His Majesty's Theatre
Haymarket, St. James's, London SW1Y 4QL 020 3925 2998
- Where to buy tickets
- Best seat advice
- Seating plan/s
- Getting to the theatre
Buying tickets online
www.lwtheatres.co.uk - the theatre group's own website provide the service for this theatre.
This site allows seat selection and provides a view of the auditorium too.
Booking fees per ticket:
No booking fees.
About the show: The Phantom Of The Opera
Other Online Choices (with genuine S.T.A.R ticket agencies):
Ticket agencies offer an alternative way to buy tickets, with booking fees differing from those charged by the theatre box office itself. They may have seats available or special offers when theatres do not.
Ticket agency prices vary in response to theatres implementing “dynamic pricing” - which alters prices according to demand for a particular performance. Prices stated here were compiled as booking originally opened, current prices are advised at time of enquiry.
ALSO SEE 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.
Photo credit of venue: Andy Paradise. Used by kind permission.
TheatreMonkey Ticketshop
When the theatre does not have tickets available, it is worth trying the Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), which offers seats with a fee of £33 on £165, £25 on £125, £19.90 on £99.50, £17.90 on £89.50, £13.50 on £67.50, £12.70 on £63.50, £11.50 on £57.50, £9.50 on £47.50, £7.50 on £37.50, £6.50 on £32.50, £6 on £30, £4.50 on £22.50 seats Monday to Thursday / £35 on £175, £27 on £135, £19.90 on £99.50, £19 on £95, £14.50 on £72.50, £13.90 on £69.50, £12 on £60, £10 on £50, £7.90 on £39.50, £7.50 on £37.50, £7 on £35, £5 on £25 seats Friday and Saturday. Moderate by agency standards, though higher than box office prices, but worth trying! Note that this system will confirm exact seat numbers prior to purchase. Meal and Show Ticket Deals may also be available, click here. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases.
See Tickets
Another alternative is www.seetickets.com which offers seats with a fee of £33 on £165, £25 on £125, £19.90 on £99.50, £17.90 on £89.50, £13.50 on £67.50, £12.70 on £63.50, £11.50 on £57.50, £9.50 on £47.50, £7.50 on £37.50, £6.50 on £32.50, £6 on £30, £4.50 on £22.50 seats Monday to Thursday / £35 on £175, £27 on £135, £19.90 on £99.50, £19 on £95, £14.50 on £72.50, £13.90 on £69.50, £12 on £60, £10 on £50, £7.90 on £39.50, £7.50 on £37.50, £7 on £35, £5 on £25 seats Friday and Saturday; and adds a £2.75 per booking, not per ticket handling fee.
Ticketmaster
Another alternative is Ticketmaster.co.uk which offers seats with a fee of £32.25 on £165, £24.50 on £125, £19.50 on £99.50, £17.50 on £89.50, £13.25 on £67.50, £12.50 on £63.50, £11.25 on £57.50, £9.50 on £47.50, £7.50 on £37.50, £6.50 on £32.50, £6 on £30, £4.50 on £22.50 seats Monday to Thursday / £34.25 on £175, £26.50 on £135, £19.50 on £99.50, £18.75 on £95, £14.25 on £72.50, £13.50 on £69.50, £11.75 on £60, £9.75 on £50, £7.75 on £39.50, £7.50 on £37.50, £7 on £35, £5 on £25 seats Friday and Saturday from 3rd October 2022 onwards.
Encore Tickets
Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) which offers seats with a fee of £17.50 on £89.50, £13.50 on £67.50, £12.50 on £63.50, £11.50 on £57.50 seats Monday to Thursday / £19 on £95, £14.50 on £72.50, £13.50 on £69.50 seats Friday and Saturday. Discounts may also be available.
London Theatre Direct
London Theatre Direct which offers seats with a fee of £33 on £165, £25 on £125, £20 on £99.50, £18 on £89.50, £13.50 on £67.50, £12.75 on £63.50, £11.50 on £57.50, £9.50 on £47.50, £7.50 on £37.50, £6.50 on £32.50, £6 on £30, £4.50 on £22.50 seats Monday to Thursday / £35 on £175, £20 on £99.50, £19 on £95, £14.50 on £72.50, £14 on £69.50, £12 on £60, £10 on £50, £8 on £39.50, £7.50 on £37.50, £7 on £35, £5 on £25 seats Friday and Saturday. Optional Ticket Insurance is also available. Discounts may also be available.
Box office information
Telephone: 020 3925 2998
Operated by the venue, Monday to Saturday from 10am to 5:30pm.
Group bookings: 020 3925 2996
Operated by the venue, Monday to Saturday from 10am to 5:30pm.
Booking fees per ticket for telephone bookings:
No booking fees.
For personal callers or by post:
Haymarket, London, SW1Y 4QR
No booking fee for personal callers.
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 020 3925 2998
Operated by the venue, Monday to Saturday from 10am to 5:30pm.
www.lwtheatres.co.uk is the official venue website.
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.
A warning on some booking sites states that due to the nature of the staging of current production, 'The Phantom Of The Opera' all seats at every price may not have full view of all action. Theatremonkey considers this reasonable comment.
In 2021 the theatre stalls and upper circle were given a new layout. Sadly, previous seat reviews in those sections had to be removed as they were no longer applicable.
The monkey records "first impressions" of the 2021 onwards layout below. It welcomes readers' comments as always.
