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The Trusted Independent Insider Listings Guide since 2000.

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Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here


CLICK HERE for details of the "Above The Arts Theatre" Studio

CLICK HERE for details of "Mad On Her - 80's Jukebox Musical" in November and December 2017
CLICK HERE for details of "Guess How Much I Love You" in December 2017
CLICK HERE for details of "Six" in December 2017 and January 2018


Ends 3rd December 2017.

‘The Toxic Avenger’ is the brainchild of the Tony Award-winning creative team behind the smash hit West End musical ‘Memphis’, Joe DiPietro and David Bryan, an original founding member and keyboardist/vocalist for rock giants, Bon Jovi.

Based on Lloyd Kaufman’s cult 1984 comedy schlock-horror Troma film, “The Toxic Avenger”, ‘The Toxic Avenger The Musical’ tells the story of the citizens of Tromaville, who are crying out for a hero... Enter nerdy Melvin Ferd the Third, an aspiring earth scientist, determined to clean up the state’s major toxic waste problem. When a corrupt Mayor and her government goons get wind of his plans, they vow to stop this heroic feat. Melvin is attacked and tossed into a vat of toxic waste... transforming him instantly into The Toxic Avenger, New Jersey’s first

Toxie is a 7-foot mutant freak with superhuman strength and a supersized heart to match. He’s out to save heavily polluted New Jersey, end global warming, win the heart of the prettiest (blindest) librarian in town and get home in time for dinner!

Prepare to laugh, scream and sing to songs including ‘Who Will Save New Jersey?” “Get the Geek”, “Thank God She’s Blind” “Hot Toxic Love” and “Choose Me, Oprah!” as ‘Toxie’ rocks the house and saves the day!

Following a sold-out UK premiere at Southwark Playhouse, when it received 6 Off West End Award nominations including Best Musical, acclaimed rock musical ‘The Toxic Avenger The Musical’ transfers to the Arts Theatre for a strictly limited 10-week season.

Melvin/Toxie is played by Ben Irish. He joins Natalie Hope, Emma Salvo, Oscar Conlon-Morrey and Ché Francis with Peter Bindloss and Sophia Lewis as swings/understudies.

Creative team:
Director: Benji Sperring
Musical Director: Alex Beetschen
Lighting Designer: Nic Farman
Choreographer: Lucie Pankhurst

Produced by Katy Lipson for Aria Entertainment and Derek Nicol and Paul Walden for Flying Entertainment.

Performed by arrangement with Music Theatre International (Europe) Limited.


Also, do see for details of special "one night" events often held at this venue.

Theatremonkey Opinion:

If you loved “The Book of Mormon,” you’ll love this lavishly produced spoof of a show.

Those who grew up with “South Park” and the like, in particular, will find it a pretty perfect night out, pressing all the buttons of their youth. An eco-story, as New Jersey is the dumping ground for New York toxic waste. Plenty of pops at big business and an irreverence so broad it’s as if the American writers discovered British panto, dunked it in the same vat of strange goo as our hero, and delivered it back a month or two early.

In a nutshell, this is “Shrek” for adults. Our hero is an ugly green monster, his heroine a pretty girl with a flaw, and of course there’s an evil boss to battle. Melvin / Toxie (Mark Anderson) is the loser whose toxic baptism transforms him into a, well, not-very-super hero. Blind librarian Sarah (Emma Salvo) becomes his champion, and the pair keep up a non-stop hilarious romance, with voices and comic timing to match. Indeed, Salvo’s “press night” quip and routine are the funniest moments of the show.

Playing the evil (but sexy) Mayor, Natalie Hope more than lives up to her heroes (May and Trump, but you already guessed) and gets her own terrific turn when her other main role as Ma Fero requires both to be on stage simultaneously.

The rest of the team work hard too, in an unlikely diversity of roles encompassing bullies, cops, hairdressers, folk-singers and more. Let’s here it for Black Dude (Che Francis), White Dude (Oscar Conlon-Morrey) and both Swings (Peter Bindloss and Sophia Lewis). You’ll certainly notice when they are on, and they contribute immensely to the fun.

The humour comes thick, fast, and from all directions. Verbal quips, visual gags (watch for the fish early in the show) and some great written ones at the expense of other musicals – don’t miss the T-shirt, doctor’s eye chart and café menu.

To match the non-stop cartoonish antics, there are some decent songs. “All Men Are Freaks” had the women in the audience nodding, “Hot Toxic Love” is a love duet as never before, and “The Legend of the Toxic Avenger” a very neat moment working on several levels.

The crazy part-city, part-sewer set by takis, expertly lit by Nic Farman is wonderful, and if Andrew Johnson’s sound design struggles a little in the unforgiving space, no matter, the show is intoxiecating whatever.

Indeed, to end on a thought that echoes the humour of the evening, and sums up the reason to relax in the company of this band of industrious anti-industrial crazies; the name on everybody’s lips is gonna be “Toxie.” Until 3rd December in London, if not Chicago, anyway.

4 stars.


Your Reviews: Add your own by clicking here.
Important: Some reviews below can contain "spoilers" - please don't read if this bothers you! .

