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Prince Edward Theatre

Old Compton Street, Soho, London W1D 4HS 0844 482 5151

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

Buying tickets online the theatre group's own website provide the service for this theatre. also sells tickets.

Booking fees per ticket:
A £2.50 per ticket fee is charged from both sources.

About the show: Mary Poppins


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

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

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

TheatreMonkey Ticketshop

When the box office does not have seats available, or you require an alternative choice of seats, the Theatremonkey Ticketshop, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), agency can offer seats. SAMPLE PRICES INCLUDE: £35 on £175, £27 on £135, £17 on £85, £15 on £75, £10 on £50, £9 on £45, £8 on £40, £7 on £35, £6 on £30, £5 on £25, £4 on £20 seats. PRICES VARY DAILY, AND THE SYSTEM WILL CONFIRM EXACT FEES AT TIME OF TRANSACTION. More than the box office, but well worth trying as it often has tickets when other companies do not! 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.

See Tickets

Another alternative is SAMPLE PRICES INCLUDE: £35 on £175, £30 on £150, £27 on £135, £25 on £125, £17 on £85, £15 on £75, £10 on £50, £9 on £45, £8 on £40, £7 on £35, £6 on £30, £5 on £25, £4 on £20, £3 on £15 seats. PRICES VARY DAILY, AND THE SYSTEM WILL CONFIRM EXACT FEES AT TIME OF TRANSACTION. A £2.75 per booking, not per ticket, transaction charge applies at all performances.



Ticketmaster SAMPLE PRICES INCLUDE: £34.25 on £175, £29.25 on £150, £26.50 on £135, £24.50 on £125, £16.75 on £85, £14.75 on £75, £9.75 on £50, £9 on £45, £8 on £40, £7 on £35, £6 on £30, £5 on £25, £4 on £20, £3 on £15 seats. PRICES VARY DAILY, AND THE SYSTEM WILL CONFIRM EXACT FEES AT TIME OF TRANSACTION. A £1 handling fee for your booking on top of that. This system allows you to choose your own seats from the selection the company has available.

Encore Tickets

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom). SAMPLE PRICES INCLUDE: £34 on £175, £29 on £150, £27 on £135, £24 on £125, £17 on £85, £15 on £75, £10 on £50, £9 on £45, £8 on £40, £7 on £35, £6 on £30, £5 on £25, £4 on £20, £3 on £15 seats. PRICES VARY DAILY, AND THE SYSTEM WILL CONFIRM EXACT FEES AT TIME OF TRANSACTION. A postage charge of £1.45 per booking, not per ticket may be applied to bookings made from UK addresses more than 5 days before the performance. 

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

London Theatre Direct SAMPLE PRICES INCLUDE: £35 on £175, £30 on £150, £27 on £135, £25 on £125, £17 on £85, £15 on £75, £10 on £50, £9 on £45, £8 on £40, £7 on £35, £6 on £30, £5 on £25, £4 on £20, £3 on £15 seats. PRICES VARY DAILY, AND THE SYSTEM WILL CONFIRM EXACT FEES AT TIME OF TRANSACTION. There is a £1 per booking, not per ticket, transaction fee for collecting tickets from the box office before your performance. Alternatively, if time allows, there is a postage to your home option, costing £2.95 (£4.95 to non-UK addresses) per booking, not per ticket. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.

Box office information

Telephone: 0844 482 5151
(020 7812 7498 if you cannot use the 0844 number)
Operated by Delfont-Mackintosh Theatres. At busy times / outside working hours - 9am to 8pm, See Tickets may answer on behalf of the venue.

Booking fees per ticket for telephone bookings:
£2.50 per ticket.

For personal callers or by post:
Old Compton Street, London. W1D 4HS
No booking fee for personal callers. By post the usual £2.50 per ticket booking fee applies.

Special Access Needs Customers: 
Wheelchair users and other registered disabled theatregoers can book their seats and enquire about concessionary prices that may be available to them on 0344 482 5137. is the official theatre website.

Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference. has a "view from your seat" facility. Choose any performance date, click on a seat in the seating plan and you will get a view. Click on the photo to enlarge and it allows the camera to pan around the auditorium as you wish.


  • Stalls
  • Stalls Boxes
  • Dress Circle
  • Dress Circle Loges
  • Dress Circle Slips
  • Upper Circle



The Dress Circle overhangs the stalls at row L, cutting the view of the top of the stage from row S back.

The stalls are split into front and rear sections by an aisle across the stalls in front of row L.

The front stalls rows B to K are arranged in fan shaped, long continuous curves. All seats are angled to face the centre of the stage.

The rake (sloped floor to help see over rows in front) becomes noticeable at around row F. Before that, the high stage does a good job of assisting sightlines. From row Z the rake is even steeper, helping the back rows.

Rows L to ZC are separated from the front block by an aisle in front of row L.

Rows from L to ZC are also split into a central and two side section by aisles. There are no aisles at the extreme outer edges of rows from L back.

The circle overhangs the stalls from row S, with side circle extensions overhanging from row L.


Good in all seats, best in row L which has an aisle in front - though a reader felt the seats being low made it less comfortable.

A reader also felt row E had a little extra too.

Reader Dave Butterfield notes of row F: “I’m 6ft 2 with an accompanying leg length. Leg room was found to be acceptable although not overly generous."

Row B 6 and 31 AND C 4 and 32 have nothing in front of them.

Choosing seats in general

Front Block:
If the stage is high, the front row is often discounted. In that case, these seats are NOT suitable for those shorter than around 5ft 8 or so, the theatre says. Everybody else will find them a bargain at a low price, though.

Theatremonkey nominates top price rows F to K seats 5 to 28 as best, but all in seats in these rows offer fair value at the very least.

Rear Blocks:
As usual with three blocks, insist on the centre block at the same price first. It is your money so get the best value you can from it.

That said, in all blocks, rows L to N offer fair value - equal to the front block. Row L has aisle space in front of the seats as a bonus. 

Again, in all blocks O to T are just acceptable at top price, rows U to X less so, being further from the stage and subject to losing the top of it to circle overhang. 

Added advice is to take the outermost seat from row O back last, as the architecture make these seats seem isolated from the stage action. A reader also noted that the boxes overhanging the ends of row R back also cut into views.

At third price rows Z to ZC offers more than adequate value and avoids the neck ache of similar priced day seats in front rows.

A sound desk in the rear stalls may make ZB18 and ZC18, plus ZA 13 to 18 second choice for purists particularly, feels the monkey. 

General hazard notes

Rows G to K don't seem to be offset as far as other rows to see around seats in front. In most rows, the seats are set so that they are half way behind each other - you look through the arm-rest gap of the seats in front. In G to K it seems more like a quarter of the way across.

Outermost seats from row O may find box overhang intruding into views.

Circle overhang from row Z cuts views.

Seats around the sound desk in the rear stalls centre block should be avoided purists.

Changes for the current production

The front row is A. The stage is high - above head height to someone 5ft 8 or so - and those in A to D won't see the floor. Those in the front 8 rows or so may also see rather more of the way the magic is done than some may wish. If you aren't keen on that, sit further back.

Both row A and most other seats are top non-premium price. Legroom is  row A is slightly less in 7 to 10 and 26 to 29, but those up to around 5ft 9 should be fine in the other seats - around 5ft 7 in the outer four.

Prices vary daily, but the monkey makes the following observations, based on the most common patterns:
Row B 6, 7, 30 and 31, C 4, 5, 31, 32, D 4, 5, 32, 33, E 2, 3, 33, 34, F 3, 4, 33 and 34 have been reduced to second price. Great value, you won't miss anything at all. Perhaps the "low numbers" side sees an inch more of stage, but it's negligible. Put another way, the monkey sat in B31, enjoyed the legroom and saw more of the show than it would seated behind somebody tall.

Central seats in rows F back to N are almost invariably "premium price" - your choice, feels the monkey, who would go for row E and the seats around them instead. Same view, less cash. Also "super premium" seats in the centre rows H and J. Regular price seekers can hug the edges of these or the centre of G is often not premium either.
Under the circle overhang, outer seats at the ends of row P back could be worth a look. The monkey would go for those in P to T first, then the seats closest to the "full price" ones in rows behind that, in order of which is closer to the seat rather than how far forward they are.

From W to Y, the outermost seats are even cheaper, with the next pair in a price higher. Either are worth a look, monkey would take the cheaper ones.
There's a 5cm gap between seats ZB18 and ZC18 and the sound desk next to them, so it isn't as bad as it could be, if you are not a purist and are happy to accept them.
Prices in the rear stalls ZB and ZC are third price. Outer seats under the overhang they may be, but no more than the upper circle, with more legroom - so worth it, it thinks. Monkey would go for central and centre aisle side block first, then ends W to Z then ends of the rows behind.

Readers comments

"Stalls: The stage is extremely high (hence cheaper front row no doubt). No orchestral pit, either, but enough legroom so you’re not facing a wall even though that’s what it feels like. It must be about four feet high… I needed to ask for a booster cushion! It’s a very steep look up and I would def. advise against front row (B) stalls. I did notice that in C you are looking between shoulders of B but it didn’t really matter as with such a high stage I don’t think B isn’t even a factor - you look right over their heads to see the high stage!"

"Stalls: “Mary Poppins.” Have now seen the show three times, once in the Dress Circle (which was OK) and twice in the stalls, must agree that the stalls are definitely the best value for money. We sat in row D in the stalls on the first occasion, and row E on the second. Certainly row F was the better of the two as it seemed to have more leg room and the view of the stage was far better."

"Row A: "Miss Saigon" (May 2014) (David Edwards). Got two seats - stalls centre front row. The front row is great as the stage is low, however seats to the left facing the stage would miss the first Ellen/Chris song due to scenery in the way. During the ‘Fall of Saigon’ you practically feel like you are on the roof of the American Embassy (and a great new hi-tech helicopter sequence)."

"Row A: "Miss Saigon" (May 2014). Front row centre tickets - the BEST choice. Amazing!"

"Row A: "Miss Saigon" (May 2014). Recommend £20 day seats for Miss Saigon - front row was awesome."

