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

DOMINION THEATRE

 
 


AN AMERICAN IN PARIS (musical)


After World War Two, American soldier Jerry becomes an artist in Paris. He falls for local Lise... as do his friends Adam and Henri...

Songs by George and Ira Gershwin, book by Craig Lucas, the biggest dance musical on Broadway hits London.

Leanne Cope is scheduled to appear at all performances except Wednesday EVENINGS, and all performances from 31st July until 9th August 2017 inclusive. At these performances, Daniela Norman is scheduled to replace her.

The producers cannot guarantee the appearance of any particular artist, which is always subject to illness, injury and statutory leave entitlement.

Cast holiday details are given for information only, and Theatremonkey.com CANNOT take responsibility for any issue arising from the accuracy or otherwise of these details, nor guest use of this information.



 

Theatremonkey Opinion:
(Seen at the preview performance on 14th March 2017). Some actors have now left the cast.

The first in a trio of “big dance musicals” to open in London this year, and the first since “A Chorus Line” at the Palladium in 2013. The West End has never really taken to this kind of show, so will this be the one to persuade audiences to give it the lengthy run it richly deserves?

For this really is the “dance musical of them all.” The final half hour, from Henri’s “I’ll Build a Stairway to Paradise” and on to “An American In Paris” are breathless for the cast, breathtaking for us in the audience. Robert Fairchild (Jerry) and pulchritudinous Leanne Cope (Lise) give their all, despite probable exhaustion of being on stage for almost two hours already, and the entire ensemble provide something unforgettable under director / choreographer Christopher Wheeldon. Add Bob Crowley’s sets and costumes, Natasha Katz’s lighting and the well-balanced sound by Jon Weston, and it’s a delight.

In fact, extra applause for the entire sound team at the Dominion, who dealt with a total microphone failure by stopping he show for just 10 minutes to switch to a backup, which functioned perfectly. Oh, and for the poor lady who lost her skirt in the big dance number – nicely dealt with.

Leading up to the final 30 minutes, there are some other fine moments. “I Got Rhythm” (monkey saw it twice, thanks to the sound failure, and it was worth it both times) and “Liza” being highlights of act one.

The only problem is the same as the film – the pace. Without much of a book to hang the story on, non-dance fans are going to find the tiny trickle of under-written characters, and not much of a tale, tedious. Those who love Gershwin and dance will be in their element (though it must be said, “Crazy For You” does it faster and funnier); for the rest, it’s a slow build to that final glorious pay-off.

Just for Cope and Fairchild, the music, dance and spectacle, this is truly a five star show. Whether it’ll find a British audience does, as the monkey began with, remain to be seen. If you like Gershwin, dance and immaculate musical staging, though, this is certainly for you.

S’Wonderful indeed.

 

 

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

(12 reviews)

Thursday 9th March 2017, 7.30pm.

Took a punt with a £25.50 circle seat from TKTS, got M3 and 4.

My first time in the circle here and to be fair the view was fine even being on the extreme side. Seats seem low to me and the guy leaning forward in front of us saw us move to the next block during interval.

The show?

Sublime! Visually Stunning! Beautiful! What more can I say?

Performances were all excellent, choreography is superb (and there's a lot of it), don't go expecting an avalanche of Gershwin songs although the ones that are there are beautifully staged and performed.

The three male leads are brilliant both when alone and together.
The female leads are as strong although Leanne Cope (Lise) is not the strongest actress you forget that when you see her dance. And, when Cope and Fairchild dance together? WOW!!!! Second act ballet is unforgettable!

First act I was engrossed, second act is even better. It really is 'a stairway to paradise' and that number along with the second act ballet are worth it alone. I've already booked a second trip but this time front row stalls. 'I'm going to get there at any price, wish me luck I'm on my way'. I'm certain it won't be the last, best show I've seen in a long time.

Mark Lane
Willenhall.
_____________________________________________________________

Sorry to put on my grumpy face, but I was hoping to leave the Dominion Theatre three feet off the ground this afternoon after ‘An American in Paris’ but alas, I was very much stuck on terra firma.

Despite some fantastic scenery, projections and lighting, top class sound, immaculate singing of some wonderful songs and dazzling dancing, it felt like a long haul through a very dull book with almost no humour whatsoever. The dry wit of Oscar Levant was sadly missing, and the fun of the children in the 'I got Rhythm' routine in the film would also have been welcome.

I was also disappointed with the ballet which seemed totally abstract without characters or a story and failed to illustrate the raison d'etre of Gershwin's famous composition, which was to capture the sights and sounds of Paris, including its noisy motor horns. We saw snatches of typical Paris views elsewhere in the show but not during the ballet!

I have to say that the three principal men and Leanne Cope were all terrific and all the dancers in the corps de ballet performed superbly but the musical pleasures – even ‘Stairway to Paradise’ – were not enough to raise my spirits as much as I was expecting.

My seat in R15 in the Stalls was excellent.

Tonyloco.
_____________________________________________________________

Saw 'An American in Paris' from circle H29 last night, 20th March 2017. Great clear view, though safety rail next to the seat occasionally irritated in my peripheral vision. So far from the stage, though, that I felt totally detached from any action. Many patrons seemed to feel this, and it was reflected in the applause at the end of numbers...

Show is often beautiful but falls rather flat as a whole, with a corny script and a few questionable performances (Jane Asher is quite spectacularly bad).

There's a spectacular tap number in the second act, and the Broadway leads are sensational. Though if you don't like long ballet sequences you'll have a very boring evening indeed...

Rhys
_____________________________________________________________

I'm a musicals fan, having performed in them since 1968!

I found this one a musical ballet night rather than a musical. I'd hoped for Gershwin, but found his music covered over a lot, with endless dance numbers. Even the scenery did ballet several times on stage! What for?

Like Rhys's review it was a long night!

Sorry to be a downer, but the show needs to be described differently.

Andy,
13th March 2017.
_____________________________________________________________

Got to the Dominion Theatre box office at 11:15am on Saturday 25th March 2017. No day-seats advertised but asked on the off chance and got one, W 30 in the stalls, for £25.

Seat was very central, and no pillars blocking the view. It felt a long way from the stage, but there were about 10 rows behind me, so not the worst seat by any means.

A good show with some lavish visuals and wonderful dancing, though some parts of the 1st half dragged, and it isn’t the most cerebral plot. As a good escapist show it works wonderfully, so I give it 4/5 for what I paid.

Glen Morranjie.
_____________________________________________________________

Went to see this last Saturday (15th April 2017) for the afternoon performance as a birthday treat for my musical niece, who plays a lot of Gershwin in concerts. She loved it.

