Coventry Street, London W1D 6AS 0844 482 5115
www.delfontmackintosh.co.uk the theatre group's own website provide the service for this theatre.
Booking fees per ticket:
£2.50 booking fee applies - the same as by phone. "Hasa Diga Eebowai" thinks the monkey, who had to work that joke in somewhere...
No booking fee for bookings made more than 12 weeks in advance. Free ticket exchange up to 2 weeks before the show is also included in this deal.
Other Online Choices (with genuine S.T.A.R ticket agencies):
Ticket agencies offer an alternative way to buy tickets, with booking fees differing from those charged by the theatre box office itself. They may have seats available or special offers when theatres do not.
Ticket agency prices vary in response to theatres implementing “dynamic pricing” - which alters prices according to demand for a particular performance. Prices stated here were compiled as booking originally opened, current prices are advised at time of enquiry.
When the theatre does not have the tickets you desire available, it is well worth trying the Theatremonkey Ticketshop agency, which can offer seats. Booking fees are moderate by agency standards, though higher than box office fees, worth trying as they often have a choice of seats available! PRICES VARY DAILY, AND THE SYSTEM WILL CONFIRM EXACT FEES AT TIME OF TRANSACTION. Note that this system will confirm exact seat numbers prior to purchase. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases.
Another alternative is www.seetickets.com offer seats. A booking fee per ticket is charged, plus a £2.75 per booking (not per ticket) postal charge. PRICES VARY DAILY, AND THE SYSTEM WILL CONFIRM EXACT FEES AT TIME OF TRANSACTION.
www.ticketmaster.co.uk offer seats. A booking fee is added. An extra £3.05 per booking (not per ticket) service charge is also made. This system allows you to choose your own seats from the selection the company has available. PRICES VARY DAILY, AND THE SYSTEM WILL CONFIRM EXACT FEES AT TIME OF TRANSACTION.
Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer seats. A per ticket booking fe is added. 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.
Meal and show packages may also be available.
Quality and Value hotel / theatre ticket packages are also available.
Londontheatredirect.com offer seats. A per ticket booking fee is added. 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.
Telephone: 0844 482 5115
(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 booking fee applies - the same as online. "Hasa Diga Eebowai" thinks the monkey, who had to work that joke in somewhere...
No booking fee for bookings made more than 12 weeks in advance on 0844 482 5115. Free ticket exchange up to 2 weeks before the show is also included in this deal.
For personal callers or by post:
Coventry Street, London. W1D 6AS
No booking fee for personal callers. By post the usual £1.75 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 0844 482 5137.
https://www.delfontmackintosh.co.uk/ is the official theatre website.
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.
Sir Cameron Mackintosh has really excelled himself with the transformation - the monkey salutes him and the team who designed and constructed the venue, which resembles the interior of a very plush ocean liner - welcoming and comfortable.
Arrive early to look at the foyers. A fabulous sculpture of the theatre is in the main entrance hall - commemorating the re-opening. Scattered around the rest of the public areas are posters of previous successful shows and art-deco mirrors and sculptures, all worth a look. Foyers open at 6.45pm for evening performances.
A large central block of seats, with two smaller "islands" about half way back. These "islands" are cut off from the central block by aisles.
The Dress Circle overhangs the stalls at row E. It begins to remove the top of the stage at row N, and by row S, around three fifths of the stage are not visible - the top in particular is missed.
The rake (sloped floor to help see over rows in front) becomes noticeable at row H, and is nicely steep from there to the back of the auditorium.
Seats are quite well "staggered" to enable those in the rear rows to see around others in front of them.
Behind U11 is a "flip up" seat for ushers. No, you can't use it. End of story, sorry, says the monkey.
Comfortable for all but the very tallest in most seats - best in row A and J 3 to 13 and 34 to 44 which have aisles / extra space in front.
Row K seat 2 has a small space in front of the right quarter of it, but a poor view - one for a tall, non-theatre fan, to consider, perhaps!
Row U 16 to 21 has tight legroom - a 5ft 7 monkey had knees against the seat in front by the time the numbering hit 18... and 21 in particular is cramped.
All the seats are a little wider than other theatre seats too, which should mean slightly more comfortable accommodation for many.
Rows A to G curve around the front of the stage. The front row is at about nose level to the stage for those over 5ft 5, estimates the monkey.
When present, row BB is a short row curved in front of the stage. The stage then is very low, so there's no looking up at the performers.
The monkey felt that prime seats in the central block are in rows E to J, numbers 15 to 33. It would take F first, then E or G, then H and J.
Beyond this it would pick, in the central block seats, rows D or K first, then C, then L back in alphabetical order. Ends of rows from AA back to G are also acceptable after this. It would, though, pick the central block of the Dress Circle, rows A to D (with a few exceptions) over the stalls, for its own preference.
In rows P to T the overhang is noticeable, though the ceiling above is stunning to look at. Not much stage action is missed here, but you could still do better in the monkey opinion. Monkey opinion is that P is fair value, row R too expensive when it is at top price.
When cheaper, row P is acceptable at lower prices, though before accepting any seat in rows R to T, go for row K in the Dress Circle instead - this row is the same price, but with a better view in the monkey opinion!
