16 Denman Street, Soho, London W1D 7DY 0844 412 6666
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.
Alternatively, through Ticketmaster with a sliding scale of per ticket booking fees: £29.25 on £150, £17.75 on £95, £17.50 on £89.50, £14.75 on £75, £14.25 on £72.50, £11.75 on £59.50, £11.25 on £57.50, £10 / £9.75 or £9.25 on £49.50, £7.75 on £39.50, £7 on £35, £5.75 on £29.50, £5 on £25 seats. This system allows you to choose your own seats from the selection the company has available.
Telephone: 0844 412 6666
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:
Denman Street, London. W1V 8DY
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 a dedicated phone line: 0800 912 6971.
Ambassador Theatre Group is the official theatre owners' website.
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.
A full "view from your seat" facility is available when buying tickets from the official website at Ambassador Theatre Group.
The Dress Circle overhangs the stalls at row L. The top of the stage is not visible from row R back.
The stalls are arranged in a graceful curve, like a good banana (Mmnn, 'narnas - snack break. Back later - Theatremonkey) in front of the stage.
The rake (sloped floor to help see over rows in front) is noticeable from row E back. Rows Q to U are on steps at the back of the auditorium.
Seat K1 is nearest to the main auditorium exit, with further emergency exits behind seats U2 and 30.
Fine in all seats for most, decent in the middle front row, row P gets a nod for comfort; tighter in row O for the taller. Seat O1 in particular is cramped.
Seats B10 and 22 have nothing in front, J1 has nothing in front of 1/10th of it, K1 has nothing in front of 1/3rd of it, K30 has nothing in front of 1/4th of it, J29 only has 1/2 a seat in front of it.
For some reason the whole theatre is fitted with seats that have three sections to the back. The effect is to make you sit up straight and tip you back to centre if you slouch. This is how audiences survived 'Which Witch' that the theatre was cursed with housing in the 1990s. If you have a back problem, get an aisle seat to allow a quick exit if required.
Aside from avoiding the first and last few seats in rows CC to Q (because to see the edges of the stage requires looking sideways) Theatremonkey sits anywhere in these stalls.
Rows BB back to B do offer neck ache inducing views of the stage - especially with a two tier set.
Wheelchair users can take the "high end" number seats in row D. Not bad, feels the monkey.
Moving back, if he is picky the monkey chooses rows E to K first, but isn't over fussy, the rake is good for most, and the sightlines clear. The only ones to avoid are the ends of rows.
Rows M to O are second best at top price, being further from the stage for the same money. If you can accept a little less legroom, pick Dress Circle rows B or C before these seats at the same price.
Row P seats 7 to 23 offered value at second price, feels the monkey, but are tending towards expensive at top price. It would certainly skip R and S at top price too. Rather than these rear stalls, it might pick rows F and G Dress Circle first for the same money if legroom is not a problem - though the view is not much of an improvement.
That said, rows R to S, plus rows T and U (which are usually second price) are well worth a thought before taking Dress Circle rows J, K and L. In both stalls and Dress Circle you have an overhang cutting the top of the stage to contend with, but it is less a problem in the stalls - which are also normally cheaper too, feels the monkey. Legroom in the stalls is also better.
With rows T and U at a reduced second price the Monkey also suggests them over the Upper Circle for the comfort of those who are taller and don't mind being at the back. For children, the Upper Circle at a lower price may be a better bet, though, it feels.
The other rear stalls it would really avoid are those near the sound desk.
Seats in the first 5 rows at the extreme ends often miss stage action.
The sound desk location makes seats 13 to 20 in row S, and rows T and U seats 13 and 19 probably be worth a miss - those in row S most definitely so, according to reader Eric.
Two rows of "Can Can Tables" are placed between the stage and front row. Note that cabaret table seats cannot be purchased individually, you must by the whole table of 2 or 3 tickets. Rules apply to those seated here, see the official website for details.
The tables are tiny things, with chairs lined up against the wall facing the stage directly in a line like regular seats. Symbolic more than actually a true cabaret table experience.
The first row of tables has the stage running around and between them. SPOILER ALERT extensions move in and out to allow access to seating when the extra stage is not in use. SPOILER ENDS.
The next row has a stage in front. There is a wide padded rail behind them, then stalls row B.
The stage is high, so those in the front stalls should see over the tables in front unless someone tall is seated there.
Seats B10 and 22 have nothing in front. Seats B11 and 21 have a post in front but easily avoided with legs around it. There is toe-room if pushing against the curtain in front of row B (beware people disposing of rubbish behind the curtain and not cleared up, though). Suitable for those up to around 5ft 8 or so willing to accept it.
There's "package seats" in part of rows B and C, the rest of them or row O are best bet around the "premium" and "Super Premium" seats. On Friday and Saturday, row O - and add row P on "Peak" dates also go premium. Then, it really is a case of grabbing what you can near the front or beside premium seats.
Wheelchair users get a choice of seating at the "high end" sides of rows D, K and N, with a companion seat next to it.
Skip rows R and S, as you are a long way back. Rows T and U may not see the top of the stage, but at third price are a bargain, take either.
A sound desk beside seats T and U 13 and 19 should bother nobody, though row U in particular is set back quite deep beside it.
"(Jos). Half way back in the stalls has a fine view of the stage; there shouldn't be a problem with views from many seats."
"Stalls: "Jersey Boys" (2014) (Laurence T.) The best seats to go for are in the stalls, as this can be quite an intimate show if you are close to the stage. The experience of seeing the actors close up is a matter of choice but for Jersey Boys I'd choose the Stalls over the Circle any time. There are also cheaper seats available in the stalls row CC, for only 35 pounds, I'd go for these if you don't want to spend a lot but want to be close to the action."
