We tell you the seats to buy, which to avoid, and how to get them at the best prices

 

Playhouse Theatre

Northumberland Avenue, London WC2N 5DE 0333 009 6690

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

Buying tickets online

Ambassador Theatre Group, the theatre group's own website provide the service for this theatre.

Booking fees per transaction:
A £3.80 per transaction (not per ticket) fee is made.

About the show: Cabaret.

 

Other Online Choices (with genuine S.T.A.R ticket agencies): 
Ticket agencies offer an alternative way to buy tickets, with booking fees differing from those charged by the theatre box office itself. They may have seats available or special offers when theatres do not.

Ticket agency prices vary in response to theatres implementing “dynamic pricing”  - which alters prices according to demand for a particular performance. Prices stated here were compiled as booking originally opened, current prices are advised at time of enquiry.

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

TheatreMonkey Ticketshop

When the theatre does not have 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), charge £35 on £250 seats booking fee per ticket - moderate by agency standards, though higher than box office fees, 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.

Box office information

Telephone: 0333 009 6690
Operated by the Ambassador Theatre group's own phoneroom 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:
A £3.80 per booking, not per ticket, handling fee applies.

For personal callers or by post:
Northumberland Avenue, London. WC2N 5DE
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 THEATRE IS TRANFORMED INTO THE "KIT KAT CLUB" FOR "CABARET."

The whole stalls and both circles have been re-modelled, with seats on stage and table dining. The monkey provides "first look" details below, and welcomes reader comments as always to add to it.

 

Cabaret March 2022 cast
Amy Lennox and Fra Fee. Photo credit: Jason Hetherington.

The photo above shows the pair seated in the centre of row A of the stalls, with the four rows of tables shown. Behind the rail in the background is stalls row E. 

If booking via the official website www.atgtickets.com a helpful "view from your seat" box will open if you click on any available seat from the online plan.

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

Stalls

Layout

A low circular stage is in the centre of the auditorium, with two main seating blocks facing each other across it. Stage boxes occupy the other two sides of the room.

The front rows of each main seating block comprise tables and chairs, with normal theatre seating behind that. The normal theatre seats all have a ledge in front on which drinks can be placed.

Rows A, B, C, K, L and M are on a single floor level. Rows D and E, and N and O are raised around 5cm above them – these pairs of rows are on level with each other. All other rows are raised around 5cm above the row in front. All seats are off-set around 10% to help see around those in front.

Tables in rows A, B, K and L have free-standing movable chairs. Tables in rows C and M are small “half moon” affairs with chairs that have limited movement. Tables in rows D and N are similar, and the chairs are secured in position without sideways movement.

Rows F to J feel “enclosed” in their own section – row F 1 and 24 having an extra aisle entrance, all other seats are accessed via stairs at the back of the auditorium, and there are no aisles at the outer ends of rows.

Rows K to P are accessed by crossing in front of the boxes at the sides of the stage. Row P may feel a little claustrophobic for some prone to the condition, as it is in the back corner of the house.

Standing places behind row J have a padded bar on which to lean your back against / almost half-sit on for those of around 5ft 7 or so.

Wheelchair users are accommodated at tables at the front. 

The dress circle overhangs rows E and M. It does not restrict the view from any seat.
 

Legroom

Excellent in all seats, pretty much unlimited even in the proper theatre seats for those up to at least 6ft 5 or so.

Choosing seats in general

Bear in mind that with the very low stage and shallow raise between all rows, a taller person in front could affect view drastically... so could carelessly placed bottles on seat-front ledges, come to that.

With all tables on a single level and little means to off-set them, rows A and K are the best bet, then raised rows D and N. The monkey also liked slip tables A and B with nothing in front, for those splashing out on the catered option.

In the regular seats, it would be wary of rows E and O, directly behind tables, as a taller person in front could really affect views.

It would take row F first, then F to J, taking J over H for the same view, cheaper. For those wondering, row G does justify the extra money over H for being a bit closer to the stage in a quirk of design. 

In that section, its other advice is to maybe go two seats off the outermost ones in F to H, to maximise viewing angle and also to avoid claustrophobia for those prone to it in G and H.

Row P is equal to H in quality, feels the monkey and is also a fine choice.
 

General hazard notes

There is no re-admission if you have to leave during the performance, and it is particularly difficult to exit during the show from rows K to P.

