STALLS
The Dress Circle overhangs the stalls at row H. The top of the stage is not
visible from row P backwards.The front Stalls rows AA to J are arranged in a curve in front of the stage.
Rows K to X behind them are split into two blocks by a centre aisle. The monkey
also notes that the seats are rather narrow, and on its last visit E14
was somewhat saggy in the centre from over use...
Neck ache is a possibility in rows AA, A, B and C. If the stage is high, those even as far back as E
won't see feet at the back of the stage (luckily, unimportant as this
isn't a dance musical). Aspiring ballerinas may wish to sit further
back.
The extreme ends of
row A are also avoidable as you could be sharing your breathing space with
hefty stage lighting almost directly in front - and have a pretty acute
angle to look up at the stage too. For musicals, an orchestra pit means
a conductor may be in view for some in central row A... it didn't bother
the monkey, but purists may wish to avoid this area - though others may
find any ticket price reduction makes them worthwhile.
The last time row AA was in use, for "Chicago" (which ended in April
2006 at this venue), it drew rave reviews from readers as it was sold at
a low price - just like it is now for "One Man, Two Guvnors" (November
2011) as cheap 'Day Seats.' Back in 2006 reader Chris said of another
show,
"I bought row AA seats 14-16. It definitely felt like we were in the
show and my husband received a rose from Velma (made his day!!). Steep
angle of viewing but for much less than the row behind it was well worth
it!"
Reader Chris Bennett says the same:
"I took theatre monkey's advice and booked seats AA15 and 16 and you
felt like you were in the show."
and reader Mandi confirms,
"we booked row AA seats 15 and 16 and have never had better seats! You
feel as though the performance is in your front room and whilst you do
have to tilt your neck back to see, it was not a hardship at all, and
there was also stacks of leg room. Being so close meant you were really
able to see all the expression that the actors and actresses put into
their parts. It did however mean that you got a real "knicker-line" view
which was O.K. for us but the elderly couple next to us weren't quite
sure about it!!"
Reader Che goes further:
"On several reviewers' recommendations, I chose AA 21, 22 and 23. When
we first sat down, I was apprehensive as I had never been that close to
the stage. As soon as it started though all my fears evaporated - the
cast looks directly at you because they can't see beyond the front rows.
We could even see the finer details of their make-up and yes, gratuitous
views of a more intimate nature. I also managed to catch a rose at the
end of the performance. Good value seats (£30), if you want to be in the
thick of things and get the entire experience of the show."
And reader Paul adds,
"stalls seats AA 17 and 18...what can I say, they were absolutely
fabulous, you really felt part of the show. I was worried about having
to crane my neck but this was not the case".
one reader says,
"The seats theatremonkey recommended in row AA were possibly the best in
the house."
reader Cassie adds:
"DEFINITELY RECOMMEND AA16-17 AND WOULDN'T TAKE ANYTHING LESS!! The only
downside for myself, was that at 5'5, I couldn't see the floor. It isn't
really essential, but I didn't know that Fred Casely was still "dead" on
the floor until somebody picked him up! My dad, at 6' had no problems at
all, but if you don't mind not seeing up to their calves, then these
really are the seats to take!"
another has found another useful reason for sitting in row AA:
"we booked stalls seats AA 19, 20 and 21. This was the very front row
and we had an amazing time. I would agree with a previous reviewer who
said they felt part of the show, and that is certainly the case. You
feel as if the cast are playing just to you, as you obviously can't see
the rest of the audience, who are all behind you....The front row seats
also give you easy access to the bar at the front of the theatre on the
left, which was little used at the interval, and much more civilised
than getting crushed in the main bars."
and reader Lizzie sums it up:
"Have never had an experience like it – felt like we were on the stage
with the cast. It’s worth doing for the sheer fun of it but don’t be
surprised if the songs are directed at you. Talk about seeing the whites
of their eyes!"
Strong positive reviews, and the monkey is sure it will be the same
in 2011!
Behind them, row A attracts different opinions, depending on stage
height. Having an extra row in front will help, though. For previous
production "Love Never Dies" (2010) a group organiser reports,
"Ten people (including us) were sitting in the front row (Stalls A15 to
A24) and these seats had a severely restricted view. A19 is directly
behind the conductor, so this additionally limits the view in A18 to
A20. You can seldom see a full view of the performers who are often cut
off from the waist down. The impact of the scenery and special effects
is also diminished from this row. The full price of £67.50 is
unreasonable and we feel purchasers should be advised that the view from
these seats is restricted.