It is an extremely balletic production, which is phenomenal, but I did not feel the cast connected with the audience, which was reflected in the lack of applause. 'Stairway to Paradise' upped the game, Robert Fairchild is the new Gene Kelly!

I enjoyed it, and have been humming tunes since. Costumes are great, sound is good, air conditioning works- but would return to see '42nd Street,' which also is on a big stage in a large theatre in preference for the overall feel good factor .

We were in circle seats J42-46, bought directly from the Dominion for £29.50, a few days before. I saw them elsewhere for significantly more. The view was clear, losing a little of LHS of stage, which was not relevant for this production. I was in J46, nearest the stairs, lots of space round me for bags etc. Not a lot of legroom, but none of us was over 5 10, so no complaints. I would definitely book these seats again for good value.
_____________________________________________________________

1st May 2017. Bought Stalls B19 in advance through the official website for very reasonable £29.50. Great seat, middle aisle, LEGROOM. Sitting straight I could just about see stage floor.

Since it’s been a Monday night, Ashley Day took over from Robert Fairchild as Jerry. Did very well, I thought, although I’d very much like to see how Fairchild tackles the part. "An American In Paris“ is a movie I always wanted to like more than I actually do. The musical, however, eliminates many of the movie‘s weaknesses, keeps the movie‘s strengths, and adds a few of its own.

For example, one of the movie’s biggest flaws is its artificiality. On stage everything is artificial. It is expected, not distracting, and thanks to inventive stage design and projections the show feels more real than the movie. Some extra depth is added to the story by grounding it more firmly in post-war Paris.

This production emphasises the romance of the story. Some funny bits here and there, but this is not a comedy (neither is the movie, to be honest, which only comes to life during the song and dance numbers – unlike "Singin‘ In The Rain“, for example, which could work as a comedy even if you cut out every single dance step). It’s one for the heart.

What a lovely, lovely show.
____________________________________________________________

This show is spectacular! I agree the plot is paper thin and the script feeble. But the music and dancing is wonderful. However the star of the show for me was the backdrops which suggested at different times Paris streets, the river and the Louvre, the interior dome of the department store, the ballet studio and the theatre from the stage.

I sat in Q14 which is the back row of the circle and gave me a full view of the stage. Excellent value for money.
____________________________________________________________

Went to see this at today’s matinee (10th May 2017). A good way to spend a weekday afternoon! Here are a few thoughts on the show plus comments on the seat:

Enjoyed this, particularly the terrific and energetic performance from the orchestra. Everyone on stage was working hard, too – not least to try and make a very thin storyline stretch to just over two and a half hours. But the story isn’t the reason to go and see this: what captivates are sparkling melodies, splendid singing, enthusiastic dancing and some of the most amazing use of projected scenery I’ve ever seen.

Stalls seat A19 is right at the front. There is at least six feet – probably more – between row A and the rail or the orchestra pit, so perfect for anyone whose idea of theatrical heaven is plenty of legroom and nobody pushing past them to get into or out of the middle of a row. Broad, comfortable seats with armrests, having nobody in front of you, being close enough to see facial expressions and sharp prices make them a bargain unless seeing all the footwork (especially towards the back of the stage) is more important to you than all those other considerations.
____________________________________________________________

Good seats with a good view (even on the left) - stalls row Q seats 47 and 48 for £25 (day seats), amazing show, definitely worth seeing!
____________________________________________________________

"An American in Paris" was amazing! Row W is fine, but almost all of row K was free so I moved forward... there were two empty seats behind me too so I wasn't even in anyone's way! Surprised that they didn't sell me a seat in row K at £25 but anyway, as you say, row W at £35 is still a great discount, view was only slightly improved by moving forward. Thank you for your advice.
____________________________________________________________

I liked "An American in Paris," but not quite as much as the Broadway version I saw. Ashley Day has taken over from Robert Fairchild, and is actually more like Gene Kelley in style. The version I saw on Broadway was also with a substitute (that day) Garen Scribner, who was from the San Francisco Ballet. Scribner seemed a better fit in the (more ballet-style) dance.

I also thought the play dragged a bit, whereas the NY production was very snappy. I thought there were sort of arbitrary pauses/gaps in the chatter (non-singing parts), I'm not sure why. Maybe the dancers need the rest, as the dance is pretty energetic.

Still it was a very enjoyable night out at day seat prices.



 

 

Top 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.


Monday to Saturday at 7.30pm
Wednesday and Saturday at 2pm and 7.30pm

Runs 2 hours 45 minutes approximately.
 

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

Monday to Thursday:
Stalls

Rows D to X except "premium seats" and rows N to W 1 to 4 and 47 to 50, X 2 to 5 and 46 to 49, Y 3 to 12 and 39 to 48: £69.50
"Premium seats" row J 13 to 36: £122.50
"Premium seats" row K 13 to 36, plus L 13 to 36: £97.50
Row Y, plus rows N to W 1 to 4 and 47 to 50, X 2 to 5 and 46 to 49 and Z 13 to 38: £59.50
Rows C, D 5 to 11 and 32 to 38, Z 1 to 12 and 39 to 50 and VV: £49.50
Row WW and XX 13 to 38: £39.50
Rows A and B 7 to 32, XX 1 to 12 and 39 to 50, YY, ZZ 15 to 25: £29.50
Rows A and B 5, 6, 33, 34, ZZ 3 to 12, 39 to 50: £18.50

Circle

Rows A to G (except "premium seats," "side view" and "rail in view" seats row A 2, 3, 11 to 14, 24 to 27, 37 to 40, 48 and 49 and B 1, 2, 11 to 14, 24 to 27, 37 to 40, 49 and 50): £69.50
"Rail in view" seats row A 2, 3, 11 to 14, 24 to 27, 37 to 40, 48 and 49 and B 1, 2, 11 to 14, 24 to 27, 37 to 40, 49 and 50): £39.50
"Premium seats" row C 19 to 32: £122.50
"Premium seats" row D 19 to 32: £97.50
Row A 4, 5, 46, 47; B 3, 4, 5, 46, 47, 48; C to E 5, 6, 45, 46; F and G 5 to 12 and 39 to 46: £59.50
Rows C to G 1 to 4 and 47 to 50, Rows J to M (except J and K 6 to 9, 15 to 18, 27 to 30 and 38 to 41): £49.50
Rows N 8 to 39 and O 17 to 28: £39.50
Rows H to L 1 to 8 and 40 to 48, plus rows J and K 6 to 9, 15 to 18, 27 to 30 and 38 to 41, O 8 to 16 and 29 to 39, P 8 to 39: £29.50
Rows M to P 1 to 8 and 40 to 46 and Q: £18.50

Boxes

With "packages": £199 and £169
 

 