(1 review)

First of all this is a good fun show, with just enough tackiness to pay true homage to the genius that is Troma without taking the piss. The writers suffer from Shakespeare Disease - that is, they drag the ending out a bit too much - but that's par for the course in these benighted post-Tudor days.

My ticket was in the stalls, row M at the back, where there was plenty of leg room. However, if I'd stayed there the view of at least some of the action on the upper level of the set would have been blocked by the overhanging circle. Thankfully ticket sales appear to not be doing well so there were plenty of empty seats further forward. I moved to row F where the view was much better, although I was a bit surprised that going from almost the cheapest to the most expensive seats meant I got less leg room. It was still sufficient though.

Taller visitors should avoid the rear three or four rows in the stalls.


Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Performance Schedule:
The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Tuesday to Friday at 7.30pm
Saturday at 3pm and 7.30pm
Sunday at 3pm and 6.30pm

NO performance 3rd October 2017.

Runs 2 hours 15 minutes approximately, including one interval.



Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

This venue is using "dynamic pricing" with prices changing according to demand.

Sunday to Thursday

Rows A to G, plus H 3 to 14 and J 5 to 14: £44.50 except:
"Premium Seats" rows C to F 5 to 14 and G 3 to 13: £59.50
Rows K and L, plus BB 5 to 8, H 1, 2, 15, 16 and J 3, 4, 16, 17: £39.50
Rows M and N, plus BB 1 to 4 and 9 to 12: £29.50
Restricted View row J 1, 2, 17, 18: £19.50

Dress Circle:
Row A: £59.50
Rows B to D: £44.50
Rows E and F: £39.50

Dress Circle Slips:
All seats: £19.50

Friday and Saturday

Rows A to L: £44.50 except:
"Premium Seats" row C 5 to 15, rows D to G, and H 5 to 12: £59.50
Rows K and L 1, 2, 17 and 18, plus row M and BB 5 to 8: £39.50
Row N, plus BB 1 to 4 and 9 to 12: £29.50
Restricted View row J 1, 2, 17, 18: £19.50

Dress Circle:

Row A, plus B 5 to 12: £59.50
Row B 1 to 4 and 13 to 16, plus rows C and D: £44.50
Rows E and F: £39.50

Dress Circle Slips:

All seats: £19.50

DAY SEATS: At box office discretion, these are available to personal callers at the box office from 10am, priced £25 each, if sold. Location again at box office discretion. Limited to maximum 2 per person. The monkey always advises taking both cards and cash in case one is preferred over the other. Check with the box office before travelling if this policy is still in operation - though they cannot comment on availability each day, that is determined at the time of arrival."

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


Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Buying Tickets Online:

Other Box Office Information

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
Sales are handled by the theatre. This system allows you to choose your own seats.


Booking fees per ticket for online bookings:
£1 per ticket booking fee.


Other Online Choices (with S.T.A.R. genuine ticket agencies):

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 service offers tickets with booking fee of £9.75 on £59.50 seats (£7.25 on £44.50, £6.50 on £39.50, £4.75 on £29.50, £3.25 on £19.50 seats). 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.

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offers tickets with booking fee of £17.50 on £59.50 seats (£12.50 on £44.50, £11.50 on £39.50, £8.50 on £29.50, £5.50 on £19.50 seats). 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. The "Flexiticket" Exchange Service, allowing FREE transfer / cancellation (credit note up to 12 months) of your booking up to 3 days before the performance is also available for £1.99 per ticket. "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available. offer tickets with booking fee of £12 on £59.50 seats (£9 on £44.50, £8 on £39.50, £6 on £29.50, £4 on £19.50 seats). There is a £1 per booking, not per ticket, transaction fee for collecting tickets from the box office before your performance. Alternatively, if time allows, there is a postage to your home option, costing £2.95 (£4.95 to non-UK addresses) per booking, not per ticket. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.

Another alternative is / telephone 0870 830 0200 offers tickets with booking fee of £8.93 on £59.50 seats (£6.68 on £44.50, £5.93 on £39.50, £4.43 on £29.50, £2.93 on £19.50 seats) per ticket booking fee and £2.75 per booking (not per ticket) service charge. (FREE call if using Calling Plan at your chosen times). offer seats with booking fees of £9 on £59.50 seats (£6.75 on £44.50, £6 on £39.50, £4.50 on £29.50, £3 on £19.50 seats). There is a £1 per booking, not per ticket, transaction fee for collecting tickets from the box office before your performance / no fee for print at home ticket option. This system allows you to choose your own seats from the selection the company has available.

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.


Box Office Information:
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
Telephone: 020 7836 8463
Operated by the venue itself. Lines are open Monday to Friday 10am to 6pm.

Booking fees per ticket for telephone bookings:
£1 per ticket booking fee.


For personal callers or by post: 6/7 Great Newport Street, London, WC2H 7JB
No booking fee for personal callers. Box Office usually open from 10am to 6pm Monday to Friday (plus any other performance days) only. Check before travelling.


Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats and enquire about concessionary prices that may be available to them on a dedicated phone line. See Notes. is the venue website.


Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Theatre Seat Opinions:
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.


Seating Plan Diagram

Stalls Dress Circle Notes
The circle overhangs the stalls at row E. 