I have read good reports of row A here, but I guess these were for other
shows. For 'Love Never Dies' the stage is built up to accommodate the
revolve and trap-door, and from Row A this results in neck-strain and
severe sight-line problems - in some scenes people at the back of the
stage could only been seen from the shoulders up, and the climax scene
with a character on the floor also causes difficulty. People sitting
behind us in row B were quite happy with their view."
Also at other shows, comments included:
From regular reader Zena:
"thankfully my front row seat had lots of legroom and a nice view."
Reader Daniel Vincze says,
"My seat was A13 in the Stalls. Excellent view, enough legroom and feels like
being in the action. The intimate scenes are really
effective because you're not that far away as you'd be in the Dress Circle or
Upper Circle."
Another reader adds,
"Stalls seats A16 and A17 were great for "Chicago" (2000)- we felt part of the action
(certainly excellent value at £27 each). Legroom OK (we are both 6
foot). It was interesting to be able to look into the orchestra pit and
we were close enough to tap the Musical Director on the shoulder (we
didn't - thought it might put him off)."
And another,
"saw Evita (2006) on the front row and it was fine as the orchestra is big. No neck
ache and PLENTY of leg room."
Though another says,
"Row A 9 to 12 were too low down – a lot of neck craning. Would recommend
from Row J and back. All round, well worth the ticket price"
The reason the monkey always likes the front row in theatres too... but with
a high stage... maybe back a bit for purists.
At the moment, "One Man, Two Guv'nors" (November 2011) does not have the end pairs of seats in rows A, B and
C dropped in price. When cheap, Monkey
thought is that those not worried about an extreme side view might well find the
innermost seat in each pair worth a glance. Take C, then B, then A - certainly
you'll be closer to the stage for less cash. Not for purists or first
timers, really, but the monkey would on a second visit at least. At full price,
though, it would skip them.
Rows B to E have noticeably less legroom than rows behind, and the
rake is non - existent. Fortunately a high stage can compensate for this
at some productions.
From row B reader Karyn reports, at previous production "Love Never Dies"
(2010),
"sat in seats B24 and 25 and enjoyed an excellent view of the action, although
we did get a bit of neckache towards the end. No matter, what we lacked in neck
comfort was made up for in legroom...we had LOADS!! Why do people complain of
there not being any legroom from row B back? We had plenty and we're what you'd
call short. They must be made up of Peter Crouch proportions is all I can
think!"
Another reader at "Love Never Dies" (March 2010) felt,
"B10: Being fairly short, I could only see the action from the waist up.
At the interval I moved back to a slightly better seat."
Reader Tracey says,
"Stalls B24 and 25 - almost felt like we were on the stage - right in the
action!"
More centrally for "Love Never Dies" (March 2010) reader Darren
feels,
"B 22 and 23: fantastic seats giving superb views - almost putting us in
the show, especially during the breathtaking projections. The performers
feet were often missing though. The legroom was great too. I would
consider changing these to Green."
Another reader adds, for the same show,
"B20: I paid £35 through the GILT ticket offer (runs January to March
each year). I'm 6ft tall and felt I had satisfactory leg room. Being so
close to the stage means you have to look up resulting in a bit of a
neck ache, plus you miss the the performers feet at times. When some of
the performers are on the ground or the video images are rolling you
have to strain yourself to get a full view. The conductor only once got
in my way, but otherwise wasn't an issue. Overall, it's an OK seat for
the price I'd say, but would sit further back if I went again."
in another row for the same show, another reader adds,
"D 8 and 9: Had a good view but as the stage is very deep could not
quite see the back. Seats further forward in my opinion would be too
close as the stage looks quite high. When I go again I will try for Row
E or F or even Dress Circle."
while another opines,
"B25 to 28: Although when I sat in these seats it was to see "Joseph and
the Amazing Technicolor Dreamcoat," I would avoid sitting in these seats
for 'Love Never Dies.' One of the main features of 'Love Never Dies' is
the visual presence of the show. In order to appreciated this I would
recommend sitting further back. Row B25 to 28, although allowing you to
feel part of the action, are just too close to the stage for a
production of this scale! You would without a doubt leave the show with
a sore neck from straining to take in the full view of the staging. The
leg room in Row B is also quite uncomfortable."
and as for C, one reader comments,
"C9 to 12. A little to the side, but a great view. None of my group had any
problem with the stage height, and we felt almost part of the action. I found
the legroom to be adequate (remembering I am well above average height!). Maybe,
had the show been a long one, I might have had trouble, but for 'Joseph' I
didn't notice."