Friday Evenings and Saturday Afternoons:
Stalls

Rows D to X except "premium seats" and D 1 to 11 and 32 to 38: £72.50
"Premium seats" rows J and K 13 to 36: £122.50
"Premium seats" rows L to N 13 to 38: £97.50
Rows U to W 1 to 4 and 47 to 50, X 2 to 5 and 46 to 49; Y; Z 13 to 38: £62.50
Rows C, D 1 to 11 and 32 to 38; Z 1 to 12 and 39 to 50: £52.50
Row WW and XX 13 to 38: £42.50
Rows A and B 7 to 32; XX 1 to 12, 39 to 50; YY, ZZ 15 to 25: £29.50
Rows A and B 5, 6, 33, 34; ZZ 3 to 12 and 39 to 50: £18.50

Circle

Rows A to F (except "premium seats" "side view" and "rail in view" seats row A 2, 3, 11 to 14, 24 to 27, 37 to 40, 48 and 49 and B 1, 2, 11 to 14, 24 to 27, 37 to 40, 49 and 50) and G 13 to 38: £72.50
"Rail in view" seats row A 2, 3, 11 to 14, 24 to 27, 37 to 40, 48 and 49 and B 1, 2, 11 to 14, 24 to 27, 37 to 40, 49 and 50): £42.50
"Premium seats" rows C and D 19 to 32: £122.50
"Premium seats" rows E and F 19 to 32: £97.50
Rows C to E 1 to 4, 47 to 50, F and G 1 to 12 and 39 to 50: £62.60
Rows J to M (except J and K 6 to 9, 15 to 18, 27 to 30 and 38 to 41), N 17 to 26: £52.50
Row N 5 to 16 and 29 to 39, O 8 to 39; P 17 to 28: £42.50
Rows H to L 1 to 7 and 40 to 46, plus rows J and K 6 to 9, 15 to 18, 27 to 30 and 38 to 41, P 8 to 16, 29 to 39: £29.50
Rows M to P 1 to 7 and 40 to 46, row Q: £18.50

Boxes

With "packages": £199 and £179
 

 



Saturday Evenings and "Peak Dates:"
Stalls

Rows D to X except D 5 to 11 and 32  to 38 and "premium seats": £72.50
"Premium seats" rows J to L 13 to 36: £122.50
"Premium seats" rows M and N 13 to 38: £97.50
Row C 11 to 28, Y and Z to VV 13 to 38: £62.50
Row C 4 to 10 and 29 to 38, D 5 to 11 and 32 to 38, Z and VV 1 to 12 and 39 to 50, WW 13 to 38: £52.50
Roiw WW 1 to 12 and 39 to 50, XX 13 to 38, YY 13 to 25: £42.50
Rows A and B 7 to 32, XX 1 to 12 and 39 to 50, YY 1 to 12 and 39 to 50, ZZ 15 to 25: £29.50
Rows A and B 5, 6, 33, 34, ZZ 3 to 12 and 39 to 50: £18.50

Circle

Rows A to F (except "premium seats" and "rail in view" seats row A 2, 3, 11 to 14, 24 to 27, 37 to 40, 48 and 49 and B 1, 2, 11 to 14, 24 to 27, 37 to 40, 49 and 50) and G 13 to 38: £72.50
"Rail in view" seats row A 2, 3, 11 to 14, 24 to 27, 37 to 40, 48 and 49 and B 1, 2, 11 to 14, 24 to 27, 37 to 40, 49 and 50): £42.50
"Premium seats" rows C and D 19 to 32: £122.50
"Premium seats" rows E and F 19 to 32: £97.50
Rows F and G 1 to 12 and 39 to 50, J to L (except J and K 1 to 9, 15 to 18, 27 to 30 and 38 to 46): £62.50
Row M 8 to 16 and 29 to 39, N 8 to 39, O 17 to 28: £52.50
Row O 8 to 16 and 29 to 39, P 17 to 28: £42.50
Rows H, plus rows J and K 1 to 9, 15 to 18, 27 to 30 and 38 to 46, L to N 1 to 7, 40 to 46, P 8 to 16, 29 to 39: £29.50
Rows O and P 1 to 7 and 40 to 46 and Q: £18.50

Boxes

With "packages": £199 and £179

 



DAY SEATS: "VERY much at the box office’s discretion, so cannot guarantee them at every performance." These are available to personal callers at the box office from 10am, priced £25 each, if sold. 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."

RUSH TICKETS: App TodayTix are offering £20 "Rush tickets" in the stalls, for all performances. Released for the performance on that day, first-come, first-served. Download the App from www.todaytix.co.uk, unlock the "Rush Ticketing" feature by sharing on Facebook or Twitter, and that will allow you to buy tickets.

 

All prices include the £1.25 per ticket "theatre restoration" fee, but DO NOT include booking fees.

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

 

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:

www.dominiontheatre.com
The site allows you to select your own seats from all those available.

Booking fees per ticket for online bookings:
A £2.50 per ticket (£1.50 on £29.50, £1 on £18.50 seats applies. A £2.50 per booking, not per ticket, handling fee also applies for tickets sent by post or held for box office collection. No fee applies for "print at home" tickets.
 

 

 

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

When the box office does not have what you require, the Theatremonkey Ticketshop telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom) offers £69.50 seats with a £15.50 (£27 on £122.50, £21.50 on £97.50, £13.25 on £59.50, £11 on £49.50, £8.75 on £39.50, £6.50 on £29.50, £4.25 on £18.50 seats Monday to Thursday / £27 on £122.50, £21.50 on £97.50, £16 on £72.50, £13.80 on £62.50, £11.75 on £52.50, £9.50 on £42.50, £6.50 on £29.50, £4.25 on £18.50 seats Friday and Saturday) per ticket booking fee. Slightly higher than the box office, but lower than most agencies. Worth checking if the box office cannot provide the exact tickets you might require. 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 / telephone 0870 830 0200 which offers £69.50 seats with a £13.90 (£24.50 on £122.50, £19.50 on £97.50, £11.90 on £59.50, £9.90 on £49.50, £7.90 on £39.50, £5.90 on £29.50, £3.70 on £18.50 seats Monday to Thursday / £24.50 on £122.50, £19.50 on £97.50, £14.50 on £72.50, £12.50 on £62.50, £10.50 on £52.50, £8.50 on £42.50, £5.90 on £29.50, £3.70 on £18.50 seats Friday and Saturday) per ticket booking fee and £2.75 per booking (not per ticket) service charge. (FREE call if using BT.com Calling Plan at your chosen times).