- Stalls
- Stalls Boxes
- Dress Circle
- Dress Circle Boxes
- Upper Circle
- Balcony
Stalls
Layout
The Dress Circle overhangs the Stalls at row J; this affects the view of the top of the stage from seats at the edges of the stalls from row M, and central stalls from row P back.
The seats are in a single block curving in front of the stage. They are divided into two halves only at row R by a sound desk in the centre of the rows.
Despite appearances on some seating plans, there is no cross-aisle between rows N and P.
Pillars punctuate the auditorium in rows M, P and Q.
The rake (slope of floor to help see other rows) begins at row C and is pronounced from row E back.
Seats are “off-set” to allow people to see between shoulders of those in front. This is nowhere near as good from row N back, where the move is only around 10% of the seat width. Row Q has almost no off-set at the “high numbers” end due to a pillar.
Legroom
Row A has the least legroom, those up to around 5ft 4 will be the most comfortable. The stage will be around head-height to them.
Elsewhere, those up to at least 5ft 10 will be happy in most seats. Rows P, then M and N have the most legroom, even someone 6ft 5 or so should be comfortable in row P in particular.
Seats B9 and 30 and E 6, 7, 33 and 34 have nothing in front. Seats E6 and 7 may be removed to allow a wheelchair user to be seated there.
Row T 30 to 34 has increasing legroom the further towards 34 you go, 32 onwards offering the most.
Choosing seats in general
The monkey gets many comments about this show and updates advice accordingly - asking that readers take all viewpoints into account when deciding for themselves.
Row A is cramped, but the tradition of selling cheaply centre seats which have the conductor in view has been dropped. All but the most devoted (or shortest) fan should skip this row.
The front stalls rows B to K offer the best seats in the house. Go as central as you wish (the view really is better a couple of seats in from the ends of rows) as the best return on your top price investment.
Rows L to N are next best as top price investments, but start to offer diminishing value for money if the stalls is busy and you cannot see over heads in front.
Wheelchair spaces at E 6 and 7 and M 6 and 7 offer decent views – take E first for being closer.
Row M sees the first of the famous pillars appear, with M34 having a nice gap by it to put a bag.
Pillars do make seat selection in rows from N back more interesting. The first thing to note is that in general seats with a “pillar in view” are just that. Around 20cm of the view will be removed, and you can only try moving your head to peer around at what you may have missed.
To narrow things down, the monkey here goes through the best and worst of those seats:
N34 has the pillar right in front of it, a miss.
P16 and 25 have a pillar in front, but if you lean you get a good view of the stage. 25 is better.
P34 has the pillar align with the side of the stage, not bad at all. P35 gets a pillar in the face, miss it, and P36 isn’t that great either.
Q2 has a good view and is off-set from the seat in front. Trio Q24, 25 and 26: 24 is average, 25 has a pillar well in the way and 26 is great.
Q34 is another good seat, 35 and 36 worth missing – 36 in particular.
Q38 has a pillar right by it. Some may be happy sitting next to a thick pillar, others may feel claustrophobic.
R26 has a pillar you can’t miss (and not in a good way), R27 is a decent bargain of a view.
R34 is worth buying, but not R35 and 36 – a bit of a forest to look through. R38 then 39 are the ones to take if you must.
The sound desk shouldn’t bother anyone – and there is a gap between it and S16, so sightlines are not an issue either.
General hazard notes
Row A has particularly limited legroom.
Pillars affect views from some seats from row N back.
Fan behaviour can be distracting for the less devoted... the cheaper and / or nearer the front, the more likely the extreme reactions.
Changes for the current production
The view of the top of the stage is important for 'The Phantom Of The Opera'. In fairness to the producers they have priced any seat without a full view of the stage as less than top price.
Clear view seats in rows A to N are top non-premium price. Row A isn’t discounted at all, and is worth missing for comfort at the price.
Wheelchair spaces at E 6 and 7 and M 6 and 7 offer decent value – E better for being closer.
Central rows D to H (K at weekends) are “premium,” with “sub-premium” added on weekends and peak dates, and “super premium” seats the best in the house at all times. Monkey advice is to take E then C or (depending if you prefer being close or further back) B or K (L at weekends) first, centrally unless you prefer an aisle.
Central row P at second price and the corners of rows S and T at third are reasonable, though the monkey thinks you may see more from the dress circle seats at the same price.
Of pillar seats, the ones to take at fourth price or less are Q26, Q2, Q34, R27 and R34.
It would then look at P34 and finish with Q24, P25, P16, R38, R39 in that order.
Stalls Boxes
Layout
One either side of the stage, designated boxes 1 and 2 - AA and BB for online booking purposes.
They are just above stage height and in line with the orchestra pit.
Legroom
Good, as movable chairs are used.
Choosing seats in general
Perhaps more for the repeat visitor than a first timer.
In common with all other side view seats, box 2 will miss the final sequence unless occupants lean out to catch most of it. It has a better view of the rest of the show, perhaps, however.
Both boxes are close to the stage, and seat 2 perhaps has a better angle than 1 - though one is closer to the action. As both are chairs you can adjust them to your own preference.
The monkey found the best view is placing the chair at the back of the box, furthest from the stage, close to the front wall.