"CC17: "The Lehman Trilogy" (June 2019). Marked as 'extra legroom' on the ATG website, good luck to people in normal legroom if that's the case. However, good view. Worth noting that actors are mic'd up for this show (sometimes performing behind Perspex so necessary) so people put off from sitting at the back due to audibility, don't worry, it will be ok."
"Row CC: "Jersey Boys" (2014). Day seats. The front row is really cool, I'm 6 foot and my eye level was above the floor of the stage, so it's a completely unrestricted view. Just quite full on!"
"Row BB: "The Lehman Trilogy" (June 2019). Front row has great legroom and good view of stage."
Row BB: When cheap (2010). "These seats, I have to say, I think are the most amazing front row seats I have sat in. They are so close to the stage, I love it! What's also good is that the Piccadilly is quite a small theatre when compared to others. When my brother came in he did not know what to expect of the seats, and he couldn't stop laughing as we were so close! I must say they are quite close together (and I heard someone behind me say that this theatre was the most uncomfortable she has ever been to) but I couldn't believe that one row behind they paid £55 whereas we paid £20 - FANTASTIC VALUE FOR MONEY."
“Row BB: The seats themselves were amazing, as another reviewer mentioned it was almost like a private showing. Compared to the other £20 seats (2010) - allocated at the very back of the theatre - it's unthinkable that they'd be in the same pricing category as ours. We had fears that the stage would be too high or the likes but they were absolutely perfect; even more so than the rows of people behind who paid an extortionate £55 per person. We even got a personal thumbs up and wink from Frenchie and Riz who clearly appreciated our enthusiastic applauding at the end, making it all the more personal."
"BB14: (Steve). Day seat (2010). For £20 you cannot complain, but you are extremely close to the stage and may experience slight neck ache from moving your head from side to side. Other than that though pretty amazing seats, you forget there are 1,200 people sat behind you as it feels like a private performance!"
"Row CC: (Brian and Lisa). (2010). It really was a little bit too close to the stage as many of the female actresses raise their chins whilst singing - so you constantly get a rather good view of nostrils and upper teeth! The funniest part of the show was had by those in the centre seating of the first 4 or 5 rows when the smoke machine comes on - let's just say we couldn't see each other let alone the stage! I would suggest that rows several back would be better."
"CC10: (Jersey Boys): Front row for only £28 GBP! I was delighted! Some of the action was obscured by the scenery, and you had to tilt your head up to watch some action on high platforms, but I'd much rather be close to the action. The limitations of the view were reflected in the price."
"CC21 and CC22: (2010). Not as bad as I expected - certainly not for the price. If you are a massive fan of Ray Quinn these are THE best seats in the house as he spends practically the whole show in front of these seats (my daughter was ecstatic!). As there are no seats directly in front you have as much leg room as you need. I do agree that you are looking sideways to the middle of the stage, however I would not avoid these seats if you can get them cheap!"
"A16: "Annie" (May 2017). Front row centre, day seat for £20. Enough legroom to sit comfortably, though not to stretch."
"A22: "Ghost", (Kirsty). Day seat price of £25. I was at the left hand side of the stage and the view was great. You could see how some of the effects were done from this angle; but for a second time watching the show, I loved it. The stage wasn't too high either, which is good. I only missed a few bits, SPOILER ALERT like when Sam has died - you can't see his body very well; SPOILER ENDS so you actually miss anything that happens towards the back of the stage but, as most action happens towards the front, it's not a big issue."
"Row B, C last 2 seats and row F: (Adele). Last seat and the view was slightly restricted to the left side of the stage at the previous show we saw"
"B 5 and 6: "Jersey Boys" (2016). Access Rate of £14 each. These seats are definitely restricted view due to the staircase on the right hand side of the stage, at times I was peering round the staircase to see the action on stage and at times it was impossible to see what was actually happening, do not pay price for these seats, they are good for return visitors though."
“B13 and 14: Fantastic seats... There were no problems with the view and you really do feel that they are performing just for you".
“B15 and 16: Good view of the stage and really central.
“B20: Excellent view - no neck pain (the stage is low), very comfortable."
"C3 and 4: Bought as £25 day seats. Slightly restricted. We moved to empty seats seats 4 and 5 about 5 songs in as they were empty and it was a lot better! Would avoid 3 and 4 at full price but for £25 as day seats they would have been alright."
“C14: "Ghost" (July 2011. Day seat (seats at this price are allocated at random for this show). For £25! I couldn't believe my luck, right bang in the middle! The rake meant that I had a great view. My row seemed to be about level with the stage, so I was able to see clearly with no annoying large heads in the way."
"D8: (KJ Hailes). Fine with good legroom and a high enough stage to see over people’s heads."
"D17 and 18: "Ghost" (July 2011). Excellent – as you would expect for £65 each plus a £5 booking fee. I’m 6 foot 1 and I must say that the leg room was probably the best I’ve experienced in London this side of a box or aisle seat. It is helped too by the seats in front being staggered, meaning no interference with your view."
"D25 and 26: "Ghost" (July 2011). I enquired about the cheap ‘day seats’. I thought that the theatre saved a particular row for this incentive but it turns out it’s on a ‘Best Available’ basis and my friend and I were offered seats 25 and 26 in row D (with the next best available after that being in the middle of row S – quite a difference, but apparently still a good view..!) for £50 altogether.