Another alternative is Ticketmaster.co.uk who offers £69.50 seats with a £9.55 (£16.95 on £122.50, £13.45 on £97.50, £8.15 on £59.50, £6.75 on £49.50, £5.35 on £39.50, £3.95 on £29.50, £2.40 on £18.50 seats Monday to Thursday / £16.95 on £122.50, £13.45 on £97.50, £9.95 on £72.50, £8.55 on £62.50, £7.15 on £52.50, £5.75 on £42.50, £3.95 on £29.50, £2.40 on £18.50 seats Friday and Saturday) per ticket booking fee. A £2.85 per booking, not per ticket, handling fee is also added. This system allows you to choose your own seats from the selection the company has available.

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offers £69.50 seats with a £14.50 (£18.50 on £122.50, £15.50 on £97.50, £11.50 on £59.50, £11.50 on £49.50, £9.50 on £39.50, £4.50 on £29.50, £3.50 on £18.50 seats Monday to Thursday / £18.50 on £122.50, £15.50 on £97.50, £11.50 on £72.50, £9.50 on £62.50, £6.50 on £42.50, £4.50 on £29.50, £3.50 on £18.50 seats Friday and Saturday) per ticket booking fee. 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. Discounts and "Meal and Show" packages may also be available. 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. Quality and Value hotel / theatre ticket packages are also available.

Londontheatredirect.com offers £69.50 seats with a £14 (£24.50 on £122.50, £19.50 on £97.50, £12 on £59.50, £10 on £49.50, £8 on £39.50, £6 on £29.50, £3.75 on £18.50 seats Monday to Thursday / £24.50 on £122.50, £19.50 on £97.50, £14.50 on £72.50, £12.50 on £62.50, £10.50 on £52.50, £8.50 on £42.50, £6 on £29.50, £3.75 on £18.50 seats Friday and Saturday) per ticket booking fee. 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.

 

ALSO SEE Tickettree.com for great value "hotel and theatre ticket" packages.

Other Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.


 

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: 0845 200 7982
Operated by The Ticket Factory Agency on behalf of the venue.

Booking fees per ticket for telephone bookings:
A £2.50 per ticket (£1.50 on £29.50, £1 on £18.50 seats applies. A £2.50 per booking, not per ticket, handling fee also applies for tickets sent by post or held for box office collection. No fee applies for "print at home" tickets.

 

 

For personal callers or by post: Tottenham Court Road, London. W1P 0AG
No booking fee for personal callers. Normal fees apply to postal bookings.

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.

www.dominiontheatre.com is the official theatre 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.

A good auditorium photograph is available on the www.dominiontheatre.com website.
 

Seating Plan Diagram

Stalls Dress Circle Notes
STALLS 
Layout:
Vast, 28 rows, 50 seats per row in four blocks, split by aisles.

The rake (sloped floor to help see over rows in front) is very good, aiding the view, particularly from row F back.

The Dress Circle overhangs the Stalls at row K. The top of the stage becomes invisible from row W back.

Legroom:
Excellent, particularly row A.

Z 1 and 50 have nothing in front, though a pillar is to the side of the seat, it doesn't affect the view.

A larger reader opines, "Very comfy and large seats in the stalls for the larger person."

Choosing Seats in General:
Centre Blocks:
Sightlines are clear from all seats in the two centre blocks.

Rows D to H are the best seats in the stalls, once past J, it starts to feel a way from the stage for anything involving drama.

Other seats in these blocks offer fair value for money until you get nearer the last "top price" rows.

Rows V to Z at top price is fairly greedy, considering the distance from the stage. Only the clear sightlines and good legroom allow the monkey to rate them "average" value 

The last rows - VV to ZZ feel far from the stage. The central blocks of these rows are a comparable choice with the rear Dress Circle, if they are available at the same price, feels the monkey.

Manual wheelchair users have three spaces in rows XX, YY and ZZ at the back of the stalls. These do not have the greatest view but are fairly priced. Motorised chair users get put in a seldom used box at Dress Circle level. Transfer to any centre aisle seat is also possible. This is more like equal access in Theatremonkey's opinion.

Side Blocks:
It is worth particularly avoiding the ends of rows A to S, A seats 1 to 10 and A 31 to 34, B 31 to 34, C 31 to 35, D 34 to 38, E 34 to 39, F 34 to 39, G and H 37 to 43, J and K 39 to 46, L 39 to 47, and M to S 41 to 50. These are the ends of the row and the viewing angle is often disrupted by bits of scenery during many productions; anyhow, why should you pay the same as those more centrally seated, argues the monkey.

Past row T the distance from the stage compensates for the angle and the view is usually clear, though the closer to the centre aisle, the better - and why settle for a side view when one can pay the same money for centre block tickets?

From row V back, pricing usually makes the first four seats adjacent to the aisle worth considering as average value in monkey opinion - but the closer to the centre aisle the better.

The rest of rows VV to ZZ at third price offer just about fair value - even the outermost corners have their fans.

In summary, it really is only the clear sightlines and good legroom allow the monkey to rate all but the ends of these rows as "average" value. Oh, and even the standing space isn't too bad either...

General Hazard Notes:
The stage can be very high and the orchestra pit, (when in use) is wide. This may mean neck ache for those in row A, plus the odd sensation of feeling like one is sitting on the lip of the Grand Canyon. Not  a reason to avoid, just an interesting feeling this monkey has (similar to the one after too many nuts).

Row XX seats 26 to 38 are in front of the technical desk, and so could suffer noise and distraction!

Changes for the current production:
The monkey took a look, and was impressed. In the centre blocks, and most central pairs in the side blocks, those of 5ft 7 or so should see dancing feet even in the front row. Those on row D will almost definitely have the full view, too. So, A and B at fifth price, and C at third price are total bargains (even at second price on a Saturday Evening, better than row Y), feels the monkey. It would strongly advise centre block over side block, for prime viewing, though, and would take C over D at top price - same view, cheaper.

The conductor is visible, so purists may want to go a couple of seats off the main aisle. Won't bother most, though.

The outermost pairs of seats in rows A and B are cheapest in the theatre. A "false proscenium" in front shaves around a metre off your view of the side of the stage. Those on the "high numbers" side may see a tiny bit more, but the "low numbers" side has a slightly better overall angle on centre-stage, feels the monkey. The seats to go for are B 6 and 33, then B 5 and 32, then A 6 and 33, then A 5 and 32, it feels. In particular, B 6 and 33 are astonishingly good for the price, it thinks.

The "Premium" seats are the centre block seats in rows J to L - and all the way back to N on Friday and Saturday. The monkey feels dress circle C and D at the same prices are superior unless over 5ft 11 tall, in which case stalls will be more comfortable.

Top price goes as far back as X, except at the sides in the outermost four seats from N, Monday to Thursday and U Friday Evenings and Saturday Afternoons only. Rows F to H at regular top price seem the best bet - centre block of course.