These are lower level than the dress circle boxes above them, so decide if you prefer an overall viewing angle or want to be that bit closer on a stalls level. The monkey couldn't really pick between them and felt both equally satisfying.
General hazard notes
Both boxes miss action in the nearside corner - around a quarter of the stage.
Changes for the current production
Box 1 is more expensive given its slightly better view of more of the show. The monkey feels either box is pretty acceptable, but would maybe pay more if there is a first-time visitor in the group.
On the other hand, being that close is thrilling - you can see the wire on the mask as it hits the stage from box 2, and some scenes happen right in front of you.
Readers comments
None.
Dress Circle
Layout
Called the Royal Circle in this theatre
The Upper Circle overhangs the Dress Circle at row C. The view of the top of the stage is diminished from row E back, but not sufficiently to affect enjoyment.
The circle is split into central and two side blocks by aisles.
The rake of the circle (steps between rows to see over those in front) is fairly shallow, except for row H, which is higher than the others.
Slim pillars appear in row E. Only a few seats in rows F to H are badly affected enough to be designated restricted view.
Legroom
Slightly cramped in almost all seats for those over 5ft 7, the monkey feels.
Seats A1 and A38 will suit those under 5ft 5 at most.
The rest of the side blocks of row A are suitable for those up to around 5ft 6. The centre block seats in row A should accommodate those up to around 5ft 7, feels the monkey.
Row H has legroom for those up to around 5ft 11 at least to be comfortable.
Seat B28 has space for one leg into the aisle. Seats C28 and D28 also have around 40% of the seat width clear in front.
Seats F7, 8, 32 and 33 benefit from a little legroom with the pillar in front.
Choosing seats in general
It is worth bearing in mind that people leaning forward is going affect views from all seats in row B back. The monkey assumes better behaviour in its summary below...
Centre Block:
Try row C 14 to 27 then D 13 to 27 in that order. B 14 to 26 is also prime, if lucky enough to be at a performance where "people leaning forward" isn't an issue. Row A 14 to 25 is also spectacularly close to the action, with a commanding view, if legroom isn’t an issue.
Follow this with E16 to 24, depending how much an extra eighth of an inch of legroom matters to you.
Of the cheaper seats, those on row H with a clear view are worth considering over row G as it is a similar view for fewer bananas.
All seats behind pillars will have a strip around 20cm wide through the view, H20 and 28 should be able to peer around them, but the monkey would look to the side blocks first for the best pillar seats.
Side Blocks:
These do go a long way out, curving around towards the stage for the most part.
Seats on the centre aisle in all rows are the ones to go for, and if you do go for the cheapest seats on row A, be aware that there is nothing behind seats A1 to 4 and 34 to 37, meaning you can lean to improve your view and not distract other customers.
Seats F7, 8, 23 and 33 are behind pillars. F33 is the best, F7 almost as good. Legroom, and the pillar really isn’t in the way at all. The other two seats are also pretty adequate – 8 a bit better than 32, the monkey felt.
General hazard notes
Shallow rake makes seeing over those in front difficult for the shortest in rows B to G. Folk leaning forward add to problems in this circle.
Pillars in row E affect views from seats behind.
Row H has a step up to it at the ends - and it is quite a steep step, for those who find such things harder than average.
There are no aisles at the outermost ends of rows A, E, F, G and H. There are safety rails there, though, which don't affect views.
Changes for the current production
The view of the top / sides of the stage are important for 'The Phantom Of The Opera'. In fairness to the producers they have priced any seat without a full view of the stage as less than top price.
Be aware that those in the “high numbers” side block will miss the final scene of the show for the most part (a bit of leaning will help a bit, perhaps).
Centre block rows A to C, plus 2 or 4 seats over the aisle in the side blocks of those rows are “premium,” with “sub-premium” added on weekends and peak dates, and “super premium” seats the best in the house in centre row A at all times. The view is excellent in row A particularly, whether you wish to spend the extra is totally your choice, feels the monkey...
Top non-premium price goes back to row G in the centre block, and the monkey would skip F and G at that price – taking side block no more than 4 seats off the centre aisle in A to D first.
At other prices, it is always worth taking advantage of the prices dropping in the side blocks.
Go one seat beside the more expensive one and you will always get the same view, cheaper.
At second price, A 6 and 7 are a decent bet (legroom aside) or B 5 and 6 behind them. F and G 11 are more central and have the aisle for a leg to go into.
Central H at third price is reasonable – particularly for the taller monkey. Maybe D6 and E7 too, to be a bit closer.
The real bargains are restricted view pillar seats F7, 8, 23 and 33 at bottom price. F33 is the best, F7 almost as good. Then F8 is a bit better than 32 but every one of them is better than any other restricted view seat in the house, the monkey feels.
Readers comments
"Dress Circle: (The Johnson Family). We sat in the Royal Circle and found the seating cramped and the view inferior to a good Stalls seat."
“Row A: The view could simply not have been better."
Row A and B: (Monique). "Be sure you book good tickets to enhance the experience. My favourite are in the middle of row C stalls, front row of dress circle and even front row of upper circle is fine, a bit more distant but offers good value for the money. However stay clear of cheap side seats! I've once bought a single seat at the very end of row B and the view was terrible. Couldn't see half of stage from there."