A sound desk may disturb a few in S 21 to 28, but most will not notice. Seats in rows T and U will be aware of the wall beside them, but it isn't intruding directly into the view. Only U 29 will notice lights from the desk particularly - leaning out or around fixes that problem.
Row U seats 38 and 39 can be removed for a wheelchair user. Take these before the other wheelchair spaces in row T seats 39 to 45, feels the monkey.
These are a real mixture, feels the monkey. The further back you go, the better the overall view of the stage.
Row J has the most legroom, with nothing in front.
The first and last two seats in row J may miss seeing action in the rear corners of the stage. Seats J 2, 3, 4, 43 and 44 and K 2, 3, 45 and 46 have been reduced in price to allow for this problem...the monkey still says avoid - it is worth paying the extra few pounds for a much better view, in its opinion.
Moving backwards, at top price in rows K to N things are adequate near the centre aisle - a full view of the stage.
As you move about five or six seats off the centre aisle, towards the edges of the venue, the view diminishes rather noticeably for a top price seat.
Seats more than four off the aisle in K to M at top price, plus top price J 8, 9 and 36 to 39 (and the 3 seats at the ends of row J, except if legroom is required) are worth a miss. It would also avoid the outermost 4 in row K too.
The boxes overhang, outermost side stalls, and the monkey would take cheaper seats in the Dress Circle before sitting here.
In the back corners all seats are always far cheaper. Not a bad bet, feels the monkey. The circle ones at the same price edge them for view, but the stalls may feel closer and have more legroom, it thinks.
Claustrophobics should note that there is no aisle at the extreme ends of the rows in the side blocks.
Boxes overhang outermost side block seats.
A sound desk may disturb a few in S 21 to 28, but most will not notice. Seats in rows T and U will be aware of the wall beside them, but it isn't intruding directly into the view. Only U29 will notice lights from the desk particularly - leaning out or around fixes that problem.
Row T 39 to 46 has a corridor leading to the foyer exit behind it - not a distraction, but something to know, felt the monkey.
Row A is the front row. The stage is very low, the conductor pretty much out of view - though the keyboard player is in front of A 24 to 28. Seats in row A are pretty good, even the outermost two look towards centre stage. A reader noted the "low numbers" first few seats are noisier (nearer the percussion side of the band) than the other end of the row.
Behind that, prices change on an almost daily basis, but seem to follow either an "off peak" or "peak" pattern:
"Off Peak": Row B, plus the ends of C to G are second price and a great deal. Beside them, central seats from rows C to K are good value too, with most of the premium seats (F to H 23 to 27) erring towards expensive.
Once row B has gone, central row L at second price is a good choice, as is J8 and row M centre. In the side blocks, skip row K as there is no benefit at top price in 9 to 13 / 35 to 38. Behind, though, the 4 seats nearest the aisle are well-priced. You can even save a few pounds where prices drop a row earlier than the centre block.
It is worth taking centre block rows N and S last, as the rows behind are cheaper for the same view.
The rest of the side blocks are fair value, but remember the views are not as good as you move towards the walls, despite often being the same price.
“Peak Dates”: Rows F and G 21 to 28 are average at super-premium prices – go for the premium seats around them, row C or K first if you want them, then central D if willing to pay a bit more. At normal top price, row B or the ends of C to G are a better way to go. Row L is also decent for those wanting a central view, while J 13 to 9 and 34 to 38 provide legroom too – go aisle outwards for these.
Second price restricted view seats at the ends of rows J and K are very average – take J then K 2 and 3 over the other end. Skip the outer ends of rows L to R, tending towards expensive for the cash, feels the monkey.
Take N then P 11 to 8 / 37 to 40 at second price – cheaper to get two rows closer than taking centre block just over the aisle. Likewise S 39 to 42 at third price, T 29 to 42 are decent as well.
Skip centre block P and S and side block R 38 to 40 and S 8 to 11 in favour of the row behind, which is cheaper for the same view.
"Mamma Mia": (Lizzie Loves the Theatre). Seats were right at side of sound box but no problem and plenty of room to get up and have a jig about as only one row behind us. All the stalls seats seemed to be pretty good for views."
“Mamma Mia”: (Barry Liimakka). "We've experienced Mamma Mia from many different vantage points. As TM suggests, Stalls L10/11 are wonderful seats providing good vantage and good acoustics & one need only sit back and take it all in. Likewise TM correctly cautions about Stalls D9 which is a stage left seat in a musical which tends to run stage right. Thus one feels a bit removed from the action at times. Sight lines are sometimes obscured by ensemble cast as well. Be forewarned about proximity to the speakers. You'll adjust during the performance, but during the encore numbers, the volume is all the way up and your eardrums will pop.
Our favourite seats were Stalls B 33/34. These seats are mesmerizing as the actors are so close and you feel the energy of the performance in an entirely different manner. Act II's dream scene is surreal as fog wafts off of the stage onto your lap. It's from these seats that we discover the powerful chemistry between Ms. Parry and Ragavelas during the wedding gown scene."
"Row A: "The Book of Mormon" (March 2013). Fantastic view from the front row where I was sitting. The stage isn't too high so has a very good view! Would highly recommend this to anyone."
"A19: "The Book of Mormon" (March 2013), (Mark). Probably 70-80 people there for the lottery for the Saturday matinee. Luckily drawn and given A19 - perfect seat. In my opinion the front row is the best place to watch this show."
