The Barbican's Stalls, with 681 seats, feature a 'continental' layout: one enormous, continuous block without a central aisle. This means rows stretch up to 49 seats, so reaching a dead-centre spot might involve shuffling past up to two dozen people.

The trade-off is exceptionally generous row spacing, offering outstanding legroom throughout the entire level. A steep, uniform rake ensures completely unobstructed views over heads.

With the stage set low, Rows A to C place you right at the actors' feet without neck strain. For the premium experience, aim for Centre seats in Rows E through K (specifically 15 to 35).

Be aware that extreme side seats (under 10 or over 40) face the stage at a sharp angle, which can become tiring during longer performances.

Directly above the rear Stalls, the Circle feels like an intimate, private gallery. It features just two main rows (A and B) along the back wall, plus single-file slips (AA to HH) along the sides.

Central seats in Rows A and B deliver wonderfully balanced, panoramic views. The modern design avoids any claustrophobic ceiling overhang from higher levels, ensuring an open vista.

A word of caution for the side slips (AA to HH): they run perpendicular to the stage along concrete walls and are sold at a steep discount. You'll be looking straight down from the side, with inevitable cut-off sightlines to the wings.

The Upper Circle presents excellent value, mirroring the Circle's layout but one tier higher. It comprises two horizontal rows (A and B) and side slips (AA to EE).

Despite the height, the Barbican's wrap-around architecture keeps you feeling remarkably connected to the stage, avoiding the usual 'pushed back' sensation. Central seats in Row A are highly recommended for clean, wide sightlines at a fraction of the cost of Stalls tickets.

The Gallery, also known as the Balcony, is the highest tier in the building, featuring just two horizontal rows (A and B) and minor side slips. Be warned: the rake up here is incredibly steep, and the height substantial.

This creates a sharp downward viewing angle that could trigger vertigo for some. While you'll have a perfectly clean view of the stage floor, reading actors' facial expressions becomes challenging from this distance.

These seats are best suited for grand musicals, physical theatre, or concerts, rather than intimate, text-driven dramas.