Another reader comments from C10,
"Stalls seat C10 was good
for Derren Brown (July 2009).
No cricked neck - from previous comments I imagined the stage
would be about 6 feet above us, it was actually on eye level, and
there was plenty of leg-room both between knee and seat in front, and
also to stretch out lower leg. Was surprised how intimate the venue
actually was and how close the dress circle was to the stage (maybe
I'm just used to huge music arenas). "
For "Love Never Dies" (March 2010) a reader comments,
"C10: I had a very poor view of the Phantom and Christine in the final
scene."
Dumb set design, notes the monkey.
another adds, of previous production "Love Never Dies"
(2010),
"C18 and 19 in the stalls, purchased through the annual
www.getintolondontheatre.com offer for the bargainous price of £25!
Legroom was actually very good, and the view of the stage was
excellent."
while another says,
"We sat in the stalls Row C 15 to 18 and the view was good - big heads in front
do obscure slightly but that is the luck of the draw. Leg-room was plentiful
too. No neck ache at all and you certainly feel in with the action - sweat and
spit can be clearly seen."
Another reader in the front stalls reports:
"Was seated in stalls row C18, a great seat with great views but alas, the seat
looked like it was in need of a good steam clean it was filthy."
Near them, for "Love Never Dies" (March 2010), reader Linda O'Reilly
comments,
"C22 is perfect!... Plenty of leg room, which surprised me. Most of us
were happy in our seats although a couple in Row B moved at the interval
to further back. Maybe they found it loud? Not sure. I think if you were
in Row A, you could be distracted by the handsome conductor. But then
again you may not notice him - but I would go for Row C or D."
At the end of the row, at the same show, reader
Peter says,
"C30 and 31: The stage is very high and for the first time ever in the
theatre I had neck ache. The stage is very high and we generally saw
from the actors knees and above. It was close enough to see the actors
every expression but that's about it, so I would highly recommend
sitting further back or ideally in the circle."
In row D for "Love Never Dies" (March 2010), reader Ali says,
"D10 and 11: Very good seats for seeing details of
the makeup, costumes and expressions, however, the stage is
quite high, and I think we may have missed some movement and
action further towards the back of the stage. Loads of leg room in front of the seat, but the seat
itself is one of the narrowest I have ever sat on. Oh, and take
a cardigan along - the air conditioning is quite fierce!"
By contrast, a reader further along says,
"D16:
Previously I was sitting in the Dress Circle, seat A14. Last night I
was in
the stalls, D16. What a difference a seat makes, which is the
main
reason I'm writing to you now! 'Love Never Dies' is one show where it
really
does pay to sit mid-way back in the stalls or towards the front of
the Dress
Circle. I've read yours and other reviewers comments about seating
at the
Adelphi and offer some further opinions.
Good points about D16. A relatively comfortable seat with excellent
legroom.
It doesn't matter that the rake is non existent here because you
have to
look up at the stage, over peoples heads. You are also close enough
to feel
part of the action and to see the expressions on the actors' faces
and all
their little mannerisms!
Bad points about D16. The stage is high and you can't see the
actors' feet,
even though this is not a dance musical. Several pieces of the set
are quite
low down and are hidden from view which was annoying. You are often
aware of
the conductor. David Charles Abell is very animated and stands quite
high up
and I really pitied the people in row A sitting right behind him. In
fact, I
wouldn't recommend row A at all, especially as the seats are sold at
full
price. I'll go back and see the show again - just not from row D."
Reader Richard Bradbury also notes for "Evita":
"Sat in seats D24 and 25 in the stalls. Great seats, superb view most of the
time. The only faults with these seats are that some of the action on the left
is obscured and the back wall of the set is difficult to see with
the heads in front of you (nobody in front of us was particularly tall but it
was a struggle to see)."
For "Joseph" things have improved, as reader Celia reports,
"We had terrific seats, D 19 to 22 stalls, almost dead centre and with a clear
view of the stage. No problem in getting a booster seat for my son and despite
some rather large heads in front of him he had a really good view of the
action."
Reader Victoria reports of her seat, E15:
"I found that I had plenty of leg room and felt the air conditioning - people
further back mentioned that they were roasting. However, the seat in front of me was not at
all staggered and so I struggled to see past the head right in front of me when someone was on the floor
- and did have to crane my neck a bit to see the
balcony scenes, although I'm only 5'1."
