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

DOMINION THEATRE

 
 
Click Here to buy Jim Steinman's Bat Out Of Hell The Musical Cast Recording


BAT OUT OF HELL (musical)
CONTAINS VERY LOUD MUSIC, STROBE LIGHTING, GUNSHOTS, HAZE AND SMOKE EFFECTS. CONTAINS ADULT MATERIAL - LANGUAGE AND PARTIAL NUDITY. NOT SUITABLE FOR CHILDREN AGED UNDER 12 OR THE EASILY OFFENDED. NOT ADMISSION TO THOSE AGED UNDER 5.

Underground boy who can never grow up loves teen daughter of an evil tycoon. Mum has a foot in both camps... it can't end well...

The crazy summer London Coliseum hit of 2017 comes to the West End for a full run.


 

Theatremonkey Opinion:
(From the current production, seen at the Evening performance on 5th May 2018)
Just a quick update to note that the show is as crazy as ever, but also that bit smoother, slicker and sitting just fine on the Dominion stage (with a set creeping out over the orchestra and around the boxes too). A few rough edges - and one pre-show projection - have gone, but the rest remains a joyous rock out evening.

The four leads are at a new peak. Strat and Raven (Polec / Bennington) have moved things to a whole new level of trust, their relationship deeper and more credible than ever. Raven's parents Falco and Slone (Fowler / Sexton) have settled into a perfect "Jack and Vera" routine, strong love keeping them together even as the verbal and physical missiles fly... they are one hilarious double-act, relaxed by constant repetition into something unmissable.

Also unmissable are some fabulous vocals from Danielle Steers (Zahara), whose voice is even richer than before. Wayne Robinson (Jagwire) is another to note both acting and vocally, and Alex Thomas-Smith (Tink) brings a new and quite moving vulnerability to the role. The supporting cast are a blur of movement, a cloudburst of song and colour, each always doing something (watch for the brilliant 'Lesbian Proposal' scene stage left at one point when Strat and Raven are occupied).

The end of the last monkey opinion said that it could go for the fifth star - a year on, the monkey is delighted to upgrade it for sure.

This Bat is here to stay, with any luck. Leave your cave and see it while you can.

5 stars.

(From the 2017 London Coliseum run - seen at the performance on 13th June 2017). Some actors have now left the cast.

Once upon a time, around 20 years ago now, a show called “Grease,” and a show called “Cats” probably met on a street called “Broadway.” In a short time, they decided to get married. They gave each other a “special cuddle” and, well, 18 years later this is the result.

And I’m not really joking.

It’s 2100, and an accident has left a group kids underground in the big city, stuck permanently at that age. “Peter Pan” style there’s “the boy who never grew up,” Strat (Andrew Polec) and sidekick Tink (Aran Macrae) to head up this gang.

Above, in Falco Tower, Strat’s obsession Raven (Christina Bennington) is about to reach her real 18th Birthday with warring parents dictator Falco (Rob Fowler) determined to keep her out of Strat’s reach, and rockin’ wife Sloane (Sharon Sexton) keeping herself firmly in both camps.

Like “Grease” this is full of that special energy only those who are 18 forever could have, plus all the angst that goes with it. Like “Cats,” this a wafer-thin plot which holds strong and true for the most part, across almost three hours, as a hugely talented ensemble play on a stonkingly clever Jon Bausor set. A guitar fret is a tower block, there’s plenty of projection work from Finn Ross that brings it all to life and also one of the funniest “fourth wall breaking” visual jokes the monkey has seen in years.

To get the faults out of the way, the second half could do with a little more plot – except that to actually cut scenes would mean losing some terrific songs and great dance numbers. That one is a bit of an insoluble. There is a fair amount of strong language too, not all of it required. On the other hand, the fairly racy material renders the show unsuitable for under 14s anyway, so, leave it in. Oh, and one quip was filthy, but hilarious, anyway.

Back to the great stuff.

There’s enough talented eye-candy to satisfy all. Mr Polec and Miss Bennington are sufficient not only to tickle the fancy, but massively gifted singers and dancers too, with strong enough acting skills to get us invested in their characters even when the plot veers a little unsteadily. Both their solo vocals are show-stoppers and they truly drive the tribal aspect in the big numbers involving equally accomplished fellow ensemble members. Aran Macrae in particular deserves a note as Tink, as does Danielle Steers as tribal wise-person Zahara in a pivotal supporting role.