"Row A: "Miss Saigon" (May 2014). Front row day seats £20. Amazing view on the front row. Highly recommended, and great value. Almost as good as the view from the front row for Wicked."

A10: "Aladdin" (July 2016). Fantastic value for £20! Stage not at all high and not too far over to have anything block the view." 

"A13 and 14: "Miss Saigon" (May 2014), (Alex, January 2015). Brilliant seats for Miss Saigon. I love the show and these seats are particularly good - not only because they're £20 day seats, but because you feel so immersed in the action. There's no great need to see their feet (you can't from these seats), but everything in the show happens within 10 metres of you. Terrific experience."

"Row A 16 and 17: "Miss Saigon" (May 2014). Great seats, great view and plenty of legroom."

"A 18: "Miss Saigon" (May 2014). I didn’t mind seeing the conductor at work, the stage is high enough so he doesn’t block the view. The sound was a bit muffled, though, sometimes the voices got drowned in the mix and it was hard to understand the lyrics. But being close enough to see faces and expressions trumps any possible disadvantage."

"Row A 24 to 26: "Miss Saigon" (May 2014). "Now, for the big problem...and a warning: We were in A24 to 26. These ended up being obstructed view for the first Ellen song. There was a shack blocking the view. A23 could sort of see it. A27 was blocked. A28 to 30 - could see partial. While these are day seats, and some obstruction may be anticipated, people behind us in the full price 68 pound seats in both rows B and C were also blocked. The woman in B saw Cameron Macintosh at the interval and told him and he said it would get fixed. I don't know if it's been fixed or how it will be fixed. The first Ellen song is elevated in the centre - if they raise her up, then the back of the stalls are going to be obstructed. The shack is a certain height for other set reasons - so don't know how they will lower it. Also, the stage is lower than for previous shows. We had no problems seeing or straining our necks other than the Ellen/Chris scene. Well, the helicopter sequence had a little obstruction from the "fences" but not really. The guys in the box office said "it's not like Jersey Boys where you were looking up their nostrils". There is an orchestra pit as well, so there is some distance between row A and the stage." He later adds, "Back from our May 20th viewing. Show was better! But the obstruction in Rows A-C are still there..."

Row A 25: "Miss Saigon" (May 2014). "View was awesome! The stage isn't too high, so I still saw everything. It felt like you were in that world!"

A 24 to 28: "Aladdin" (July 2016). "Loved the view. Stage is low, so no neck pain, just enough legroom and very close to the action."

"Row A 29: "Miss Saigon" (May 2014). For the day rate of £20 (now opened) I think is great value. The stage isn't too high and whilst you are at the side there isn't much that is missed - the only missed scene is the 1st song of Ellen's where she is on a truck at the back of the stage and the view is obscured by another truck downstage but certainly didn't spoil the enjoyment of the show and only lasted a few moments. From the seat you get to hear the banter between the go-go boy and the punters in the Bangkok scene which is very well done and you actually felt as if you were there in a strip joint. A great evening and great seats - yes more central would have been better but would I sit there again - YES."

“Row B: The farther upstage the actors are, the more you lose sight of their feet and lower legs."

“Row B: "Jersey Boys" (April 2009). We appreciate that sometimes stages can be high and we felt this at 'Jersey Boys.' We could see from the knees upward and, although we have now seen it five times, would not sit in the front row but sit in third row back now."

"B1 and 2: "Jersey Boys" (May 2009), (Emma – regular reader). These seats are only £20 due to a high stage and had heard good things about them. Do not book these two seats. There is a stairwell over this side of the stage which blocks everything - I'm not kidding! The rest of the row could see fine (although you may need a booster seat if under 5ft 8 but the ushers are very good at giving them to you). I honestly could not see a thing unless the actors where right down the front of the stage. I was moved after about 10 minutes, but I personally believe the theatre shouldn't sell these 2 seats. The rest of the row is fine and great value for a top show."

“B3 and B4: Front row, but it does feel like you have your own personal orchestra, which can be slightly off putting at times, I did notice the voices did seem quiet in this row, and sometimes it was hard to hear what was being said... for the price row B is a very good choice."

"B15: I´ve got a stiff neck after the show, because the stage is really, really high; and for me (5ft 5 in) it was hard to get into the show because I couldn't follow the background action.. and I also wasn't able to see the band on the back of the stage! The row B seats are really cheap, and if you have no problem with not seeing the background action then they will bring you a nice evening in the theatre!
The actors are so close to you that you can touch their shoes or twinkle when they come on stage with the lifting platform!"

“B15 and 16: “Jersey Boys,” (Chris B). These seats are heavily discounted and advertised as ‘having to look up’ and they’re not kidding. The stage is quite high anyway, and with these seats being in the centre of the front row you do certainly have to look up. But that doesn’t detract from the enjoyment of a thoroughly entertaining musical. In fact for a few songs when they are singing at the front or just Frankie in the centre, it feels as though they are almost stepping on you, they’re that close. But you can easily see the whole stage and as the dancing is minimal, they are well worth it.”

"B 24 and 25: "Miss Saigon" (2014). People say there is some restricted view, but this is for one song and you don't really miss anything important. Other than that amazing view and despite sitting close you still get the full experience. You do have to look up, but nothing too bad."

"C11: "Miss Saigon" (February 2016). I loved the view from this seat, it’s almost right in the centre of the row so you can see the whole stage perfectly, and it’s close enough that you can see every emotion on the actor’s faces! It’s worth getting seats slightly off centre as the conductor stands in front of the centre seats and could block your view. Great legroom and a very beautiful theatre, I would highly recommend sitting here!

"C13 and 14: “Jersey Boys” (Bas). The stage was VERY high and as a result the view was restricted although we had paid full price. When the actors were in the centre stage you could only see them from the thigh up and our necks were craned throughout. I would suggest that if you usually like front stalls seats that you go for row F and back as you will still be close but see the full stage and not be looking up so much. However, on the positive with these seats when the cast were at the front of the stage you were incredibly close so could see all their expressions/spit etc."

C18 and 19: (Ali). The seats themselves were fine – good legroom, and wide enough."

"Row D: I sometimes felt like the fifth member of the group as I was swept along by the energy of the musical performances."

"D6: "Aladdin" (June 2016). A great seat for £25, day seat price."

"D11: I paid £35 through the GILT ticket offer (runs January to March each year). I'm 6ft tall and felt I had very good leg room. Being so close to the stage means you have to look up resulting in a slight neck ache, plus you miss the performers’ feet for most of the show and if they're further back of the stage, you miss below their knees. This didn't bother me too much because overall the view was excellent."

"D13 and 14: (Helen). EXCELLENT seats in the centre of the row and we had no problems seeing the whole show."

"Row E: "Jersey Boys," (Lizzie). The view of the stage was very good - we could really see the whites of their eyes. However personally I would have preferred to have been a few rows back as you do tend to look up most of the time and some parts of the set were a little more difficult to see being low down. Having seen 'Mary Poppins' in the Dress Circle (Row E) I would think this would be a good view too for this show."

"E 2 and 3: "Aladdin" (July 2017). I went to see Aladdin (great show) but would like to warn others than seats E2 and E3 look like they have nothing in front of them but actually the seats in rows C and D stretch to the end of row E.  Don't book E2/E3 if you think you're getting extra leg room/no one in front of you because this is not the case."

"E4: “Mary Poppins”, (Sam). Let me first say that the theatre is absolutely beautiful. This is very good seat, and the legroom is amazing. The best legroom I had ever. I think it would accommodate even NBA players lol. But because the stage is quite high you can't see the actors' feet. And it would have been better to be more central, and little bit further back. But I felt very satisfied with it. You are very close to the stage. The view is excellent, and you get to see the facial expressions very well. I got this ticket for only £30, so it was a bargain, but if you are going to pay full price then I believe the Theatremonkey’s assessment is accurate."

"E4 and 5: “Mary Poppins” (October 2005), (Richard Bradbury). Tremendous view and Mary flies over you at the end plus you get to watch all of her journey to the top of the theatre which was magical. You also get a spoiler as to how Bert does what he does in the second half."

"E13 to16: (PeaJay18). As others have stated, the legroom is more than generous. The staggered seating meant no one is sat directly in front of you. My only complaint (and it's minor one) was being that close to the stage meant that some of the effects lost a bit of their impact as you could see how they were achieved."

"E14 and 15:"Jersey Boys”. I could NOT fault these seats. The legroom was MORE than adequate for even the tallest person. It was so generous that you didn't' even have to get up from your seat to allow others to pass!! The general view of the stage cannot be faulted. The seats are central so you do not miss a thing. I think if we were seated any further forward we'd miss some of the action but I think Row E is perfect for the high stage. Warning...the stage IS high so you might want to avoid rows further forward than Row E. From our seats we could see every facial expression. We were that close we could see every bead of sweat on the actor's faces!"

"E18 and 19: "Miss Saigon" (May 2014), (A Oakley). Bought after reading reviews on "theatremonkey" and was certainly not disappointed, 5 rows from the front, dead centre; ample legroom and although there is no rake on the seating in the lower rows, the seats are staggered so you are looking between people's shoulders, an excellent view of the full stage, the only time I missed bits was from the occasional "bobbing heads" when the action moved across the stage."

"E25 and 26: "Miss Saigon" (May 2014). Nice and close to the stage – ample legroom and were very comfy too – I think E25 had a slightly better view as I could see right through between the seats in front, whereas E26 seemed to be less offset. Close enough to see Alistair Brammer's veins bulging in his neck when he was confessing to Ellen towards the end! As a little tip – I didn’t realise but on the official "Miss Saigon" website there is a tool that lets you see the stage from where you are thinking of sitting. Wasn’t there last time I looked, but it might give people a good idea of the view they will get from the area they wish to sit in."

"E28: "Aladdin" (June 2016). An absolute bargain for £20 as a day seat. Perfect view of the stage!"