A reader says, for "Love Never Dies" (February 2010),
"E18: This was a very good seat, a bit narrow, but with masses of
legroom. I’m only 5’8’’ tall but I could fully stretch my legs under
the seat in front! The seats aren’t as staggered as further back in
the theatre, though. Luckily the people in row D in front of us
weren’t particularly big and so the view of the stage was almost
unobstructed. And, monkey was absolutely right, I hardly noticed the
conductor, even though it was the animated David Charles Abell! Oh,
and the two seats to my right were empty so I could spread out a
bit!
One thing that did surprise me a little was that I could almost see
the whole of the stage floor from where I was sitting, so a plus
point there! Comparing rows E and O (where I've sat previously), I
do prefer E provided there’s no-one too big in front of you, purely
due to it’s closer proximity to the stage and actors, although to
fully appreciate the projections you do need to be a few rows
further back. You pays your money and takes your choice!"
At "The Rat Pack" (September 2009) a reader says,
"E22 in the stalls for £15! Very good seat could see everything very
well."
Reader Paul says,
"purchased F27 and F28 when they were "premium" seats for "Joseph" (2008).
Can't quite see what makes them
special except the price!!! The rake was poor and a young girl of average size
sat in front and obscured some of the view to left of stage."
In row F for "Love Never Dies" (at it's last performance in 2011) a
reader opines,
"F21: Wasn’t bad in that there was plenty of legroom, although the rake
is pretty poor at that point in the theatre. Funnily enough, I
preferred stalls C22 which I sat in at another performance. Again,
there is plenty of legroom, and because you have to look up at the
stage, you are looking over peoples heads! The downside is that you
can’t see the actors’ feet! Oh well, I suppose you can’t have
everything, but like the monkey, I prefer to be closer to the stage than
further away."
From row F back, legroom improves, and from row J back, the rake is much more
noticeable.
One reader says,
"Found the Adelphi to be a cosy theatre with very comfortable seats, especially
for the smaller person. Our seats were numbered F 9 and 10, in the Front Stalls.
We had a good view and there was of plenty of leg room."
Reader Paul comments for "Love Never Dies," (February 2010),
"F 13 to 15: The view of the stage was great, legroom adequate. This was
far enough back to get the full impact of the projections, but close
enough to get the nuances of the performances. That said, due to the
shallow rake, if someone with big hair, or a continual fidgeter or (dare
I say it!!) someone exceptionally tall sits in front of you, you may
have a few viewing problems. Obviously I had no such problem! For me at
6'5" these seats were excellent!"
Another reports,
"F20 in the stalls: Great seat, plenty of legroom, and very close to the action.
Also being bang in the middle of the row meant that there was minimal disruption
from people leaving / returning to their seats, so I’d highly recommend a seat
in this area."
While a third notes for "Love Never Dies,"
"Row F: great seats as you could see the whole stage. Really super show
and lots to look at on stage."
According to one reader, at the end of a row, though:
"I sat in F4 in the stalls. The view was not bad, some of the action lost on the
right hand balcony and right at the back of the stage in the arches."
Another reader notes:
"We booked row G, and the view was superb. Not too close to crane your neck but close enough to feel
part of it".
Monkey regular and seat connoisseur James in Finchley says,
"Sat in G20 in the Stalls for "Joseph" - couldn't have had a better seat in
terms of being close to the action but
not too close that you have to move your head from side to side to see the whole
stage. I had to crane my neck a
little but the person in front was particularly tall so I don't reckon it would
usually be a problem. Given the
choice I'd have probably gone a couple of rows further back just to be safe."
From the same seats, reader Adam notes,
"We sat in stalls row G seats 19, 20 and 21. I am 6ft 2ins and the
legroom was terrific and I had plenty of room to stretch out. My view
was also excellent but my wife and daughter (being somewhat shorter than
me) had there view slightly obstructed by heads in the row in front, the
rake at row G being very shallow. The lack of a centre aisle meant a bit
of a trek from the side aisle over bags / coats / refreshments and other
people despite us arriving early."
Reader Tracey agrees,
"Stalls G27 and 28 - great view (especially as the row was curved) and on our
preferred side of the theatre"
Another reader says for "Love Never Dies",
"G28 and 29: great view."