Excellent work too from Rob Fowler and Sharon Sexton, particularly as they re-live their youth and later as they reveal very different aspects of their characters – again finding depth where none really exists in the script.

If, like me, you only really know “Bat Out of Hell” – given a terrific explosive treatment here – and “Anything For Love,” don’t worry. The rest of the songs, “Heaven Can Wait,” “You Took The Words Right Out of My Mouth,” “Paradise by the Dashboard Light,” “Two Out of Three Ain’t Bad” and more (annoyingly, the programme doesn’t list them, and I’m not a big enough fan to instantly know) all land as if written for the theatre in the first place. Better still, though I used earplugs, for most they are at a volume where words are clear and the bass is exciting enough to shake the audience “just for the hell of it.”

Put simply, a show that has even me “up and dancing” at the end has to have something special. It’s “Batty As Hell,” true – insubstantial on the story, but so high-energy, with a gloriously fun cast doing amazing things with their talent that it’s pretty much irresistible for anyone seeking a hard-rocking night out. Interestingly, during the interval this middle aged conservative bloke happened to get chatting to a much facially-pierced, crop-cut late teenage lady. We were both as hyped as each other on the show, and both enjoyed our brief and excited conversation, which I think says it all. It crosses the barriers and makes everyone’s world just that bit better.

Easy 4 stars for now, and if they sorted out the second half, would have been 5.

 

 

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

(6 reviews)

Saw it from stalls Q18 which is a great seat! Clear view of the stage and not to distant. Very loud show but thought it was brilliantly entertaining. A great deal for £25 thanks to TodayTix rush!
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Despite all its flaws, I had a terrific time in the front row of BAT OUT OF HELL on Tuesday 10th April 2018. It was louder than it seemed at the Coliseum but I felt that everybody really sang their hearts out and I just became totally immersed in it musically and vocally, while trying to avert my gaze from the really awful choreography. I particularly enjoyed being up close to Andrew Polec’s acrobatic leaping and jumping, which was more energetic than I remembered it from sitting further back at the Coliseum.

Also, being in A28, I managed to avoid the worst of the dry ice and Strat's blood but I did get a good splash from the water pool and bits of the set posed serious obstructions to my sight lines, including one large can which really didn't need to be there on the stage at all!

But to make my joy complete, I got a free poster for filling in a questionnaire after the show. Hooray!

There were some dedicated fans in as there will be at every performance, but the response did seem to be quite muted during the performance and even at the end it didn't sound all that strong from where I was sitting in the front row. Maybe that cavernous, tenebrous bat cave called the Dominion is not the best place for this particular show for atmosphere, although it ought to be, but perhaps I just struck a quiet night.

Tony Loco.
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I saw this three times at the Coliseum so I know the show quite well.

A few thoughts on the Dominion version, which I've now seen twice. That's just the way things have worked out by the way, I'm not one of the rabid superfans that this show has got who go to see it every week!

It's inevitable to compare the two versions, they have made a few changes here and there but all the key songs and scenes (and the lead cast) are intact. Based on my first viewing at the Dominion I did think they had improved the choreography quite a lot, but then on my second visit a week later it was all over the place again, so either this is such a demanding show that they can't get it to be precisely repeatable every night, or it is highly dependent on which dance captain is in charge on the day?

I have seen it with both male leads; one is a slightly better singer than the other but then the other has slightly greater stage presence. I won't say which as they are both excellent in their own ways and nobody should be disappointed that they're not getting Andrew.

The set is epic, spilling right out of the stage with a "false ceiling" of girders that reach right out to the boxes and almost the circle front. The show relies heavily on projections and clever use of on-stage camera persons filming some of the close up action live, which is just as well because certain areas of the stage such as the upstairs bedroom area will be hard to see from certain areas of the auditorium, so it is handy to have the action there projected on to the side of the stage that you CAN see ok. Sound isn't great at the Dominion, I found it loud but very muffled both visits; of course the tunes are all familiar so come across great, but it is difficult to make out many of the clever lyrics. At the Coliseum the sound was similarly loud but crystal clear.

