Down in the Stalls, with 681 seats entirely below street level and divided by a main aisle, you'll find a range of experiences. The stage is set unusually high, so expect an aggressive upward head tilt in front Rows A through C; seats A10 to A12 are directly behind the conductor's podium, where the musical director's head can even clip the stage frame.

The premier sweet spot, offering perfect eye-level views free of structural hazards, is found in mid-stalls Rows F through H (seats 11 to 18). Conversely, the rear Stalls suffer from a heavy Royal Circle overhang starting at Row L; by Rows N through S, the ceiling cuts off the top third of the stage, hiding the chandelier's trajectory.

Additionally, four cast-iron pillars create severe blind spots for seats S12–13, R12, R21, Q14, and Q21. Legroom across this historic footprint is generally tight, though select seats next to aisle breaks (E1, E25, F1, F25, G1, G25, N1, N28, and Row P) offer expanded space.

This level benefits most from the theatre's modern air conditioning, keeping the temperature stable.

Up in the intermediate Royal Circle, with its 285 seats, you'll find it curves sharply around the side walls, dividing into a central block and two angled wings. Unlike modern venues, this level features a shallow rake, which means sightlines can be easily blocked if a tall person sits in front of you, often causing patrons in the rear half to lean forward.

Central seats 13 to 24 in Rows A through C offer the best panoramic views, but the extreme outer ends of these rows face the stage at a sharp 90-degree angle, cutting off action in the nearest wing. Furthermore, four safety pillars starting at Row F create permanent blind spots for seats directly behind them, and the Grand Circle above overhangs the rear rows, heavily truncating the vertical view in Row H.

Legroom in Row A is particularly cramped due to the front plaster handrail—which can also clip the front of the stage for shorter guests—and the sharply curved side sections can feel physically tight.

Ascend to the Grand Circle, the third tier with 330 seats divided into three large sections on a steep slope. The central block (Rows A to E, seats 12 to 26) provides excellent, unobstructed panoramic views, as the balcony above does not overhang this level.

However, be aware that the outer ends of Rows A through K are severely restricted by the exit walls, which block out large portions of the stage. The steep rake of this level ensures that audience members' heads rarely block your view, and legroom is relatively forgiving in the front four rows of the Centre block.

Unfortunately, the physical space tightens dramatically toward the rear rows and the angled side sections, making them highly uncomfortable for taller patrons. Additionally, the steepness of the stairs required to navigate this level gives the section a precipitous feel that may trigger mild vertigo.

Perched at the highest, most compact, and most distant tier, the Balcony houses 103 seats on a dizzying, near-vertical pitch. While dead-Centre seats offer a mathematically clear view free of pillar obstructions, the sheer distance from the stage makes it impossible to read facial expressions or see fine scenic details.

If you're in Row A, be aware that the thick front safety railing slices horizontally through your lower field of view, forcing you to lean forward to see the front edge of the stage. Legroom on this level is the most compressed in the theatre, offering almost no knee clearance for average-sized adults.

Finally, because heat rises within the tall Victorian auditorium shell, the Balcony can become notably warm and stuffy during a performance despite overall ventilation upgrades.