey.
"Box B: “Blood Brothers,” (Ali and Andrew). It had a good view of the stage, and we agree with Monkey’s opinion you lose about 1/10th stage. We were lucky to keep the side of the stage where a lot of the doorstep action took place, so I would recommend booking the right side of the theatre over the left. The boxes themselves were strange in how open they were with a low edge, and it was somewhat exposed as opposed to other boxes we had been in. That said, for comfort, it was lovely."
The Upper Circle is called the "Grand Circle" in this theatre.
Not too high above the dress circle.
Divided into two blocks by a central aisle.
Cramped in all seats, very poor in row A.
If prepared to accept the metal posts or a side view, rows B to J seats 1, 14, 15 and 28 are on the aisle allowing one leg to stretch.
The front rows feel pleasantly close to the stage.
The curve of the circle makes it worthwhile to choose seats 4 to 24 ( but not 14 and 15) first in all rows other than A, just to ensure the best view possible.
The only truly poor seats are row A numbers 1 to 3 and 28 to 30. These have a restricted view of the corners of the stage due to their position on the ends of the curve of the circle.
The rest of row A misses a high “value” rating because it has almost no legroom available.
Other rows at lower price offer fair value, pick B to D first.
Rows B to D (excluding seats 14 and 15) offer excellent viewing and value at the price, lack of legroom being the only snag. Despite posts in view, pick 14 or 15 first for the central view - it is worth overlooking the post problem for comfort.
All rear rows offer good value. Even if these feel a little far from the stage, a good rake ensures a clear view.
If rows G and H are a price above row J, then take G over H, or go for bottom price row J - similar view for less cash.
A metal bar runs along the front of this circle, slightly intruding on the view in row A.
Double height bars at the end of the centre aisle annoy patrons sitting in row A seats 15 and 16 and Row B seats 14 and 15.
Metal posts are sited beside all seats on the centre aisle. Avoid seats A 15 and 16, and seats 14 and 15 from row B back, to combat interference from these.
Row A is cramped, but discounted to fifth (fourth Thursday to Saturday) price. If you can accept the legroom, it's closer than E and F, and even the outer ends of B, C and D (Monday to Thursday) for the same bananas, but everything other than A has a couple of extra inches of leg space. Interestingly, B 13 to 16 are the same price due to the rail in view and will give a bit of legroom. Fair value, feels the monkey.
More expensive, B (except the aisle seats if a rail in view annoys you) and most of C and D at third price are very fair value, the monkey feels. Still cramped, though, but not half as much as the front row. Remember you can have comfy side restricted view ends of the front stalls, if required, for the same cash.
Monday to Wednesday prices drop in the centre at E and G, with some cheaper stuff at the sides in D and G as well. May as well take E over D, G over F, and J over H as the price drops significantly for almost the same view. J is very cheap and excellent value. You could also take G 1, 2, 27 and 28 to be a bit closer for the same cash.
Thursday to Saturday the drops are at E, G and J. May as well take E over D and G over F, as the price drops significantly for almost the same view. J is very cheap and excellent value.
"A 18: "Bend It Like Beckham" (June 2015). The upper circle of this theatre feels much closer to the stage than some of the other West End theatres – you still feel a part of the action happening on stage. You get a great view of all the choreography and for the current production the girl’s bedrooms are raised so you have a good view of the action happening there. There is a rail running round the front of the circle meaning I spent most of the performance leaning forward so maybe sit a row further back if you want to avoid this! I would recommend this seat over the two more central aisle seats as there is a double rail obstructing the view from these seats which would require leaning even further forward."
"A29 and 30: "Come From Away" (February 2019). A29 is good and A30 fine. We are both about 5'7" and had no problem with leg room. You haven't really got anyone behind so leaning is guilt free."
"B22: "Come From Away" (February 2019). A "Rush Ticket," and this time got offered Grand Circle B22 - which was what I was after as wanted to see the choreography from up there. I felt it was a better view than the stalls as could obviously see the stage floor clearly, plus the depth of the stage and how they used the revolve. I was worried about the leg room (especially with there being no interval to stretch legs), but was prepared to sacrifice comfort for price and view. As it turned out, even at 6ft, I thought it was OK. It's very snug up there and I was shoulder to shoulder with my neighbours. Once sat down and positioned it was best not to move, but I didn't have any discomfort in my legs thankfully. So I'd definitely sit here again."
"B22 to 24: "Bend It Like Beckham" (June 2015). These seats gave a really good view actually, particularly as they had seated nobody in Row A so until the interval we had an unrestricted view and there is key staging that takes place high up (the girls' bedrooms) plus the orchestra plays up high and there is narrow stage in front of them directly opposite the Upper Circle where some stuff goes on. Even when two girls came and sat in Row A after the interval, the rake is good enough you can still see all the action. And the choreography is so inventive you probably get a better view higher up. All in all, brilliant value for £19.50."
"B24: "Come From Away" (February 2019), (Mark). Felt surprisingly intimate! Great seats through TodayTix rush for £25."