In general terms, having seen it from the front stalls (A28) and the front circle (B13), the stalls seat felt way more involved in the action and audience atmosphere of the show. The circle seat, despite being the front and very expensive on your plans, had a much better overall view of the stage, still felt remote and subdued. I think I would go so far as to recommend any stalls seat over the circle just for audience atmosphere reasons.

Stalls A28 specifically was too close to the stage though. You do get a great view of Tink who sings his big song right in front of that seat. But apart from that part, the set in that area is constructed around a water feature with various rock music debris on the banks; as a result the cast rarely come very close. It's also not possible to see the under-stage lighting from there, which while not essential, it does often help set the scene. The musical director is way over to the right, and the key moments of a showstopper scene involving a car all happen over there too. I would definitely choose the right (low numbers) over the left for the front stalls. One word of warning about the whole of the front 10 rows or so, you will get absolutely covered in "Strat Blood" at the end of the first half! Luckily it is red tissue paper confetti rather than liquid. But you will be finding it in your pockets and bags for days afterwards!!! It takes about eight crew members most of the interval just to clean it up from the stage as there is so much of it.

Circle B13 has a brilliant overall view of proceedings but as mentioned i found it somewhat removed from the action like I was just spectating rather than immersed. A minor up and down side to this area of the circle, is that this is where the bats fly out of the tunnel to, at the very end; which is cool to see, but the downside is the crew members that very distractingly come into the nearby box (the Nederlander one I think) beforehand and then faff around retrieving them from their ledge after their flight.

Gents toilet provision in this theatre is excellent with good facilities in both the side corridors outside both stalls and circle. Ladies have facilities located off the same corridors but judging by the lengthy queues they are not very numerous for such a big theatre. For this show merchandise will be important to many, oddly in the stalls they have hidden the merch away under the stairs, there is a much better merch shop on the way up to the circle.
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May 2nd, 2018. Evening.

First experience buying a ticket with the TodayTix app. The whole procedure is rather easy and comfortable. Bought the ticket shortly after 10 o‘clock, got Stalls M7 for £25. Unfortunately the gentleman in M8 was rather large and occupied not only his seat, but half of mine as well. When I asked the friendly box office lady for help, she offered Stalls M45 instead. The seat was more to the side than I would normally prefer, but beggars can‘t be choosers. I had a good view of the stage (except for the left back corner) and decent legroom.

However, I noticed quite a few empty seats throughout the auditorium, so in the interval I strolled casually towards the middle block like I belonged there and finally sat down in L29. Fantastic seat, fantastic view. Empty seats all around me, so I could really get comfy and enjoy the show.

I think it‘s rather fitting that "Bat Out Of Hell" runs in the Dominion, where "We Will Rock You" had its home for so long, because the 2 shows have much in common. Both have been developed around a very distinct and beloved musical oeuvre; both "stories" take place in a dystopian future; both shows are BIG with not even a perfunctory attempt at subtlety. Apparently the critics have been much less harsh with "Bat" than they have been with "Rock" back in the day – maybe they mellowed.

"Bat Out Of Hell" is completely bonkers, gleefully ridiculous, and unashamedly over the top. It‘s also tremendous fun. Don‘t expect well-rounded characters or earnest emotions, just go with it and unleash your inner Rock God. If, like me, you love Jim Steinman‘s songs, you‘re in for a treat. The performers have great pipes and give it their all (every last one of them singing far better, sadly, than Mr Meat Loaf himself is able to do nowadays).
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A24 off centre on the left side was "okay" but not terrific because the "debris" stacked on stage obstructed the view from time to time. A particularly stupid obstruction happens during "It's all coming back to me now" in the second act for this seat, when the direction has Strat parked downstage with his back to the audience while Raven sings. Now Andrew Polec is a weedy chap, but I still could absolutely not see past him and saw hardly anything of Christina Bennington during what's pretty much her finest moment in the show. You also get completely showered in red paper "blood" and I discovered I still had some stuck in my hair long after the show, must have been a sight on the tube...

A19 (dead centre on the middle aisle) is pretty much perfect as there's no obstruction on top of the fairly high stage and you often have the performers nearly within reach (which got a bit scary during "Bat out of Hell" when Strat swings that microphone around on a long cable). You also escape the worst of the silver and red paper stuff that showers down at the end of the song.