Seats are arranged in a single block.

The rake (sloped floor to help see over rows in front) is most noticeable from row E back.

Rows AA and BB at the very front of the stalls may be removed.

Mostly acceptable throughout the stalls.

Choosing Seats in General:
If row AA is in use and discounted then some may well find it worth the neck ache thinks the monkey.

If row BB is the front row - and not discounted it's not a bad view, but possibly expensive for those who prefer to take in the stage without the strain. Discounted, worth a glance if your physio is a good one... The monkey might consider 5 to 8 at the price.

Otherwise, at top price, the monkey chooses the most central seats in rows E to J. It isn't keen on seats too near the pillars though. The first and last two or three seats in each row as a final choice.

Some productions have row J and K "restricted view" end seats 1 and 18 in use cheaply. Worth a look for those willing to peer, feels the monkey, who would take K first for being less up against the pillar. The seats next to them, K2 and 17 at full price are still worth a miss, though.

Further back, the rear stalls are close to the stage in this tiny theatre. Again, avoid the edges of rows to maximise value. The only exception is in rows M and N, where seats 1 and 2 are more central than in other rows.

If sold at second price though, as is row M usually, the monkey considers them pretty good, even if the top of the set may be missing. It would take row M or even N before dress circle row F at the same price.

With all seats the same price, the monkey would go for seats forward of row L first. 

General Hazard Notes:
The high stage makes viewing from rows AA to D a neck-aching experience.

Pillars are located at the ends of rows G and H. These pillars affect seats at the ends of row J (not generally on sale - and removed) was directly behind one.

Changes for the current production:
The stage is on three levels. The top one is a gallery high above - those in the front rows will look up sharply. The main stage is just above head height to the front row, but there is a much lower stage in front of BB 3 to 10 as well.

Central row BB is second price, and SPOILER ALERT if you don't mind a bit of interaction SPOILER ENDS is great value and good fun. Beside it, even the outer seats are good or fair value, just take the outermost two last, as there are larger props in front. Legroom is about acceptable to those up to 5ft 8 or so - even a bit more in the central seats.

Behind, row A at top non-premium is expensive, but central seat numbers 4 to 11 are pretty decent if willing to look up, it thinks. Row B 5 to 14 are a better bet, it thinks. Many may also prefer central J, or pay a bit more for the "premium" central seats around row E or F, perhaps.

Or else, Sunday to Thursday, save by choosing K over J (and M before L), for the same view at lower prices feels the monkey too, if you prefer rear stalls. Friday and Saturday take L over M and N for sure.

... if you are a pillar fan, J 1, 2, 17 and 18 have been put on sale at lowest price. Maybe 2 and 17 are worth a look as decent budget options, feels the monkey.

Reader Comments:
"Row BB: "Ghost Stories" (June 2014). Front row. The row is close to the stage and half way through there is a slight obstruction but it’s minor."

"Row BB: "Ushers: The Front of House Musical" (September 2015). If you like lovely actors in your face then house left is best!"

"BB7: "Beautiful Thing" (May 2013). Bought for £24.50. As it states when you are booking your ticket, the view is restricted as the stage is raised. Compared to the Savoy Theatre's raised stage, this wasn't too bad as the stage is built up with steps and many of the actors will perform from these steps. At times, it almost feels like they are performing solely to you. On the odd occasion people's legs will be out of view and the neck-craning can get a bit annoying at times, but if you're anything like me and you love being as close to the stage as possible then these seats are for you. I would be a bit more cautious about booking seats on either far side of row BB - these usually sell last out of this row and it's easy to see why. I sensed that a lot of action would be missed from sitting in these seats."

"BB 7 and 8: "American Idiot" (July 2015). The most amazing seats...seen as the cheap seats because of high stage (restricted view). We thought you have to be kidding (but we liked the ticket price so not complaining!!) we loved the fan girls seats - all the action happening right in front of this ;-) I want to go again and would have to sit in those seats again!!"

"BB11 and 12: "Park Avenue Cat" (July 2011). I was tempted by an email that offered 'Best Seats for only £15' and booked blind. Foolishly I didn't check their location before we went. These were the WORST seats I've ever had in my life, in any theatre, anywhere. The row was squashed in front of the stage, and although we had leg room, we had to crook our necks and lean backwards to see the actors on stage. However, we got a good view up the female actors' skirts. Younger members of the audience in BB appeared to be able to maintain this awkward pose better than my husband and I - being in our late forties we have to be a bit more careful and had to keep looking downwards at our toes to rest our poor necks. An extremely uncomfortable experience. Strongly recommend that Theatremonkey never goes for these seats, even though he is probably a bit more bendy than we humans."

A 3 and 4: "Murder Ballad" (October 2016). Originally was sold Circle F1&2 for £12.50 each, on the night of the show was upgraded to Stalls F3 and 4. The stage is very high for this production so take from row D or so back, to see the floor which is important for this show. Also I wouldn't want to be any further to the right as you will miss action in the far right corner of the stage."