"A21: "The Book of Mormon" (March 2013), (Dan). Advantages of the front row are the feeling of complete immersion in the show, tons of eye contact with the cast and a huge amount of legroom (I'm 6' and hate cramped theatres). The main downside is the band drowning out around 15% of the lyrics in the bigger numbers.
"A26: "The Book of Mormon" (March 2013). Tried my luck 3 times before actually winning it!! Saturday matinee seemed like a good time for this since there were obviously fewer people at the lottery. Our names were called out first so we got the most central seats in the first row. Views were great, no restriction at all. However, it might be better to go a little to the left or right to see everything a bit clearer *SPOILER ALERT* as most stage blockings will put 2 characters in front of each other on different level stages so it was hard for me to see the hobbits and Joseph Smith among other funny characters that would pop up in the show *SPOILER ENDS* As there's a big gap between the orchestra pit and the row A, leg room was excellent."
"A27: "The Book of Mormon" (March 2013). Front row centre for £20 lottery - not bad at all. The stage is low, there’s legroom enough to stretch, it just doesn’t get much better than that."
"A30 and 31: "The Book of Mormon" (March 2013). Front row is by far the best place for this show."
"B24 and B25: "Let It Be," (Michael). Were excellent seats (even comfortable!) and off set against the rows in front. For this show there is an AA and BB row putting us on the 4th row. Interestingly, the 2nd row had only 3 sat at one end and 2 at the other. The other seats empty. May be patrons are out off by height of stage reports and too close for neck comfort? But fear not, if you want to be close up and personal. Those on the front row sat with shoulders above stage level.”
"C 24 and 25: “Mamma Mia”. When seated there, you are totally in the action! The bandleader/conductor is directly in front of you but that's no problem at all. Beware of daydreaming because actors may look at you at several times during the show! What you can't see from there are the floor lighting effects at the end of act 1, but if you do not know they are there you won't miss them! The sound experience is on a high level, crystal clear - but the voices are sometimes a little bit too gentle in comparison with the band. If you get one of those seats for a fair offer, do not hesitate - and enjoy a delightful night in Greece!"
“D9 to 17: “Mamma Mia”. The view was fantastic and the seats were very comfortable - it was good to see the expressions on the faces of the cast. No neck ache in these rows despite being 4 rows from the front. There was a hen party in the first row (A) and throughout the show they put the smoke machine on and it completely covered them all in row A they couldn't see a thing !! It went back as far as row B/C but we were lucky in Row D. You couldn't see them in row A with the smoke !! So row A is not a good bet for this show!!"
"D17 and D18: “Mamma Mia”. Very close to the action and you can see faces and expressions etc but I think two or three rows further back might have been better."
"D25 and 26. "Book of Mormon" (March 2013). Loads of leg room, great central view of stage feeling close in the action."
"D 27 and 28: "Book of Mormon" (March 2013), (thespyinthestalls). Best place to see Mormon from - I've done circle and loges for this production and central front stalls is by far the best. Comfortable and good leg room. Sound is excellent here too."
"D31, 32 and 33: "Book of Mormon" (March 2013). Premium seats and prices but felt worth it. Lots of legroom and even with a very tall bloke in seat in front able to see all parts of the stage. Excellent viewing angles on whole show."
"E14: "The Book of Mormon" (March 2013). I would say for this show the best seats are the front centre stalls up to around half way back. I wouldn't want to be much further away or upstairs, I think you wouldn't feel as involved. I was in E14 and that was a pretty much perfect seat with a ton of legroom. Technically the sound was great, I had read comments from people missing too many lyrics from the front stalls but they must have corrected this over first few previews. The staff at the theatre are amazingly friendly as well, from the lady who excitedly told me I had great seats to the ushers inside."
"H19, 20 and 21: "Mamma Mia”, (Richard Bradbury). Excellent seats - I doubt you would get a better view in all of the stalls."
"H 25: “Mamma Mia”. Provided a great view. I would have happily paid full price (I paid £30). The seats in this theatre really are very comfortable."
"J2 and 3: "The Book of Mormon" (March 2014). Despite what they tell you at the box office, these do not have a clear and uninterrupted view of the stage. You do lose quite a bit of the right hand side. Being a dedicated box user it did not bother me, but the people behind us were not happy. The leg room is excellent though, and I was served ice cream in my seat, can't complain about that."
"J26: “Mamma Mia”. I paid £35 for my ticket through the Get Into London Theatre promotion in January 2012. I'm 6ft tall and felt I had rather good leg room in J26 (being able to tuck my feet under the seat in front always helps). The stagnation of seats between row I and row J was excellent and which meant that the poor rake wasn't an issue as it was easy to get a clear view. The overhang also is not an issue. Overall, an excellent seat and I'd happily sit here again."
"K14: "Book of Mormon" (March 2013). This was the end of the aisle. A perfect view of the stage, although the very top was missing. Apparently this means I missed a spinning statue of Jesus or something like that at the start of each act but if that’s all I'm not complaining. It felt close enough to the stage to feel involved in the action, but far enough away to take everything in. With this show, there is so much going on on stage I think this was an advantage. I think the Prince Of Wales is probably the most generous London theatre I have been in for legroom, and even at 6' 5" I felt that there was plenty of room. If only other theatres could have the same money spent on them to help improve this situation."