At second price, the monkey would take Y over X for the same view at a lower cost. Monday to Thursday, it also doesn't mind N to V 3, 4, 47 and 48 either, U to X same seats, Friday Evenings and Saturday Afternoon.

Prices drop to third in Z at the sides and VV (WW Saturday Evenings) in the centre, and fourth in WW Monday to Friday (XX Saturday Evenings), with YY centre, XX sides dropping to fifth except on Saturday Evenings. The monkey would take these rows over the one in front for the same view for less cash. Fridays and Saturday, it would also take the 4 seats off the centre aisles in the side blocks of row ZZ - 9 to 12 / 39 to 42 as they are cheaper still. Saturday Evenings, at second price, VV is pretty average to say the least, it feels.

If considering fourth price at all performances, and you only need two seats, then do consider the "rail in view" circle seats B 11, 12, 13, 26, 37, 38, 39 and 40 for the same fourth price money, though as they are far closer to the stage...

Purists should be aware a sound desk exists behind XX 26 to 38.

 

Reader Comments:
"Row A: "The Bodyguard" (July 2016). Day seats. Amazing view from the front row as stage is far back from the seats. As long as you don't mind a bit of heat..."

"Row A: was in front row of stalls which is fine, although you miss a small amount of action at rear of stage"

"Row A: I love front row in the stalls at productions like 'Les Mis' and 'Phantom,' but here the stage is way, may higher so you miss a lot of the bottom part of the set and cannot see Killer Queen when SPOILER ALERT she is raised up over the audience SPOILER ENDS - at least not without straining your neck badly! I would recommend sitting at least several rows back if you choose the stalls. Overall, I am glad to have seen it but wouldn't choose to do so ever again."

"A18 and 19: Although these seats are the most spacious I have had the pleasure of sitting in at a west end show, at times these seats are just too close to the stage! As the stage rises and spins over the audience, these seats are directly beneath and all that can be seen is the black underside of the stage. Also, as the action takes places way from the front of the stage you do miss some of the action. However at a show such as 'We Will Rock You,' these seats allow you to make the most of the atmosphere, whilst at times feeling like you practically sat at the edge of the stage."

"A19: "An American In Paris" (March 2017). A19 is right at the front. There is at least six feet – probably more – between row A and the rail or the orchestra pit, so perfect for anyone whose idea of theatrical heaven is plenty of legroom and nobody pushing past them to get into or out of the middle of a row. Broad, comfortable seats with armrests, having nobody in front of you, being close enough to see facial expressions and sharp prices make them a bargain unless seeing all the footwork (especially towards the back of the stage) is more important to you than all those other considerations."

"A19: "The Bodyguard" (July 2016). Day seat. I was really impressed - loads of legroom - there must be about 6ft between the front row and the low wall surrounding the orchestra pit so had a great view - yes I was looking up but not uncomfortably so. SPOILER The podium in the middle (that they use for 'I Will Always Love You') juts out in the middle, so means you can't quite see the stage floor in a small area beyond it SPOILER ENDS, but that didn't cause a problem at all. For the rest of row A, beyond the centre aisle seats A19/A20 and possibly A18 and A21 I suspect it wouldn't be noticeable at all. Elsewhere, at 6ft tall and sat up in my seat I could see right across the stage itself, no issue with not being able to see to the back or anything. The lights in front of A15, 18, 21 and 24 did look to be annoying during the songs they're used in so I think you're right to have those seats marked as white rather than green. And finally, yes, the flames were intense - I do still have my eyebrows intact, but only just... Inevitably, being that close to the action I felt really involved, and the club scene and the shooting at the Oscars still gave me chills... for £27.50 it was an absolute bargain, especially given the people immediately behind me had paid £40 more."

"A26, 27 and 28: I thought I had scored great tickets when I got A26, 27 and 28. The show was phenomenal, but now I know why those seats were available. To look up at the stage, I was constantly craning my neck. When the front part of the stage lifted up and out overhead, I had to crane my neck upwards and still then it was hard to see with the stage “surfboard” overhead. Plus, during the intermission, a theatre employee set up at the foot of the aisle to sell ice cream. People were congregating, chatting right in front of us, so when others walked by they had to cut right in front of my long-legged husband who was sitting on the aisle in A28. After several instances of crunched toes, he just got up to stand at the stage, way out of the way until “ice cream-boy” was done selling. If I had know now what I knew, I would have tried to get seats a tiny bit further back."

"B 16 to 19. (Daniel). The stage was slightly above head height but it didn’t matter at all. As these seats were central we could see everything clearly, whether at the front or the back of the stage, and didn’t have to strain our necks in any way at all. Whilst obviously not as good as seats a few rows further back they were still really good, comfortable seats. The advantage of being so close was you could really see the actors particularly well as you’re so close to them (the band is in the wings so the front of the stage is right in front of you). It was enjoyable to see all their facial expressions. And you almost feel part of the show at the board table rotates above your head."

"B19: "An American in Paris" (March 2017). Bought in advance through the official website for very reasonable £29.50. Great seat, middle aisle, LEGROOM. Sitting straight I could just about see stage floor."

"D 8 to 11: These seats are fantastic as they are so close to the stage and you can see the actors really well. The only downside is the noise as the front rows are close to the speakers. It can be too loud, but I don't mind the noise and loved the seats!!!"

"D12 and 13: Leg room great, view great."

"E12 to 17: (Mandi). which were fantastic although the band was noisier than when we were in the dress circle! Fantastic for me but my mother in law was a bit shocked at first!"

"H 43: "The War of the Worlds (February 2016). Excellent view, but my god it's a barn of a place."

"J41: (Kirsty). According to your plan is in red, but I really liked the seat. Sure I was at the side, but I could still see everything that happened onstage and if I was offered this seat again I would take it. I could see all the actors expressions clearly, but the only thing I may have missed out on was seeing the very left hand side of the stage where nothing really happens anyway, LOL."

"Row K: "An American in Paris" (March 2017). Row W is fine (bought as a day seat) but almost all of row K was free so I moved forward... there were two empty seats behind me too so I wasn't even in anyone's way! Surprised that they didn't sell me a seat in row K at £25 but anyway, as you say, row W at £35 is still a great discount, view was only slightly improved by moving forward."

"K26: "War of the Worlds" (February 2016). An excellent seat with clear view of the whole stage. Only potential issue is the limited rake, so a tall person in front would be a possible problem. Leg room is good."

"L21 and 22: "The Bodyguard" (August 2016), (Lordship Theatregoers). (Dead centre) and had a great view of the stage with plenty of legroom (6’1”) but as these are usually sold as premium seats so they should be good."