"A8: "Murder Ballad" (October 2016). Got it for £15 at 3pm yesterday afternoon (6th October 2016) for the evening's performance. Stage is even higher than usual at the Arts for this production by about 8-10 inches, meaning anyone unlucky enough to be in row BB can't see a thing - the stage will be several inches higher than anybody sitting there. A8 was equally poor, so I asked to be moved, and the (very rude) box office begrudgingly moved me to B17. Didn't see this was such an issue as the house was so empty. Being an extra row back helped matters a little, but floor level action further back than the front fifth of the stage is still invisible - and a lot of the action is viewed through a chair unnecessarily placed in the downstage right corner. (Same problem for those sitting downstage left side). I'd say you won't get a decent uninterrupted (and neck-friendly) view for this show until at least row F of the stalls."

"B1: Would definitely go for something more central if I could have chosen. Still had a good view though, although felt a bit disconnected from the action by being right at the side."

"B1: "Judy" (June 2017). A good seat with a clear view and plenty of leg room. It may be a problem if there is a lot of action on the right hand side, as it is slightly cut off."

"B1 to 4: ('Eve Ferret Sings Again!' in 2011). Seats were right at one side of the theatre and quite close to the stage but with a good view of all but the very nearside of the stage. None of these facts were an issue for this particular show (a cabaret) but might well be an issue with another show such as a play."

"B11: Seat was SO creaky I had to move to the empty one next to me. It was creaking like no theatre seat has ever creaked before. Avoid this seat. View from 1 along was very good and squeak free."

"B17: "American Idiot" (September 2016). The theatre is small. You would want a premium seat for this show, as it's on the split level, so the overhang would cut your view. B row is the third row back, any nearer the stage and you would be craning your neck a bit. The bonus of this seat is it's right be the stage steps, so plenty of room and no-one sitting in front of you. I had to sit at a slight angle, but it wasn't uncomfortable. I missed some bits that took place on one side of the stage (writing on a blackboard), but to be honest that was more bad staging than the fault of the seat position."

"Row C: (Mark, regular contributor). centre - Good clear view of the stage."

"D9: (Mark, regular contributor). for 'Naked Boys Singing' it's certainly close enough to see everything, put it that way."

"F5: "The Toxic Avenger" (October 2017), (Mark, regular contributor). Good clear view. And no more uncomfortable than the usual terrible standard at the Arts."

"F5 and 6 were as good as they get in this small venue."

"F8: "The Tailor-Made Man" (February 2013). Great view."

"G12 and 13: "A Guide To Sexual Misery" (September 2010), (Clive). A perfect view with good legroom. There is a good chance of being required to move seats for the second half of this show."

"H10 to 13: "Park Avenue Cat" (July 2011), (Clive). Excellent seats – very good view of the stage with good rake and good leg-room."

"H12 and H13: "A Dish of Tea With Doctor Johnson" (September 2011), (Laura). Ended up sitting next to the play's director Max Stafford-Clark, (who was lovely by the way!). The seats themselves gave an excellent view of the action being right in the centre and just in front of the overhang from the dress circle, although legroom was a little cramped - we're 5'2" and 5'3" and we struggled slightly. I'm not sure I'd have paid top price for the seat but if you can get them cheaply then they're a fair value in my opinion."

"L10: "American Idiot" (July 2015). This is a hit and miss seat .. I'd got it at a discount so couldn't complain. There is little drop from row L to K in front and there is no offsetting of seats at all, so if you get someone of even average height in front, your view is quite blocked. At the very last moment before the show started, I got a tall man with a ponytail so lost around one sixth of the stage - the central part. Fortunately 'American Idiot' uses split level stage so managed to see a good percentage. Pay full price for this row and you take a big risk ..."

"Row M: "The Toxic Avenger" (October 2017). My ticket was in row M at the back, where there was plenty of leg room. However, if I'd stayed there the view of at least some of the action on the upper level of the set would have been blocked by the overhanging circle. Thankfully ticket sales appear to not be doing well so there were plenty of empty seats further forward. I moved to row F where the view was much better, although I was a bit surprised that going from almost the cheapest to the most expensive seats meant I got less leg room. It was still sufficient though. Taller visitors should avoid the rear three or four rows in the stalls."

"Row N: Great leg room and perfect unobstructed view, has a good rake. Very hot, though. Now the bad points: during the play, 8 times the entrance/exit door - the only one to theatre - was opened and let the hallway light into the auditorium. Not only that, but they appear to have a bar/club directly behind a locked single layer door. I could hear crowds singing "my sex is on fire" more than what was said on stage. It really is appalling sound proofing, surely they could have better - and a curtain over the door! It really did spoil our night."


Called the CIRCLE in this theatre.

Six rows of seats cling to a narrow shelf, with a further two rows extending from the circle down the sides of the theatre. 

Poor throughout most of the circle, row A centre slightly less, comfortable to 5ft 5, rows B to E to 5ft 6, row F bench to 5ft 9 or taller if willing to sit back in the deep bench. Slip front row has enough to around 5ft 2, though is high enough to let longer legs drop a bit. Rear row slips have enough for someone of 5ft 8, and are deep for the taller to sit back in too - though view is lost.

Seats B 1 and 16 have nothing in front.

Choosing Seats in General:
Centre Block:
View from all central block seats in the circle is unexceptional, with little to recommend it beyond price if cheaper than the stalls. Row B is the best bet for avoiding rails and most of the low rake problem.