"Rows A and B (Lizzie). (Ccouldn’t get 6 tickets together) and although one or two parts of the performance are out of view when they go to the far side of the stage generally good seats"
"A16 and 17: (Wendy). Couldn’t have asked for a better first experience of The Phantom of the Opera. From here I could literally feel the vibrations of the music, especially the first dramatic bits when the chandelier rose up. It was directly in front of the Phantom when he appeared in the suspended decorations and a great position as the chandelier swooped past. Having now also sat in the Stalls, the depth of the stage is more visible from the upper levels, for example from the Dress Circle I could see the entire blanket of smoke covering the stage floor, whereas from the Stalls (F16, F17) the floor of the stage is at eye level so from that angle the blanket of smoke appeared as a thin layer overflowing the stage.
I thought these seats were a real treat, especially with with no seats in front so no heads to obscure the view. My boyfriend did say his knees hurt from no leg room, although this was not a problem for me as I’m shorter. From my angle I couldn’t see the orchestra pit so I actually didn’t even know there was a live orchestra playing until after the curtain came down and there was a bunch of people clustered around the railing at Stalls level and I went over to have a look - this discovery then added to my awe of the show.
I would like to add that having now sat in both the Dress Circle and the Stalls, it somehow felt like the singing sounded clearer (could hear nuances and soft breathy bits) in the Stalls F16/17, whereas the orchestra sounded better (could feel vibrations and hear clearer contrast between strings and percussion) in the Dress Circle A15/16."
"A24 and A25: Good seats - - not much legroom"
"A23 and 24: Excellent seats. I never have a problem with legroom in the dress circle; I find the D/C my preferred place to sit in the theatre to the stalls. However, I did find this seat a little bit tight myself, however not tight enough to decrease my enjoyment of the show."
"A26 and 27: Perfect seats for us – we only had to sit upright (as opposed to lolling right back, which I can’t say I ever do and nor does Tall Daughter who is always far too excited for lounging about) to see everything clearly. After reading everyone’s reviews here, I was conscious of the need to sit back, but felt no need to lean forward. No railing, just a wide velvet shelf. You lost the very front left corner if you sat right back, that was all. Leg room was very good, even for long legs. We really felt the circle was best for a good view of the various elements of this show."
"A28: I fell in love with this production upon first seeing it in April 2003. I did not find the legroom too restricting ( I am 5'11"), and the view was spectacular, so close to all the action and with a clear sight of everything, without having to lean forward at all.
When I recently returned to see this production again however, I sat just one row back and a couple of seats over from where I had watched from the first time. I sat in B 32, (also top price seats), and the difference in view from this slight shift in position was dramatic.
There are many important parts of the Phantom of the Opera that occur at the front and to the left (from the observers point of view) of the stage. These include the opening, with the Vicomte du Chagny sat in that position, many important conversations between characters frequently occur in this position, the Phantom shows Christine the image in the mirror in this location, stairs to 'down below' open up here, and the phantom disappears into his chair at the end here.
From these seats, I could hardly see any of that, and this grossly impeded my enjoyment of the performance. To make matters worse, the people in row A in kept leaning over to see, and infringing more upon the limited view we had. It was only after the interval that this stopped, as we specifically pointed it out to an usher, who I must say was very professional.
The similar seats at the opposite side of the auditorium are not full price, yet I feel from the side I refer too, the view must be affected more. These seats should not be full price, perhaps not even second price. Do not sit here if you can avoid it!"
“A28 and 29: (Rebecca, 4ft 11). I saw Phantom of the Opera at a sold out Thursday evening showing in July 2010 from. Immediately when we sat down we realised that these should be sold as restricted view, and not the very expensive full price. If I sat back in my seat I could not see the stage at all due to the thick velvet wall at the front of the circle. Most people on the front row around me were leaning forward to see the stage. Fortunately at certain times in the show the action is elevated on a variety of platforms, which gave us the opportunity to sit back for a while. Patrons taking row B should be aware that their view might be obstructed by people on row A leaning forward, necessarily, to see the stage. Some views of the set were excellent from the royal circle, but I would recommend the stalls in future, or further back in the royal circle. A friend who is 5ft 7 struggled a little, but not as much as me.”
“B 18 to 21: “The Phantom of the Opera,” (Chris B). This certainly feels like one of the most lavish theatres in the West End, which perfectly befits one of the most successful musicals ever performed. These seats are centrally located in the dress circle and are very comfortable with plenty of legroom. They offer a great, clear view of the whole stage and are set so you can see between the heads in front so the view shouldn’t be obscured. The circle feels quite low and I think being raised above the stalls for this show is really worth it as you get a much better appreciation of the stage, from top to bottom.”
“B22: (Jon). This should have been fine as I'm 5'11" but two people in front of me actually blocked a lot of the view (they also rustled bags to show each other their shopping for large sections of the show). They were asked by the staff to stop leaning forward onto the front of the Dress Circle though, but they still obscured a lot of my view. A child near to me was given a cushion but still had problems seeing properly".
"B36 and 37: Right on the outside of the row, clearly without full view of the stage. (We used an offer but...) would have been happy to pay full price for better seats."
"C10: Has a partially obstructed view seat. You could not see all of Andre and Firmin in their theatre box and you could not see the top of the staircase in Masquerade. However, for £35 (face value £65), excellent value."