SPOILER ALERT: rows A and K are close to the action... very close... SPOILER ENDS.
 

Changes for the current production

The theatre is a cabaret club, as described above.

 

A sound desk beside J 6 and 7 will bother nobody.

Readers comments

"B 5 and 6: (Table seats) - fabulous view of the stage and the surroundings. The stalls performance is in the round and all around so even if someone tall is sitting the front row, the view is excellent and it's great to feel part of the performance. Plenty of legroom and seats are reasonably comfortable...the show lasts nearly 3 hours. Aim to get there 30 mins or so before curtain up to soak up the atmosphere...free drinks (glass of schnapps, bottle of beer or water) are given to everyone on arrival...problem is with so many people drinking the queue for the loos in the interval are very long! No food served at this table which, from what we saw, probably doesn't warrant the extra cost. If your budget allows you to purchase these seats, you will not be disappointed."

"Row E: Before booking a seat in Row E, I would strongly advise that you refer to the guidance on this website about the possibility of disappointment in what, judging by the price, is supposedly premium seating.

In my experience, the seats in Row E are not good value for money - particularly when the price per seat can vary "dynamically", dependent on demand; up to £ 200!

Things to bear in mind before booking a seat in Row E:
Contrary to what might be inferred from the symbols used in the interactive seat selection diagram on the venue's booking system, "Row D" is not comprised of free-standing circular tables (which do exist nearer the stage). "Row D" is a continuous row (albeit with access gaps from Row E built in) which has small semi-circular ledge-like tables in front of pairs of seats.  

Row D is, therefore, very close to Row E; seats between the two rows are not staggered, neither is there an appreciable slope in the auditorium between them. While an attempt has been made to convert a Proscenium Arch Theatre to create the atmosphere of a Weimar Republic style club, these factors mean that, with even an averagely tall person sitting in front of someone in, say, seat E12, the view is seriously restricted.  This is not flagged on the venue's website and also means that the virtual visualization (which presents an empty auditorium as a preview of the view from your seat) is totally misleading.

If you find yourself in this situation, I advise you to complain to the front of house staff as soon as possible, even if that means interrupting your fellow patrons' entertainment; as, if you wait until after the show, the venue may claim that you could have been re-seated "on the night".  Also, the first half of the show is considerably longer than the second - so it would not be an effective option to move during the interval.

This may be advertised as "the best show in London", but there is absolutely no point in going to "see it" if you can't then see it!"

"F23: This proved to be an excellent seat, a perfect view of the stage, well raked, better than row E - which had table seats directly in front - and actual legroom, which was a real treat. As I get older my tolerance of folding into a tiny seat has got even less and this was roomy and comfortable.

There was a shelf in front to put drinks on so, unless you are desperate for the table experience, I really don’t feel it’s worth paying almost three times the price for sitting that little bit closer.

I also enjoyed being near the aisle where the cast came on in full character from the moment they entered the auditorium each time. Highly recommended. Being in the stalls is so immersive that I wouldn’t want to sit elsewhere for this production."

"G10: (Taljaard). Excellent."

"O1 and 2: Just behind the last row of tables, very comfortable seat, good view, plenty of leg room. The cast were coming and going from the stage right past me which makes it all the more intimate."

"O11 and 12: Have used your website for many years and in most cases found it extremely useful. But have to disagree with ‘seat rating’ for the above. We purchased Saturday evening seats for Cabaret for 9th April 2022 for £90 each directly from box office admittedly several months ago. Seat numbers were O11 and O12. These seats are fantastic and I cannot remember seating in normal central seats about say effectively 7 or 8 rows back in a normal setting without having once having to move my head to see the action. This really is a perfect view and the intrusion of any heads is not significant. We were between the gap in two tables in front so nearest ‘heads’ in any case would have been in row M but the view from all the seats in this row if not as perfect would still have been very good. I did not see anyone having to adjust their head position and looking around I believe all seats give a good view, certainly in the stalls and boxes anyway. Another plus is there is no-one behind you - so no ‘seat-kicking’ but in any case there is very good legroom in all seats in this row. By the way I’m 5ft 6in tall. Also noticed that the circle in front of us on the other side was very steep so suspect view from there would also be good. Hope this helps - but these seats definitely not a RED for value!" 
Editor's note: these seats are now £200, which explains the rating.