"M25: "War of the Worlds" (February 2016). I have no complaints about the view from this seat. This is on the middle aisle and a good distance from the stage. The overhang starts here, so I imagine rows, N and P would have good views too. Theatre Monkey advised avoiding the seats at the right at the sides and I'm glad I did as the venue is wide, not everyone might be bothered by this, but it is a fair warning. Leg room is decent, seats could do with an upgrade though, not the most comfy I've sat in."

"O 25: an aisle seat, should be in green - you can see and hear everything."

"Q11 and 12: (Teresa Gustafsson). Got full price tickets (£60) for £30 at TKTS -  Q11 and 12. We had a perfect clear view of the stage, although at a slight angle, and we sat close enough to see the actor’s faces! The music was really too loud though and sometimes you couldn’t even hear what they were singing."

"Q47 and 48: "An American In Paris" (March 2017). Good seats with a good view (even on the left) - for £25 (day seats)."

"R15: "An American In Paris" (March 2017). Excellent."

"R33 to 35: (Ali). We had stalls, row R 33-35. Legroom was possibly the best of any theatre I've been to so far, and the seats were wide enough for any 'fat bottomed girl' (like me!)."

"U24 and U25: "An American in Paris" (March 2017). I checked your seat reviews after seeing the show because I was interested to see whether our experience was recorded by others. Alas No. I am really puzzled by your comments because we did not have a good view. The rake was shallow and the seats are not offset so we were stuck squarely behind the head and shoulders of the person in front. I spent the whole show peering round one or other side of that person, depending on where the action on stage was happening. I am average height but my husband is 6ft and sat in the aisle seat. His comment was that it was extraordinary that he was sitting in the middle of the theatre and couldn't see. Also, as the show began, I heard a woman mutter, 'Oh dear I'm not going to be able to see.' Is it possible they have changed the seating layout? It was a great show but spoiled a bit by the obstructed view."

"U39 and 40: "Evita" (September 2014) (Bob Pickett). Excellent seats, especially U39 as it sits on the right side of the row (left side of the Stalls), on the aisle so gives an uninterrupted view of the stage. Like all the seats at The Dominion, they’re spacious and comfortable (though the odd fidget is required during longer productions). Rake is step enough to clear heads, the entire stage is visible and you are close enough to clearly see the actor's expression."

"Rows W and X: "White Christmas" (December 2014). Even near the back, it was still a good view and with good leg room."

"W30: "An American In Paris" (March 2017), (Glen Morranjie). Bought as a "day seat" for £25. Seat was very central, and no pillars blocking the view. It felt a long way from the stage, but there were about 10 rows behind me, so not the worst seat by any means."

Z38: "The Bodyguard" (October 2016). Half price from TKTS at £29.50 it was much better than my comparatively priced full price seat up in the circle earlier in the run. I do however think at £57.50 it is too far back and I'd rather sit closer. The lighting makes it difficult to focus on facial expressions from this far back."

"VV 11 and 12: (Jackie). Got a deal at £23 per ticket in January 2012. Quite a long way from the stage - and the top was not visible because of the overhang from the circle - but I don't think we missed anything. The rake is good and the seat space much better than a lot of other theatres, I'm 5ft 9 and fitted in comfortably. What was even better was rows Y and Z were completely empty so we had an unobscured view of the stage."

"VV 15 and 16: (Cristopher H). The view was fabulous."

"Row WW: (William Cooper - regular reader). The height of the circle above and the rake of the stalls gave a clear, if distant, view. This meant that, although these seats were bottom price, they were at least comparable to second-price rear stalls at other popular musicals. That said the bottom price of £27.50 (now £32.50 / £39.50) is fairly similar to second price for other big shows."

"YY 49 and 50: (Kevin). I was a little apprehensive before going as these particular seats are given a red rating on theatre monkey (changed now - Editor). They are situated at the rear of the stalls on the left hand side, however I was pleasantly surprised at our position and the good views of the stage. There was no restriction of our view. If you are looking for a cheaper ticket price, still with good views and comfort, then these seats are the ones."

"Standing Space: (Hannah). We had standing tickets (£15 on the day). They are at the back of the stalls, give an excellent view and plenty of room to rock out if you so desire. Worth it if you are cheap and have good legs. (Physically, not aesthetically, the monkey notes)."

 

DRESS CIRCLE 
Called the CIRCLE in this theatre.

Layout:
Vast tiered affair. split into front and rear sections by a wide aisle running between rows G and H. 

The front section is split into four blocks by aisles.

The rear section is split into five blocks by aisles. The centre block in this section has stairwell gap at the front of it.

Legroom:
Good in most seats for those up to around 5ft 10 or so, even 6ft in row G, but less row A and behind the stairwell walls in row H, plus row L seats 23 and 24. Those under 5ft 6 or so will be most comfortable in these seats.

A larger reader opines that "Circle area seats seemed slightly smaller than the stalls, but still acceptable." Another remarks,
"Row A seats 34 to 36. I'm 6ft 2. I had plenty of room, maybe not as much as the other rows up there, but I could still get comfortable without any problems."

The curve of the front circle wall, and the way the outermost 3 seats in rows A to C curve back away from the circle front, gives extra legroom in them all. Row A gets about an inch more, the rest a little more than that. Helps those up to about 5ft 8 or 9 in row A for sure.

Another adds, "Legroom acceptable for 6ft2 in row E."

Row B 1 and 50 have nothing in front.

Row J 7 and 40, K 7 and 40, P 7 and O 7 have a bit more space for one leg to move into, on the aisle side of the seat.
 

Choosing Seats in General:
Front Section:
The centre two blocks - rows A to G seats 13 to 38 offer the best views in the house.

Once centre section seats have gone, the two side blocks, except for seats 1 to 4 and 47 to 50, are preferable to seats in the side blocks of the stalls. This is due to a better viewing angle to the stage, feels the monkey.

Rear Section:
The rear block betrays this theatre's cinema origins. It is easy to imagine looking at a ten foot tall Julie Andrews on a screen from here (the Dominion ran the movie 'The Sound Of Music' for ages) but a regular height actor on a stage is different.

Entry to these blocks is up a gantry like set of stairs from the circle foyer. Naturally, the front block inhabitants get the level access - still, come the revolution…

The rear block is split into five segments. At the sides, H to K seats 1 to 7 and 40 to 46 are last resort at top or second price. When more keenly priced, they are fair value, feels the monkey. Be aware of brass rails at the ends of rows J and K beside 1 and 46. Not in the way much, but there all the same.

At any price, rows L to Q seats 1 to 7 and 40 to 46 are final picks unless you really, really need to see a show. It is bad enough being far away from the stage without being stuck in the corner too. Surprisingly, the other three more central blocks are pretty decent bets for a clear if distant view at second price or lower, though.