The seats were at the very end of row D - great as I could dangle my lanky legs out onto the aisle (accidently tripping up one of the ushers at one point, oops!). It also meant you were close enough to the stage to connect with the characters. But for viewing purposes it wasn’t so handy: a set of lights block a portion of your view - which can get slightly annoying, especially for scenes which happen towards the back of the stage (*SPOILER: Sam’s death, Sam’s funeral, Molly’s police scene, Sam taunting his killer and an impressive train fight.. impressive from what I could see, anyway*). I also felt extremely conscious that my tall frame was blocking the view for others sat behind me - I asked them but they assured me that this wasn’t the case. Because the seats were so far to the left, I feel I didn’t enjoy the impact of the stunning video visuals (even though many of the video screens used were duplicates to the one I could clearly see on the right), I can imagine that certain scenes would have been stunning to watch had I been sat somewhere in the middle (but we have to remember the price I paid for these tickets!)."
"E14 and 15: "Jersey Boys" (2016). For the access rate of £23.16, these seats provided an excellent clear view of the stage and the stage is not too high. Leg room is also very good from here."
“E15 to 17: (Denise Schult). This was a most enjoyable evening - we had seats in Row E 15 - 17 in the Stalls and it was certainly an excellent view with enough legroom for most. (View would have been even better had I not had a lady in front who insisted on moving her head from side to side, stroking her hair, fidgeting, leaning forward and turning around to look at the conductor on the cast screen - that is the only downside of going to a theatre - you can't pick who sits in front or behind you - shame)."
"E17 and 18: “Grease”. To my surprise these were excellent. There was a very good rake and the seats were all staggered - meaning that they weren't always directly behind each other but a bit off to the side - so you can see between the shoulders in front of you. I would recommend these seats!!!"
“E21 and 22: (Frances). Nice and close and gave a good view of the whole stage."
"E22 and 23: (Pip). Personally, they feel central and have a good view. You don't have to look up to see anything. HOWEVER, I wouldn't pay top price for them because they are slightly side and legroom is poor, although otherwise seats are comfortable. Sound can be too loud at times too."
"F6 and 7: "Jersey Boys" (2015). Great seats for value, up close to action. Miss out on part of the performance due to stairs structure on stage on the right hand side, very minimal though. Would prefer a more centred seat or on the left hand side but still good seats."
"Row F 17 to 20: wonderful view, and enough leg room to get up and dance"
"F19 and 20: "Grease" (Alison). Had an excellent view, and plenty of legroom. However, they are the most uncomfortable seats I can remember sitting in over many years of attending the theatre and concerts. The seats seemed lumpy, and it was just impossible to be comfortable. Not sure what can be done, but the Monkey's viewers might want to be warned. We did get a good deal directly from Ambassador Theatres (top price tickets half price)."
"F21: "Dirty Dancing" (January 2014), (Elena). Absolutely amazing! From this seat the view is wonderful and with a great legroom and a comfortable chair. It was the last Premium seat and I paid £65 instead of £95, it seemed to be on the stage with Baby, GREAT!"
"F27 and 28 (The ones at the end of the row): (Pip). I got these on special offer from Ticketmaster, so they cost £29 each at the time (not for "Ghost" July 2011). The actual price of £55 I think is a bit expensive anywhere in the stalls. I really don't think it's worth the price. I disagree with seats 27 and 28 being red, because I was surprised how close it was to the stage and how actually amazing the view is. You don't miss anything, you can see everything in the front and back of the stage."
"H8 and 9: (James F). The armrest were too high and irritated me during the performance (even though I'm 6 '1). I also found that the stalls are quite level so if someone tall sits in front of you, your view might become obscure.”
“H20: "Ghost" (June 2011). Perfect (and discounted).”
"J13 and 14: Thanks to Theatremonkey (although the raise is not that big and the man in front of us did have a very large head...)"
"J20 and 21: "Ghost" (June 2011). Very good seats with one reservation especially if these are bought at 'Premium' price (we didn’t pay this, luckily). Generally this or a row or two back are my ideal position because I like to take in as much of the stage as possible, but in this case, as I have said, one gets drawn into the story so much and you focus on the main characters so much that I felt it might be good to be a little further forward. One tip – in some scenes there is a sofa stage right / centre right that blocks one’s view of part of the back of the stage if you’re sitting left of centre in the stalls. A small amount of action happens there and given a choice perhaps sit right of centre rather than left. I am being picky here but if someone is going to pay premium price why not?"
"J22: "Jersey Boys" (April 2014). Got this seat for Sunday afternoon show from TKTS for £39.50 and the theatre wasn't that full. Seat was great and you can see everything. Leg room was fine."
"J26 and J27: "Ghost" (August 2012). The view from the seats was excellent with great legroom. Whilst they are not ‘premium seats’ you will not be disappointed."
"K14 to16: (Mila). Perfect view (wouldn’t have wanted to be much closer!)
"K20: (Sam). Excellent seat. Everything is great. If I am very picky though, I would want a little bit higher rake. I actually got this seat for only £30 for the show I saw (not "Grease" - ed), so it was Super Green lol! Agreement with the Theatremonkey’s assessment."
"K11 to K20: “Grease” (James – regular reader). Good rake and far enough from the stage to ensure a pretty clear view without straining your neck."
"L30: "Ghost" (July 2011), (Lorna). You get a fairly good view from this seat, even though it's end of row (and it has a nice space on the floor for all your London shopping bags). It's on the left hand side facing the stage which is a good place to be for the special effects and the sofa scenes. I wouldn't want to sit any further back and I think a couple of rows in front at J or K would be a great view."