"P9: I won the lottery (first time entering!) and got seat P9 for £25, 3 hours before curtain. It was a great seat. Plenty of leg room, on an aisle close to one of the cast entrances, easy to access and plenty of breathing space. A comfy seat. I could see everything well, except for Sally Bowles entrance because she was up on a balcony and the overhang meant that she couldn't be seen. But it was about 30 seconds and there was plenty else going on on stage to look at."

Stalls Boxes

Layout

Boxes A and B are at stalls level either side of the stage. 

Both boxes have four seats.

Legroom

Acceptable, as movable chairs are used.

Choosing seats in general

The view from both boxes is unobstructed and at stage level.

The fourth seat is behind the front three and will probably have no view to speak of as it is recessed and not raised above the three in front.

The front three seats are fair value at second price or below. The monkey would take a front row stalls table first. 

General hazard notes

People walking in front of the box during the performance.

Changes for the current production

As the show is staged on all four sides, and the boxes are the only seats in that location, much of the time actors stand opposite each other - meaning that those in boxes will see the face of one but only the back of the head of the other.

This is sold with a dining package at a table facing the stage. Take those seats first unless wanting the privacy.

 

Readers comments

None.

Dress Circle

Layout

This is now in two areas of the theatre. The original dress circle, rows A to G, accessed via stairs from the main foyer and above stalls rows A to J. It is split into a middle and two side blocks by aisles from row D back.

The new section, rows H to L, is where the stage was, facing the original from the other side of the theatre. It is accessed from the stalls, via a narrow staircase beside rows K to P. Seats are in long continuous rows, curving around the stage. There are handrails at the ends of rows L to P, but they do not affect sightlines.

The Upper Circle overhangs rows A to G at row C; it does not affect views of this production. Rows H to L do not have anything overhanging them.
 

Legroom

Rows A to G maintain the original legroom. It is pretty comfortable for all but the tallest over 6ft or so from B back. The balustrade effect front of the circle provides at least toe-space in row A, and is suitable for those up to around 5ft 8 at least.

Rows H to L are comfortable in all seats for those up to at least 5ft 9.

Choosing seats in general

Both sections have their advantages. 

Rows A to G are slightly further from the stage, so that action taking place at the very front of it and in the main auditorium is slightly easier to see. Rows H to L may need to lean at times to see slightly beyond the lip of the main stage.

That said, the monkey is keen on all dress circle seats, particularly for the shorter jungle dweller prone to finding even slightly taller folk in front blocks their view. In that case, it would take H to L first as they are better elevated than row F back.

Prices drop at D, F and K. In this case, there is a difference in view, so you will not save by taking the row behind if that is important to you. Prices really do reflect views up here.
 

General hazard notes

Access to rows H to L may be difficult for those unable to negotiate a narrow staircase.

The rail at the aisle in front of row D may prove distracting from those seated in D 4, 5, 17 and 18 and E 3, 4, 16 and 17 in particular. Rails at the ends of row A will have no effect on views whatsoever.

The claustrophobic may find the centre of long rows J to L a little enclosed.

Rails at the ends of rows J to L should not prove an issue for anybody, and be aware that hanging lights present on arrival will not affect your view of the performance.
 

Changes for the current production

The theatre is a cabaret club, as described above.

The front of the circle has been built out slightly at the sides, with the orchestra split between what used to be the dress circle boxes on either side of the theatre. Those in the dress circle are thus at band level, in perfect place to admire their beauty.
 

Readers comments

"B13 and 14: Perfect seats. The stage for Cabaret is now rebuilt and situated in the centre of the stalls, with seating in the round. B13 and 14 are central and with the steep rake, and staggered seating, we had a completely uninterrupted view of all staging, even when people in front leaned forward - though this rarely happened as they also had a clear view."

"G18 and 19: (A View From The Stalls). As most people know, tickets for Cabaret can be prohibitively expensive so for the price paid I would consider these seats perfectly reasonable for the price. Comfortable with a good rake and more than fair leg room, these seats are in the back row of the Dress Circle, next to an aisle and within yards of the “Green” bar and a short stroll from the obviously newly re-fitted and spacious toilets. The low ceiling as a result of the upper circle is literally within reach when standing up so could feel a little claustrophobic for sufferers. These seats have a clear view of the main ‘in the round’ stage (albeit at a bit of a distance) and also the wonderful Orchestra. You obviously miss some of the off stage action and interaction at ground level but as those seats are up to 4 times the price of these you accept that."