"F3: "Miss Saigon" (May 2014). The lovely F3. A good £20 cheaper than its sibling F4. You will miss a few minutes of action on far right of stage but well worth the saving. F4 and F5 were empty so I moved along and not much difference (though would have seen stage left action)."

"F3: "Miss Saigon" (January 2016) – I think this is designated a restricted view seat but at a discount it’s worth the money – practically the same view as the full price seats a bit to your left, missing only a small portion of the right of the stage. The inside of the theatre is beautiful but it is rather large, so even row F feels a little distant. I’d choose restricted view seats further forward before the cheaper seats at the back just for the proximity to the stage. I found legroom here to be good and in general, this is just a lovely theatre to visit."

"F3 and 4: "Mary Poppins" (November 2019). We both thought they were excellent value being £30 cheaper than those next to us. You had a very good view of the stage only missing a little of the edge of stage left and I don’t think you missed very much of the action here. The equivalent applies on the opposite side of the auditorium. From row F you couldn’t quite see the floor of the stage but that didn’t really matter. One good thing I must point out was that both of our seats had excellent legroom and were quite comfortable. Definitely “green” seats in our opinion!"

"F8 and 9: "Aladdin" (June 2016). On a very humid evening. Have to say air conditioning was doing a great job, and, together with seriously good leg room, it all added to the comfort of a hot night. View was very good indeed, just near enough to view everything up close. Would certainly book those seats again although being more central even better."

"F15 to 18: Fantastic positions (and bags of leg-room - enough for people to come past without having to turn sideways and crunch up against the seat) not too close to the stage but close enough to see all the expressions and sweat!"

"F15 to 21: (Celia Robinson). Very good view of characters but ideally would have benefited from being three or four rows back to be higher and see the stage itself plus getting a better overall view of some of the special effects."

"F26, 27 and 28: (Dave Butterfield). Ideally I would possibly have been just one row further back but really you do not miss a trick – and there are many! I’m 6ft 2 with an accompanying leg length. Leg room was found to be acceptable although not overly generous, the pitch sufficient to allow an averagely sized under ten a good view, possibly with the aid of the provided (free) booster seats."

"F24, 25 and 26: (Silvia). We could see it perfectly; my 3 year old daughter too."

"F32: "Aladdin" (July 2017).  Not a bad seat. Couldn’t see left back corner of the stage, but nothing ever happened there, so no problem. Legroom was okay, I guess. I have a bad knee, if I can’t stretch my leg from time to time I get uncomfortable, as I did here. Other than that the seat was okay."

"Row G: "Aladdin" (July 2017). Row G was almost empty so we moved to the centre just before the show started and had the most amazing view (probably the best)!!"

"G18: Also a great seat; but if paying full price I would not want to be much closer to the stage, due to the height of it. For the access (disabled) rate of £20 it was a great seat."

"G18 and 19: Another excellent seat, plenty of leg room, comfy and great for seeing facial expressions. On another visit I sat in J28 of the stalls, these are right next to the premium seats. I do not consider the premium seats to be worth it. Book early enough and get close to them if you can."

"G21 to 23: (Avril). Excellent view. Plenty of leg room and heads level with the actors, so no stiff necks."

"G24 and 25: "Miss Saigon" (June 2014). Near perfect, lovely view and plenty of legroom."

"G32: "Aladdin" (July 2016). Clear view seat won through the lottery."

"H8 to H11: “Jersey Boys” (James – regular reader). The sound is good from here and a fair rake ensures a good view. However, I think it’s best sitting a little further back here as it’s a big stage and I felt a bit too close to fully take it in properly."

"H 9 and 10: “Jersey Boys”. Absolutely out of this world - bang on view and for this show I would highly recommend those particular seats. It felt as if the performers were looking right at us. WOW!"

"H22 to 25 and J22 to 25: “Jersey Boys”, (James – regular reader). Everyone in the group said the seats were fantastic – close enough to see all facial expressions and great sound from here too."

"H26 and H27: "Aladdin" (July 2016). They were expensive but it was my daughters birthday so we treated ourselves. I was a little surprised that there was no one to show us to our seats as in other theatres but its easy to find your seats anyway. Seats were brilliant with lots of legroom. Absolutely worth the money."

"H30: "Miss Saigon" (June 2014). At the time I bought it was the non-premium price tier. I see this may now have changed, which would probably slightly alter my opinion of it. In terms of distance from the stage it was perfect, close enough to feel part of the action, to see the intricacies of the performances, but far enough away to actually take in the whole stage in what is a very spectacular and visually impressive show.  At one specific point (‘I Still Believe’) I couldn’t see one aspect of the staging very well, which I was surprised at. The seat is almost perfectly level with the stage left end of the proscenium arch, and has a great view of a certain male dancer at a certain point, which I won’t spoil for anyone. Good legroom, not much of a rake but one isn’t really needed the way the theatre is laid out. This was a good seat for the price but I think if I was paying nearly £100 for it I’d prefer to be closer to the middle of the row."

H 31 to 35: “Mary Poppins” (October 2019). We sat in Stalls H 31-35 (as we needed an aisle seat). Legroom was a little tight but acceptable. Good access to the ladies’ loos! Not a great rake so a bit of head swivelling needed but nothing major.”

"Row J: "Jersey Boys”, (Steven). Bang in the middle has a perfect view of everything. So, first of all, go for this row if you can; you are not too close to the stage but not too far away that you can see all the facial expressions etc."
"J 7: Fantastic view. The time previous I was second off back row in the upper circle and you miss out on all the facial expressions and intimacy. Much better seeing it from the stalls."

"J26 and J27: “Jersey Boys”, (James regular – reader). Fantastic seats! Obviously it would have been better to be slightly more central but they didn’t feel too side on and it’s amazing how close to the stage row J seems. The sound was excellent from here too."

"J 28: I was surprised at how close I seemed to be to the stage - more than I would have expected in J row, and the rake was good at that point as well."

"J 30, 31, 32: "Aladdin" (June 2016). Day seats for £20 each. Great view of the stage, good legroom – for this price it’s an absolute bargain."

"Row K: "Jersey Boys," (Nicola Bourne). I had originally booked stalls row E but after reading that the first few rows had restricted view courtesy of a very high stage, I amended these seats to row K (premium seats) as I did not want to risk missing anything. Central seats in this row did provide the perfect view. However, once in the theatre, I realised that row E may have been OK after all. Certainly row F would have been fine and I’m only 5ft 1”! I would not want to sit any further forward of row E though."

"Row K: "Jersey Boys."  The rake was very good enabling a good view of the stage. It was surprising how many songs were familiar and the evening was thoroughly enjoyable."

"K 5 to 8: "Miss Saigon" (June 2014). I've never been to that theatre before and it was really disappointing. Great leg room and very lovely theatre, but having heads/seats directly in front of you is a real problem! Shockingly bad views, despite distance from stage. Seats are directly behind the seats in front (rather than between the gaps) so all downstage central area is obscured. Constant craning to left or right by everyone in the group. Very disappointing!"*

"K9 and 10: "Miss Saigon" (June 2014). I have to agree with the ‘Miss Saigon‘ reviewer who had the adjoining seats to us, K5 to K8. The seats are not staggered, and, with a quite shallow rake my wife had to move from side to side throughout the performance to see. The people sitting directly in front of us weren’t particularly enormous but had the seats been staggered this would not have been such a problem. The two seats next to us were vacant….it’s a pity they weren’t in front. We bought our tickets last November at what was then the top price of £66.50 but I’ve since discovered that they are now deemed to be ‘ premium ‘ coming in at a fraction under £100. Row L immediately behind us with the huge gangway in front might justify this but otherwise I would say premium stall seats are overpriced. One other minor gripe was the air-con. It was nice to be in a theatre with an effective system but the floor duct was directly in front of my seat resulting in a numbing draught blowing up my trouser leg throughout the show. I feel sorry for the theatre bosses for it’s either far too hot or far too cold. They just can’t win!!"*

* The monkey put these points to the theatre, who investigated and felt "the comments are not 100% true. I can confirm that the seats are not directly behind the seats in front and neither CML or Delfont Mackintosh Theatres have received any complaints regarding these seats in the past."

“K11 and 12: “Mary Poppins” (November 2019), (Bob Pickett). Good distance from the stage and very central - you can take it all in, but are still close enough to appreciate the trickery (when impossibly large items appear from Mary’s bag).  Good legroom and decent comfort levels (barely a fidget).  You also benefit from the aisle behind this row, meaning no-one sat behind you.  But the seat stagger is minimal (there is a stagger, but it could be more pronounced).  Average height patrons shouldn’t cause too much of a problem, but anyone tall will block your sightline. I was lucky and had an empty seat in front, but Laura moved to (an also empty) K10 as said tall patron’s charming little boy (so small he had TWO boosters, and SO well behaved, I couldn’t help but smile when he was captivated by the kites in “Lets Go Fly a Kite”) gave plenty of clear view ahead.”

“Row L: It helped being in the centre which meant we had no seats in front of us so I could really stretch out and this time there was no obstruction from large heads or horribly annoying smells of disgusting savoury snacks. The old diaphragm did take a bit of a pummelling at times from the drumming which is definitely louder in row L than it was in row V, where I sat last time, but it was really only on two numbers."

"L3: "Aladdin" (December 2016). It is on the end, with an aisle in front, so plenty of leg room - and also rows J and K in front of me do not have seats at all at this end, so no-one was sitting to restrict my view. The seat cost £151.75 full price, which I consider exorbitant, but I paid £37 at the last minute."

"L3: "Miss Saigon" (June 2014). Got my ticket off TKTS for £42.50 GPB and got Stalls L3. Now I am a big guy, 6.2” and quite large all around, so this was perfect for me. Ample legroom as there is the aisle in front of you. Sound is decent, a little muddy in the beginning, but it cleared up."

"L3 to 5: "Miss Saigon" (June 2014). Whilst very comfy and plenty of legroom due to small aisle in front, I think L3 in particular should be Red on your plan for the current show as I missed all of what was going on in Kim's bedroom and the strip club podium dancer due to side overhang/lighting. Other than that, a superb show, even improving on the Drury Lane production 15 years ago ( which I saw 3 times)."