"Rows L, M, N, O, P seats 4 to 11: “Ghost" (July 11), (Gill Gill – group visit). Everyone said they had a good view of the stage and saw all the special effects. All had enough leg room and no one's view was restricted by someone tall impeding their view. The only criticism was that the theatre is very warm as no air-con and the seats were under padded and therefore quite uncomfortable."
"M28 and 29: The theatre floor is sloped. The seats are staggered to give good view of the stage. A large person sitting in the seat in front should not restrict your vision."
"Row N: (Lizzie). Had a good view; however the seats, that’s another matter. The theatre has obviously been recently refurbished because the seats appeared newly upholstered but the floor is quite steeply sloping and you have this feeling that you are slipping forward on your seat all the time – noticed a lot of people wriggling to get comfortable - impossible. Makes you wonder if whoever designs these seats ever sits through a performance in them. "
"N17 and 18: "The Lehman Trilogy" (May 2019). Excellent view."
"Row O: "The Curious Incident of the Dog In The Night Time" (November 2019). Was sold a day seat at around 6pm - £18, row O stalls. Good clear view."
"O14 to 16: "Ghost" (July 2011). The seats were £65 each and the view was amazing. I felt as if the view I got was faultless and, from where we sat, we could see everything. This is the only theatre that I've been into that I can say the sound is 100% perfect and completely loud enough to fill the theatre. We were central in the stalls and I would say just behind mid way back and everything was perfect."
"P 21 and 22: "Ghost" (July 2011). Left of centre. Plenty of leg room but the seat tilted forward and could have been more comfortable and you are conscious of the circle overhanging although it did not obscure any action on stage. I did think that at times the orchestra was playing too loudly and even though Caissie Levy as Molly was belting out the songs I couldn't actually hear the words much of the time. The illusions are very well done and I agree that sitting nearer to the stage would be good for this show to study them more closely."
"P 21 to 24: "Ghost" (July 2011). Although the overhang from the dress circle is there, it does not spoil any of the show and you see everything. The leg room is amazing in this row as well. It also looks like they have sorted the sound level out that other reviewers have commented on, as you can now here the singing over the music."
"S25 to 28: "Jersey Boys" (April 2016). Pros: LOADS of legroom, I'm nearly 6foot, and I had a good 4 or 5 inches of space between my knees and the row in front. Straight on view of the stage, so the sides weren't cut off. Cons: The balcony overhang cuts off the top of the stage, so there were quite a few little details we couldn't appreciate as there's a few levels and screens used in the show. There's also very limited rake, so if you're short and get stuck behind a tall person, you're a bit out of luck. The face value of each seat was £59.50 and we had a deal for £25. I don't think I'd pay more than about £40 for these seats."
"Row U: "The Lehman Trilogy" (June 2019). Very back row of the stalls, but it was ok, as the stage was elevated, and there was nothing high. Full price, £35, a fair deal. Better seats might have made the performance more riveting, but I have nothing to complain about with my seats. The legroom was remarkable, and no doubt much appreciated by the very tall man in front of me. I would rather have had less legroom and been further forward (and away from the desk)."
"Row U: "Ghost" (July 2011). Day Seats" price. When first sitting down, I was quite disappointed because of the overhanging circles, which means that you see only the lower half of the stage. As it turned out, that wasn't a problem, since everything happens on the 'ground floor' and I felt sitting level with the stage due to the rake. However, I was way too far away for my taste."
Called the Royal Circle in this theatre
The Upper Circle overhangs the Dress Circle at row D, affecting the view from row F back.
The seats are on well stepped tiers, though it makes rear rows K and L feel distant in monkey opinion.
Most seats follow a curve inward towards the centre, but the first and last four in rows B to D curve slightly away from the front of the circle.
A bar runs across the front of the Dress Circle.
Audience entry is behind seat L1, with emergency exits beside A 1, A 24 and L 28.
Considerably improved by new seats in 2021, acceptable in all seats for those up to around 5ft 9 at least. Row A is included - legroom varies as the circle wall curves in and out a little, but no seat is cramped and the end seat either side on row A have a bonus inch or two.
Seat K14 is a centimetre or so further into the aisle than other seats, thus giving even easier access to knee room for one leg.
Rows B to D seats 1, 2, 27 and 28 have a tiny bit of extra legroom where the rows curve backwards from the circle wall.
Any seat here is worth considering, with a few things to think over, perhaps.
Transfer from a wheelchair to seat A 28 is possible – a reasonable view, better than the one from the side circle box alternative.
Choose A (or for a tiny bit more legroom) rows B and C are best, then D and E.
Rows F and G are worthwhile if all seats in the stalls as far back as row O at the same price have gone as they are slightly further away than stalls.
Rows H to K are pretty expensive for the view, in the monkey's opinion.
Rows J to L should not normally be considered unless you REALLY want to see the show and all the seats in the stalls at the same price and lower have gone. The low front of the Upper Circle above cuts the view of the top of the stage, and a peculiarity with the rake of the theatre makes these seats seem remote.
A bar runs across the front of the Dress Circle. It does not affect views.
The circle overhang and rake can make rear rows feel remote.
All seats have a good view of the stage, only the outer ends maybe seeing the side stages a little less clearly, but nothing to spoil the show.
Row A at top non-premium price is the best bet here if extra legroom is not issue.
Wheelchair users can use the "high end" of row A, with a companion seat next to it. Seats on that side of the theatre in rows B, C and D are also considered "accessible" for those able to walk a little.
The back row is second price at all performances and decent value - just expect to miss the top of the set. Maybe take third price rear stalls first if taller.