They really didn't think much of the audience's viewing comfort with some of the direction, never mind the debris piled on stage. I'm not sure if I'd recommend the front row to a first timer who'll probably enjoy the overall view from further back more, but on the other hand it does have a bit of the magical feeling of being front row at a rock concert and at least A19 is a steal for that price.

Sondheim this is not, nor does it aspire to be. It's just mad, crazy, all-around entertaining fun with some of the greatest tunes in rock history and I can't recommend it enough for the incredible performances alone.
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Bat out of Hell : Three stars.
Friday 4th May evening 19:30

Got the album when it first came out (in 1977) and played it loudly most days.

Saw Meatloaf in Sheffield Arena a few years back. Disappointed in his voice then, but the female backing artist (Ellen Foley) was still good.

So thought, why not to this London show.

Scoured the Monkey for the best seats and secured them for a Friday evening production. Got the £75 seats just behind the "premium" ones at £125. Plenty of empty seats at this performance, so maybe an opportunity to buy cheaper ones and then move to empty ones later.

Theatre is huge compared to other London venues but modern.

Performance for me was not up to my expectations but I'm no music critic. My wife enjoyed the show.


Seat Review:
Circle E26 and E27
£75 from the theatre web-site
Bang in the centre in the Circle and with a great view of all the stage which I felt was not too far way.
Better value than the premium seats, just in front, though for this show maybe buying cheaper ones and moving may be a good idea.

Would use these seats again for another show.



 

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 2.30pm and 7.30pm

Runs 2 hours 45 minutes approximately.

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

This theatre uses "dynamic pricing." Prices and row locations may change at any time.

Monday to Thursday:
Stalls

Centre Blocks
Rows B to Y: £65 except:
"Premium Seats" row J and K 19 to 30: £125
Rows A 11 to 28, Z and VV: £45
Rows WW and XX: £30
Rows YY and ZZ: £15

Side Blocks
Rows B to W: £65 except:
Row A 5 to 10, 29, 30; B 4, 5, 29, 30; C 5, 6; D 5, 6, 37, 38; E and F 4, 5, 38. 39; G and H 4, 5, 32, 33; J and K 3, 4, 45, 46; 2, 3, L 46, 47; M 48, 49; N to W 1, 2, 49, 50; X 2, 3, 48, 49; Y 1, 2, 47, 48; Z 1 to 4, 47 to 50; rows VV and WW: £30
Row X 4 to 12, 39 to 47; Y 4 to 12, 39 to 46; Z 5 to 12, 39 to 47: £45
Rows XX to ZZ: £15

Dress Circle
All seats: £65 except
Restricted View seats A and B 11, 12, 24 to 27, 39, 40: £45
Restricted View seats A 2 to 5, 46 to 49; B 1 to 4, 47 to 50; C and D 1, 2, 3, 48, 49, 50; E to G 1, 2, 49, 50: £30

Boxes

Not on sale, except for access users.






Friday and Saturday:
Stalls

Centre Blocks
Rows B to Y: £70 except:
"Premium Seats" row K 10 to 30: £250
"Premium Seats" rows J and L 19 to 30: £150
Rows A, X and VV: £50
Rows WW and XX: £35
Rows YY and ZZ: £20

Side Blocks
Rows B to W: £70 except:
Row A 5 to 10, 29, 30; B 4, 5; C 5, 6; D 5, 6, 37, 38; E and F 4, 5, 38. 39; G and H 4, 5, 32, 33; J and K 3, 4, 45, 46; L 2, 3; L 46, 47; M 48, 49; N to W 1, 2, 49, 50; X 2, 3, 48, 49; Y 3, 4, 47, 48; Z 1 to 4, 47 to 50; VV and WW: £35
Row X 4 to 12, 39 to 47; Y 4 to 12, 39 to 46; Z 5 to 12, 39 to 47: £50
Rows XX to ZZ: £20

Dress Circle
Front Section
All seats: £70 except
Restricted View seats A and B 11, 12, 24 to 27, 39, 40: £50
Restricted View seats A 2 to 5, 46 to 49; B 1 to 4, 47 to 50; C and D 1, 2, 3, 48, 49, 50; E to G 1, 2, 49, 50: £30

Rear Section
Rows H to L: £50
Rows M to O: £30
Rows P and Q: £20

Boxes

Not on sale except for access users.