"L24: "Mary Poppins" (November 2019). Loads of leg room and a perfect view.  Can’t imagine having a much better seat!"

“L26 and 27: "Jersey Boys". Good view of the stage. Sight lines at seat 27 were reasonable but not the best - missed the video screens on stage right and a little bit of the action that went on stage right upstage. Sight lines from seat 26 were fine. Leg room very good because of the aisle in front (main reason for choosing this row). However the seats are very low for some reason, and if you pull your legs in - your knees end up near your ears (perhaps that's a little bit exaggerated - but you know what I mean). So although you can stretch out - actually it wasn't that comfortable!

Note also that these seats are right in front of the loudspeakers - and I would recommend ear-plugs if you sit here - 'Jersey Boys' is a very loud show! There is also a rather funny aisle that runs down the side of the auditorium that you haven't shown on your plan. (The aisle is a legacy of when the theatre was made narrower, thinks the monkey - who would welcome expert comment on this).”

"L30 and 31: "Aladdin" (June 2016). For this production I'd take dress circle seats over stalls - you get a better sense of the staging and effects from upstairs. L30 and 31 are just outside the proscenium arch - you miss a sliver of action stage left as you look at it but nothing too much. Be aware air con vents are right under these seats so your legs do get a bit cold and I think they stretch right along the row - view is great and sound fine too - you can stretch your legs out here though - if we gave this another chance we would go dress circle though."

"Row M: "Miss Saigon" (June 2014), (Ken). Overpriced at 95 quid. The rake in this theatre is not very good in the stalls and I had someone tall sitting in front of me so despite spending that money, there were still bits of the show I couldn't see."

"M3 (right side facing stage): “Mary Poppins”. Excellent seat for 98% of the show, but NOT AT ALL for the fantastic final scene - I was sad that I had only had a brief glimpse of this special effect, and had to crane my neck for that. It seems clear to me that the best seats for this show are Stalls through row J, preferably center and left sides facing stage, and any of the first few rows of the Dress Circle".

"O 10 to 14: "Miss Saigon" (June 2014). These give an ideal view of the stage and nothing is missed at all."

"P16 to 20: “Jersey Boys”. Picked these up at a discount. Perfectly central with decent leg room. As is well documented, the stage of the PE is pretty high so being close would not be good for any action taking place up stage. Row P gives a perfect view of everything including action that takes place on a high scaffold walkway."

"P18: (Thom Sellwood). Fantastic view and you're far enough away from the stage to save your ear drums from getting a beating!"

"P26: "Miss Saigon" (May 2014). Got the seat at a little bit of a discount. Pretty unrestricted view and great to be an aisle seat so heads in front of me were not in the way. Lady next to me had to swap seats because of big head in front of her. Overhang of circle does obscure view higher up, but that was only one scene. Fairly good seat, but I would have been very disappointed to pay full price. These seats tend to be used by friends and family of the people working on the show."

"P33: (J Denton). A side-seat with a reasonably good view - only the top left corner of the stage was obscured by the boxes."

“R2 and 3: Sold at £65 each which are not noted to have a restricted view, however both seats have a major obstruction from overhanging boxes. which prohibit, significantly the view of the right hand stage and screen used on our Jersey Boys production. Overall for the amount paid we were bitterly disappointed with the view for a special birthday celebration."

"R12 and 13: "Aladdin" (July 2016). Great seats, with a clear view of the stage and excellent leg room, but they should have been at £75 each. I rarely pay this amount for a theatre seat, but I was going with my son, who is both tall and stocky. He therefore always needs an aisle seat (R 13), with plenty of leg room. Both of which were achieved. The seats are well raked, so it does not matter about the height of the person in front of you. Only problem with this theatre is that despite being plentiful, gentleman needed to queue for the toilets in the interval. Something I have rarely, if ever before experienced."

"S35: "Aladdin" (July 2016). Clear view."

"Row T: As far to the left as you can get, slight restricted view but didn't spoilt what was the most fantastic show."

"Row T: "Miss Saigon" (May 2014). Got as day seats, good view."

"T11: "Aladdin" (July 2016). T11 for £40 (via London Theatre January Sale). Excellent and unobstructed view of the stage. I found the seat comfortable and had excellent leg room (I'm 6ft / 1.8m tall) due to there being an aisle next to it allowing me to stretch out my left leg."

"T11: "Jersey Boys," (John from the USA). Perfect view, although I would have liked to be a few rows closer."

V3 and 4: "Jersey Boys". I thought these might not be very good; there was, however, no problem at all. Some of the drumming affects your diaphragm so I feel this is one show where being further back is not a bad place to be. There was ample leg room and I am 6' 2". I did however have a 20 stone man mountain with a head the size of a medicine ball in front of me which would have been ok if he hadn't inclined his head all the time to the right (fortunately he moved one seat to the right in the second half and I had a perfect view )."

"V30 and 31: "Aladdin" (July 2016). Excellent view."

"W10: "Jersey Boys". I initially thought might be a disappointment, but it was fine. I had a perfect view of the stage, there was no overhang from the circle and the sound balance was excellent."

"W10 and W11: After much deliberation and reading the reviews of seats on here, we booked these. The view from here was perfect, the sound, although a little loud at times, was good and the legroom was great."

"Y8, 9 and 10: (Richard Bradbury). Excellent seats, great view of all the stage, no problems with disturbance from the sound desk and good leg room."

"Y20 and 21: "Mary Poppins" (November 2019). Seats were excellent, great view straight to the stage and the stalls are ramped so well you never lost the view of the stage even when there was stuff going on at the rear of the stage. This theatre unlike others has no pillars in the stalls so most of the seats bar a few on the very far edges would be fine I think."

"Y24 and Y25: "Jersey Boys," (Sam). Gave us a really good view and the leg room was more than sufficient."

Stalls Boxes


Two at the rear of the stalls, behind row ZB.

Seat 4 each. 


Acceptable, as movable chairs are used.

Choosing seats in general

Expensive, when sold at top price, feels the monkey. Still, might be worth considering for privacy if they are cheaper.

General hazard notes

These suffer restricted views of the top of the stage.

Changes for the current production

Much better value at third price if seats further forward are gone or you have shorter folk wanting to see over heads in front.

Readers comments

"Box: "Aladdin" (July 2016). Sat in the excellent box at the back of the stalls. Plenty of room to jig along with the music, nice and cool on an unbearably hot day."

"Box 2: "Miss Saigon" (May 2014). We went to see Miss Saigon on 29th May 2014 and thought the seats in Stall Box 2 were a real bargain at £29.75 each. We had our own private box with curtain drapes, accessed through a private door and consisting of four free standing chairs, a coat rack and table. We were at the back of the stalls and higher up than the other seats so had a great view. The only slight restriction was that the very top of the stage was obscured, but this did not affect the overall enjoyment of the show,. Also the situation of the box allowed quick easy access to toilets and bar at the interval. For a party of four it was great, but not sure if it would have worked for a party of 3 and one person who did not know the others."

"Box 2: "Miss Saigon" (May 2014). Thanks to a certain Monkey for the recommendation. Very comfortable seating, you can't see the top of the stage, but the helicopter was in full view, so what else matters? The price is more than worth the missing bit."

"Box 2: "Miss Saigon" (May 2014), ( February 2016, "Miss Saigon" closing night.  - Stalls box 2. This box is at the back of the stalls, up a couple of stairs. It has a good, but distant, view of the stage and the upper part of the stage is obscured though for 'Miss Saigon' this wasn't an issue. Sound quality didn't seem as good as central stalls but was perfectly adequate. There are four seats that generally seem to be sold at second or lower price (for this historic performance they were only £36) . Thespyinthestalls usual advice, if you can afford to do so, book all four seats even if only 2 or 3 of you. The box is quite spacious but perhaps not spacious enough to spend three hours with strangers. There is a small table and coat hooks. The seats are wide and comfortable and moveable. One minor distraction is you do get a small amount of light pollution from the doorway but nothing too bad. This box is also fabulously well positioned for legging it to the bar and the toilets before the masses. Easy to get out if you need a midshow comfort break too. If you've booked a Delfont Mackintosh hospitality package, you're also really close to the Julie Andrews room where these are often hosted. We stayed in the box until it was quieter to leave the theatre. If you decide to standing ovate, you will have to duck slightly otherwise you will appear headless to the rest of the house."

Dress Circle


The Upper Circle overhangs the Dress Circle at row F. It restricts the view of the top of the stage from row K, and is particularly restricting in rows N and O.

The Dress Circle is split into front and rear sections by an aisle in front of row F.

The front section is split into two blocks by a central aisle.

The rear section is split into a central and two side blocks by aisles.


Barely adequate in most rows especially row A, which should be avoided by anyone who values their circulation below the waist and G to K.

Rows B to D are comfortable, E just adequate to 5ft 7 in the front section. F has a wider aisle in front but folk brushing past it all the time.  A reader found that central row L had a little more.

Seat G8 has little in front, and centre aisle seats on that section back to row L have an inch of legroom for one leg to move into, the monkey noted.

The lowest numbers of row M have a little more legroom, according to the theatre. 

Choosing seats in general

Front Section:
Wheelchair users may transfer to row A, which has a better view than the box place alternative, feels the monkey. Readers Chris and Liz Bridge say of their visit to "Miss Saigon" in May 2014,
"Dress Circle seat review for seats A2 and A3 with Disabled Access.
We visited the theatre after booking disabled wheelchair access through the theatre's own booking system. All the options were well described by the very pleasant young man in the office and we decided on seats A2 and A3, which means a transfer from your wheelchair to the seat - so some mobility required! Paid a 2-4-1 price really, as the carer and user get half-price tickets!
On arrival we were greeted by William, who was to be our "Valet" for the evening. William is a "Star" in his own right, he explained what would be happening during our visit - including advice about accessing the seats through the fire exit door on Greek Street. He wheeled the chair round to the Dress Circle and helped Liz to her seat taking great care at all times, told us if we wanted anything - drinks, programs , toilet etc - just to let him know; he told us the running times of the two halves and at the intermission was there on hand for anything we needed! He was so genuinely cheerful and enjoying his work that he made our evening so special.
Our seats gave an excellent view of the stage with no blind spots; legroom was good for us so no complaints there, would recommend these seats to any disabled persons!"