"K18 and 19: “Mamma Mia”, (James – regular reader). No problem with the view here, although there was no-one directly in front of me which helped. Sound is fine here too."
"K 35: "Mamma Mia". A great seat on the aisle, just off the centre block. This provided a great view of all the action on the stage; it was just under the overhang of the circle but nothing was missed. I would have happily paid full price (I paid £30). The seats in this theatre really are very comfortable.
"L34 and 35: "Book of Mormon" (March 2013): £37.50 each. These seats are very comfy, the staff are incredibly helpful and polite. Both of these seats are under the overhang so it is not easy to see the statue at the start of each act, it still provides a great view of the stage and the sound was very good for here."
"M23 and 24: "Book of Mormon" (March 2013). The view was perfect, close to the stage, sound was perfect, your seats are situated so you look in between the big gap between the people in front of you so people's heads don't get in the way if someone is 7ft in front of you. The leg room was perfect too. My boyfriend is 6" 4 so I was worried he would be squashed but he had good room. We were in the middle distance back and distance into the row."
"M31: "Book of Mormon" (March 2013). The theatre looks far larger in images but I felt it to be very intimate when I arrived. I could see the entire stage clearly although the top of the arch is cut off by the overhang. You do miss the angel on top of the arch when it lights up but that was very minor. Overall a fantastic and comfortable seat to enjoy the show from."
"M34 and 35: "Book of Mormon" (March 2013): £37.50 each. These seats are very comfy, the staff are incredibly helpful and polite. Both of these seats are under the overhang so it is not easy to see the statue at the start of each act, it still provides a great view of the stage and the sound was very good for here."
"O12: “Mamma Mia”. The view was surprisingly good, there was a reasonable rake, and you felt a lot closer to the stage than 'O' might otherwise suggest. The only downside was that because it's an aisle seat, there's an overhead aisle light that shines distractingly in your eyes when the house lights are dimmed. In fact, many of the aisle seats in this area are disconcertingly illuminated whilst the rest of the house is in darkness, making you feel slightly exposed."
This is split into three blocks by two central aisles.
A good rake ensures a good view for most of the rest of the centre block. This rake can make the circle feel steep, however.
High backed, deep seats mean that legroom is improved as much through posture as actual space. Monkey does note that the flat backs preclude stretching spaces between them for the taller jungle dweller.
Row A has the most legroom with centre block B to G acceptable to all but the tallest, feels the monkey.
From row H back in the centre, and side block row E, legroom gets much tighter. The tallest would probably find the side block seats of rows E back to L particularly uncomfortable.
Side block seats B 32 to 41 have less legroom due to a quirk in row layout - the seats have been bolted too far back in row A, taking legroom off for those behind.
Row B 41 to 43 and E3 have more legroom with an aisle in front, but the boxes affect the view from E3, and you look through bars in the row B seats.
Very small people may just have a problem seeing over the bar in row A, as it overhangs inwards slightly, but other adults will find the low front wall and unhindered sightlines a refreshing change. Amusingly, the overhang of the bar made the monkey feel it had been "tucked in" for the performance!
All the way back to row F in the centre block are some of the finest views to be had in this theatre, feels the monkey.
Rows G and H are very fair value too - the stage seems close from them, and the lack of overhang allows you to see all of it.
If row J is top price then go a row back and try centre row K instead... or (where applicable) the even cheaper centre row L. While a little further away, the monkey feels that second / third price reflects the view very well indeed, and it would pick these over some of the top priced seats in the rear stalls, for it's own tastes, as it can see the whole stage without an overhang intruding. Even with row L the same price as K, it feels most won't be disappointed.
These are well focused on the stage.
The first and last few seats in each row may miss a sliver of action at the extreme edges of the stage - like the front stalls, though, the monkey mentions this more for information than the detraction from enjoyment. Those seeking a full view should avoid these seats of course, for the rest, many will tolerate them - and you get a nice discount in some seats to make up for it anyway. Still, try for the centre block for the same money, is the advice.
At second price seats just off the aisle are fair value, those further out are also fair but be aware the angle to the stage is the reason for any being a little cheaper. Also be aware of bars in the views of B42 and 43.
Rows K and L at the sides feel a bit "shelf like" to the monkey. Still fair and the monkey likes K 5 to 10 and 26 to 41 and L 9 to 11 and 35 and 36.
Double height bars protect the ends of all aisles.
The rail in front of row A is quite high.
The box office do feel the rear circle can seem a little steep, so the very nervous may like the stalls better - everyone else should be very happy here, though.
At the sides of the theatre, safety bars are well to the side of anyone's vision, and won't intrude, except into the view of B43, and slightly lesser extent B42. The bars are long horizontal structures, with a downward pole at the end, so the effect is like looking through open window blinds. In the central aisles, the monkey originally felt their presence will probably deeply annoy those seated either side of the aisles in rows A to F. Seats A 15, 16, 31, 32 particularly.
Claustrophobics should also be aware that from row F back, there is no aisle at the extreme ends of rows.