"H3 and H4: (Josepha Murray). Expensive [£121] but I felt good value in the context of this particular show. It was clearly possible to spend much more eg boxes,  tables for two in the stalls. These seats are in the front row of an elevated section behind the stage. As the action is in the round we felt fully involved and definitely in the nightclub.. We had a full view of the stage and could appreciate the movement of different parts of it. The leg room would be cramped for tall people."

"H17 and 18: Not bad but you can't go to the toilet once the performance starts as you have to cross the stage to get to your seat."

Dress Circle Boxes

Layout

Either side of the stage at Dress Circle level. 

Legroom

Not in use.

Choosing seats in general

Not in use.

General hazard notes

Not in use.

Changes for the current production

Not in use, as they are filled with the (beautiful) orchestra.

Readers comments

None.

Upper Circle

Layout

Very, very high and steep above the dress circle.

It is split by aisles into a centre and two side blocks. Helpful bannisters run down each aisle. Some may use them as handrails, others may wish they could clip a safety line to them.

Re-modelling has left row A as it was, seats behind a balustrade. Behind, all other rows have been raised into private terraces, each with a tall wall in front to lean on. They feel almost like “slip boxes” – particularly those in the side blocks – with a long row of seats, wall in front and behind.
 

Legroom

Cramped in all seats for those over 5ft 5 or so, though rows B to D may allow a little “dangle” space from the slightly higher set seats. The seat closest to the aisle also allows one leg perhaps to move a little sideways.

The balustrade effect front of the circle provides toe-space for those in row A, but even those 5 foot or so tall will suffer here.

Choosing seats in general

All views up here are surprisingly good if slightly distant from rows C and D. You look right down onto the stage, missing only the very front lip of the stage closest to this circle’s side of the theatre.

Row A is a last choice. The view is surprisingly good, but row B has a slightly better angle and is comparatively more comfortable and is also cheaper.

Take rows B to D first, as central as possible. It is fine to go up to at least four seats off the centre aisle in rows B and C, and the two closest to the centre aisle in the side blocks of row D may prove manageable for folk willing to accept a very vertiginous view but unwilling to use the stairs to lower rows.
 

General hazard notes

Those even slightly prone to vertigo should not even think about sitting up here. Even if the height above the stage can be adjusted to, the walk down the aisle to every row except D is going to prove impossible for those prone to the issue.

Footwear should be considered up here. Heel stability could prove critical, feels the monkey.

Some may find seats furthest from the aisle claustrophobic.

Space may not be comfortable for the very largest monkey.

Seats C1 and 23 peer around a ladder and are worth missing.
 

Changes for the current production

The theatre is a cabaret club, as described above.

Most rows here have been removed and built over to leave just four.
 

Readers comments

"Row D: Sight lines very good up there, unlike when it was the shallow rake. Legroom for row D was fine, it did look tight in the sides of row A. You also kinda need to lean to get the best full view. When I booked the main concern was heads in the way/front of stage being cut off but it wasn’t at all. For the price (compared to the stalls/dress) it’s a real bargain."
__________________________________________

“C23: (also applies to C1, as the lighting is symmetrical). This seat is further to the side than the other rows in the upper circle, and the view of the stage is partially obstructed by a lighting 'ladder'. However, you can see almost all of the action by looking through or around it - and much of the action moves around the stage for both sides of the audience. However, you are looking down steeply on the stage, and the upper circle is not suitable for people with vertigo.

Because of the steep rake, there is a wall in front of each row (padded to lean on), with just enough room to get past another audience member to your seat. Leg room was adequate for me (I am 175cm).

General Comments on the Upper Circle:
The upper circle has four rows, which have been built over the original upper circle. The rake is extremely steep, with the feet of one row at the level of the shoulders of the row in front. The stage is relatively close, but you are looking down at an angle of 45 degrees. Each row has a solid wall in front, but these are definitely not seats for people with vertigo. The leg room is adequate, and you can (just) get get past people to you seat. 

Row C is level with the lighting truss, and row D is above it, but this is not obtrusive as you are looking down so steeply at the stage. Row C extends out further than the other rows, and the view from the extreme seats C1 and C23 is partially obstructed by lighting. The other seats have a generally good view of the stage - albeit from above. Some short scenes take place practically under the galleries at the sides of the stage that house the band, which might not be visible from seats towards the sides (choose lower numbered seats if you can).