Anybody else should avoid row A because (as a reader notes) poor legroom aside, you have to sit bolt upright to look over the high wall and possibly circle-front lights too. The box office now cautions that those under 5ft 3 tall should not sit here.

So, take row B first, then C, D and E. Just refuse the first and last six seats in each row for being too close to the walls of the theatre to have a viewing angle justifying their price - even discounted.

Rear Section:
A bar runs across row F, which may bother some shorter people, though the monkey has had no negative reports.

In the central section row F seats 16 to 18 have a view down the centre aisle of the block in front - bars are either side of these seats, and the aisle safety rail is in view (though not a problem to any except the purists. The rest of the central block of row F is acceptable if a Dress Circle seat is required and the front rows are full. Comfy, but folk pushing in front of you.

Rows G to K should be chosen only if stalls rows B to T are unavailable, as they offer lesser value for money.

Row L at second price is preferable to the stalls, as it feels closer to the stage for the same money. A low rail isn't an issue.

Row M offers similar value but the rake begins to make it seem farther away then they actually are. Theatremonkey knows it is only a difference of a few feet, but theatre rakes are strange things.

Seats in the side blocks of the rear circle all feel stuck in a corner and make Theatremonkey feel utterly lonely and unloved, aaaah.

Take rows F and G seats 5 to 8 and 25 to 28 / H to J 4 to 7 and 26 to 29 if you must and better stuff has gone, otherwise insist on centre block seats for much better value for your hard earned cash.

Also consider L 3 to 6 and 25 to 28 for less cash.

Reader Alan felt, "Row J 28 and 29 Dress Circle was just perfect," using a Senior Citizen discounted rate.

Rows N and O are set in an alcove at the back of the theatre and is good for courting couples who are not particularly interested in the show or those with "kids from hell" who want a segregation unit for them. The armrests between each pair of seats should be removed in this monkey's opinion to allow either canoodle access...or easy swiping for parents... Come to think of it, the former could turn into the parents of the latter if they are not too careful in these rows!

General hazard notes

Lighting and projection equipment may be bolted to the front of the circle - one or two shorter people may find this in view from row A.

There is a safety rail at the end of the aisles in row A.

The wall in front of row A seems to be unusually high, meaning you have to sit bolt upright to see the whole stage. A reader feels this worth noting for shorter folk and those with children especially, who may choose the front row if the poor legroom is not a consideration. The box office now caution that those under 5ft 3 tall should not sit here. 

Rails are present near row F 16 to 18 to protect the aisle at row E.

Those in F will get brushed past...

A bar runs across the front of row F and row L - neither get in the way much.

Changes for the current production

Prices vary daily, but the monkey makes the following observations, based on the most common patterns:

Central seats in A to C are often "premium price" (B "super premium") - your choice, feels the monkey, who would take D10 to 26 first, then the aisle seats with a rail in view ahead of them in rows B to D. If they drop to top non-premium, anywhere here is a bargain.
Central F to J and sides F and G are not great at top non-premium price. Go (if you can take the legroom) for sides H to K up to 4 off the centre aisle, or central K. M is cheaper, so take it over L.
If legroom is and issue, then check all rear and side stalls at equivalent prices - bargains to be had downstairs too!

Readers comments

"Dress Circle: (Lizzie): We thought the seats in the circle were very good although don’t sit in the front row if you are not tall as there is a handrail and it can make viewing difficult – need to be about 4 rows back, but the circle is very good to view the fantastic special effects"

"Dress Circle: “Jersey Boys”. Brilliant seats and the show was even better from upstairs! (I felt the sound was too loud downstairs when we first saw it in 2009)."

"Dress Circle: "Miss Saigon" (May 2014). View from back of dress circle is distant. Really needed a closer seat to be amongst the drama."

"Dress Circle: (Lizzie): We thought the seats in the circle were very good although don’t sit in the front row if you are not tall as there is a handrail and it can make viewing difficult – need to be about 4 rows back, but the circle is very good to view the fantastic special effects"

"Dress Circle: “Jersey Boys”. Brilliant seats and the show was even better from upstairs! (I felt the sound was too loud downstairs when we first saw it in 2009)."

"Dress Circle: "Miss Saigon" (May 2014). View from back of dress circle is distant. Really needed a closer seat to be amongst the drama."

"A2 and A3 with Disabled Access: "Miss Saigon" (May 2014) (Chris and Liz Bridge). This means a transfer from your wheelchair to the seat - so some mobility required! Paid a 2-4-1 price really, as the carer and user get half-price tickets! Our seats gave an excellent view of the stage with no blind spots; legroom was good for us so no complaints there, would recommend these seats to any disabled persons!"

"B8, 9, 10 and 11: (Paul Jones). Excellent view. Booster seats were given out to children in rows A and F first as they had the handrail issue, but we got given one just before the performance began which helped with our younger child. Had a little trouble with the 'leaners' in Row A but they got tired of leaning after a while."

"B18: "Aladdin" (June 2016). For the access rate of £35. There is a safety bar at that is in your eye line for the show but didn't affect my enjoyment of the show, considering seats 2 along are premium and sometimes £149.50 each I think these are excellent value."

"B22: "Miss Saigon" (May 2014). Perfect view! I noticed that the sound was a bit weird at the start of the show. (it sounded distant? or perhaps it was the echo, I can distinctly hear the microphones) It didn't bother me, just something I noticed."

"C12 and C13: “Jersey Boys”, (James – regular reader). The sound is excellent from here and the view is good, but not being particularly tall I would still have preferred to be a row back. I also think that as the theatre is so big you feel quite a way from the stage in the Dress Circle and perhaps it’s a show that might be best seen from the Stalls."

"C20, 21, 22: (Hannah). Really good seats. If people in front lean forward they can come into your sightline slightly, but it wasn't really a problem. You get a really good overview of the action, especially as a lot of it happens up high on the rooftop set. Having said that, I would have chosen to sit in the stalls over the circle, but that is personal preference and no reflection on the quality of the seats."

"D14 to 17: "Jersey Boys," (Frank). We found the music volume OK. from here, with excellent acoustics. I thought the central aisle rail to our front left may have restricted some views, but all the action takes place in the centre/back/right of the stage, so it wasn't a problem. We also found legroom was OK. - I'm 5ft 10ins and didn't have to turn my legs to the side; my friend is 6ft 3ins so he sat in the aisle seat (D17) and didn't complain!"

"D18, 19 and 20: We paid full price with a free child seat from Kids Week. I tried out all three seats for the view! My own seat, D20, was excellent, although the feel-good factor was enhanced by the seats in front being occupied by people rather shorter than me and by the two seats to my immediate left not being occupied at all. I found the seat rake to be fine and I had a clear view of the whole stage with no encroachment from the aisle safety rail. Legroom was fine for my 5'7" height. The aisle safety rail does come into the view slightly from D19 and a bit more from D18 although my wife said it didn't spoil her view as very little action takes place over that side. D18 is an aisle seat and due to the way the rows are offset has a low pillar-like thing to its right, which provides a handy little space for putting a bag or bottle of water in front of. I'd happily recommend any of these three seats at full price."

"E4: "Miss Saigon" (June 2014). It is currently red on the seating plan. I would agree with this. A small portion of the stage is missing and it feels a long way from the action. So whereas the overall view is fine, there will be better seats at the same price.

"E 13 and 14 “Jersey Boys”, (James F). Some things were slightly obstructed (e.g. poles, front of the stage, back of the stage) and I’m sure a stalls seat would offer a better view. (He means the set design as viewed from there, not physical obstructions in the auditorium, the monkey notes).”

"E15 to E17: "Jersey Boys", (James). Definitely better in the Stalls. View is good but I wouldn't say excellent. Sound is better downstairs too."

"E17 and 18: "Miss Saigon" (May 2014). I was quite disappointed in these seats for the price paid. They were a lot further away from the stage than I expected, and although the rows are staggered, when it comes to the middle aisle, the stagger disappears, so the main view I got was the back of the head of the man directly in front of me in row D, who happened to be quite tall and kept moving his head from side to side! Not all his fault perhaps as he was probably viewing the back of the head of the person in front of him in row C. I am only 5ft 3, so my husband kindly swapped with me at the interval, and so I had a much better view of the second half! The show was fabulous, but I would have enjoyed it even more from a better seat."

"Row F: (Jazz). Very good view...especially for the flying scenes!!"

"F 7 and 8: "Aladdin" (August 2016). We won the Aladdin online lottery after 5 attempts (2 entries per attempt), and were allocated seats F7 and 8 in the dress circle on a Tuesday night - amazing view and amazing show!"

“Row G: (Tamara). Centre block, poor value for money in my opinion"

"Row G: (Frances). Centre block. When I booked the tickets I looked on Theatremonkey and saw that they were supposedly 'OK' seats, I came back on this site a few days before the show and saw what Tamara had written about those very seats..."Poor value for money in my opinion"...This worried me, expecting my friends to moan at me when we got to the theatre only to be put in "poor value" seats. But we all thought they were good seats with a decent view of the whole stage. So for those worried about booking seats in Dress Circle, row G, don't be! We could see straight down the centre of the stage as we were in the middle of the row (seats 15 to 19), the leg room was a bit better than I expected but I suppose a taller person would disagree. The only annoying thing was the very tall Dad sat in front of me! Luckily I swapped with a friend at the interval!"

"G 16 and 17: "Jersey Boys”, (Mark – regular reader). Very good seats at student rate (£27.50!). It seemed rather quiet, which is worrying since it was the Easter break, but the show is still in great shape!"

"J20 and 21: "Miss Saigon" (July 2014). This is quite far back, however it is straight in front of the stage and there is a very clear view of the stage. From where I was sitting (J21) I was able to see all the action on stage. I had a particularly tall gentleman in front of me, however he did not obscure my view too much. Leg room was sufficient, I don’t recall it being a problem. The heat at times was quite overpowering, but I guess it kind of suited the production we were seeing!"