The steep stairs are treacherous for ladies in stilettos... and entry to the auditorium is usually from the very top of the theatre behind row L. In this case, or if disliking heights, ask to be let in via a door beside row B43.
Prices change on an almost daily basis, but seem to follow either an "off peak" or "peak" pattern:
“Off-Peak”: You can’t go wrong in the centre block, one seat off the aisle to allow for the safety rail in view in A to H.
The premium seats A 17 to 30 are pretty wonderful (beating the stalls unless you like to be really close to the stage). At top non-premium price, B16 to 30 are similar, without quite so much legroom. Maybe C22 to 25 are lesser value, because the seats next to them are so wonderful at second price. Worth also taking J over G and L over K for the same view, cheaper.
In the side blocks, the four seats just off the aisles (except A 15 and 32, B 14, 32 to 41) back to row F are as good as centre block, and B and E get you a row closer for fewer bananas than just over the aisle. Skip G as you can get a cheaper seat in H behind, though. Only outermost seats in A to E are least value, for a lesser viewing angle to the stage. There’s also no real bargain in K 1, 2, 44 and 45 being cheaper either – the aisle seats on L have a better view. Still, may as well take them when only the seats directly behind are left.
“Peak Dates”: Centre blocks rows A and B are premium price. A 17 to 30 are outstanding (beating the stalls unless you like to be really close to the stage, and better even than stalls row C for the same bananas). Behind them, B16 to 30 are similar, without quite so much legroom.
Take H over G for the same view, cheaper. Skip row K at third price, in favour of L 17 to 9 or 29 to 37 at bottom price. Why not K 18 to 28? They are more expensive for exactly the same view.
In the side blocks, skip the outermost seats at top non-premium price back to row E, and take the restricted view second price stuff on B with caution. B13 is quite decent, B14 and B32 have rails in view – B32 has less legroom, as does B33. B42 and B43 are always second price and worth it for comfort but not view.
Moving back, take J over G and H – same view, cheaper. Up to around four seats off the aisle is the way to go, with outermost seats last.
“A 11, 12 and 13: "The Book of Mormon" (March 2013), (Graham). The seats we had were very good, slightly to the side and very good legroom I thought."
"A16: “Mamma Mia”, (Janet Morris). My husband bought us tickets earlier this year, we hoped they may have been reduced but he ended up paying £49 each. You can imagine my horror when one of the seats came up as RED on your seating plan, circle A16 but I had no need to worry the seats were fantastic for "Mamma Mia. (Since then, other readers felt the same - as do the venue - and the monkey re-checked them. From B14 and 32, it noted that you do have to peer around them somewhat. Based on both this and reader feedback, other ratings have been raised accordingly).”
"A 22 and 23: "The Book of Mormon" (March 2013), (Geoff Jones). About as good as you can get, dead centre to the stage with great legroom and a great view of the whole stage. I sat in A22 and did have a camera with a bright green light in view of me (which I thought would be annoying, but once the show started I didn’t even notice it).
"A24: "The Book of Mormon" (March 2013), (Geoff Jones). This is front row and dead centre to the stage. Lots of legroom so you can stretch out. Fantastic view of the whole stage, and you do feel like you could just reach out and touch the actors as they feel so close. A lighting rig stretches across the front of the circle, but it just covers the view of the orchestra pit and doesn't impede your view of the stage and isn't really noticed once the musical starts. Definitely worth the money that I paid (£75), but would not have wanted to have paid £150+ for it - which dynamic pricing often dictates."
"A32: "The Book of Mormon" (March 2013). I tried sitting in Row A seat 32, which at first sight seems to have a small barrier interfering with the view, but once you are sitting down, it is not obstructed in any way. The view from Row A was pretty good!."
"A 32 to 34: "The Book of Mormon" (March 2013). I purchased 3 Premium seats in the Dress Circle. Row A seats 32 to 34. 33 and 34 were fine but, as your website points out, the view from seat 32 is obscured by the handrail. (I only read this afterwards). I understand why they need a handrail but I don't think it is fair that they sell this seat at a premium price. In my opinion a premium seat should be one of the best seats in the house and NOT partially obscured."
"A37: "The Book of Mormon" (March 2013). Off to the side and slightly outside the proscenium arch you miss a sliver of the left side of the stage but nothing major - little bit noisier here as speakers are facing you but the sound was good and clear. Didn't feel as comfortable sitting here as when I sat centrally - not sure if the seats are different but comfort didn't seem as good. You do also see things you don't see when you sit more in the centre too e.g. people waiting to come on stage, etc, but I can't argue saving £30 though - would stick with something more central next time but was worth the price I paid for the ticket.
"Row B: "The Book of Mormon" (March 2013). What was undeniably outrageous was the price of the seats and the fact that for top whack I got a restricted view – despite the perfectly good seats either side being the same price. However, having pitched down the steps (not literally but nearly) from the back of the circle to our aisle seats in row B I had a certain fond regard for the safety rail that blocked my sightline. If you’re no longer familiar with the trek up into The Gods be prepared for a trip down memory lane. You may be seated at the front of the ‘Dress’ but effectively you enter from the back of the ‘Balcony’. There is only one circle and it is very steep. Those in the boxes / slips also enter the same way and also appear to have to crawl through row A. If you intend to head to the loo / bar during the interval be prepared for a prompt mountain sprint up those steps unless you want to spend the entire break jammed into the stairwell."