SPOILER ALERT: The stage is around 600mm high. It has a small central circular platform surrounded by three rings. The platform and inner ring rise, by around 1.5m and 600mm respectively, and some of the key action takes place on the platform. It is possible that the heads of people on the platform might not be visible from the rear of the existing dress circle. The middle ring rotates, and much of the ensemble performance takes place on this ring - so it is visible to both ends of the audience - and this also overcomes some of the obstructed visibility. SPOILER ENDS.

From wandering around in the interval, it seemed that most seats on the 'front side' provided good visibility, apart from upper circle C1 and 23 (see above) and the extreme seats either side on the dress circle; these were slightly obstructed by the galleries for the band, which appeared to be widened from original circle boxes. I did not get to the 'rear side', but the visibility looked good (it should be, as this is newly constructed!). Overall, I thought that the staging provided good visibility of the action, and took into account the limitations of the venue."
____________________________________________

D 7 to 9: Back of the upper circle as the only affordable seats - thanks for the recommendation some time ago!! I like that each row has its own entrance and is very separate ensuring a clear view. That said, there were many steps to get up to the seats and I felt like a mountain goat perched on the side of the wall as the rake is so sheer. Good view though, you don’t miss anything, and we were all happy with the choice.

Notes best seat advice

Total 790 seats.

Air-conditioned auditorium.

Infra-red system covering the whole theatre. Guide dogs allowed in auditorium or dogsat. Large print information available. Wheelchair access is via foyer (cheers) Adapted unisex toilet in foyer.  Fuller details from the theatre helpline on 0800 912 6971.

No food except Ice cream and confectionery. Some table seats have full restaurant menu.

Four bars; basement, Stalls, Dress Circle and Upper Circle.

7 toilets; basement 1 gents 2 cubicles, 1 ladies 3 cubicles; Foyer 1 unisex disabled; Dress Circle 1 gents 2 cubicles 1 ladies 5 cubicles; Upper Circle 1 gents 1 cubicle, 1 ladies 2 cubicles.

www.atgtickets.com is the official theatre website.

General price band information

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

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

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

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

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

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

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

THE THEATRE IS TRANFORMED INTO THE "KIT KAT CLUB" FOR "CABARET."

If booking via the official website www.atgtickets.com a helpful "view from your seat" box will open if you click on any available seat from the online plan.

By value for money:

Playhouse Theatre value seating plan

 

By price:

Playhouse Theatre price seating plan
Notes

Some details may change, the monkey will update as available.


Please remember that the Upper Circle has a rail at the centre of the aisles, and that the Dress Circle has thick balustrades / rails in view - making seats behind them unsuitable for smaller people. Please read "Best Seat Advice" (click the tab, left) before booking if this is an issue.

 

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

-0.1256609, 51.5069106

Nearest underground station

Embankment - Bakerloo Line (brown), Circle Line (yellow), District Line (green), Northern Line (black).

Follow the signs from the platform to the exit into Villiers Street. On leaving the station turn left and walk into the covered area "Embankment Place" - it has a taxi rank and cafes on one side.

Cross to the taxi rank side of the road and keep walking. The theatre is on the corner at the end of the street, to your right.

Should you choose not to turn left on exiting Embankment Underground Station, you will walk uphill and find a sunken entrance to Charing Cross Underground Station . This is the wrong way, so turn back!

Buses

3, 6, 9, 12, 13, 15, 24, 29, 30, 53 stop nearby.

Taxi

A rank for Black taxis is at Charing Cross Station - a fair distance from the theatre. Best chance of hailing one is in the street outside or on the Embankment.

Car park

Spring Gardens. On leaving the car park walk into Trafalgar Square. Cross Whitehall, a busy street. Walk on and take the next turning on the right, Northumberland Avenue. The theatre is half way down this road on the other side of the road.

The "Theatreland Parking Scheme" may be available. See www.q-park.co.uk for details and to book. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost for entry after 12 noon and for a maximum of 4 hours (after that parking is at the normal rate).

If you choose the "Theatreland Parking Scheme", you must book in advance at www.q-park.co.uk and have a theatre ticket stub dated for a theatre performance on the day you are parking there.

For a full list of car parks and theatres that participate in the 50% off theatreland scheme see www.q-park.co.uk.

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