The rake is very steep from Row L back, however, making these rows feel a long way from the stage, though strangely closer than equivalent stalls. Taking row L and N seats 8 to 20 and 27 to 39 is the most acceptable if the stalls is full. 

Row O back is equivalent to the rear stalls, with added vertigo! Avoid if you dislike heights. Otherwise, both it, and rows P and Q are comparable to stalls bottom price seats in rows XX to ZZ. All three are slightly closer to the stage than the stalls equivalents, too, and see better over heads in front as they are raised on steps. If you can get row O at bottom price, worth a look, feels the monkey.

General Hazard Notes:
Row A: "My wife and daughter, both 5ft 6ins, had problems seeing the front of the stage and constantly had to lean forward."

Safety bars at the ends of the aisles do not affect the view, though pedants might want to sit one seat off the aisle to avoid them, if they feel like it! The two seats nearest the safety bars have been reduced in price (and A1 taken off sale) to allow for the problem - good response, thinks the monkey.

Rows A to G seats 1 to 4 and 47 to 50 may find that boxes and a set of stage lights interrupt the view.

The very ends of row H have a metal bar in front.

Double height safety bars in front of rows H to K seats 6, 7, 8, 9, 15, 16, 17, 18, 27, 28, 29, 30, 38 and 39.

Brass rails at the ends of rows J and K beside 1 and 46.

Steep rake and distant views from row L back.

Row L has a stairwell wall in front of seats 23 and 24. Annoying for viewers in seats either side and in the row behind. Legroom is also affected.

Changes for the current production:
Centre seats in centre block rows C and D (plus E and F at weekends) are "premium" priced. The monkey would take these over stalls (unless over 5ft 11) for view. Taller folk will find stalls more comfortable. There are equally good and cheaper seats available around them, though.

The two seats at the end of each block in rows A and B are fourth price. Seats B 11, 12, 13, 26, 37, 38, 39 and 40 are decent bargains, the monkey feels. The saving per seat compensates for the rail, it feels.

Monday to Thursday, outermost sets drop to third price in C to G, with some at second in central F and G, plus beside them in C to E. On Friday Evenings and Saturday Afternoons, the outermost seats are also second price. Either way, the monkey likes C to E 3 to 6 and 45 to 48 and F and G 5 to 12 and 39 to 46 Monday to Thursday and C to E 3, 4, 47 and 48, plus F and G 9 to 12 and 39 to 42 Friday and Saturday. You will miss action in the outermost seats, but the discount is good for the "overall view" it feels.

In the rear block, row H is discounted to allow for losing the front of the stage, and outer 2 seats in each off-centre block in rows J and K for more rails in view. The monkey rates them OK, with the saving making up for the rail, but a little pricier than usual, it feels.

Other seats in rows J to M central blocks are third price, except on Saturday Evenings when the M off-centre block hits third with the centre block ones at second. Fair, the monkey feels, except that M and N are a long way back for the price on a Saturday Night at second price. Still, a better pick for the short than similar price stalls, it thinks. The tall will again find stalls more comfortable, though.

Out to the sides, new pricing puts H to N (L Saturday Evenings) outermost blocks down to one off bottom price, and rows behind at bottom price. All fair value if you miss of the outermost pairs, feels the monkey. Or you can go central Q at bottom price for a more central view at bottom price on all dates.

Pay a little more, you do get N or O in the main blocks. Again, not bad value if you can get row O (even N on Monday to Thursday dates).

Do remember, though that front stalls are also available at the lowest two prices, too, if you don't mind missing feet at times.

Reader Comments:
"
A 26 and 27: "Evita" (September 2014). On the centre aisle. Wonderful seats for us as we are both tall (5’7 and 5’10). We only had to lean forward very slightly and we don’t often loll right back in our seats anyway! Even sitting fully back, we only lost a very little of the front of the stage and this only mattered in one song that I noticed. It made for a really good view – we could see nothing but the stage itself and that made you feel very involved in the performance."

"A 34 to 36: I'm 6ft 2. I had plenty of room, maybe not as much as the other rows up there, but I could still get comfortable without any problems. My wife and daughter however, both 5ft 6ins, had problems seeing the front of the stage and constantly had to lean forward."

"A 34 to 36: I was worried about booking these seats as I had read on the website that there was restricted legroom in this row for people over 5ft 6, and I'm 6ft 2. I booked them anyway because my wife really wanted to sit there. I need not have worried as I had plenty of room, maybe not as much as the other rows up there, but I could still get comfortable without any problems. My wife and daughter however, both 5ft 6ins, had problems seeing the front of the stage and constantly had to lean forward. Fortunately the seats behind them were empty so it didn't cause any problems."

“B 20 and 21: “We Will Rock You,” (Chris B). These seats offer a good, unobstructed view of the whole stage and are easily high enough to see over the front row of the circle. The stage feels very wide and I think being raised up helps the appreciation if the entire stage. The circle feels fairly close to the stage too so you can see everything clearly. There is sufficient legroom too, can’t complain about these seats at all, they’re great.”

"C 10 to 12: on the aisle side of the right-hand side block of the Circle. Tickets through Kids' Week so my daughter's ticket was free as opposed to the £62 for ours. The aisle bar was definitely in view from all three seats and although I got used to it I'd say its something to be aware of. My wife (C12) thought it was quite restrictive. The general view of the stage was good with nothing out of sight at all although when the cast were at the very front of the right-hand side of the stage I could only see them from the waist up. Rake is OK and legroom was fine for me at 5'6" and the sound was fine. I'd say fair value only at full price for these seats. In the interval I had a look from C13 on the other side of the aisle and found it much better, with the aisle bar out of play. I'd go for this block in future in preference to where we sat."

"E 30 and 31: Legroom acceptable for 6ft2. Previously seen the show from the stalls and I think the best seats in the house are probably in the Circle first few rows, in the middle."

"E 31 and 32: I knew in advance these seats would be good based on this website...thanks. The view was excellent. We could see ALL the action and even see the band, a real bonus."

"H29: "An American in Paris" (March 2017), (Rhys). Great clear view, though safety rail next to the seat occasionally irritated in my peripheral vision. So far from the stage, though, that I felt totally detached from any action. Many patrons seemed to feel this, and it was reflected in the applause at the end of numbers."

"J42 to 46: "An American in Paris" (March 2017). Bought directly from the Dominion for £29.50, a few days before. I saw them elsewhere for significantly more. The view was clear, losing a little of LHS of stage, which was not relevant for this production. I was in J46, nearest the stairs, lots of space round me for bags etc. Not a lot of legroom, but none of us was over 5ft 10, so no complaints. I would definitely book these seats again for good value."