 All prices include the £1.25 per ticket "theatre restoration" fee.

DAY SEATS: MONDAY TO THURSDAY ONLY: A limited number may be available to personal callers at the box office from 10am, priced £25 each, located 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."

RUSH TICKETS: App Todaytix are also offering £25 "Rush tickets," located at venue discretion, for all performances. Released for the performance on that day, first-come, first-served. Download the App from Todaytix, unlock the "Rush Ticketing" feature by sharing on Facebook or Twitter, and that will allow you to buy tickets.

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 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 £65 seats with a £14 (£25 on £125, £10 on £45, £6 on £30, £2 on £15 seats Monday to Thursday / £14 on £70, £10 on £50, £6 on £35, £3.50 on £20 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 £70 seats with a £14 (£50 on £250, £30 on £150, £10 on £10 on £50, £7 on £30, £4 on £20 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 £65 seats with a £10.75 (£20.75 on £125, £7.50 on £45, £5 on £30, £2.50 on £15 seats Monday to Thursday / £24.75 on £150, £11.75 on £70, £8.25 on £50, £6 on £35, £5.50 on £20 seats Friday and Saturday) per ticket booking fee. A £1 per booking, not per ticket, handling fee is also added for collection at box office / no fee for printing tickets at home. 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 no booking fee on all seats except £35 on £125 tickets Monday to Thursday if booked by 24th June 2018 / £38 on £150, £18 on £70, £13 on £50, £10 on £35, £5 on £20 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 £65 seats with a £13 (£25 on £125, £9 on £45, £6 on £30, £3 on £15 seats Monday to Thursday / £50 on £250, £30 on £150, £14 on £70, £10 on £50, £7 on £35, £4 on £20 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 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 "view from your seat" facility - available by clicking on the bottom right button under the seating plan when choosing your seats - and also a good auditorium photograph are 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 to Y. The offset at Z to see around those in front is a problem, and the monkey down-grades them when the stage is low.

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).

The offset of seats in row Z to see around those in front is a problem, and the monkey down-grades them when the stage is low.

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 stage extends over the orchestra pit in front of the centre aisle from 20 to 34. From 14 down to 1 it it cut away leaving a hole and an island with a rock desk for a musician.

On the high numbers side, the front of the stage is built up from 29 onwards. It is head height to those of 5ft 9 or so in 20 to 28, then rises, with TV screens added, from there on. Outermost seats from 31 on are left unsold. On the low numbers side, there is a mesh fence rising from the stage that is in the eye-line of anyone in seat 11 down to 1.

There are warnings on A and B 11 to 14 and C 11 and 12 regarding a piece of set in view for 10 minutes towards the end of act 1. The piece of set blocks half of centre stage from view. You will see the front area and an area to the back, but not the central part. All you will see there is actors from the shoulders up at times, and you will see projections on the side wall showing them on a bed and singing. The effects of the act one closing song and joke may not be fully appreciated by first-time visitors, in the monkey opinion.

To account for this, the front row is A, and second price, with A 5 to 10, 29 and 30 at third price Monday to Thursday. Just A 29 and 30 are third price Friday and Saturday. Also, B 29 and 30 are third price at all performances, with C 29 and 30 at second price at all performances.

Monkey advice for first time visitors is strongly to avoid A 11 and 12 even at second price, and take 13 and 14 (which can peer around the problem to an extent) only if better seats have gone. It would avoid any seats in the lower side block from 10 downwards in rows A to C, and side block seats back to row J (except the discounted ones in A to C on the aisle). It would also not pay top non-premium price for rows B and C 11 to 14 and D 12 to 15 if possible, as the missing segment doesn't justify it.

"Raven's Bedroom" is high up and set back, so those back to at least row D and in the low numbers side block seats won't see much of it beyond a few bobbing heads, and will rely on video. This isn't much of an issue if paying less than top non-premium price, the monkey feels.

Third (second Friday and Saturday) price extends up the sides, with all outermost pairs back to X also the same deal. The monkey would go "low numbers" side T to W first, then high numbers T to W, then S to H low numbers, S to H high numbers in that order, then anything left on the "low numbers" side. Be aware that some action may be missed, but the view isn't bad at all.