The ends of row G are an issue, though. Reader Matthew Wright says,
"Stalls row G seats 30 to 34. I agree with your 'value' guide to these seats as
the view was good but just too off-centre I think for full price"
From row H at previous production "Love Never Dies" (2010) another reader adds,
"H 22: The seat was great and provided a great view of the stage,
however the stage is very high so I would advise people to sit from row
F back if possible. I also think that the stalls is the best place for
this show.
A word of warning though, don't sit to far to the left of the stage
(high end numbers) due to the stupid end scene! For the £40 (access
rate) I thought the seat was excellent, even if this rate is one of the
most expensive in London."
In the same row, another reader at "Love Never Dies" (March 2010)
felt,
"H14: Brilliant seat. I wouldn't have gone again had it not been a
decent place to see from! I'm one who likes to be as close to the action
as possible (without affecting the view) but thought it was a perfect
distance back with an excellent view."
Reader Nicki says:
"Seats 29 and 30 in Row H were perfect - didn't have to look up or down, close
enough to see everything. A little off to the side, but not a restricted view."
Side seats may have drawbacks, though. According to Theatremonkey
regular reader James at "Love Never Dies,":
"H3 and 4. You do miss quite a
bit of the set being at the end of the row, but the sound is great from
here. Good at a discount."
The first and last four seats in rows B to R are outside the proscenium
opening. This prevents those seated here from seeing into the far corners of the
stage. As noted earlier, the monkey quite liked the thought of B30 at a restricted view price, but
notes they are not really a bargain - just a way to be closer to the stage for
less money. Same goes for D and E 5, D31 and E32, for that matter.
Readers generally report that central rows F to J are providing best views
overall. Those wishing to see most, or who are shorter, seem to find H and J
preferable too.
From H, a reader notes for previous production "Love Never Dies"
(2010),
"H12: Had so much leg room, I could spread my legs out fully (I’m 6ft) –
shame a few inches couldn’t have been added to the width of the seat as
this was very narrow."
Another reader in row H for the same show comments,
"H14: The Adelphi Theatre is quite small and the seat was fairly
comfortable with a good view."
Reader Gill says of "Joseph,"
"We were in row J seats 29 and 30 which gave us a good view, only part of the
staircase where the children sat was partially obscured."
Seats in central rows K to N are "premium" seats - your call if you feel
them worthwhile, feels the monkey.
Behind Gill, regular monkey seat connoisseur James says,
"Sat in Stalls K19 and K20 for "Joseph". Having sat in row G last time
I preferred being a few rows back as I could see the whole stage without
turning my head from side to side. The view was perfect (especially as
there was no-one sitting in the row in front) and the sound is great
here too."
Another reader felt K10 perfect.
Reader Jay reports,
"Row L, 11 to16. We all enjoyed a fine view, as well we should at £55 a pop
(for "Evita in 2006)!"
For "Love Never Dies" (February 2010) a reader says,
"L15 and 16: These seats were fantastic! You are far enough away from
the stage to enjoy all the visual effects which are happening in the
show but near enough to not have to strain to see the performance. The
seats also offer fantastic leg room! We saw the show on a Wednesday
matinee at the end of a stay in London and as a result both of us had a
rucksack each and still felt like we had ample leg room."
One reader notes that:
"We got three seats together in the
side stalls on row N (which are red on the theatremonkey plan but I didn't find
them a problem at all) - I think any further back and you do get a restricted
view at certain points in the show".
Another feels that,
"M23 and 24 weren't great because a
rather tall men sat in front of me, so I had to lean to the side every time
anyone moved. The rake is dreadful in the Adelphi."
Theatremonkey regular James, agrees, saying,
"M23 and 24: for "Love Never Dies". The view is great from here as long
as you don't have someone tall
in front of you as the rake is very poor. Sound good from here too."
At another performance of the same show, he adds,
"M32 and 33: These end of row seats are a little too far round to
justify top price, but a good rake and great sounds makes them fair with
a discount. My comment about the end of row M with a good rake goes
against an earlier
comment to this site about a bad rake. Maybe it's the ends of the aisles
that make it feel better, or have I suddenly
grown?!"
The monkey isn't sure, and puts it down to not having somebody too
tall in front on the second visit, perhaps. From the other end of the
row, James goes on to report,
"M9 and 10: For Love Never Dies (version 2). Great view and sound from
here but lucky not to have anyone tall in front as the rake is very
shallow."
At yet another trip to the same show he comments,
"M13 and 14: Good view and sound as long as you don't have someone tall
in front as it's a poor rake."