Skip rows H to K at all performances, a long way back for the cash. Row H at "Peak" date shows is really pushing it at premium price, notes the monkey.
"A1 and 2: "Ghost" (July 2011). We’re surprised they aren’t rated as ‘obstructed view’ for this show. We couldn’t see the top of the fridge, where action takes place, and also couldn’t see clearly the flat door where an important illusion occurs. For this reason we think you should consider rating them red on your website.”
"A10: "Strictly Ballroom" (April 2018), (Tony Loco). Having paid full price for A10 in the front row of the Royal Circle I was not happy to get such a restricted view of the front of the stage due to the safety rail in a dance show where so much of the dancing by the principals took place at the front of the stage. I hoped that I would get used to the obstruction by the safety rail but it remained a major annoyance throughout the whole show. Five along from the centre aisle so it is just the basic rail at eye level that obstructs the view for a person of modest height, as I imagine most women are. I should say that with the orchestra on stage, the front of the performing area had been built out forward of the proscenium arch over the orchestra pit which almost certainly aggravated the problem of the safety rail."
"B1: (Celia). Rather than sitting at the rear of the stalls I opted for this. Not a great seat, as the view was restricted and I couldn't see the action towards the back of the stage in some scenes. There were also some stunning effects, again I wasn't able to appreciate these fully because I was sitting too far to the side."
"B10: (Adam). Legroom was above average and the view of the stage was fantastic. There was a big problem with this seat however, that seemed to be caused by the angle of the backrest. When I relaxed into it I found myself looking at a point on the ceiling just above the stage. The only solution for this was for me to lean forward which was fine to start with but left me very uncomfortable for the last half hour or so. (Not something others reported before, but worth knowing for the tall (Adam is 6ft 2), felt the monkey).”
“B13 and 14: “Ghost,” (Chris B). These seats over a fantastic view of the entire stage and are close enough so you still feel part of the show. B14 has the bonus of being an aisle seat allowing you to stretch out if needs be but the legroom is more than sufficient anyway. I also didn’t notice the double height safety rail from B14 either, and it didn’t affect the quality of the view at all. I highly recommend these seats, especially as they are just outside of the premium section.”
"B20 and 21: "Ghost" (July 2011), (James – regular reader). Excellent! Gift, so didn't pay premium price, though."
"B22: (Jon) I was safely within one of Theatremonkey's 'Green Zones’. Above average leg room and a clear view of the stage meant I was happy."
"B25 and 26: "Death of a Salesman" (December 2019). Views were generally clear and good, though too much of the show was based at the far left hand side of the stage (as viewed from the seats) and some of this was a slight strain to see. Legroom fine for me at 5'11. Safety rail not an issue. Rake not as steep as I'd have liked. The head of the guy in front was noticeable but not really a problem, and he was of average height."
“B25 and 26: (Karen). Fabulous seats.”
“B25 and 26: "Grease" (August 2007), (Wayne). Excellent seats, excellent view and plenty of room, well worth full price."
"C7 to 12 and D7 to 12: “Ghost" (July 2011). (James – regular reader). Sat as part of a group in these. Excellent, particularly at the £45 group rate."...
“C27 and 28: “Viva Forever,” (Chris B). These seats offer a good clear view of the stage. They are however on the very left hand side of the stage, so you may miss the slightest sliver of stage, but nothing significant. C25 has the bonus of being an aisle seat allowing extra legroom if needed. Although there's ample legroom already.”
"D5 and D6: (James) A great view and could hear everything very well."
"D19 and 20: "Jersey Boys" (April 2014). All-round very good seats, ample leg room (I'm 6ft and large build,) and close enough to the stage to get all of the action. The rows are raked enough to see over even the tallest viewer and the Upper Circle is not an obstruction. For the price we paid, £39 per seat, we were very happy with value for money."
"Row E: "Death of a Salesman" (October 2019). I reckon the Grand Circle over hangs the Royal at row C or B rather than D. Also the seats in row E are strange. One of your reviews comments on it but they are quite kind. These seats are very low to the floor. Marginally less than the height of a programme(!), so you sit with your knees higher than your hips (unless you’re about 10 years old). It makes it somewhat uncomfortable. The leg room distance to the set in front is OKish but the seating angle is strange. I was in E24 which you say is £96 normal price (I paid £25). At £96 I’d have been very disgruntled. Have a look if you can, I wouldn’t mark these as fair value at full price, I’d mark them red."
"E5: "The Lehman Trilogy" (June 2019). Very good view and close to the stage (although for The Lehman Trilogy, I wouldn’t have minded being more central). Seat is very low to the ground, but decent legroom if you aren’t super tall."
"E11 and E12: "Ghost" (July 2011), (James). Excellent."
"E14: "Dirty Dancing" (November 2013), (John from the USA). Decent legroom and nice overall view, however I did feel a bit far from the stage. I don’t think I would have recognized any member of the cast if I bumped into them on the way back to my hotel, but there was no obstruction at all."
"F6: "Heartbeat of Home" (September 2019). Calling this the Royal Circle rather than the more usual Dress Circle does nothing to improve the legroom, which wasn’t great even for someone of only 5’6”. Not only were my legs feeling cramped, but the person behind was pushing their legs into the back of my seat – not because they were inconsiderate but because they had no option. The theatre is a delight, as are so many of our beautiful old theatres, but even for a show which lasted under two hours including interval it became pretty uncomfortable.