"B13: "The Book of Mormon" (March 2013). Safety rail very slightly obscured the view of the front of stage. Theatre was very warm."
"B20: "The Book of Mormon" (March 2013). The Prince of Wales dress circle has the wonderful vertigo inducing circle but does mean most seats have at least an average view. B20 was great view. Occasional distraction for 'leaners' in row A but not too bad."
"B28 and 29: “Mamma Mia”. Brilliant view and comfortable too !"
“B 29 and 30: “Mamma Mia”. I'm not a fan of dress circle or balcony seats, and love to be as close to the action as possible - but the box office man promised us that these are one of the best places - and these were only £35 each. The steps down to dress circle seats are very cliffy, and if you are not free from giddiness / vertigo be sure that you can grab someone's hand for your way down. On the left hand side is a guard rail and, if seated in seat 31, it might restrict your view slightly - but in seat 30 it won't harm you in any way. You are really close to the stage action and you get a wonderful overview. The sound is great; voices are crystal clear, with very good sound mix. The whole sound experience is much louder than in the stalls. No loss of emotions or anything like that. If I'm going to see the show again I'd love to get these circle seats again. I'm always looking for something in the stalls, but after that night at the Prince Of Wales, I'm in love with their dress circle. Never before was a show attendance from upstairs so moving! Gratitude to the box office member for his advice, it’s good to deal with people who know what they are selling!"
"C5 and 6: “Mamma Mia (May 2012), (Chris B). Slightly to the side and classed as the second price tier, these seats are gems! You can see the whole stage with no restrictions and as it is a wide stage there is plenty to see. There is more than ample legroom which is an added bonus. There is no circle above either so it feels very airy and roomy. There is a good sized rake so no annoying heads in front to peer over either."
“D 15 and 16: “Mamma Mia”, (Jenny). The safety bar on the circle edge didn't bother me and I am only 5' 2" tall, so no probs whatsoever, although the comment about the rake of the seating is true, the one thing you can't do in the circle seats, even if you are on the end of the row, is get up and dance at the end - next time I will sit in the stalls!"
"D15, 16 and 17: “Mamma Mia”, (Mila and children). Great seats. The circle really is the best place to see this show as the rake is so high and steep that even if you have tall people in front of you (which we did) the kids can see everything, and it’s a great overview of the whole stage. Plenty of people got up and danced at the end too (including me, as I like to embarrass the children!!) so I don't think we missed anything from not being in the stalls."
"D18 and 19: “Mamma Mia”. Had a perfect view of the stage."
"D23: "The Book of Mormon" (March 2013), (Laurence T). I think the first four central rows in the circle are the best seats in the theatre, in terms of getting a full view of the stage, whilst still feeling very close to the action. Sitting in the circle you forget that there are any seats below you, so close are you in proximity to the stage. I think after row G you would feel too high up to be involved though (because of the steep rake), so perhaps the stalls would be better for the same price seats."
"D37 to 41: “Mamma Mia” (Graham). Over to the side but not affecting the view of the stage. The seats were really comfortable too."
"E 12 and 13: "The Book of Mormon" (Paul Nicholls). £50 each booked in advance on the theatre's website. I see that it is possible to pay up to £200 for seats. Utter madness. Our seats offered a perfect, uninterrupted view of the stage. The circle is tiered so that it makes no difference who sits in front of you as you are high enough to see over them. And talking of 'high'...when you enter the circle from the back, crikey, it's high! I really struggled to get down to Row E. There are no handrails to help you. A member of staff helped me and even offered to find me a seat in the stalls but I wanted to stay with my daughter so I persevered...and once seated it didn't seem quite so bad!"
"E 30 to 33: "The Book of Mormon": Very comfortable seats, giving a perfect view at a competitive price, and even with tall people sitting in front, the steep rake meant the line of sight was not obstructed. Maybe Rows B and C would be marginally better being a fraction nearer, but they are more expensive, and Row E is close enough to the stage anyway."
"Rows E, F and G: “Mamma Mia”. Were superb (for my coach party) as when you are sitting down as you could look over the head of the tallest person sitting in front of you. Getting down to your seat from the back would challenge anyone suffering from vertigo, though as it is a very steep rake. Having said that, the refurbishment of the whole theatre is quite spectacular and the seats very comfortable."
"Row F: “Mamma Mia” (Sharon Pestell). Right in the centre. These seats were fantastic. Although the circle at this theatre is pretty steep! It's a small theatre and I should think wherever you sat the view would be pretty good. Our seat afforded us a full view of the stage and you could still see the cast's faces."
"F31 to 35: “Mamma Mia”, (Mila). Excellent seats. We had a great view of the stage and the Circle has a good rake so our three nine-year-old kids were able to see perfectly."
“G15 and 16: “Mamma Mia”. Very good as reviewed on this site (thank you Monkey). The sound wasn’t balanced well at first, and the banker Dad was so soft you could barely hear him speak, but OK when singing. Worth mentioning again, the very steep rake of the Circle. Don’t wear platform shoes! I didn’t see anyone walk down facing forward. They all turned sideways. Ladies wearing high heels were the most nervous of all. However, I reiterate other comments that the new seating is very good and comfortable, and legroom, at least where we sat, good."