"K16 and K17: I had my doubts sitting so far back in the Circle but we found that the seats were perfect. We didn't feel far back from the stage, none of the action was missed, none of the stage was cut off. I was concerned about legroom after reading some Theatremonkey reviews, but it wasn't as bad as I thought it would be (we were also able to turn our legs to the side as our row was pretty much empty)."

"L19 to 22: "Jersey Boys," (Paul Tester). Legroom is about one and a half times that of the other rows around due to a safety bar, it is at a very low height and does not restrict any legroom or vision, the most legroom I have had in any West End Theatre. Unobstructed view (except maybe the very top edge of stage which isn't used for Jersey Boys). Great seats. Although the Theatre says is does have Air Con, it was quite warm up here in December!"

"Row N: (RH). Theatremonkey dismisses these in its reviews but we all felt that they were bargain seats. They are half the price of seats three rows in front and although the top of the stage is cut off, you rarely miss much action. We didn't feel as far back as we thought we would and the voices carried very clearly. Would definitely recommend these seats as a cheaper alternative."

"Row O: "Miss Saigon" (May 2014), (Glen Moranjie), I paid £27.50 plus fee for a seat in Row O of the circle, i.e. the very back row. Legroom bearable despite the warning when I bought the ticket. I felt that I was some distance away but despite the low ticket cost, only the tiniest sliver of the top of the stage was cut off from my view. Compared to the sightlines at Drury Lane from non-top price seats, I was very impressed. No sound problems either, but it was rather warm."

Dress Circle Loges


A unique feature of this theatre. The loges are five short rows of seats projecting on tiered ledges from the front corners of the Dress Circle.

Each row is self-contained like a private box, enclosed by walls and metal rails.

These rows can be labelled "A, B and C" rather than 1, 2, 3 on some plans.


Barely adequate in all seats. Loges 1 and 6, and the end seats in 3 and 8 have bars rather than walls in front, allowing a toe through.

Choosing seats in general

The view from these seats is adequate but "side on" to the stage with bars in view for many.

At top price, take seats in the front stalls or dress circle first.

General hazard notes

Walls and / or metal rails surround all seats, and may be too high for the shortest to look over.

Anybody leaning forward blocks views for those behind.

Changes for the current production

Loges 4, 5, 9 and 10 are regularly "premium" price. Not a good choice, feels the monkey.

Loges 1 and 6 seem fair value at second price.

Readers comments

"Loges: Each time I booked they'd say there's restrictive view for under 5'3, but at 5'2 I had no problems."

"Loge D: Fantastic view of the action, feels very private but a clear view of the stage. I sat in the seat nearest the wall therefore had a very slight restriction of view on the right hand corner but this was noticeable only on one or two occasions, and being so close to the action this didn't matter. The others in the seats further along had no such problem. This is a superb position for the final flypast. Best of all there was no one behind my seat to moan about the tall person in front! Definitely worth full price, I would highly recommend sitting here."

"Loge 3 seat 1: A stunning location to see the show."

"Loge 3, seat 1: "Miss Saigon" (August 2014). Got as a day seat. Nobody showed up for the other 2 seats in the loge so I moved over to seat 3. Amazing spot for this show. I felt extremely lucky." 

"Loge 5 seats 1 and 2: A little to the side but great view, except for when the people in Loge 4 leaned forward. Good legroom (This is important). However, for 'Mary Poppins' I said that Loges 3 and 4 were well worth the money and should be Green seats - for 'Jersey Boys,' I would say Loge 5 is good, but not outstanding. The band sequences are very much directed at the middle stalls. Still worthy of top price without a doubt though. Seats 3 and 4 however, having no obstruction in front, would be fantastic."

"Loge 6: "Mary Poppins" (November 2019). You do miss a little bit of stage in seat 2 but, slight spoiler alert, Mary flies close enough to touch at the end so well worth the £50 we paid." 

"Loge 7: "Mary Poppins" (November 2019). Loge 7, overall an excellent view. A little side on but not too much. You miss a corner of the stage but I’ve noticed these seats are occasionally being sold for second price. Well worth it for that price, decent for full (non premium.). However, If the loge seats are what you want, I would recommend sitting at the opposite sides. A couple of illusions and entrances were slightly spoilt by being able to see into the wings, this would be less of a problem on the opposite side of the theatre. Having seen the show so many times it didn’t spoil it for us but if everything was new it wouldn’t have been ideal." 

“Loge 8: (Steph Nicholls – regular reader). We were really happy with the position, the view was off to the left-hand side of the stage (obviously), but nothing was obscured apart from some of the left-hand projection screen on which nothing vital was shown anyway."

"Loge 8 seat 1: This is the seat nearest the central wall. I paid £20 for the seat and the view was good (not great) as some of the video screen sequences were missing, only a minor detail though. However a couple of problems with this seat, firstly leg room is pretty non-existent here which doesn't help me being 6 foot tall, also you feel very out of the action, something you don't feel in the stalls. I would avoid the loges and go for front stalls given the choice."

"Loge 9 seats 1 and 2: "Aladdin" (June 2016). Excellent view - despite being described as restricted view."

"Loge 9 seats 1 to 4: "Aladdin" (June 2016). Now, having sat in the loges many times before, I have to say that I love these seats in general, plenty of legroom and overall an excellent view. But I have to say for this show I would advise caution depending on the dynamic pricing at the time. I broke my own rule of never buying premium price tickets after being outvoted by the three women (!) and these seats cost £100 each. 
So from seat one I could just about see the lamp in the "Cave of Wonders," although Aladdin could have been grabbing anything, quite frankly, and several times the only reason I knew that Jafar and Iago were on stage was when they spoke or others reacted to them. Anything in the back left corner, forget it. I have to say that for the majority of the time the view was fabulous, but I would only recommend these seats as value for money if they are at the standard "top" price. At that price, the view is more than good enough to counteract the obstruction. At premium price, demand better. Seats 3 and 4 had less of an obstruction. I can't cry foul too loudly is having sat in these seats before I knew what to expect, but with each production comes different issues and different pricing structures. I think I had hoped for better." 

Dress Circle Slips


Three each side of the stage at Dress Circle level and between Dress and Upper Circle level.

Online booking systems may list the boxes as "CBA" and "CBB" - "Circle Box 1" and "Circle Box 2"; "SBA" and "SBB" - "Slip Box 1" and "Slip Box 2"; and "GBA" and "GBB" - "Grand Circle Box 1" and "Grand Circle Box 2". This is to avoid confusion between the box and the seat numbers, apparently!

Slip seats are beside the boxes, either side of the theatre just above dress circle level.


Adequate, and movable chairs are used in the boxes. Slips are fixed seats one behind the other, with good legroom.

Choosing seats in general

Boxes at the side of the stage offer an angled view of the action with the closest side not visible. 

Choose upper level over stalls as the extra height helps the view, but take these seats as a secondary choice. 

The box office feel them superior to the last row of the Dress Circle, but they are top price....many are impressed by them, though.

Not bad for the view and price. Cheaper than other side boxes and the theatre are fans of these... worth a thought...

General hazard notes

Nearside action isn’t visible.

Lighting / sound equipment may affect views or make the area noisier than usual.

In the slips you have to lean... but other folk leaning can block your view.

Changes for the current production


Readers comments

"Slips: £20 each (last minute discount). What fantastic value, yes you have to lean forward slightly but the view of the stage is unobstructed, you get great space and you also get a real feel for how the audience are responding to the show."

"Slips: We had the slip box seats for £42.50, they were great seats. You have to lean over, but you can see everything - a great view and great legroom."

"SB1 1 and 2: "Aladdin" (September 2016), (Christine Baker(. You sit behind one another, but there is plenty of legroom and the view of the stage is good. You just need to lean to the side slightly to see any action in the front corner on your side. The tickets were the same price as the balcony but we considered them a better choice as we were nearer the stage."

"Slip Box SB1, Seats 1 and 2: "Miss Saigon" (May 2014). Based mainly on theatremonkey comments, we decided to book the slip box seats for Miss Saigon (SB1.1 and SB1.2) and they were brilliant. The booking site gave us a warning that the seats weren't together, but this just means you're not sitting right alongside each other in the usual way - only really an issue if you wanted to hold hands or put your arms round each other during the show. The seats are a bit higher than usual and essentially all aisle seats because there's nobody next to you so I can see these solving issues for tall families/couples who always have to fight over who gets the seat with adequate legroom.
Overall, for £29.50, we thought these seats were amazing value for both comfort and view. You feel as close to the stage as the front of the Dress Circle and only miss very small amounts of action due to the angle. We didn't sneak into the boxes but they are further forwards so the angle would be far more noticeable from there. You also have the option to lean on a nice padded ledge to minimise the angle even more. Said ledge also useful for putting your drink on."

"Slip Box SB 2, Seats 2, 3 and 4: "Miss Saigon" (May 2014). I wanted to pass along a recommendation for seats at the Prince Edward Theatre (visited on 29 May 2014 for Miss Saigon). The tickets say "side/slightly restricted view" but the view and comfort from these seats was excellent. There was only a very small corner of stage left that we could not see. The price was cheaper than most other seats too. The seats are fixed and angled towards the stage, with excellent leg room. The only possible disadvantage (which didn't bother me) was that we were in front of/behind each other rather than next to each other in a traditional way. I would definitely buy these seats again."

Upper Circle


Called the Grand Circle in this theatre.

Seats are divided into front and rear sections by an aisle in front of most of row H.

Both sections are split into centre and two side blocks by aisles.

Either side of the circle, between the circle and boxes, are a row of side facing slip seats.

Rear section side blocks have a stairwell at the outermost ends, in front of row L.


Very poor for the tallest in all seats except row G, and exceptionally bad in rows A, H behind rails and L over stairwells.

Reader Adrian G of Surrey says
"Having read the reviews, I was keen to see ‘Mary Poppins.’ Unfortunately, against my better judgement, I bought seats in the Grand (aka Upper) Circle. 