"F6 and 7: "Ghost" (July 2011), (James – regular reader). The view of the stage and sound is great from here. I didn’t have any problem with the overhang, but I’m only 5’7” so can imagine that it might start to be a problem for taller people. It’s of course better to be central but apart from missing a bit of the set in the corners, no action was missed here. Oddly though, having seen the production 3 times now, I think the effects and illusions used in the show work better sitting in higher number seats!"
"F27: (Alun). My seat, although only two in from the edge was not bad except almost no legroom (and I'm only short at 5'7''). Could see the sides of the stage quiet well"
"G9: "Strictly Ballroom" (April 2018), (Taljaard). Was upgraded from the top shelf to G9 in the Royal Circle. Great seat seats with a clear view."
"H19 and 20: "Jersey Boys" (2017). Day seats, so not full price. Pretty good view from up there.
"J1: "Annie" (February 2018) An excellent view of the stage as the seats are well raked. The faces of the actors could be seen clearly. However, I am 5' 10" and had to sit sideways in the seat, as the leg room was cramped. Fortunately I had opted for an aisle seat. This seat is normally £62.50, but I bought it as a day ticket for £20.00. I would definitely avoid the Royal Circle on a future visit to this venue."
"J 11 and 12: "Annie" (May 2017), (Carrie). Seats were not particularly comfy, air conditioning was variable, loos need an overhaul. My daughter is 5'10", she had an empty seat next to her, so could sit at an angle, we were relieved we hadn't taken her over 6' boyfriend with us (not that he would have wanted to go to Annie!) even for a 5'4" shorty like me, seating was a challenge. We did lose the top of the set in these seats, but no real loss as it didn't affect this production. View was pretty clear, apart from when the couple in front leaned romantically towards each other..."
"J 13 and 14: "Annie" (May 2017). Good view! Great view, actually,"
Either side of the stage between the dress circle and stage opening.
Rarely sold to the public. Wheelchair users get priority for use of this box, and tickets will only be released on the day of performance to other members of the public if a wheelchair user does not require the box.
Seat four, with two wheelchair spaces in box C if required instead of seats.
Acceptable as movable chairs are used.
Accept only after all other seats at around the same price have been sold, or cheap seating with extra legroom at Dress Circle level is required.
Wheelchair users should take the transfer seat in dress circle row A if they can, for a better view.
About an eighth of nearside stage isn’t visible.
Light and sound fixings may obstruct views / make the boxes noisy.
Not on sale, as an elephant is now in one, a windmill in another.
Wheelchair users have good spaces in the stalls instead.
Called the Grand Circle in this theatre.
The seats are on very steep steps.
Most seats follow a curve inward towards the centre, but outermost end seats in rows B to M curve very slightly back from the front.
Bars at the front of the circle, double height at aisle ends, and handrails at the ends of each row.
Bars run across the front of rows K, L and M, and curve beside the end seat in each row. They do not affect views.
Row M is on a raised plinth with audience feet resting on a bar if they cannot reach the ground.
Audience entry is behind M1. Emergency exits are found in the front corners of the circle by A 1 and 28.
Cramped in all seats except row M felt the monkey - though Chris May feels it isn't that bad for shorter persons.
Row A and seats 1 and 2 in L and M have least legroom, row D has about an inch or so more than others. The rest of row M, being raised, has "dangle" room for long legs.
Rows B to L seats 1 and 28 have a tiny bit more space as the circle curves back. In particular, B 1 and 28 have more than usual for one leg, and B 27 has a little more as well, for when there are two of you. The view isn't spectacular, though, with a double bar nearby.
A reader summarises,
"I'm 5ft 8 and was just about OK with the leg room, which was minimal, can't see how those 6ft and over cope and would advise them to avoid this area."
A very steep rake means that while rows A to E feel close to the stage, rows F back suddenly start to induce vertigo in the most susceptible hearts. Think about this first, before considering any seat here.
All seats in the Upper Circle usually offer a clear view of the stage.
For those who are taller, don't mind the overhang or slightly more expensive cost, and wish to be lower than Upper Circle level, the rear Stalls may be worth a glance. For the shorter or anyone wishing to skip the overhang totally, these are worth considering at second price or less. Row D is about right for view, or A for the shortest.
A reader rated row D seats 4 and 5 as better than row L (though more expensive of course!).
Like the Dress Circle the first and last seats in rows B to M gain a little extra legroom from curving away from the wall.
Rows K to M are often the cheapest in the theatre. Seats here do feel very far from the action, but are a fair budget option. Row M in particular is worthwhile for the taller, with its raised seat "dangle" room.
Bars at the front of the circle, and at the aisles at the ends of each row.
The circle is steeply raked. This induces vertigo in the susceptible, particularly from row F back.
All seats have a good view of the stage, only the outer ends maybe seeing the side stages a little less clearly, but nothing to spoil the show.
As a rule, the central seats back to row E (F or G at weekend and "peak dates" are second price. Good view - row C is the best best for height and avoids the leaning and lack of legroom in A, with luck.
Moving out to the sides, prices drop, so always look to see if you can sit one seat over for fewer bananas - the view is the same.
Monday to Thursday take F, H or L behind an expensive row in front - or E, H and L if they are using the alternative layout with lower prices.
Friday and Saturday, C, G, J and M are worth a look.
Peak Dates, C, H or K, plus L 7 to 3 / 23 to 27 or M 23 to 27 perhaps before the more expensive seats on row L.
At all performances seats out to the edges by the side aisle drop in price - you could get a side row A seat for the price of central row F, for example. This compensates for perhaps not seeing everything happening on the extended side stages. Since this means characters standing there (and not main characters either), the discount is well worth taking, particularly for those seeing the show a second time.