Row F is a bench, so arrive early to stake out your portion. If row F is cheaper than E - and no sound desk is nearby - the monkey would save a few pounds as it doesn't mind the bench seat - it's quite deep.

Wheelchair spaces are at the side of row F, offering a decent enough view but distraction from the soundboard when positioned nearby.

Side Blocks:
Side circle seats, Rows R and L 1 to 14 have bars restricting the sightlines, and the closest seats to the stage miss the nearside corner. These rows are benches too, so again arrive early to stake out your portion! The price makes them worth considering, if the discount for restricted view is worthwhile - though you may want to pay the same to sit in the front row or rear rows of the stalls instead for legroom / seat width comfort in particular.

On odd occasions when row F seats are the same price as slips, the monkey would go for seats in row F first. When rear stalls are also the same price - it would take rear stalls first.

General Hazard Notes:
Low bar in front of row A.

The circle has a shallow rake, making it harder to see over taller heads in front from middle row seats.

Sound desk can replace seats in row F, making F4 and 8 and E4 to 8 (which are usually nearest to it) a mss for purists.

Rows R and L have bars in front and a side view of the stage.

Changes for the current production:
Unless keen on a front circle view, the monkey would look at stalls before seats up here. About the same distance from the stage but stalls are a bit more comfortable, it feels.

Row A is worth skipping for legroom - it's premium anyway - and central B is average at premium (weekends) or top non-premium price at other times.

The sound desk beside F 4 and 9 shouldn't bother anybody much, except in 4 with a music stand behind it.

Monday to Thursday row E drops a price, about fair, take before D to save cash for the same view. The monkey would save more and take F instead. Friday and Saturday, with E and F the same price, F it finds more comfortable.

Slips are cheaper than row F, which is unusual. Take the second row as it is superior for comfort. They may have a side view, but the best slips, 4 to 7 are worth a look. Remember that stalls J 2 and 17 are also decent.


Reader Comments:
"Row A: (Graham). A very simply laid out intimate venue. We were sat in the front row of the circle and didn't find it to cramped at all. There is a bar running across the front of the row but it did not even come close to affecting my view of the stage. The circle in general seems to have a good rake too so think the view would be fine from most seats."

"B2: "Rotterdam" (July 2017), (Mark). View was fine, although be aware the rake isn't very good, and the seats are a bit "springy.""

"C7: "Dirty Great Love Story" (February 2017). The rake in the Circle is quite shallow, So you may have some trouble seeing over other people if the actors move to the front of the stage. The rail wasn't in my view line, but again at times when the action moved to the front of the stage I became aware of it, Decent leg room in these seats and the seats are not too squished which you might expect in a small theatre. If you want to save some cash it may be worth looking at slightly cheaper seats in other areas of the theatre."

"D17: "Beyond the Fence" (February 2016). Although at the end of the row, the view was really quite good. Legroom is a bit limited."

"D5: (Mark). Bad seat, the rake is terrible in the circle of this theatre. Even being tall I couldn't see very well over the people in front of me. I moved to an empty seat in row B, which was much better."

"Slip Seats: Long benches and quite tight if a few larger people are sharing it with you... or the man next to you leaves his phone on gets a call then texts 10 minutes into the second half …we are not sure...! Saying that, the view was good and you don’t really miss any of the action."

"Slip Seats: "Dirty Great Love Story" (February 2017).  The benches at the side of the circle are usually the cheapest and have a restricted view, but go for 13 or 14 and the view will not be too bad given the price."

Total 350 seats approx.

Not air conditioned. Be prepared for a hot and uncomfortable time in the height of summer, alas. To minimise the effects, seating in the front stalls is normally coolest as heat rises - and is also trapped in Circle overhang. Just a bit of advice from someone in the theatre industry who has a grasp of physics...

2 Spacious bars.

Guide dogs are welcome either inside or dog-sat. Audio described and signed performances occasionally. Step-free access from foyer to Circle. Wheelchair access is via a side entrance and there is an adapted toilet near the Circle seats (just a unisex one though). Contact staff in advance for full information on 020 7836 6463.  A "venue access guide" from the team who created book "Theatremonkey: A Guide to London's West End," is available to download in PDF format by clicking here.

1 gentleman's and 1 ladies toilet on each level. 


Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Getting to this Theatre
Find this theatre on a Street Map
Nearest Underground Station Buses Car Park
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. 

Look for the one showing the Arts theatre. It is marked "Charing Cross Road East" and "Cranbourn Street". When you leave the ticket gates, do a 180 degree "U" turn. This exit is hidden behind you, between the gates! Go up the first little staircase. At the top of it, turn right, taking the "Cranbourn Street" exit. Go up the stairs. In front of you will be Cranbourn Street. On the opposite side of the road are shops.

Turn to your left. Walk to the end of the street.

 If you see the Hippodrome Nightclub on the opposite corner across a busy road, turn around. Wrong Way. If you reach the end of the street and see a large restaurant - The Sussex on the opposite corner, well done. 

Do not cross the road to it. Instead just turn left at the corner. The Arts is ahead of you on the left, a small building on Great Newport Street.