"G 25 and 26: "The Book of Mormon" (March 2013), (Lordship Theatregoers). In the centre block, not a seat we would normally book but found it excellent with plenty of legroom (6’1”). The upright, straight backed seats were very comfortable and there was a very steep rake which meant a great view - but the stairs were not to be negotiated in high heels or by anyone with vertigo."
"Row H: "The Book of Mormon" (March 2013). We were almost level with the top of the proscenium arch. Good view but VERY high up looking down on stage and very steep rake."
"H 4 and 5: "The Book of Mormon" (March 2013). It's quite a small theatre so there's no upper circle. View was clear and with no need to lean forward to catch the front of the stage."
"H19, 20, 21, 22: “Mamma Mia”. Although I personally wouldn’t normally choose to sit this far back I was pleasantly surprised at the amazing view of the stage. I could see loads of detail and the sound was very good as well. In addition, the very steep rake of the seating (not great for high heeled shoe lovers) ensures clear views over heads in front of you. In terms of sightlines, this must be one of the best Dress Circles in the West End. The view from there front few rows must be even better. The Dress Circle bar is also wonderful with loads of room."
"Row J: "The Book of Mormon" (March 2013). Although cramped, we had a great view."
"K 23 and 24:"The Book of Mormon" (March 2013) (Mary). There was one row of seats behind us and when we sat down I was worried that all we would see would be the very straight hair parts of the Mormon cast - but I was pleasantly surprised. I can't fault the view and can't say the stage felt distant even though we were so high. Great seats."
"L7 to 11: "Mamma Mia", (Pip). Being the very back row, the theatre has been built in such a way you can see everything like you were in the stalls! Every detail is perfect. Plus these seats are cheap and you feel almost in the middle! I would get them, very comfortable and lots of leg room. No need to worry about tall people in here!"
Called Loges in this theatre
At the sides of the stage, these form four fabulous architectural features. Shining bars in front of them lend a streamlined look, in keeping with the "liner" theme.
Boxes 1 and 3 are tagged onto the side of the Dress Circle, between the edge of it, and the stage. Again, The view is poor if you don't lean forwards - about three fifths of the stage visible without.
Boxes 2 and 4 are VERY high up above the stage on an extremely narrow shelf.
In all boxes, seating consists of one upright chair (seat 4) and three comfortable, but low, saloon armchairs with "U" shaped backs and armrests.
Should be good, as movable chairs are used. The tall may find the seats a little low, however, and if you move your seat for the best view, the overall legroom available diminishes.
Boxes 1 and 3 have poor views if you don't lean forwards - about three fifths of the stage visible without that lean, and legroom isn't great without upsetting your sightlines still further. Just about fair value for the view in the opinion of the producers... and the monkey about agrees with them if there are none of the great seats at the back of the circle available. At second price these reflect the fact you have a private box (according to some producers). The monkey isn't that keen on the view for the money, but accepts that privacy is worth paying for if you prefer to observe rather than participate when the crowd gets enthusiastic during a show.
Boxes 2 and 4 are VERY high up above the stage on an extremely narrow shelf - vertigo sufferers should REALLY avoid these - particularly seat 1 at the front, at all costs. The view is poor if you don't lean forwards - about a third of the stage visible without that lean, and legroom isn't great without pushing your chair back - which upsets your sightlines. Just about fair value for the view in the opinion of most producers... and the monkey about agrees with them if there are none of the great seats at the back of the circle available EXCEPT if you are a vertigo sufferer, in which case avoid at all costs. Prices mostly reflect the fact you have a private box (according to most producers). The monkey again isn't that keen on the view for the money, but also notes the privacy advantage. Might be worth a look at lower prices, feels the monkey.
Boxes 1 and 3 miss about two fifths of the stage if you don’t lean forward.
Boxes 2 and 4 miss around two thirds of the stage unless leaning.
Boxes 2 and 4 are VERY HIGH. Please DO NOT even consider purchasing if even slightly prone to vertigo.
Off peak: loges 1 and 3 are third price, 2 and 4 are bottom price. 1 and 3 are more comfortable than side block circle seats for the same cash, but have a far lesser view. The brave can take 2 and 4 once the back of the circle L 9 to 37 have gone.
Peak times, skip 2 and 4 at third price, and take 1 and 3 after decent stalls and centre circle seats at the same price have gone.
Never be tempted on any date to take 2 and 4 if suffering from vertigo.
Loge 3: "The Book of Mormon" (March 2013). Lose some of stage right action, otherwise fine. Worth booking all 4 seats if only 2 or 3 of you as still cheaper than stalls. Not much room to move chairs around so better to not be with strangers. Handy for exit.
Total seats 1,125 for the current production.
Theatre is air-conditioned.
Sennheiser infrared. Guide dogs can be dogsat. Wheelchair access is via the main foyer (automatic doors, controlled either by bell push on wall to the right as you face the theatre, or from the box office counter). Level access to the auditorium. Wheelchair spaces in row S are fitted with movable flooring to provide level space, regardless of the theatre's usual sloped floor - amazing, feels the monkey. Transfer is also available to seats C37 and 38, with a cubby-hole nearby for wheelchair storage.
Large unisex adapted toilet in stalls bar - a lift takes users downstairs to it.