The offset at Z to see around those in front is a problem, and the monkey down-grades them to red as the stage is low.

A corner of the back stalls on that side is also off sale for similar reasons.

Behind row A and beside the restricted view stuff, most seats back to Y are top non-premium price. Go F or G first, and skip V to Y for being a long way back.

The "Premium" seats are the centre block seats in rows J and K - The monkey feels dress circle at lower top non-premium are superior unless over 5ft 11 tall, in which case stalls will be more comfortable.

Prices drop to second in Z and third in WW, fourth at YY. Take central WW once centre A has gone at second - it's cheaper than A or thye row in front of WW. Or just go for YY, at the lowest price - always a good deal. The monkey would take these rows over the one in front for the same view for less cash. Go central if possible, if not, at second price X 11, 12, 39 and 40 or third price VV 11, 12, 39 and 40 are possible to get you an aisle seat closer to the front.

Friday and Saturday: Premium seats run J to L. Go for G and G instead. Second price kicks in at Y at the sides, with 11, 12, 39 and 40 worth a look. Take a look at the circle too, if considering rear stalls, as H back are similar prices with a slightly better view, the monkey feels.

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: "Bat Out Of Hell" (April 2018). (dead centre on the middle aisle) is pretty much perfect as there's no obstruction on top of the fairly high stage and you often have the performers nearly within reach (which got a bit scary during "Bat out of Hell" when Strat swings that microphone around on a long cable). You also escape the worst of the silver and red paper stuff that showers down at the end of the song.
They really didn't think much of the audience's viewing comfort with some of the direction, never mind the debris piled on stage. I'm not sure if I'd recommend the front row to a first timer who'll probably enjoy the overall view from further back more, but on the other hand it does have a bit of the magical feeling of being front row at a rock concert and at least A19 is a steal for that price."

"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."

"A24: "Bat Out Of Hell" (April 2018). Off centre on the left side was "okay" but not terrific because the "debris" stacked on stage obstructed the view from time to time. A particularly stupid obstruction happens during "It's all coming back to me now" in the second act for this seat, when the direction has Strat parked downstage with his back to the audience while Raven sings. Now Andrew Polec is a weedy chap, but I still could absolutely not see past him and saw hardly anything of Christina Bennington during what's pretty much her finest moment in the show. You also get completely showered in red paper "blood" and I discovered I still had some stuck in my hair long after the show, must have been a sight on the tube..."

"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."

"A28: "Bat Out Of Hell" (April 2018), (Tony Loco). I particularly enjoyed being up close to Andrew Polec’s acrobatic leaping and jumping, which was more energetic than I remembered it from sitting further back at the Coliseum. Also, being in A28, I managed to avoid the worst of the dry ice and Strat's blood but I did get a good splash from the water pool and bits of the set posed serious obstructions to my sight lines, including one large can which really didn't need to be there on the stage at all!"

"A28: "Bat Out Of Hell" (April 2018). In general terms, having seen it from the front stalls (A28) and the front circle (B13), the stalls seat felt way more involved in the action and audience atmosphere of the show. The circle seat, despite being the front and very expensive on your plans, had a much better overall view of the stage, still felt remote and subdued. I think I would go so far as to recommend any stalls seat over the circle just for audience atmosphere reasons.
Stalls A28 specifically was too close to the stage though. You do get a great view of Tink who sings his big song right in front of that seat. But apart from that part, the set in that area is constructed around a water feature with various rock music debris on the banks; as a result the cast rarely come very close. It's also not possible to see the under-stage lighting from there, which while not essential, it does often help set the scene. The musical director is way over to the right, and the key moments of a showstopper scene involving a car all happen over there too. I would definitely choose the right (low numbers) over the left for the front stalls. One word of warning about the whole of the front 10 rows or so, you will get absolutely covered in "Strat Blood" at the end of the first half! Luckily it is red tissue paper confetti rather than liquid. But you will be finding it in your pockets and bags for days afterwards!!! It takes about eight crew members most of the interval just to clean it up from the stage as there is so much of it."

"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."

"L29: "Bat Out Of Hell" (April 2018). Fantastic seat, fantastic view. Empty seats all around me, so I could really get comfy and enjoy the show."