Consequently, this review is mainly about discomfort! I am 6 ft 3, and these seats were utterly inadequate, with the smallest amount of legroom I have yet encountered in any theatre. My feet were pinned against the back of the seat in front, and due to the steep rake of the seating, my knees entered the airspace around the heads of two guys in front of me. They understood, since they were in the same boat. Even before the show started, I was worried about getting muscle spasm or cramp. 

After about 40 minutes, I was in so much discomfort, I was just willing time on, and couldn’t concentrate. By the penultimate act, where the toys come alive, I didn’t even notice, because cramp was starting in my left hamstring, and I just wanted to get out, before my leg locked up fully. I only just kept the cramp at bay until the end of the first half. 

I concluded that I could not endure the second part of the show. We were going to leave, but I approached one of the senior staff at the venue. (Alas, I did not get his name). Without hesitation he offered me an ushers seat in the stalls for the second half. I took it!

Although I had slightly limited viewing, I was now able to enjoy the show. 

Conclusion; If you are much over 5ft 8, don’t even consider the Grand circle. The stalls give very generous legroom, and the view is far superior."

Another reader adds,
"At 6ft2 I could not have sat in the grand circle except in an aisle seat as the leg room is non-existent in nearly all seats."

Yet another, 6ft1 reader was happy there...

New seats have made a difference. They are higher, so there is extra leg space for those up to 5ft 7 or so. Row G is far wider, so has to be the place for the tallest up to 6ft should be fine here.

L 1, 2, 24 and 25 are the most cramped, followed  by row H behind railings.

Choosing seats in general

Front Section:
Almost all seats in all blocks have a clear view of the stage.

Rows A to F seats 1 to 4 and 34 to 37 are worth avoiding for being to close to the edges of the circle to have a comfortable viewing angle.
Aisle seats B 10 and 28 and C 10 and 28 have aisle end rails in view. Fair value at a discount, feels the monkey.

Aside from restricted view seats, pick row B first, then C to E, then A (if legroom is no worry) then F.

Row AA slip seats 1 to 5 and BB slip seats 6 to 10 are at the edges of the Upper Circle. Designated restricted view because less than half the stage is visible as you peer around the walls of the theatre. A "take only if you need to see the show and everything else is sold" option. The theatre report those in AA 1 and 2 and BB 9 and 10 in particular will peer through the lighting rig.

Rear Section:
Row G appears to have been added to the back of the central block at the last minute where an aisle was meant to be. Best place for the tall.

Behind these, the centre block starts to feel distant from the stage when it gets to row M. If the price drops at row M, though, they are a very decent budget choice.

The side blocks are fair value if cheaper than the centre ones. At the same price, central is the way to go for sure.

Row L seats 1, 2, 34 and 35 are above stairwells with a wall in front. Cheapest tickets in the house as they are restricted view. Take these before slips in row AA as the view is marginally better - but they are NO bargain for this show. Cramped, so use a booster seat to see over the rail.

Seats J 7 and 25 and K 7 and 25 are restricted view, but not often discounted for rails in view. Perhaps try the Dress Circle lodges or even stalls "behind the conductor" if you want to miss the edges / middle of the show respectively, or wish to be closer to the stage for the same money. 

General hazard notes

A long walk up to these seats, not suitable for those who find stairs difficult.

Row AA has a very limited view of the stage, with lighting also in sightlines.

Aisle end rails affect views in B 10 and 28, C 10 and 28, J 7 and 25 and K 7 and 25.

Row L 1, 2, 34 and 35 are cramped behind a high stairwell wall.

The rear circle may trigger vertigo in those prone to it, as the rake makes it feel higher and steeper than it actually is.

Changes for the current production

Prices vary daily, but the monkey makes the following observations, based on the most common patterns:

If you really need legroom, go for restricted view stalls for the same cash. Everyone else, particularly younger and smaller visitors will love the view here, however.

Front centre block is the most expensive. Good view, and row G has legroom. A decent bet if you want a central unrestricted view near the front.
Crossing to the side blocks saves bananas for similar views, so look at the central aisle seats if legroom isn't an issue. In fact, the cheapest restriced view aisle seats are well worth a look as a way of being forward without breaking the bank.
Once the best and most central side front block seats have gone, have a look at rear block centre J perhaps, but at that distance side blocks are cheaper and almost as good. Go further back, skipping L as both the monkey and the theatre feel row M 1 to 19 offers a particularly good view for the money.
Also worth a glance are the cheap aisle seats with rails in view. Take those closest to the front first, the monkey feels.
It would avoid all row AA slip seats at the prices they want, for sure. Easier than usual as those on the "high numbers" side have been removed.

Readers comments

"Upper Circle: (Ken). Our seats were in the Upper Circle, not cheap at £37.50 each. Usual limited legroom, even for a short person like me... the sound quality in the Upper Circle was quite poor with a lot of words disappearing, especially at the start. They made Mary Poppins fly, so why didn't they fly speakers for the (not) cheap seats."

“Upper Circle: (Colin and Asa McCarthy-Burton) "We were sitting in the Upper Circle and felt that the prices paid for our seats were, like the Upper Circle, a little too steep."

“A15: “Mary Poppins” (November 2019). I bagged a front row centre Grand Circle seat (A15) for the press night of ‘Mary Poppins’ - most of the Circle got released for sale about a week in advance with the centre block at £47.50, then after checking the site a couple of times I saw they’d all been cut to £25 so I pounced! (Guess they wanted to make sure of a full house for opening night).
I know your site says the legroom is pretty dreadful up there, especially in row A, so I was prepared for that, but was pleasantly surprised - obviously I couldn’t stretch my legs out but didn’t feel uncomfortable despite each half being about 70/75 minutes. The view from my seat was brilliant - being row A there were no heads in my way, the rail is low so doesn’t intrude on view, and it didn’t feel horrendously high - I could see everything perfectly. Plus you get a brilliant view of Mary making her final exit when she flies up to a closed off / darkened area on the left hand side (as you look at stage) of upper circle where they’ve taken some slip seats out so she can land and slip through a door. I’d happily have paid the full £45-50 to sit here.”

“A20 and A21: (Jo). In spite of other comments about poor legroom, we were pleasantly surprised. At 5’ 6” and 5’ 9” respectively this can be a problem but not here. Seats were very comfortable and we had an excellent view of the whole stage. Sound was also fine."

"B 30 and 31: "Miss Saigon" (June 2014). Generally fine with a good, clear view of the stage, a little distant for my liking but they were all I could afford. Leg room was fine and I am 6'1, I didn't feel cramped or uncomfortable. I really wouldn't have wanted to sit much further back as the distance from the stage would have made viewing difficult - I felt I was watching the tops of everyone's heads as they rarely took in the top section of the theatre which left me feeling slightly excluded and distant from the action. The seats we sat in were ideal for taking in the whole spectacle, though."

"C15 and 16: (Stephen). A good central view of the stage”

"C19: (Chris May). For the price it was a wonderful seat, clear view of the whole stage and I think that nothing was missed at the top of the rear of the stage, maybe a projected moon or two, leg room ain't that bad either".

"D15: “Mary Poppins”. Started out in this seat for the first act, and then I saw the friend I was supposed to meet at 6:30 during the interval, so I moved to B 27 to sit with her. Both of them were great seats - I could see everything, even the INCREDIBLE moment in Step in Time, and heard everything wonderfully. I wish I could've seen facial expressions a little more, but a pair of binoculars at 50p made that possible."

"D15, 16 and 17: "Aladdin" (June 2016). I had to book Grand Circle (couldn’t justify the cost of elsewhere!) so ended up in D 15, 16 and 17. My comments would be that they are in the centre block offering a good view of the stage but you do feel very high and the perspective is a little skewed due to the gradient e.g: I think the flying carpet sequence would have had much more impact had we not been significantly higher up than the carpet! You also feel quite a long way from the stage.
The view was generally good until the person in front of you leans forward, there is then a domino effect where everybody behind has to follow suit in order to see.
Legroom as mentioned lots on your site is woeful. You feel very enclosed in your seat and it was obvious that taller patrons were struggling with the lack of space.
You are very high up and there are no handrails on the stairs which can make you feel a bit wobbly as you make your way to your seat.
We were surrounded by foreign students (who were a complete pain) who kept using their phones so the ushers kept coming to the end of the row and shining their rather bright torches on people and telling them to stop which was pretty distracting. It added to my struggle to get properly immersed in the show.
As a way to see the show for a slightly more affordable price these seats do the job but I would hesitate to book here again in a hurry. I am grateful - as ever- to your site for warning of these issues in advance as I think it helps to know what to expect!"

"G16 and 17: "Aladdin" (June 2016), (Bob Pickett). Great leg room and no chance of blocking those behind as the row is in an aisle across the level. Your view should be OK, as long as the row in front doesn’t lean forward too much, but still shouldn’t block too much."

"Row H: “Mary Poppins”. The seats were perfect - the little one is scared of heights and having the rail there made her feel ok about the height, but didn't restrict the view at all."

"H1 and 2: "Jersey Boys" (April 2009). The view is fine (although seat 1 only for tall people due to diagonal safety bar) but too far away. Before the show started an usher happily moved us to seats E1 and 2. Just 3 rows further forward made such a difference in view, we felt like we were 100m nearer. At 6ft2 I could not have sat in the grand circle except in an aisle seat as the leg room is non existent in nearly all seats. Cheap tickets up here will not disappoint as long as you are in A, B, C, D, E or F. Any further back and you will regret it."

"H4, H5, H6 and H7: £25 each they were a bargain. We had a total clear view of the stage. The only slight problem was for my younger sister. She is 7 and had problems seeing over the safety bar at first, but a booster cushion greatly helped her to see better, so they are great seats but if you have younger children it's best to get them a booster seat. (The woman who gave it to us said they only had 10 for the whole Upper Circle so its best to get them quick.)