"C16: Having read the various comments on this site regarding the poor sightlines and restrictions of viewing the stage in this theatre, I thought I might be safe sitting here. Unfortunately, due to the very low rake, the 6ft high man in front of me completely blocked my view of the stage and I had to spend most of the evening with my head tilted at an angle. In addition, he was very drunk and kept on humming, waving his arms along to the music and talking to his friend throughout the show. Overall, the seat could have been really good (it was especially good when viewing the Phantom during the roof scenes) but like others in this row, it really depends on how tall (and irritating) the person in front of you is”
"C19 and 20: We sat here on the recommendation of this website - the very best seats in the entire theatre. They were dead centre; we had not a single obstruction and could see every aspect of the production perfectly. Legroom was ample, and so long as nobody in front of you leans forward, you needn't move for the entire duration of the show. The tickets were £40 each, reduced from £55 each as part of a Christmas offer; I would have happily paid full price given the quality of the seats and of the show."
"C26 and 27: (Emma). Brilliant view, although little leg room - but that is because the theatre is old, so has to be expected."
"D7 and D8: (James, Finchley). I was lucky enough to get a £25 offer - there is no way I would pay full price for these seats. I found the viewing angle quite peculiar and I missed quite a bit on the right of the stage. People kept leaning forward which obscured the view from time to time and the overhang cut off a few bits at the top which would have been nice to see, although not essential. Also, the Masquerade scene which is usually quite a spectacle is not best viewed from here either."
"E4: My view was very good. I couldn't see the chandelier rise all the way up to the ceiling due to the next level overhanging, but of the stage it was very good. I just about saw Raoul and the managers in their box during 'Think Of Me.”
“E16 and E17: (William Cooper, Phantom fan and theatre observer). With regards to the Dress Circle, I recently fed my addiction with another Phantom fix from dress circle seats, the view was not particularly special as it was a last minute (relatively- THIS IS Phantom) booking.
That said however, I have paid top price for far worse seats in the past and there wasn't really a problem with people leaning forward in their seats - it certainly wasn't enough to diminish the performance.
I was however outraged by the over-excited Welsh ladies next to me who insisted on commenting 'He comes from Swansea' every time the Phantom appeared and rustling their sweet packets all through 'Music of the Night' If I didn't know the words by heart it would have been unacceptably distracting."
"G17: I've seen the Phantom only once and from a terrible place in the Dress Circle row G seat 14. Being 1m 84cm tall I had to bend to see the chandelier and the phantom when he was inside it. Besides it feels very far. I don't suggest seeing it from this row. An exciting piece of theatre though."
“G17: I was in Dress circle row G seat 14, the same seat where another correspondent who is 1.84m tall said he had to lean forward to see the Phantom in the chandelier. Well, I'm 1.73 and could just about see him without leaning forward, that is until the chandelier moved higher.
He also said it seemed far away. I have seen Phantom twice from the Upper Circle, and where I was on Friday seemed nearer, although I must admit it would have been better if I could have got a centre seat in the Upper Circle, but the best I could get from the web site was row C seat 5 which I thought too far from centre. Maybe I should have rung them but I booked out of hours. I think I heard the words clearer this time although there were the usual people who can't sit still, paper rustlers and talkers!"
"G26: Wouldn't advise it - there's a pillar right in the way of the view."
"H10 and 11: (Denise). Had restricted viewing especially when it can to scenes where you needed to be looking at the top of the stage, for example the chandelier scene and the angel phantom scene."
"H21 and 22: (Ed). Our Valentine’s celebration was ruined by a) the restricted view we had from our seats on the back row of the Royal Circle - H21 and H22 and b) the intolerable heat. The overhang of the upper circle blocks the view of the upper part of the stage from row H. The restricted view prevented us from seeing significant action. Particularly the graveside scene at the start of Act 2, not to mention the spectacle of the chandelier and the phantom observing the scene on the rooftop. I deliberately didn't buy the cheapest tickets available as I wanted a good quality viewing experience, but I fail to see how we had anything other than the worst seats in the house. As we bent double to look at the action it was obvious that even one row forward in G the view was much, much better. I think it is criminal for the seats in the back row of the Royal Circle to be advertised and sold in the same price plan as seats with a far better viewing angle either elsewhere in the RC or in the stalls.
Not only this but the heat in our seats was intolerable. The size and space of the seats is uncomfortable enough to start with, but the added discomfort of the heat made for a very unpleasant and painful experience. This utterly detracted from the action unfolding in front of us as we were unable to focus or immerse ourselves in the performance due to the distraction of our pain. (The monkey notes that this reader wasn't aware of the "view in proportion to ticket price" policy in operation until it told him - at which point he mentioned he would have bought more expensive seats so as to see the whole show... worth underlining the problems in this venue again, feels the monkey).
Dress Circle Boxes
Layout
One either side of the stage, designated boxes 3 and 4 - or CC and DD for online booking purposes.
They are above stage height and in line with the orchestra pit just below dress circle level.
Legroom
Good, as movable chairs.
Choosing seats in general
Perhaps more for the repeat visitor than a first timer.
In common with all other side view seats, box 4 will miss the final sequence unless occupants lean out to catch most of it. It has a better view of the rest of the show, perhaps, however.
Both boxes are close to the stage, and seat 2 perhaps has a better angle than 1 - though one is closer to the action. As both are chairs you can adjust them to your own preference.
These are at a higher level than the stalls boxes below them, so decide if you prefer an overall viewing angle or want to be that bit closer on a stalls level. The monkey couldn't really pick between them and felt both equally satisfying.