"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."

"M45: "Bat Out Of Hell" (April 2018). The seat was more to the side than I would normally prefer, but beggars can‘t be choosers. I had a good view of the stage (except for the left back corner) and decent legroom."

"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."

"Q18: "Bat Out Of Hell" (April 2018). A great seat! Clear view of the stage and not to distant. Very loud show."

"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!)."

"S19: "An American in Paris" (March 2017). This is a favourite theatre of mine and I have sat in a variety of seats, mainly depending on the price. The seat is in the centre of the stalls, towards the back, but not on an aisle. I had a good clear view of the stage, as the seats in this theatre are very well raked. and could see the actors' faces clearly and the leg room was more than adequate, but this would not be my first choice of seat. I was fortunate enough to get the seat at a bargain price on lastminute.com, which was the main reason I bought it."

"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."

"Z26: "Bat Out Of Hell" (April 2018). I notice on your Seat Opinions section a comment from someone who had stalls seats U24 and U25 saying that they could not see around the people in front. They thought it was just them. Well, I had seat Z26 and had exactly the same problem, despite the fact it was an aisle seat and the person in front was not especially huge. They blocked the view of almost the entire stage and no amount of leaning would help, so I asked to be moved. Not sure if it's the rake or the lack of offset that was to blame but definitely a seat to be avoided if possible."

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:
For this show, a lot happens at height, making circle seats closer to the action than usual.

Monday to Thursday
Centre block is mostly excellent - go B to E first, just skip aisle seats behind rails in A to C. Even off to the side blocks near the centre aisle is fine.

The two seats at the centre, either side of the aisle in rows A and B are second price. Seats B 24 to 27 are just fair, the monkey feels. The saving per seat compensates for the rail, it feels. On the other hand, at weekends there are very good clear view seats for the same cash in row K or cheaper tickets at the outer ends of the front section side blocks.

In these cheaper seats in that front block at the outer ends, the discount is for sound equipment in the way. The seats right next to the full price ones in each row are the best, and if you are willing to lose a sliver down the sides of the stage to a black strip of set, go for it - the view is very decent indeed for the third price - even back to G.

All other seats in the circle are not sold at "off peak" Monday to Thursday performances.

Friday and Saturday, in the rear section, there is no discount in rows rows H to L to allow for rails in view. Avoid H, and the outer 2 seats in each off-centre block in rows J and K for more rails in view. Expensive, considering there are far better seats for the same bananas. If you must, go K 10 to 14, 18 to 21, 31 to 37, taking the central seats first.

Prices drop at M and P. Monkey would go for these rows over L and O, same view, fewer bananas. Do remember, though that front and side stalls are also available at second and third prices, too, though. Row P is particularly decent value, it feels.

Just go as central as you can, is the advice.

 

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."

"B13: "Bat Out Of Hell" (April 2018). In general terms, having seen it from the front stalls (A28) and the front circle (B13), the stalls seat felt way more involved in the action and audience atmosphere of the show. The circle seat, despite being the front and very expensive on your plans, had a much better overall view of the stage, still felt remote and subdued. I think I would go so far as to recommend any stalls seat over the circle just for audience atmosphere reasons.
Circle B13 has a brilliant overall view of proceedings but as mentioned I found it somewhat removed from the action like I was just spectating rather than immersed. A minor up and down side to this area of the circle, is that this is where the bats fly out of the tunnel to, at the very end; which is cool to see, but the downside is the crew members that very distractingly come into the nearby box (the Nederlander one I think) beforehand and then faff around retrieving them from their ledge after their flight."

“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.”

"B25: "An American In Paris" (March 2017). The security bar at the bottom of the aisle was definitely an annoyance and did cut across the action downstage right (left from auditorium). The price reduction was, of course, welcome but theatre-goers should be in no doubt about it. It is prominent from this seat."

"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."

"E26 and E27: "Bat Out Of Hell" (May 2018). £75 from the theatre web-site. Bang in the centre in the Circle and with a great view of all the stage which I felt was not too far way. Better value than the premium seats, just in front, though for this show maybe buying cheaper ones and moving may be a good idea. Would use these seats again for another show."

"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:
The "Royal Box" is not on sale. The other "Nederlander Box" seats 2, but is only available to access needs customers.

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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