Arts Theatre

A Century of Theatrical Courage and Innovation

Opened in April 1927, the Arts Theatre was conceived as a private members club designed to circumvent the censorship imposed by the Lord Chamberlain's office, which licensed all new plays before performance. This ingenious structure allowed the theatre to become a sanctuary for experimental, controversial, and unlicensed works that mainstream West End venues would not risk staging. From its inception, the Arts Theatre earned a reputation as a bold platform for theatrical risk-taking, attracting playwrights and directors who valued artistic freedom over commercial viability. The theatre's golden era arrived in the late 1950s under the direction of Sir Peter Hall, a legendary figure in British theatre. During this transformative period, the Arts Theatre hosted the English-language premiere of Samuel Beckett's Waiting for Godot in 1955, a watershed moment in modern drama. That same year, comedian Ronnie Barker made his West End debut in Eugene O'Neill's Mourning Becomes Electra, launching a career that would define British entertainment for decades. In the 1940s, under the stewardship of Alec Clunes and John Hanau, the theatre earned the affectionate nickname "The National Pocket Theatre" after producing over 100 plays in a single decade.

The Intimate Auditorium Experience

With a capacity of just 350 seats spread across two levels—Stalls and Circle—the Arts Theatre remains the West End's smallest commercial receiving house. This intimate scale is fundamental to its character and appeal. The Stalls section comprises approximately 230 seats arranged across 15 rows from BB to N, while the Circle section contains 123 seats across 6 rows plus 2 slip benches, arranged in a gentle horseshoe shape that overlooks the stage. The theatre's high stage and carefully designed rake ensure sightlines that allow patrons to see over those seated in front, creating an unusually democratic viewing experience across the auditorium. The proximity between audience and performer is extraordinary. Even seats in the Circle, which overhang the Stalls from Row E onwards, feel remarkably close to the action. This intimacy transforms the theatrical experience—there is no sense of distance or detachment. Actors can make eye contact with audience members, and the energy flows both directions. For productions like The Choir of Man, which features a working bar on stage and interactive elements, this closeness becomes part of the show's magic.

Seating Quality and Sightline Considerations

The best seats in the theatre are found in the Stalls, specifically seats 3 to 14 in rows B through H, which offer unobstructed views and comfortable legroom. These premium seats command higher ticket prices but deliver exceptional value through superior comfort and clear sightlines. The Circle's rows A through E similarly provide excellent views and are often preferred by patrons who appreciate the elevated perspective and absence of restrictions. Rows D and E in the Stalls offer particularly good legroom for taller theatre-goers, with specific seats rated highly for comfort. Certain seats carry restrictions worth noting. The ends of Row J in the Stalls are partially obscured by supporting pillars, while rows M and N are affected by the Circle's overhang, which can cut off the top of the stage. Row BB, the front row, requires patrons to crane their necks slightly due to the stage height, though this is rarely problematic for shows under two hours. The Circle's slip benches, while offering excellent value, are bench seats rather than individual chairs and face the stage at a slight angle, requiring forward leaning to see comfortably.

Recent Theatrical Success and Current Programming

In recent years, the Arts Theatre has become known as an incubator for productions that go on to major success. The musical Six premiered here following its Edinburgh Fringe triumph, subsequently transferring to larger West End venues. The Choir of Man, an award-winning jukebox musical celebrating the communal spirit of pubs, has become the theatre's signature production, perfectly suited to the venue's relaxed, welcoming atmosphere. The show's integration of a working bar, audience interaction, and sing-along moments exemplifies how the Arts Theatre's intimate scale enhances contemporary theatrical storytelling. The theatre continues to host short-run engagements, experimental plays, cabarets, and stand-up comedy, maintaining its historical mission to provide a platform for work that might not find a home in larger commercial venues. This programming philosophy ensures a diverse calendar that appeals to adventurous theatre-goers seeking fresh voices and innovative productions.

Amenities and Visitor Experience

The Arts Theatre provides a café in the foyer serving alcoholic and non-alcoholic beverages alongside snacks, open during show times. Below the theatre lies a cocktail bar, also operational during performances. The venue opens one hour before shows begin, with seating typically available approximately 30 minutes before curtain. The box office operates from 10am to 6pm daily for in-person bookings. Given the theatre's small size, communal spaces can become crowded during pre-show periods, adding to the convivial atmosphere. The theatre's location between Leicester Square and Covent Garden places it adjacent to Seven Dials, offering abundant shopping, dining, and entertainment options within minutes.