General hazard notes
Both boxes miss action in the nearside corner - around a quarter of the stage.
Changes for the current production
Box 3 is more expensive given its slightly better view of more of the show. The monkey feels either box is pretty acceptable, but would maybe pay more if there is a first-time visitor in the group.
Readers comments
None.
Upper Circle
Layout
Called the Grand Circle in this theatre.
Split into a central and two side sections by aisles.
Rectangles of Perspex act as guard-rails at the end of all aisles.
There are safety rails at the extreme outer ends of rows D to J. These do not affect views from any seat.
There are no aisles next to the extreme outermost seats in rows A, H, J and K.
Legroom
This is suitable for those up to around 5ft 5 in row A, perhaps 5ft 6 in rows B to J and up to 5ft 9 in row K.
Row K aside, the monkey would advise anyone taller to sit elsewhere or at least try for an aisle seat if possible.
Choosing seats in general
Aisle-end safety rails are gone, replaced by Perspex screens, improving the view from most seats. The monkey did note A14 and A25 had it in their eye-line, though.
Those two seats aside, front and centre block row A edges row B on view (and avoids the risk of anyone leaning to block it). Row B scores on legroom, with an inch or two more.
Behind them, there is benefit to being in the central block as the circle does curve round to take the view of the front corners of the stage in the side blocks. Monkey would take rows back in order, crossing the aisle to the two seats on the centre aisle in the side blocks only because they are cheaper or to be a row or more forward with an aisle seat.
Row K is the row to choose for comfort.
In the side blocks, seat A1 and A38 will have to lean or lose a quarter of the stage. The first four or five seats in the corners of rows A to C likewise have side views and are priced accordingly, usually.
Next to them, the views can be better from cheaper seats as despite the curved wall still taking the view of the front of the stage away, prices do not always reflect the difference as numbers move towards the centre aisles.
Further back, the curve issue is less, and it is safe to buy seats off the centre aisle and expect a reasonable if unspectacular view.
General hazard notes
There are no aisles at the outermost ends of rows A, H, J and K.
Limited legroom in most seats.
Changes for the current production
Seats in the "high numbers" side block are possibly not for "first timers" to the show, as they will not see fully the final scene, although the view of the rest of the show is considered superior to that from the "low numbers" side block!
In the centre block the monkey would take row G over F, cheaper for the same view, or else take the two seats beside the centre aisles (“low numbers” side first) in B to E to be closer to the stage for the same bananas as row G.
Prices drop in the side blocks every four or five seats. The monkey noted A5 has a better view than A6 (no lighting in view) and is far cheaper. Likewise A8 and 9 are better value than A10 – again, cheaper.
Readers comments
“K 18 to 20: Not really sold on these, you are awfully high up (can’t fathom what it’s like in the balcony!); leg room is not too bad here, but looks worse further forward. Seats are well staggered and raked so should be OK... unfortunately the person in the row but one in front of me was hugely tall and did fill some of my viewing space, but that was bad luck rather than a reason not to book here.
Very central, you don’t miss anything except a few upper bodies on a mezzanine occasionally."
Balcony
Layout
Above and behind the Upper Circle. The location makes it feel tucked away, but not high enough to induce vertigo.
The circle is divided into two centre and two side blocks by aisles.
Safety rails at the front of the circle affect the view from seats beside it in row B back particularly.
Legroom
Poor, especially in row A, which is suitable for those up to around 5ft tall. Row B perhaps for those up to 5ft 2, with other rows only slightly better than row A.
The theatre itself notes that the outermost seats in the side blocks are next to a wall, and that all side block seats have limited legroom and a restricted view as well...
They also note that A to C 10 and 27, plus B and C 18 and 19 have limited legroom and a restricted view.
Choosing seats in general
These seats used to offer a cheap way of seeing the show for those on the tightest budget. The view isn't good, but the bargain basement price reflects this strongly. Now the middle section in particular is overpriced and should be avoided unless seeing the show is important enough to you, but be prepared to compromise on both view and sound quality - as well as a feeling that the tickets are at least £5 too expensive.
The monkey would take one of the restricted view dress circle seats for the same bananas, closer to the stage and more legroom.
Centre Block:
Best seats are rows B and C 10 to 27. Then A 10 to 27 due to bars and legroom.
Side Blocks:
Side blocks A to C 5 to 9 and 29 to 32 and A 33 are adequate (row A problems also apply here); rows D to F are further from the stage but oddly row F has a reasonable view. The curve of the circle below cuts off the front of the stage, and you will notice the rail in sight, but the angle of viewing and being in the back row and thus able to crane without worrying those behind you may edge them over the seats in front.
General hazard notes
THESE TICKETS ARE OFTEN BOUGHT BY TOUTS / SCALPERS FOR RESALE. THEY ARE THEN PASSED OFF AS DRESS CIRCLE SEATS. DO NOT PURCHASE FOR MORE THAN FACE VALUE. THEY ARE NOT WORTH IT.
Rails at the front of the circle aisle ends affect views from most seats.
Lack of legroom in all seats.
Changes for the current production
The view of the top / sides of the stage are important for 'The Phantom Of The Opera'. In fairness to the producers they have priced any seat without a full view of the stage as less than top price.
Aisle seats in the centre block drop a price due to restricted legroom - no bargain unless short, feels the monkey.