Reader Mark adds for the same show,
"M32: Not bad considering it's right on the edge, but if better seats
towards the centre are available take those."
Reader Rob notes, though,
"M: Great view for me; my parents are shorter and found even the 13 year
old in front it slightly obscured their view."
A row behind James says,
"N19 to N24 for "Joseph". The view was great and the sound is really
good here. I also found legroom pretty good compared to some theatres.
The only problem was the heat - it was absolutely boiling throughout the
show."
Behind him, another reader comments, of previous production "Love Never Dies"
(2010),
"O15 and 16: Bought under the excellent 'Get Into London Theatre' event
(January to March). The seats were £35 each reduced from the full price
of £67.50. They are situated three and four in from the aisle, on the
right hand side of the auditorium, and - due to the fact that the rows
are staggered - there is no-one directly in front of you blocking the
view, although if anyone tall is sitting in front, parts of the sides of
the stage may be obscured. The seats were pretty comfortable and one
good point is that there was plenty of legroom! The view was generally
fine, although I think I would have liked to have been a couple of rows
further forward. The projections and surround sound were brilliant,
though!"
Reader Sara Levene says,
"We sat in 017-18. The overhang of the balcony did nothing to spoil the view.
The stagger let us see well despite the absence of a rake. There was plenty of
leg room"
In row P for "One Man, Two Guvnors" (November 2011) a reader feels,
"P17 and 18: Sight lines even from centre aisle seats in the stalls
depend on the bulk of the people in front of you. The bloke two rows
down from me effectively blotted out the band’s lead singer from the
nipple line downwards in the opening number. On the upside the seats
themselves are not completely uncomfortable and the leg room not
unreasonable."
Reader Rob reports for "Love Never Dies," (February 2011),
"P30: Good seat, it's just in the red on the map as towards the edges
and naturally if you were paying full price you would try and get as
central as possible. However if you got a bargain like me (£25 on an
offer) then there is nothing wrong with the seats. Being towards the
edges makes no real difference to viewing 'Love Never Dies;' it doesn't
obstruct anything or cause you to miss anything. It is not a
particularly wide theatre, so if you get a seat towards the edges for a
bargain price... go for it. Leg room is excellent, I am 6ft 4 and can
tell you it is some of the best leg room you will ever get. Row P is
quite a good distance back to view the show, you can see the whole stage
easily without being too far away - and the rake is better to the middle
and rear of the stalls."
In row S, reader Michael says,
"Sat in row S: yep the circle above does cut off the top of the stage
but you still didn't miss anything. I'm 6ft 3 and its the best legroom
I've had in a theatre."
Reader Mark observes, for "Love Never Dies" (February 2010),
"S 16: Got this seat from TKTS as part of the 30th Anniversary
Celebrations, and because I was one of the first 30 in the queue, I got
it for free! How they can charge top price is beyond me, it was a good
seat, but to see those up close facial expressions you would need to be
closer. Third row dress circle was better. Definitely go for further
forward in the stalls at top price. I'd also avoid the seats for £62.50
in the back couple of rows, it would be worth the extra £5 to sit closer
to the front." On another visit, he adds,
"S26: Too far back, preferred row M, even though this was more central."
At another performance he adds,
"S25: Good seat, but would definitely want to be further forward at top
price."
"One Man, Two Guvnors" (November 2011) has rows R to T at second
price - monkey likes R and S in particular at the lower price.
Reader J.D. reports of row T,
"row T seats 21 to 24. The view was excellent...
(you can't
account for big heads though)."
The view back from row T is poor indeed due to issues like this, as the rake is very shallow. Seats here seem
a long distance from the stage, and the sound control desk often tucked around rows U
to X offers a noisy distraction. All seats here might well please a vertigo
sufferer who is satisfied with losing the top of the stage Otherwise the monkey
normally skips anything from T back - particularly as they are second, not third price. Usually, choose the bottom price rear Stalls
over the front Upper Circle based on better legroom only. For the view, however,
rows D and E in the Upper Circle do have the edge.
For "One Man, Two Guvnors" (November 2011) the good news is that rows
from U back are far cheaper than normal. All "fair value" feels the
monkey.
Do remember if buying
in the rear rows that the view is NOT the same as the more expensive
seating, and that prices are lower to account for this. Row X is a
decent budget option, perhaps, if willing to accept any shortcomings.