If you take the other staircase at Leicester Square station then at the top, in front of you will be Charing Cross Road. On the opposite corner, notice the Hippodrome Nightclub and a wide pedestrianised street. Turn to your right then right again at the corner and walk down Cranbourn Street passing the entrance you originally aimed for and missed. Change to the other side of the road and walk to the end of the street. If you reach the end of the street and see a large restaurant "the Sussex" on the opposite corner, well done. Do not cross the road to it. Instead just turn left at the corner. The Arts is ahead of you on the left, a small building on Great Newport Street.


24, 29 and 176 stop on Charing Cross Road. Walk down Cranbourn Street to the end, changing to the other side of the street as you go. If you reach the end of the street and see a large restaurant - The Sussex on the opposite corner, well done. Do not cross the road to it. Instead just turn left at the corner. The Arts is ahead of you on the left, a small building on Great Newport Street.


A rank for Black taxis is at Charing Cross Station - a fair distance from the theatre, if you cannot hail one in the busy street outside the venue or on Charing Cross Road (to the right, up Newport Street).


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 to your right is the Palace Theatre. Don't bother crossing the road, but turn to your right on Shaftesbury Avenue and walk in the direction of it. When you come to the main road intersection in front of Shaftesbury Avenue, cross Charing Cross Road at the traffic lights. Now turn to your right and walk down Charing Cross Road, crossing Litchfield Street as you go.

Next is Newport Street. Turn left into it and the Arts Theatre is along on your left on the same side of the road.

This theatre does NOT take part in the "West End Parking" scheme offering discounts to theatregoers.


Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here


6th to 31st December 2017



Following a short run in the UK and the UAE in 2017 Selladoor Family and ABA International Touring UK announce that their brand-new live stage adaptation of the much-loved classic children’s book, published by Walker Books - written by Sam McBratney and illustrated by Anita Jeram, Guess How Much I Love You, will play a festive run in the West End at The Arts Theatre London for 4 weeks (6th – 31st December) prior to a UK Tour in 2018.

Join Little and Big Nutbrown Hare, from the best-selling Guess How Much I Love You and I Love You All Year Round collection, as they leap off the page and onto the stage in this magical journey through the seasons.

Watch and join in as Little and Big Nutbrown Hare settle down after a bedtime story and re-awaken to discover the delights and colours of each season as they compete to measure their love for each other in this timeless loveable story.

Cast includes Penny Dyer as Little Nutbrown Hare, Matthew Crouzieres as Big Nutbrown Hare and Emily-Jane Ashford as Mother Nature.

Guess How Much I Love You is directed by Anna Fox, with music composed by Harry Sever and movement by Lucie Pankhurst. Sound design is by Yvonne Gilbert and lighting design by Charlie Morgan Jones. Explore this playful story of love and nature as it unfolds on stage through puppets, live music and interactive play for children aged 3 and up.

This family favourite is brought to life by Selladoor Family, the producers behind James And The Giant Peach, Seussical and The Owl And The Pussycat and ABA International Touring (UK)Ltd whose current tours include What the Ladybird Heard, Hairy Maclary and Friends, and Shark in the Park.

David Hutchinson Executive Creative Producer for Selladoor says “Following a successful season in the Middle East and soon Asia, we are delighted to bring Sam McBratney’s beautiful story of friendship and discovery to the West End this Christmas, with Anita Jeram’s beloved illustrations hopping from page to stage. Adapted faithfully from the household favourite book, Guess How Much I Love You is an affectionate, gentle and interactive story that both parents and children can enjoy together as the perfect introduction into live theatre this Christmas. We look forward to then bringing the show out to UK regional theatres in Spring 2018”

Performance Dates and Times:

Runs 50 minutes approximately.

Seat Prices:
£20, £17.50, £12.50 (plus £1.50 per ticket booking fee)
Family ticket £64 for four £20 seats - minimum 1 adult and 3 children.

Box office:

Mondays 18th December 2017, 8th, 15th and 22nd January 2018

by Toby Marlow and Lucy Moss

From Tudor queens to pop princesses, the six wives of Henry VIII sing their way out of the history books and into the spotlight.

With songs including Ex Wives, Haus of Holbein and Don’t Lose Ur Head, this pop concert remixes five hundred years of historical heartbreak into one hour of 21st century sass.

If you thought this show was all about one man – you thought wrong!

SIX started life with Cambridge University Musical Theatre Society at the Edinburgh Festival Fringe 2017, where it was nominated for the inaugural Musical Theatre Review Best Musical Award. The original production attracted the attention of producers Kenny Wax and Global Musicals, who are presenting this all-new production for the show’s professional premiere at the Arts Theatre in London.

Facebook: sixthemusical
Twitter: @sixthemusical


Performance Dates and Times:
Monday 18th December 2017 at 8pm
Monday 8th January 2018 at 8pm
Monday 15th January 2018 at 8pm
Monday 22nd January 2018 at 8pm

Runs 70 minutes approximately, with no interval.


Seat Prices:
£15 in advance, £20 on the day


Box office:

Above The Arts Theatre Studio

An extra studio theatre, above the main auditorium at this venue. A simple, adaptable room.