Readers comments
"Balcony: (William Cooper). Another word of advice, steer clear of the balcony. Compared with similarly priced seats in other theatres the view from here is very distant and the rake appalling. On top of this, you could get better sound quality listening to the show from the bottom of a lake in a biscuit tin. I definitely recommend paying a bit extra for the Upper and Dress Circles. (This is backed up by another reader who complains about missing half the show from up there. The sound problem, though, was addressed in 2008 when a new system was installed - editor).
"Row A: (Teresa). I sat in the middle of the first row of the balcony recently (2008) and I saw everything! I can really recommend that seat. The first time I saw 'Phantom' I sat in the stalls with the roof over me and, even though the sound was great and I saw everything on the stage, I still like the balcony better because you see all the action that goes on over the stage and, the best of all - you get to see the chandelier falling :)"
"A 23 and 24: Front row. Leg space is limited but OK for us. However, if you are tall, I imagine it would be uncomfortable. The view was OK, but quite far from the stage. My friend said she has missed some of the details (for example, in the 'auto-playing' keys from the piano in the Don Juan rehearsal scene). The row of stage lights blocks off the view of the Chandelier and the top 'Angel decoration'. It is a mild drawback. I would recommend you to sit in the stall or Royal Circle if you want the full Phantom experience (the excitement of seeing the Chandelier falling!) We have paid £28 for the Balcony seats, I would say for that price, we have got more than expected."
Notes best seat advice
Total 1219 seats.
Air-cooled auditorium. One reader in the Upper Circle suggests a light jacket as it was rather efficient!
Induction loop and Williams Infrared. Dog sitters available. Some signed and audio interpreted performances. Wheelchairs can park in stalls row E or users can transfer to any aisle seat. Access is through a fire door with level access to the seat. Adapted toilet near seat at fire exit. A theatre which tries. Specific information from www.lwtheatres.co.uk or 020 7087 7966.
Reader Jamie Coniam says:
"I must comment on the helpfulness of the theatre staff, as my grandmother uses a wheel chair, we were approached on entering the theatre by staff and taken round to a side door, shown the disabled toilets and taken to our seats before the crowds came in.
Our interval drinks order was taken and a selection of gifts from the kiosk was bought round to our seats of which nanny bought ............the lot!!
We all thoroughly enjoyed the show and when the crowds had dispersed the staff bought out our wheelchair and had a good old natter with nanny asking her what she thought of the performance.
Customer service at its best!"
Food: Ice Cream and confectionery available.
Three Bars, Stalls, Dress Circle and Upper Circle.
10 toilets in all. Stalls 1 gents 3 cubicles, 3 ladies 8, 2, 2 cubicles; Dress Circle 2 ladies 3, 2 cubicles; Upper Circle 1 gents 2 cubicles, 1 ladies 4 cubicles; Balcony 1 gents 2 cubicles, 1 ladies 2 cubicles.
Theatremonkey acknowledges gratefully those at LW Theatres who assisted with compiling this information.
General price band information
Theatres use "dynamic pricing." Seat prices change according to demand for a particular performance. Prices below were compiled as booking originally opened. Current prices are advised at time of enquiry.
Based on paying FULL PRICE (no discount!) for tickets, site writers and contributing guests have ALSO created the colour-coded plans for "value for money," considering factors like views, comfort and value-for-money compared with other same-priced seats available.
For a full discussion, opinions, reviews, notes, tips, hints and advice on all the seats in this theatre, click on "BEST SEAT ADVICE" (on the left of your screen).
On the plans below:
Seats in GREEN many feel may offer either noticeable value, or something to compensate for a problem; for example, being a well-priced restricted view ticket. Any seats coloured LIGHT GREEN are sold at "premium" prices because the show producer thinks they are the best. The monkey says "you are only getting what you pay for" but uses this colour to highlight the ones it feels best at the price, and help everybody else find equally good seats nearby at lower prices.
Seats in WHITE, many feel, provided about what they pay for. Generally unremarkable.
Seats in RED are coloured to draw attention. Not necessarily to be avoided - maybe nothing specific is wrong with them, other than opinions that there are better seats at the same price. Other times there may be something to consider before buying – perhaps overpricing, obstructed views, less comfort etc.
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.
CLICK SEATING PLAN TO ENLARGE IF REQUIRED. USE "BACK" BUTTON TO RETURN.
By value for money:
By price:
DAY SEATS: A number of £42.50 and £37.50 day seats are released at 10am each day online at: https://uk.thephantomoftheopera.com/day-tickets/. Maximum 2 per person, first come, first served.
Notes
The Dress Circle is called the "Royal Circle" in this venue.
The Upper Circle is called the "Grand Circle" in this venue.
A "restoration fee" contribution is included in all prices above.
Please note: The seating plans are not accurate representations of the auditorium. While we try to ensure they are as close to the actual theatre plan as possible we cannot guarantee they are a true representation. Customers with specific requirements are advised to discuss these with the theatre prior to booking to avoid any confusion.
-0.1340517, 51.5082429
Nearest underground station
Piccadilly Circus - Piccadilly (Dark Blue) and Bakerloo (Brown) lines.
The escalator from the platforms ends in a large circular underground area.
After leaving the barriers, turn to your left, and follow the curve of the barriers around until you see an exit to your right with the sign "Subway 4" over it. Walk under this sign.