A reader spotted another problem with row U, at
"Joseph" (2006),
"The tallest member of my group at 6'4" had asked for an aisle seat
which was very unfortunate for him as I had to allocate him U17 and 18.
If only he hadn't asked, any other seat back to row T would have have
given him plenty of leg room. There is at least a foot difference in leg
room between row T and U, at least for those seats that are immediately
in front of the mixing desk. He literally could not sit with the seat
down and had to perch on it in the upright position. The row does widen
in the lower numbers past the mixing desk but it really is bad for those
6 to 8 seats that are immediately in front of the mixing desk. Even
fairly short members of my group sitting near him had their knees
crammed against the seat in front."
For later productions this has been fixed - a mere
inch or two less than the row in front, but no more. Purists may still
wish to avoid seats U 14 to 18, and V to X 14, though, to ensure the
sound desk causes no disturbance.
In row V, reader Tracey says for "Joseph,"
"V32 and 33 - might have been a problem if we had taller people in front, but we
were lucky and only down side is that you don't get to see the 'uplifting' part
of the encore"
Two wheelchairs can suffer a rotten view in the rear stalls, but users can
transfer to any other seat. See Notes. How about making
some decent seats removable for wheelchairs or even... let users sit in the
centre aisle row K space. Think about it guys.
A set of stairs leading to a door is on the right hand side of the theatre
(looking from the stage). For some reason, this annoys Theatremonkey, as it
seems distracting. Compensating for this, the bar is also on this side (as are
toilets).
Legroom is acceptable in all rows, tighter as you move away from the centre rows B to E (except the first
and last seats in B to D where nothing / only half a seat is in front of them -
D has nothing at all), much better from row F to T unless you are exceptionally
tall. A reader found O15 and 16 had nothing in front.
DRESS CIRCLE
The Upper Circle overhangs the Dress Circle at row C. This, plus the
very shallow rake makes the view from row C back disappointing for the price.
Reader Gary feels that the rake is perfectly adequate though. On the other
hand, reader Siobhan feels,
"Do not pay full price for the dress circle (have noticed the monkey has
marked the whole seats RED there)
because the person's head in front of you blocks the view and you have to
lean either side of the head in front to see, despite being close to the
action."
The central seats face the stage. The first and last ten in each row are
turned in toward the centre to enhance their view. This is disconcerting,
especially in the last seat; since the angle gives both a view of the stage and fellow
Dress Circle audience members equally! As a reader points out, this an
exaggeration - the angle isn't that severe, but the seats don't face the stage
"front on" as the rest do.
Row A seats 6 and 7 are tucked into
a corner beside the boxes, so you lean around them to see the stage, as well as
having the awkward angle to consider. Row A 33 also has a bit of a "peering"
issue, and is cheaper because of it. If it had legroom, the monkey might be more
interested.
No seat is recommended here due to poor legroom wiping out the benefit of the
quite adequate views from the centre seats of rows B and C. Believe the monkey, you will
not notice the stage as you squirm for comfort.
A young reader says,
"Row A seat 15. The view was spectacular and as the circle was very
close to the stage I felt very much a part of the show."
A reader adds, for "Love Never Dies" (March 2010),
"A13 and 14: The view
was
fantastic with no safety bars or lighting rigs to spoil the scene.
The seat
wasn’t very comfortable, though, and legroom was pretty poor even
for
someone of my average height."
Central rows A to C are "premium" seats for "One Man,
Two Guvnors" (November 2011), notes the monkey. The view is fine, but legroom lovers
might prefer stalls.
Reader Gail spotted a problem at "One Man, Two Guvnors" (November
2011) indeed,
"We had premium seats in the centre of Row B of the Dress Circle. The
whole play was spoiled by the seating. My husband, who is 6ft 2ins,
could not sit with his knees together as there was not enough room, so
he spent the entire performance with his legs splayed, his right knee
forced against the binocular fitment. Even my daughter's knees - she is
5ft 7ins - touched the seat in front. I did not suffer particularly with
the lack of legroom, although I was conscious that it was a bit snug,
but the same cannot be said for my view of the stage. The seats in Row B
are directly behind their counterparts in Row A, with no discernible
rake, so the head of the lady in front of me completely obscured my view
at all times. We all had the same problem and spent the entire
performance moving from left to right in an attempt to see the action
through the gap between the heads in front. This is appalling, and how
they have the gall to charge a premium for such seats is beyond me. It's
a very funny play, but it's difficult to enjoy something when you are
physically uncomfortable and feel you have been ripped off to boot."