Sundays from 5th November until 3rd December 2017

Ashley Luke Lloyd in association with Sam Ohlsson for BlackDeer Productions present:


Feast your eyes upon the glamourous and glitzy cast of "Mad On Her" - 80s Jukebox musical, say Mad On Her fast- you'll get the gimmick, Mad On Her is back after a successful short tour around the UK's top Fringe venues including Hope Mill Theatre, Manchester, and is ready to take The Heart of London by storm.

Mad On Her Principal Cast includes Emmerdale’s Sweetheart Kelsey Beth Crossley, X Factor/ Loserville’s Sarah Watson, and West End Power-House Laura Wilson, Joining them are Dani Acors (Jesus Christ Superstar) Brooke Havana Bailey (Billy Elliot) Simone Kite (Moulin Rouge) Sara Latif (BBC Bollywood), Emily Shuck, Francesca Pattinson and Phoebe Rose White (Rent).

Mad On Her – 80s Jukebox Musical takes you on a journey through all your favourite smash hits of this ‘Glamtastic’ decade. Get your Gladrags on and Glitter up as Donna and Tina party through the nightlife and drama of 1985.

Donna, ambitious and stylish, is climbing the ladder of success. Finding ‘Mr Right’ is the last thing on her mind – little does she know he could be just around the corner.

Tina, with her big hair and big heart, is the disco diva of the boulevard. As Donna’s best friend she sets out to play cupid. Step into the nostalgia of the neon lights and “Get ready to party the night away.”

Written, Produced and Directed by Ashley Luke Lloyd.

Co-produced by Sam Ohlsson for BlackDeer Productions and Co-Written by Koryann Stevens Delves.

Performance Dates and Times:
unday 5th November 2017 at 7.30pm
Sunday 19th November 2017 at 4pm and 7.30pm
Sunday 26th November 2017 at 6pm and 8.30pm
Sunday 3rd December 2017 at 4pm and 7.30pm

Seat Prices:
All seats £20 except
20 "Early Bird" seats at each performance: £16

Box office:


Thursday 30th November 2017

Celebrate St Andrews Day in style with a host of leading West End performers in London in:

(It’s not all bagpipes and Brigadoon..!)

A pair of seasoned Scottish West End performers are bringing a touch of Celtic charm to the Arts Theatre just in time for St Andrews Day, in an evening to celebrate the best of Scotland and Musical Theatre.

Shona White (Wicked, Mamma Mia, Chess) & Kieran Brown (The Phantom of the Opera,Wicked Les Miserables), alongside musical director Niall Bailey will be joined by a talented Scottish musicians and some of the best Scots voices in the West End, showcasing the rich Celtic musical history of Scotland in this unique celebration of all things Caledonia! There will be a special Scottish quiz with prizes to be won and ticket holders will be treated to some real tastes of Scotland!

“We are delighted to be sharing this evening of song celebrating our mutual love of Scotland with a London audience. We are both fiercely proud of our deep Scottish roots, and also proud to be Londoners, so this is a unique opportunity to combine both. We are planning a few surprises along the way, and alongside Niall, our musicians and special guests, we hope the audience will leave with smiles on their faces and an understanding of the unique rich musical landscape of our bonnie bonnie homeland!”

So bring your bagpipes, flash your very best tartan and prepare to be swept away by sweeping Scottish melodies – and Andrew Lloyd Webber as you’ve never heard him before!

Guest performers are subject to availability.

Shona White
Shona comes from Fife and is an Associate of The Royal Academy of music where she trained in Musical Theatre. Whilst there she won the Ronald White Prize for Acting Through Song.

She has recently been performing as Donna in Mamma Mia at The Novello Theatre. She is the first actress to have played both the daughter Sophie and returned years later to play the mother!

Theatre credits include: Florence Vassy in Craig Revel Horwood’s award winning UK touring production of “Chess" which transferred to Toronto, Standby and playing Elphaba in “Wicked" (Apollo Victoria), Woman 2 in "The World Goes Round" (Stephen Joseph Theatre, Scarborough), Leda Cotton in "I Capture the Castle" (Watford Palace,Bolton Octagon) Betty in "Shout" (UK Tour and Arts Theatre, London), "All the Fun of the Fair" with David Essex (Garrick), Usherette/Magenta in "The Rocky Horror Show" (UK Tour and Playhouse Theatre, London), Lisa and Sophie Sheridan in "Mamma Mia" (Prince Edward Theatre, London), Miss Gordon in Michael Grandage’s award winning "Merrily We Roll Along" (Donmar Theatre, London) and understudying & playing Eponine and Cosette in "Les Miserables" (UK Tour).

Shona is an experienced cabaret and concert artist with appearances at venues such as The Pheasantry, Pizza on the Park, St James, The Hippodrome, Queen Elizabeth Hall and The Royal Albert Hall supporting Elton John in concert. She was also a guest performer on Friday Night is Music Night for BBC Radio 2.

Recordings include: "When Midnight Strikes", "Zipp!" and "All the Fun of the Fair" cast recordings and "The Hitchhiker’s Guide to the Galaxy" soundtrack.

Shona’s debut album ‘I’ll Bring You a Song’ was released in 2011. She is also an experienced voiceover artist.