Keep walking through this tunnel and ignore the first staircase marked "Shaftesbury Avenue". Continue along the tunnel passing the "Trocadero" doors, and follow it as it curves past another set of doors. Follow the arrow on the sign ahead of you that says "Eros" (the tunnel continues to the right).
In this new section of tunnel, take the stairs ahead and to your right up to the street.
You will emerge near the Criterion Theatre. Walk ahead of you. If you see two roads - Piccadilly and Regent Street - with a shop between them..., wrong way.
You will come to a busy road, Haymarket. Railings prevent you crossing it. A large statue of horses is to your right. Turn to your right and walk down Haymarket.
Cross Jermyn Street, continue walking downhill. Cross St James's Market and Norris Street and pass the UGC cinema Haymarket. Cross Charles II Street, and the theatre is there on your right.
Buses
6,12,13,15,22B,38,53, 88,159 to Haymarket. Haymarket is a one way street. If you are travelling by bus from Trafalgar Square to Piccadilly Circus, leave the bus at the first stop in Lower Regent Street. Cross Lower Regent Street. Turn to your right, looking downhill towards the Crimea War Memorial column with the road either side of it. The first side street after the roads rejoin in front of the monument is Charles II Street. Walk along it. Her Majesty's Theatre is at the end on the right. If you come to a garden square instead, wrong way. Turn around, walk back to Regent Street, cross it, and walk down the other part of Charles II Street.
If travelling from Oxford Street or Shaftesbury Avenue you will be able to leave the bus on Haymarket itself. Do so at the second stop in the street.
Taxi
A rank for Black taxis is at Charing Cross Station - a fair distance from the theatre. Best chance of hailing one is in the street outside.
Car park
Whitcomb Street. Leave the car park, turn left and walk uphill. The first street on your left is Panton Street. Turn down it and pass the multiscreen film complex. Keep going straight on. Pass the Harold Pinter (formerly Comedy) Theatre. At the end of the street is Haymarket, a busy road. Cross it and turn to your left. Walk downhill. Cross Charles II Street. The theatre is in front of you. If you pass the Pizza Hut, wrong way.
Spring Gardens / Trafalgar Square is also nearby, and for these car parks the "Theatreland Parking Scheme" may be available. See www.q-park.co.uk for details and to book. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost for entry after 12 noon and for a maximum of 4 hours (after that parking is at the normal rate).
If you choose the "Theatreland Parking Scheme", you must book in advance at www.q-park.co.uk and have a theatre ticket stub dated for a theatre performance on the day you are parking there.
For a full list of car parks and theatres that participate in the 50% off theatreland scheme see www.q-park.co.uk.
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Readers comments
"B18 and 19: Basically the perfect seats, and quite reasonably priced when on sale. Bang in the middle of the row; there’s only one row in front and seats are suitable staggered so you’re looking between heads; no neck strain as the stage isn’t particularly high; seats and legroom are comfy enough. And you see everything!"
"E33 and 34: E34 being an aisle seat. Great seats with nothing in front, so unlimited leg room. You only miss a slight amount of action far left of the stage but nothing too noticeable. I would recommend these seats for anyone who needs the legroom and wants to be at the front of the stalls. Also its right by the door so you can make a quick exit."
"F10: There's a good view of the whole of the stage even though the seat is nearer the end of the row. Eye level is just above the stage, so you do have to look up a little bit even for the main action, and more for anything higher up including much of the dancing in 'Masquerade.' But it's easily manageable, and the compensation is that it's a good and comfortable distance from the actors.
The only real disadvantage was that it's quite close to a speaker on the wall, which sometimes makes it difficult to locate a voice on stage because the sound's coming from a different direction.
At full price, I would have preferred to have been one or two rows further back and a little closer to the centre, but as a TKTS purchase this was absolutely brilliant value."
"N10 and 11: These were great in terms of legroom, sight lines, everything. Having seen this multiple times, I’d probably pick the equivalent seat in the Dress, or a seat in the first few rows of the Stalls, but these were good anyway."
"P3 and 4: excellent legroom, but the overhang does obscure enough of the stage that you might miss something. The big downside to this seat is that the wheelchair space is a couple of rows ahead, and if there is someone there, you will be viewing a head rather than the action. P4 is OK if there is a wheelchair - it’s just P3 that is the problem. This needs to be made clear at point of purchase.
I appreciate that there may not be a wheelchair in every show, but they need to be willing to move people who can’t see. The wheelchair person’s head was level with mine if I were standing up, so it really did affect my view. I asked if we could move and was told, 2 minutes before the start, that I would need to speak to Box Office… so we just took a punt and moved into the row of empty seats in front of us.
I think if we had stayed in P, we might have missed the cemetery bit too. With the wheelchair, I would have missed the entire staircase in Masquerade. Glad we moved."
"P13: ridiculously good legroom in this row, thanks to the pillar placement. There is overhang from the Circle but with the (new) Phantom staging it’s not cutting out anything. Rake is only slight but the seats are staggered - 5 foot nothing me had no problem seeing everything."
"R2: Stalls R2 was fine from a pillar perspective, with both of them lining up nicely with each side of the proscenium arch. The overhang and the heads of people in front were far more of a problem. I was annoyed to find that whereas the Angel used to descend far enough that the Phantom was visible for his lines the replacement giant horse now moves forward so the Phantom isn't visible."