"A17: "Strictly Ballroom" (April 2018). Leg room not too bad here for the the front row (A17) of a Gods at my 5' 10". You are up high of course and entering from the back is quite daunting for anyone afraid of heights, but with a dance show such as this it gives you a chance to get a better view of the routines and the "patterns". Main irritation is a lighting rig across the front of the circle which obscures the very front of the stage. A slight lean forward compensated for this.
In Strictly Ballroom, some characters spend their time up on a high gantry and from this seat all you can really see is the feet. That said they are not really integral to the plot at that point and are just standing around watching the action unfold — very Follies influenced the direction of this show.
Anyway, although I wouldn't choose this seat, it didn't in its self spoil my enjoyment."
"A19 and 20: "Grease". Unfortunately a safety/hand rail along the top of the balcony restricts the view of the front half of the stage and means that you have to sit forward in order to get a good view. The people sitting in the seats alongside us also complained about this."
"B10: "Ghost" (July 2011). I paid £22.12 per ticket through an online promotion. At 6ft tall I thought the legroom was OK and not uncomfortable. The seats are not very well staggered with the row in front but the steep rake makes up for that. There is a bar on row A which affects the view of people sat there and thus at times causes them to lean forward which has the effect of everyone behind them having to lean forward too in order to see clearly. Otherwise I had a very clear view of the entire stage and even being high up I still felt 'close' to the action for the most part."
"B19 to 21: These seats for Act 1 and then A19 to 21 in Act 2: We were able to move forward as at this matinee show, It was a pretty empty upper circle. We got these seats for £15 each from the GILT offer and we nabbed £45 seats at a very cheap price. These seats were great and provided a full view of the stage, But I wouldn't have wanted to sit any further up the Upper Circle as I can’t help but guess that the view would probably be quite bad."
"B24: "Ghost" (July 2011). Got at a discount, proved to be an excellent seat with unhindered sight lines, even when one of people directly in front of me started leaning forward towards the end of the show. The upper circle is vertiginous, though."
"C14 and 15: Were a bit obstructed, as the show came to the front of the stage, by the 'bar' in front of Row A. Also the bars in the aisle caused some obstruction too, so if you were going to the Grand Circle, I would suggest a couple of rows higher and a few seats in from the aisle if most of the show is performed central to the stage.”
"D8: "Ghost" (July 2011), (Paul). Had a fantastic view of the stage, the rake enables you to see over the heads of those in front – and Row D and E are probably the best of the bunch in the Upper Circle. They actually feel close to the stage, but you are obviously looking down on the stage. The brilliant illusions lose none of their effect from this view and facial expressions can be made out from here. I do feel, however, that £45.00 is rather a little greedy in the pricing."
"D13 and 14: "Strictly Ballroom" (April 2018). I wanted to bring something to your attention so you can warn your readers. As they were band C tickets, I was obviously aware that the view would be distant and I am used to getting what you pay for in regards to tickets!
HOWEVER, the seat D13, which was on the aisle ,was the most appalling view I have ever had. It was not sold as restricted view, but as the stage has been built out further than usual and a lot of the dancing and acting takes place towards the front of the stage, I was unable to see a considerable amount of the show due to the tall hand rails on the end of each row of seats.I rang ATG tickets (who also own the theatre) mainly to inform them that the seat in future should be sold as restricted view, but they have responded that the Production Company manager insists that the view from either of the seats is perfectly fine!!
I am continuing now to argue my case as I feel very strongly that I was sold a ticket under false pretences. So please warn your readers to avoid at all or any cost the seats on the centre aisle of the grand circle. I suspect that from a few seats in from the aisle the view is as would be expected for Band C tickets, but probably still quite poor due to the stage extension as previously mentioned."
E5 and 6: "Ghost" (July 2011). Seats are very small and hardly any leg room. Quite steep and high up but could see the whole stage."
"E 15: "Ghost" (July 2011). I was a little bit huffy, because nobody told me that there is a safety railing next beside me! The railing was in my view but didn't bother me during the show. The sound was crystal clear and really loud. Sometimes quite a bit too loud for my taste (and I love it loud). You won't miss any of those wonderful special effects they created for the show. It's a fair price for a very good show, no one should miss."
"F9 to 12: "Dirty Dancing" (August 2013) (Jackie). It is quite a trek up to the Upper Circle and you enter at the top (by row M) it is very steep and an awfully long way down. Row F is the first row of the cheaper seats and I really can’t see how they can justify £20 more for rows A to E. Because of the rake we had an unobscured view of the stage, we could only see the bands legs but didn’t miss any of the action, and being so high had a really good overview of the choreography. Judicious use of the opera glasses meant that some scenes could be viewed in close up."
"F12: "The Lehman Trilogy" (May 2019). Up lots of stairs and very high up in the theatre with steep stairs down to the seats. I had a perfect view of the stage at all times and could hear every word. However the theatre did get rather hot as the evening progressed - bring water."
"F17 and 18: (Chris May – regular reader). £30 and I say good value, great view of the whole stage nothing missed at all and leg room is decent. Only drawback is its blooming' warm up there!"
"H8: "Ghost" (July 2011). A great view overall, though I had to lean to the side as the person in front directly of me blocked the action during the pottery wheel scene (yes, that one, the one everyone knows even if they haven't seen the movie). No trouble with anything not on the VERY front of the stage, though, and none of the special effects are ruined due to the angle. The sound during previews was clear during the dialogue but had some mix issues leading to some indecipherable lyrics during ensemble numbers and the cast sounded overamped in general during the songs. Absolutely worth it if you get a discount (I paid £15 using a preview offer), not sure if I'd be as pleased if I'd paid the full £35."