"K 14: A good view throughout, able to see everything, even when Killer Queen is on her revolving stage platform thingy. Some might think the stage is a little far away but for me it was a reasonable distance. Notably I remember seeing 'Jersey Boys' in the very top circle and found the stage to feel a lot further away than I did in this theatre. Leg room was fine for me and I'm average height."

"K 27 and 28: "Evita" (October 2014). Took these as you had advised that these are good value, which is true. These seats are classed as limited view due to the rail at the bottom of the aisle, but from K 27 the rail is entirely out of line with the stage and from K 28 it obstructs the front corner only, to a low height - my companion said the latter was not a problem at all. A definite bargain compared to other seats nearby."

"M 3 and 4: "An American In Paris" (March 2017) (Mark Lane). My first time in the circle here and to be fair the view was fine even being on the extreme side. Seats seem low to me and the guy leaning forward in front of us saw us move to the next block during interval."

"Row N: We were initially issued tickets for row N on the circle. There was nothing wrong with these seats at all as the circles' seats were reasonably steep so there was not problem with the view no matter where you sat. The theatre was very empty so we were able to move the entire group right to the front row of the circle on the right hand side (as we faces the stage). There was nothing with these seats either but if you sat right on the front row then the edge of the circle may be in your view and may miss some of the action on the front of the stage if you don't lean forward."

"N1 and 2: tickets were purchased as a part of an organised weekend 2013 theatre break, so we had no option but to accept the allocated seats. Not a great deal of legroom for taller people, but adequate for those of us who are vertically challenged. Tiers are quite steep, ends of rows can by definition result in some loss of viewing action on the stage, we didn’t feel this was the case."

"P 17 to 20: Great Seats!!! Could see everything super clearly and highly recommend. Got a discount on these seats using the London Theatre Bookings Ticket agency booth on the edge of Leicester Square. (A genuine and good agency outlet, the monkey notes.)"

"Q14: "An American In Paris" (March 2017). The back row of the circle and gave me a full view of the stage. Excellent value for money."

"Q 20 and 21: For back row, the view is amazing and the sound is VERY loud. Can see every detail and action. Wonderful legroom and extremely comfortable seats. Love it at the back, can get up and dance if people aren't in standing. Cheapest seats, worth it."

Q 29 to 33: (Pip). Basically, they're almost central! So you have a good view. For a back row you can see everything and anything, even facial expressions. I was shocked! And only £30 (or £28 depending on the day) when we saw it in 2009! They were extremely comfortable, and had acceptable legroom (I only had to stretch my legs once at the end). More expensive than any other show, but totally worth it and for cheapest seats will be pleasantly surprised."

 

Dress Circle Boxes
Layout:
Two, one either side of the circle, between the circle front and the stage.  Each seats 4 on movable chairs.

Legroom:
Good, as seats are movable chairs.

Choosing Seats in General:
Poor views. Nobody should bother with these unless all seats are taken and you really want to see the show.

Motorised wheelchair users get stuck with these seats, alas. 

General Hazard Notes:
The nearest fifth of the stage not visible.

Changes for the current production:
None. Sold only with a package.

Reader Comments:
"Nederlander Box: "White Christmas" (December 2014). Right hand side of the Dress Circle. First thing to say, the box has a private bathroom. Let me say that again, A PRIVATE BATHROOM. And a lovely handsome young man (Oliver) at our beck and call who took us to our box, took drinks orders and showed us to a secret quick exit afterwards. And did I mention the PRIVATE BATHROOM?

BUT, BUT, terrible sight lines, lost half the stage. Worst of all, we had a massive speaker an inch away from the box, blasting Irving Berlin ballads into our eardrums until our eyes watered. The tap dancing (the best thing about the show) sounded like anti-aircraft gunfire in our box. On the plus side, I will never need my ears syringed again as the deafening sound has utterly blown away anything resisting its onslaught in my Eustachian tubes.

So avoid this box unless you are with someone who is already half-deaf or who has bladder issues in which case, this is possibly theatrical nirvana."
 

 

 

Notes
Total 2001 seats

Air-cooled Auditorium. Not as effective as proper air conditioning, so 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 the Circle overhang. Just a bit of advice from someone in the theatre industry who has a grasp of physics...

Infrared headsets available. Signed performances occasionally. Guide dogs allowed in auditorium or dogsat. Unisex disabled toilet. A platform lift from foyer to stalls is available for wheelchairs. The box office advise that, "It is very important that customers book through our access line on 020 7927 0929 if they require use of this lift. This is because it takes a few minutes to use and so we monitor how many people are using it to maximise our customers’ experience (don’t want anyone missing the start of the show due to a big queue for the lift) and also to abide by safety procedures with evacuations etc." There are places at the far ends of rows XX, YY and ZZ. Alternatively, motorised wheelchairs have to use a restricted view box. Poor view. www.dominiontheatre.com (020 7927 0929 10am to 6pm Monday to Friday, 12 noon to 6pm Bank Holidays) and  www.artslineonline.com has comprehensive details,  also Artsline 020 7388 2227, email artsline@dicon.co.uk. 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.

A reader reports in early 2007,
"Elizabeth and Rachel at the Dominion theatre's disabled enquiries were excellent. Despite going with a coach company (as part of a group) they reserved a space for us with no trouble at all, with instructions that on arrival to make ourselves known to front office staff. Many thanks to the Dominion theatre."
 

Food is ice cream, confectionery, hot dogs, burgers and milkshakes.

Four bars. Two each at stalls and circle level.

Nine toilets. Stalls 2 gents 2 cubicles each, 3 ladies 2, 3 and 4 cubicles respectively, 1 disabled unisex; Circle 2 gents 2 cubicles each, 2 ladies 4 cubicles each.

 

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. The theatre is actually above the arrow, near the London Underground sign at the centre of the map.
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Tottenham Court Road - Northern (black) and Central (red) lines.

The escalators from the platforms end in a large underground area. Take exit 3, and it will bring you out almost in front of the theatre.

If you exit the station and see instead Oxford Street shops ahead of you, cross the road, the theatre is ahead of you to your right at the junction.

 

Buses:
7, 8, 10, 14, 14A, 22B, 24, 25, 29, 38, 55, 73, 134, 176 all stop nearby.

 

Taxi:
Hail one in the busy street outside the venue.

 

Car Park:
Great Russell Street. On leaving the car park, change to the other side of the road turn to your right and walk towards a very busy shopping street. If you head up a quiet sidestreet, wrong way. 

At the corner turn to your left, the theatre is straight on. If you cross Bedford Avenue, wrong way.

 

This theatre does not participate in the "Theatreland Parking" scheme, so there are no discounts available.

 

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

 

 

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