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.
Fuller access details from theatre group dedicated phone line on 0844 482 5137.
Ice cream and confectionery in auditorium, Bar snacks also available.
Free Cloakroom on the lower floor for coats and baggage.
Two bars both huge and beautifully equipped. One below the Stalls, called the "Delfont", one in the Dress Circle called the "American." The "Delfont" has a huge range of drinks available, plus a stage where live entertainment could take place after the show. The "American" has floor to ceiling windows providing a novel view of the street below. Both have TV screens for latecomers to watch the show while waiting to be shown to their seats.
When the Delfont Bar is used for events, a reader notes,
"STANDING. Just a warning there is nowhere to really lean. If you lean on the bar you won't be able to see because more people will be standing in front of you - and, since the stage isn't raised, you will struggle. I stood behind the chairs on the left and had a good view, but again nowhere to lean - so back pain can happen!"
4 toilets; Stalls (off the Delfont Bar) 1 gents 3 cubicles, 1 ladies 13 cubicles; 1 unisex adapted disabled; Dress Circle (in the American Bar area) 1 gents 1 cubicle, 1 ladies 4 cubicles.
Theatres use "dynamic pricing." Seat prices change according to demand for a particular performance. Prices below were compiled as booking originally opened. Current prices are advised at time of enquiry.
Based on paying FULL PRICE (no discount!) for tickets, site writers and contributing guests have ALSO created the colour-coded plans for "value for money," considering factors like views, comfort and value-for-money compared with other same-priced seats available.
For a full discussion, opinions, reviews, notes, tips, hints and advice on all the seats in this theatre, click on "BEST SEAT ADVICE" (on the left of your screen).
On the plans below:
Seats in GREEN many feel may offer either noticeable value, or something to compensate for a problem; for example, being a well-priced restricted view ticket. Any seats coloured LIGHT GREEN are sold at "premium" prices because the show producer thinks they are the best. The monkey says "you are only getting what you pay for" but uses this colour to highlight the ones it feels best at the price, and help everybody else find equally good seats nearby at lower prices.
Seats in WHITE, many feel, provided about what they pay for. Generally unremarkable.
Seats in RED are coloured to draw attention. Not necessarily to be avoided - maybe nothing specific is wrong with them, other than opinions that there are better seats at the same price. Other times there may be something to consider before buying – perhaps overpricing, obstructed views, less comfort etc.
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.
The theatre frequently alters the prices shown here, depending on dates. Their system will show this at time of enquiry.
The boxes are called the "Loges" in this theatre.
Please note: The seating plans are not accurate representations of the auditorium. While we try to ensure they are as close to the actual theatre plan as possible we cannot guarantee they are a true representation. Customers with specific requirements are advised to discuss these with the theatre prior to booking to avoid any confusion.
Piccadilly Circus - Piccadilly (Dark Blue) and Bakerloo (Brown) lines.
The escalator from the platforms ends in a large circular underground area.
After leaving the barriers, turn to your left, and follow the curve of the barriers around until you see an exit to your right with the sign "Subway 4" over it. Walk under this sign.
Walk through this tunnel and ignore the first staircase to your right, marked "Shaftesbury Avenue". Continue along the tunnel passing the "Trocadero" doors, and follow it as it curves round. Follow the arrow on the sign ahead of you that says "Eros" - it points on down the tunnel to your right.
In this new section of tunnel, take the stairs ahead and to your right up to the street.
At the top of the stairs, the Criterion Theatre is to your immediate right. Look ahead and in the distance, to your right. The huge corner billboard the length of the building at first floor level is the Prince of Wales Theatre. Cross Haymarket (horse statue on your right as you do so) and walk towards the theatre.
14,19,22 and 38 to Coventry Street. Get off at the Trocadero Centre.
Look ahead to the right. The huge corner billboard the length of the building at first floor level is the Prince of Wales Theatre. Use the next pedestrian crossing to get back to the correct side of the road, pass TGI Fridays red and white adorned restaurant, cross Oxendon Street and voila!
A rank for Black taxis is at Charing Cross Station - a long distance from the theatre. Best chance of hailing one in the street is to walk down Coventry Street to Piccadilly Circus / Haymarket.
Leave the car park, turn left and walk uphill, crossing Panton Street and Whitcomb Court. Keep going straight on until you come to Coventry Street in front of you. Turn to your left, the theatre is a few paces away on your left. Do not cross the road or pass McDonalds. Wrong way.
This car park does not participate in any cheap car park scheme. The nearest ones that do are Spring Gardens / Trafalgar Square and Newport Place, Chinatown. The "Theatreland Parking Scheme" may be available at these two. Call Q-Park car parks on 0870 442 0104 or see www.q-park.co.uk for details. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost. Spaces CANNOT be reserved at these prices, so choose whether you would prefer to book and pay more, or use this scheme.
If you choose the "Theatreland Parking Scheme", you must get your car park ticket validated at the theatre's box office counter (the theatre attendant will insert the car parking ticket into a small machine which updates the information held on the magnetic strip on the reverse, thus enabling the discount). When you pay using the machines at the car park, 50% will be deducted from the full tariff. You may park for up to 24 hours using this scheme and it is endorsed by the Society of London Theatre.