"J22: Good seat, could see everything clearly, height didn't really have an impact on the show."
"J23 and 24: "Jersey Boys" (April 2015). We went on a Thursday night when the theatre was half empty so that may affect my opinion of the seats. J24 was positioned perfectly between the 2 seats in front so I could see between the 2 people without any problem but there wasn't anybody in front of them for several rows. My daughter in J23 felt that the person to the left in front blocked her view when the performers were left front of the stage (only a couple of times) and she moved over to J22. Leg room was fine for us 5'4" people, but the seats weren't the most comfortable. The only disadvantage I could see was that there were some screens at the back of the stage right at the top and we couldn't see them, but they weren't vital in the show. The music at the very beginning was so loud we couldn't hear the singers but that settled down after a few minutes. I'm glad I didn't go for more expensive seats as these were fine."
"L14: "Ghost" (June 2011). I was really pleased with this seat (apart from it not having much padding and made my posterior numb!). A good view (you can just about pick out the actors’ facial expressions without a telescope!); obviously looking down greatly - with only very slight obscurities where the safety bars (which are split) infringe into the line of vision to the left - but this really does not cause much of a problem. Average leg room, being 6ft 3,” but much better being end of aisle."
"Seat L15 (before the spotlight was behind it): End of row, cheap seat, OK but had some younger person with gelled spiky hair in front, otherwise passable."
"L17: You're right about the rake inducing a bit of vertigo. The stage seemed distant and I didn't catch all the words but the music was loud and clear, and I felt a little smug thinking I had paid £10 less than those sat in the next row down. I'm 5ft 8 and was just about ok with the leg room, which was minimal, can't see how those 6ft and over cope and would advise them to avoid this area."
"L22: "Ghost" (June 2011). For this production, which is filled with projections, this offers a really great view of the stage action. None of the illusions (except some in the subway sequences) were obstructed or lacklustre on this level, and the strength in the physical movement of the actors and scenery is all clearly viewable. Plenty of legroom for the 6-ft tall fellow. I find that there is zero reason for anyone to be leaning on the Grand Circle for a better view (which always hurts the view of those behind), so do not be afraid to tell someone to sit back, as they'll actually get a better view if they sit up straight! The rake is perfect!"
"Row M: "Ghost" (June 2011). Clear view but you lose so much from that back row with regards to the emotional connection."
Total 1200 seats.
3 wheelchair spaces in the stalls on the "high numbers" ends of rows D, K and N, with good views - take D then K then N. A lift at the Sherwood Street entrance is used. Accessible toilet next to the stalls lift and next to Box C in the dress circle. Transfer possible to row A dress circle, level access available. The backstage lounge is wheelchair accessible.
MobileConnect WiFi sound amplification system connecting to a smartphone via headphones or necklace. Equipment can be borrowed at the theatre or downloaded to the user's own phone. Induction loop necklaces can be borrowed, to be used with a "T" switch on the user's hearing aid. Headsets are available for users without a hearing aid. Guide and other assistance dogs are welcome.
Full access details are available from Ambassador Theatre Group on 0800 912 9671. A "Visual Story" and Access Guide are available here.
Food: Ice cream and confectionery.
Four bars. Two Stalls, Dress Circle and Upper Circle.
8 Toilets. Stalls 1 gents 1 cubicle, 3 ladies 3, 2, 2 cubicles respectively; Dress Circle 1 gents 2 cubicles, 1 ladies 3 cubicles; Upper Circle 1 gents 1 cubicle, 1 ladies 1 cubicle.
Note that bars and toilets get busy, but the show won't start until lines are cleared.
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.
Monday to Thursday "Off Peak" performances (prices run according to demand)
Friday and Saturday "Off Peak" performances
Peak Date performances
Note that cabaret table seats cannot be purchased individually, you must by the whole table of 2 or 3 tickets. Rules apply to those seated here, see the official website for details. The monkey will rate them when details are available.
Monday to Thursday "Off Peak" performances (prices run according to demand)
Friday and Saturday "Off Peak" performances
Peak Date performances
Note that cabaret table seats cannot be purchased individually, you must by the whole table of 2 or 3 tickets. Rules apply to those seated here, see the official website for details.
The Dress Circle is called the "ROYAL CIRCLE" in this theatre.
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.
Piccadilly Circus - Piccadilly (Dark Blue) and Bakerloo (Brown) lines.
The escalator from the platforms ends in a large circular underground area.
After leaving the barriers, turn left and walk round until you see the sign "Subway 4" (and ladies' toilets!). Walk under this sign into the subway and climb the stairs ahead of you.
At the top, you face a pedestrian plaza of beige flagstones. Looking ahead you see shops. Turn left instead. Walk on towards the large triangular white building facing you. Walk down the RIGHT hand side of it (the old white stone gives way to a modern brown glass and concrete building) and you should already catch a glimpse of the theatre on the right. If you look ahead, you also see a tiny ornate bridge over the roadway. Walk towards either object, and the Piccadilly Theatre is ahead of you before you get to the bridge, to your right.
3, 6, 12, 13, 14, 15, 23, 53, 88, 94, 139, 159. To Piccadilly Circus or Shaftesbury Avenue.
A rank for Black taxis is at Charing Cross Station - a long distance from the theatre. Best chance of hailing one in the street is to walk down Denman Street on to Shaftesbury Avenue.
Newport Place / China Town Car Park is also close.
The "Theatreland Parking Scheme" may be available at this 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 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.