"C 3 and 4: "Come From Away" (February 2019). I was offered tickets for just £15 via Today Tix and got C3 and C4 in the upper circle. An absolute bargain. These seats offer a perfectly clear view of the whole stage no matter who sits in front of you. You are looking down from quite a height but that enhanced the show as you can see the patterns made on stage during the dance routines. On the down side, the seats are well squashed in with precious little leg room so rate about zero for comfort. Just about bearable for this show as it runs an hour and a half with no interval so you're not in agony for too long!"
"C19: "The Girls" (February 2017). (I don’t normally sit so far up, but I was a guest). As the theatre website says, even the cheapest seats have good views and they are correct – this is admirable. No leg room - but the lovely gentleman in front of me, who had been dragged along by his wife, said he enjoyed the show so much that the unsolicited massage he was receiving from my knees was just an added bonus."
"E13 and 14: "Come From Away" (February 2019). Got rush tickets for Grand Circle E13-14, which was a bit annoying as I've seen great stalls seats on the rush before, but can't really complain for a second time visit at £25 each. The seats were fine. Legroom was cramped but having an aisle seat meant my +1 could stretch out, and I only have short legs. Got a nice view of the whole stage, but the only bit that was slightly more effective from up high was the choreography of the plane passengers. Definitely preferred rear stalls and would recommend them to a first time visitor who could stretch their budget a little."
"Row F: "The Girls" (February 2017). Very good value for £25."
"Row F: "Come From Away" (February 2019). Seats in the so-called Grand Circle (row F) have a good view but very limited legroom and fairly restricted width. I’m 5’ 9” but still found my legs pressed against the back of the seat in front. If you are double unlucky, you will also find there’s a pair of binoculars in front of you, which make a lasting and painful impression on the front of your legs. It’s about time London theatres revamped their seats to cater for 21st century people sizes!"
"G11 and 12: "Come From Away" (February 2019), (Bob Pickett). What a difference a seat makes. I was in G12. From there I had a great view (quite steep up there, helps you clear the heads of the rows in front), and despite the lack of legroom I was comfortable for the 100 minute running time. My wife was in G11... and had the opera glasses sticking in her leg. Space is tight up there, if you find your seat has glasses and you're not going to use them, ask the ushers if they can remove them for you."
"H1 and 2: Our seats weren't the best - one row from the back of the upper circle at the very right hand side - but with half the theatre being unoccupied we asked an usher if we could move nearer the front to which she agreed so we ended up on the superior row D, nearer the centre."
“J19, 20, 21: “Come From Away” (February 2019). Back row, central, mostly unobstructed view due to steep rake, reasonable legroom . Total bargain for £17.50 each, don’t really feel the need to sit anywhere else for this show as the staging is fairly simple and the stage doesn’t seem too far away to appreciate it.”
Total 1000 seats.
Guide dog sitter available. Occasional signed performances. Wheelchair access via a side door to the Dress Circle. Adapted toilet nearby Box C. Not single sex but private as only one wheelchair user is permitted to see at each performance. Hearing loop available. Fuller details from the theatre helpline on 0800 912 6971.
No food except Ice cream and confectionery.
5 bars; foyer, 2 Stalls, Dress Circle and Upper Circle.
7 toilets. Stalls 1 gents 1 cubicle, 2 ladies 3 and 2 cubicles respectively; Dress Circle 1 gents 1 cubicle, 1 ladies 2 cubicles; Upper Circle 1 gents 1 cubicle, 1 ladies 2 cubicles.
In December 2016, a reader wrote,
"Word of warning for ladies: the loos closest to the Stalls only have 4 cubicles (one of which was out of action on the day we went) and the queues were VERY long, not least because getting in and out of the tiny cubicles requires the skills of a contortionist. The one on the extreme left should be avoided unless you are particularly agile!"
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.
The Upper Circle is called the "Grand Circle" in this theatre.
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.
Tottenham Court Road - Northern (black) and Central (red) lines. Use the "Charing Cross Road" exit.
Turn to your right, with the Charing Cross Road itself ahead of you. Walk to the junction and turn left. Walk along down Charing Cross Road. Cross at the next crossing, and the theatre is ahead of you, to your right.
You will pass the Phoenix Theatre box office. For the theatre entrance, take the next turning on the left, Phoenix Street and the entrance is on the left.
19, 22, 24, 38, 40 and 176 all stop on Charing Cross Road.
Best chance of hailing one is in the street outside.
Great Russell Street.
On leaving the car park, change to the other side of the road turn to your right and walk towards a very busy shopping street. If you head up a quiet sidestreet, wrong way.
At the corner turn to your left, walk straight on past the Dominion Theatre. If you cross Bedford Avenue, wrong way.
Cross Oxford Street (the busy road ahead of you) and continue walking with CentrePoint office block to your left, continue on, and the theatre is ahead to your left past a row of shops.
Alternatively, try Newport Place, Chinatown Car Park. On leaving cross the road in front of you, Shaftesbury Avenue. The brown brick building to your right is the Palace Theatre. To get to the front of it, turn right and walk to the corner.
Walk on past the front of the Palace Theatre, crossing Old Compton Street and continuing past the St Martins School of Art you enter Charing Cross Road. Change to the other side of the road. The Phoenix Theatre is ahead of you.
The "Theatreland Parking Scheme" may be available at Newport Place, Chinatown Car Park. 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 cloakroom counter located just to the left inside the main Phoenix Street entrance. 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.