“H6 and 7: "Jersey Boys" (April 2009), (Emma). £21.50 each: Loved these seats. Sold at a 'restricted view' price because you have to lean over the safety bar to see correctly (and there is a moment, lasting no longer than 1 minute where you can't see the 'Four Seasons' heads). However I found them very respectable for the price. Yes, you are a long way back, but I still loved the show and had a wonderful night. I would sit here again if I was looking for a low budget night at the theatre. Good value for money."

"J13 and 14: "Aladdin" (June 2016). Value for money seat especially as these seats are often on offer. We got seats for £25 and the view was excellent and you could see the whole stage. However it should be noted if people in the row in front lean forward it can slightly restrict your view. Legroom will only be an issue for taller people. I'm 5'7" and didn't feel restricted."

"K8 to K11: I agree with other reviewers about the height and leg room, walking in at the back you really want to hold on to something as you walk down to your seats. Regarding the view - yes it was high, but you could see the whole stage all the time. Only bits we couldn't see was the drummer's head occasionally but that doesn't matter anyway.

Legroom is certainly an issue up there. Fortunately we had nobody in front of us, but if we did, I could imagine us getting very uncomfortable as there really was nowhere to move your feet. The sound was fine, we could hear everything clearly. For £35 ("Jersey Boys"), the seats were just about ok for the money."

"L 12, 13 and 14: Although it was not a problem for me, I would not advise the Grand Circle for those who have difficulty in walking up stairs. There seemed to be an awful lot of them to navigate before you finally reach the top. At times it felt like we were climbing the Tower of Babel! The box office did point out this issue but assured us that there were other theatres in London with higher upper circles.

The view of the stage is unobstructed; but due to the height of the Grand Circle and the position of row L, the view is distant. I consider myself to have very good eyesight, but from this seat I could not see facial expressions clearly, even with the binoculars. In addition, at 5ft 8” I found space to be very tight and by the end of Act 1 was extremely uncomfortable and was beginning to get ‘pins and needles’. One minor distraction when sitting here are the spotlight beams. When any of the action takes place at the front of the stage, the beams pass very close over your head. I was at times quiet tempted to put my hand up into the beam and do some shadow puppetry. On the plus side, the sound was very good and I could here every word that was sung or spoken.

Overall the seat wasn’t too bad (I have sat in worse) but considering that the seats behind us were only £20 for almost the same view and issues, I wish we had gone for those or tried to have got seats further forward for the same price that we paid for in row L. Vertigo sufferers might also wish to consider paying a little bit more to sit lower down in the dress circle or stalls."

"L14 to 18. These were absolutely amazing but I'm not sure about the price. It was a bit too expensive as you are so high at. However the seats in front are obstructed by a bar so I think out of the ones at £30, these are the best. Being so high you could see quite a lot of detail. The seats are comfortable, but little legroom!"

"M6: "Jersey Boys," (Taljaard – regular reader). For £20. For the second to back row in the theatre, I thought it was good value and there were no obstructions although you do feel a bit detached from the action. Quality sound system. What's not to like?"

"M8: "Aladdin" (June 2016). The theatre is really big, so the back of the upper circle here feels much further from the stage than in other smaller theatres. The view is clear and central, and I didn’t have any problems with rails or people leaning forwards, but the distance from the stage did make me feel a bit removed from the action and I wish I could have seen the costumes and sets in closer detail!"

"M15 and 16: (Will Cooper – regular reader). Found the view to be comparable to the cheap and cheerful non-restricted seats in any of the larger West End playhouses, although at £25 these are some of the most expensive furthest-from-stage tickets in London. The sound quality for "Mary Poppins" was not great, however."

Notes best seat advice

Total 1619 seats. Oddly, the monkey made it 1630 though!

Air-conditioned auditorium.

Sennheiser infrared. Occasional audio described and signed performances. Guide dog sitter available if booked in advance. Adapted WC in foyer. Access for wheelchairs via fire exit in Greek Street (so you use the foyer entrance for the toilet, but not to see the show - a quirk of architecture!). Choice of staying with your chair and using a box in the circle, or moving to a seat in row A. Fuller details, or call the theatre group dedicated phoneline on 0844 482 5137. The "registered disabled" concessionary price policy here is generally (though can be subject to change) for a quota of accessible best seats to be made available at the lowest regular price charged. This quota is increased for designated performances such as signed / audio interpreted. Check with the box office at time of booking.

Readers Chris and Liz Bridge say of their visit to "Miss Saigon" in May 2014,

"Dress Circle seat review for seats A2 and A3 with Disabled Access.
We visited the theatre after booking disabled wheelchair access through the theatre's own booking system. All the options were well described by the very pleasant young man in the office and we decided on seats A2 and A3, which means a transfer from your wheelchair to the seat - so some mobility required! Paid a 2-4-1 price really, as the carer and user get half-price tickets! 

On arrival we were greeted by William, who was to be our "Valet" for the evening. William is a "Star" in his own right, he explained what would be happening during our visit - including advice about accessing the seats through the fire exit door on Greek Street. He wheeled the chair round to the Dress Circle and helped Liz to her seat taking great care at all times, told us if we wanted anything - drinks, programs , toilet etc - just to let him know; he told us the running times of the two halves and at the intermission was there on hand for anything we needed! He was so genuinely cheerful and enjoying his work that he made our evening so special. 
Our seats gave an excellent view of the stage with no blind spots; legroom was good for us so no complaints there, would recommend these seats to any disabled persons!"

No food except Ice cream and confectionery. Bar snacks also available.

Four bars; two Stalls, one Dress Circle, and one Upper Circle.

7 toilets in all; Foyer 1 ladies 4 cubicles, 1 unisex disabled; Stalls 1 gents 2 cubicles, 1 ladies 7 cubicles; Dress Circle 1 gents 1 cubicle; Upper Circle 1 gents 1 cubicle, 1 ladies 3 cubicles. is the official venue 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.

By value for money:

Prince Edward Theatre value seating plan


By price:

Prince Edward Theatre price seating plan

The Upper Circle is called the "GRAND CIRCLE" in this theatre.

Online booking systems may list the boxes as "CBA" and "CBB" - "Circle Box 1" and "Circle Box 2"; "SBA" and "SBB" - "Slip Box 1" and "Slip Box 2"; and "GBA" and "GBB" - "Grand Circle Box 1" and "Grand Circle Box 2". Loges may also be listed as A, B, C rather than 1, 2 and 3 too. This is to avoid confusion between the box and the seat numbers, apparently!

Some details may change. The monkey will update as available.


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.

-0.1329304, 51.513515

Nearest underground station

Leicester Square - Northern (black) and Piccadilly (dark blue) lines.

The escalator from the platforms deposits passengers into a circular space with a number of staircases leading to the surface. Beside each staircase is a vast white panel listing the places accessible from that exit. So look for the one showing the Prince Edward theatre. It will be marked "Charing Cross Road West", Exit 2 and is to the right of the electronic underground ticket gates. Go up the staircase. 

At the top, in front of you will be Charing Cross Road. Next to you, notice the Hippodrome Nightclub and a wide pedestrianised street. Turn to your left and walk on,  passing many shops. Follow the road as it curves, pass a red brick covered arcade of shops and keep walking straight on. 

You will come to a large crossroad with the Palace Theatre on your left. Cross the road to this theatre and head for the sidestreets at right hand corner of it. Look for the "Cambridge" pub. Walk towards it and when in front of it, look to your left as you face it. You should see the theatre signboard as this is Old Compton Street. Walk down this road, past the "community Safety Office" and the theatre is in front of you on the next corner to your right. If you see a fire station on your left, wrong way, go back to the Palace Theatre and take the road on the other side of the building.


If at the top of the underground stairs you see a narrow street with only a row of shops and offices in front of you, this is Cranbourn Street. Turn to your right. Walk to the end of the street. If you see the Hippodrome Nightclub on the opposite corner across a busy road, good, but you don't need to cross the road to it. The underground exit you should have used is on the opposite corner. If you reach the end of Cranbourn Street and see a large restaurant, The Sussex on the opposite corner, Wrong way, turn around and retrace your steps to try again.

If you got it right, then turn to your right and walk on, up Charing Cross Road passing many second-hand bookshops. Follow the road as it curves, and cross Litchfield Street, keep walking straight on. You will come to a large crossroad with the Palace Theatre (home of Les Misérables) on your left. Cross to it, and head for the sidestreet at right hand corner of it. 

This is Old Compton Street. Walk down this road and the theatre is in front of you on the next corner to your right. If you see a fire station on your left, wrong way, go back to the Palace Theatre and take the road on the other side of the building.


14, 19 and 38 stop on Charing Cross Road by the Palace Theatre on Cambridge Circus. Head for this theatre, and when you reach it, head for the side-street at the right hand corner of it. This is Old Compton Street. Walk down this road and the theatre is in front of you on the next corner to your right. If you see a fire station on your left, wrong way, go back to the Palace Theatre and take the road on the other side of the building.


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 up Old Compton Street to Cambridge Circus.

Car park

Newport Place, China Town. On leaving, use Gerard Street to get you onto Shaftesbury Avenue. On Shaftesbury Avenue look to your right. The brown brick building there is the Palace Theatre. Cross the road in front of you, Shaftesbury Avenue. Greek Street will be almost in front of you, between a newsagent shop and the brown rear corner of the Palace Theatre (a black metal and Glass canopy, and large cast posters in frames give it away). Walk straight down Greek Street, crossing Romilly Street and passing the stage door of the Palace Theatre on your right. At the next corner, the Prince Edward Theatre is obvious, ahead and to your left.

The "Theatreland Parking Scheme" may be available. Call Q-Park car parks on 0870 442 0104 or see for details. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost. Spaces CANNOT be reserved at these prices, so choose whether you would prefer to book and pay more, or use this scheme.

If you choose the "Theatreland Parking Scheme", you must get your car park ticket validated at the theatre's box office counter (the theatre attendant will insert the car parking ticket into a small machine which updates the information held on the magnetic strip on the reverse, thus enabling the discount). When you pay using the machines at the car park, 50% will be deducted from the full tariff. You may park for up to 24 hours using this scheme and it is endorsed by the Society of London Theatre.

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