Twitter - @SingingHaggis

Kieran Brown
Kieran is a Falkirk native, who studied at the Royal Scottish Academy of Music And Drama, graduating with an honours degree in Acting. He has recently completed two years understudying and playing the role of the Phantom in "The Phantom of the Opera" at Her Majesty’s Theatre London to packed houses and standing ovations. He will shortly be seen in “Three Witches” at the Shelley Theatre Bournemouth before heading to New Zealand for a 12 date theatre tour, and this Christmas will be back in the West End (details of this to be released shortly).

After making his west end debut in “Les Miserables” (Palace Theatre London), Kieran went on to appear in numerous musical productions across Europe, playing roles such as Elphaba’s Father/Dr Dillamond/Wizard in “Wicked" (Apollo Victoria), The Actor in “The Woman In Black” (International Theatre Vienna), “Les Miserables 25th Anniversary Concert (O2 Arena London), cover Raoul in "Love Never Dies" (Adelphi Theatre) Algernon in “The Importance Of Being Earnest (English Theatre Vienna) and "Love Never Dies in Concert", (Ronacher Theatre, Vienna) and much more. He also had the privilege of performing for and meeting Her Majesty Queen Elizabeth II in Edinburgh.

TV credits include Taggart (STV), Randall & Hopkirk (Deceased) (BBC1), Anatomy of an Enigma (Ch 4), Andrew Marr's Great Scots; The Birth of a Nation (BBC1).

His solo shows have included “West End Winters” (Drachengasse Theatre Vienna), "Once Upon A Song" (Lauderdale House, Union Theatre, London), “My Big Fat MUSICAL Cabaret” (London, Vienna, Glasgow), and “A West End Christmas In… “ (Edinburgh, Glasgow, London, Vienna, Munich). Kieran recently wrote new lyrics for and performed the West End Wilma charity single ‘No Awards For You’ and is in demand for recordings and workshops, featuring on no less than 8 different albums of works by new and upcoming composers, including “You Are Home - the Music of Anderson & Petty”, “As Long As I Have Music” (Eyles & Gould), "Self Taught Still Learning" (Chris Passey), “Love Lies & Lyrics” (Lesley Ross), “Words Shared With Friends” (Robert Gould), and “The Barricade Boys” album.

In March this year he appeared as one of “The Three Phantoms” during a sell out run at The Parisian Theatre in Macau, and the MES Theatre Singapore. He was also recently a guest artist on the Cunard flagship Queen Mary 2, & Queen Elizabeth & Queen Victoria as one of The Barricade Boys.

For more information, videos & audio, visit, or find him on Twitter @kierbro

“Brown's fine, high-baritone is silky, seductive, and powerful. He has excellent control at both the top and bottom of his range, enabling real richness in the lowest notes and a thrilling, edgy sound at the highest points… A memorable and touching performer in every respect…” - Stephen Collins,

Niall Bailey
Peebles born Niall is a teaching fellow at the Guildford School of Acting and has for the last nine years worked across all undergraduate and postgraduate programmes offered by the school. He was recently appointed Director of Undergraduate Studies.

Productions at GSA include: “Jerry Springer The Opera”, “Moll Flanders”, “Spring Awakening”, “Guys and Dolls”, “Nine”, “The Baker’s Wife”, “My Favorite Year”, “When Midnight Strikes”, “Serious Money”, “Chaplin” and “Company”.

Outside of GSA, Niall works as a freelance Musical Director, Orchestrator and Theatre Producer.

As Musical Director, his theatre credits include: “Bernstein’s Mass”, “Sweeney Todd” (both at the Royal Festival Hall, London); “The Hired Man” (Landor Theatre, Off-West End Award nomination for Best Musical Director); “Aladdin” (Salisbury Playhouse); “Grand Hotel” (Mountview Academy); tours of “The Shakespeare Revue” and “Mephistopheles Smith”; "Barnum", “Honk” and “The Little Shop of Horrors” (Geneva, Switzerland); “Four Unlikely Lovers” (Jermyn Street Theatre and Trafalgar Studios), “The Lost Christmas” (Trafalgar Studios) and “With A Song In My Hart” (The Mill, Guildford).

Concert work includes a series of ”Les Mis Gives” concerts with the West End cast of Les Miserables (2010 and 2011 casts and Matt Lucas and Norm Lewis; “Little Women” by Steven Luke Walker (Playhouse Theatre, London); “A West End Christmas” (St Paul’s, Covent Garden); “The Great British Musical” with Stephen Fry (Criterion Theatre); “A Spotlight on Jeremy Legat” (Landor Theatre) and “Chloe Hart In Cabaret” (Madame Jojo’s, London).

Orchestration work includes “The Hired Man” (Landor Theatre); “The Great British Musical” (Criterion Theatre); the European premiere of Ahrens and Flaherty’s “The Glorious Ones” (Landor Theatre) and the Les Miserables cast entry of West End Eurovision 2012.
Niall is Creative Producer for Scala Theatre Ltd and has a number of theatre works in development.

Performance Time:

Runs 1 hour 30 minutes approximately.


Seat Prices:
All seats £15 (£12.50 concessions)

Box office:


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