Reader Paul Nicholls reports, at "Love Never Dies" (March 2010),
"Sat in Dress Circle Row B19 and 20. Excellent view. Rather cramped but not a
problem as I'm not very tall!"
Reader Claire Crome echoes this,
"We sat in the dress circle, row C, seats 26 to 31. These were good seats (a
little cramped, if you are taller than 5”6), but allowed you to see the whole
stage very well."
Reader Mark Lane says of A13,
"As
I'm only
5'6 this caused me no problem at all and the view was great."
Reader Stuart notes that,
"I sat in the Dress Circle about 3 rows back. The seats were appalling - very cramped and uncomfortable. The theatre was stiflingly hot.
I had decided to leave at the interval, but was persuaded to stay and managed to get an aisle seat which had a bit more room. Noticed that there were several empty seats which had previously been filled.
Complained by letter to the theatre - reply said ' Thanks for comment - shall pass them on..'' That
says it all, feels the monkey! Reader Lizzie comments,
"Seats C31, C32, C33 in the Dress Circle were absolutely fine. My
husband is well over 6 foot tall - and he didn't find the leg room a
problem for the duration of the show. And my daughter is quite little,
even with a booster seat - and she could see well." to which
another adds, at "Love Never Dies" (March 2010),
"C28: Bought at a £40 discount. I can't see why this would be red as I
didn't have any restriction and legroom was absolutely fine (I'm 6ft 2).
Sitting here was so much better than the upper circle. I could actually
see their faces!" The first people
to find this so, notes the monkey. Of the restricted view seats at the edges of
the circle, a reader comments for "Love Never Dies" (March 2010),
"A33: A restricted view on the left but being in the front row rather
made up for that and, as there was nobody in any of the end seats behind
me all the way to the back of the Dress Circle, I could safely lean well
forward with no fear that I was blocking anybody's view. I also had
extra room either side of me - which helps with long legs - so I was
happy with the seat at the price." Reader Tracey reports for "Joseph,"
(December 2008):
"B33 and G34 - restricted view seats which we thought great value for money (we
are both short and had a perfectly acceptable view - only missing the action
from the very far left of the stage which was mainly the interaction with the
children's choir)." Further back, reader Rich says,
"D4 and 5 are excellent value for money. They are designated restricted
view but all that you miss is the children's choir on one side for
Joseph (December 2008). Otherwise the view is great - book them!"
"One Man, Two Guvnors" (November 2011) doesn't have a discount on the
row ends - monkey would avoid until they do. There are more central
seats without rails in view for the same cash.
One reader says,
"D15 and 16: superb, albeit that it was a bit tight on my knees."
Reader Paul puts another side, though:
"seats, Dress Circle D19 and D20 were good and comfortable for each half. I have had much, much worse seating in other
theatres".
agreeing with him, reader Gary notes,
"I sat in D26 in July 2006 for "Evita" and had been very nervous about it after
reading site comments as I am 6'2" tall, a fidget at the best of times and
generally opt for an aisle seat. When I arrived at my seat, I really couldn't
understand what the problem was, the leg room was very reasonable for a London
Theatre, I've sat in far worse over the years. My knees brushed the seat in
front slightly but certainly didn't press into it and the seat itself was well
padded so I didn't get "dead legs". My only criticism was the seat width, it did
feel a tad narrow but, again, I've sat in far worse in theatres and on planes.
It may be a squeeze for the obese, but most people would find it acceptable.
The view was excellent, I could see all the action on the stage perfectly."
another reader says, at "Love Never Dies" (March 2010),
"We were sitting in Row D seats 29 to 32 of the Dress Circle. The seats were
slightly on the side but this didn't affect the view at all - all parts of the
stage were visible and legroom was fine."
Reader Lizzie reports, at "Love Never Dies" (March 2010),
"Sat Row E of Dress Circle 27 to 32 – good view – little tight on the
leg room and a bit hot too but nonetheless great seats and probably just
as good a being in the stalls – especially at the end – not to give
anything away!" in the same row, another reader contrasts, at
"Love Never Dies" (March 2010),
"E13 and 14: Having read the comments on the site about the poor leg
room in the dress circle and being tall I was pleasantly surprised to
find there was no problem regarding that at all in these seats. There
did not appear to be any problem either in the seats in the immediate
vicinity."
Reader Mark comments,
"F23: Nice for a good over-all view of the stage for 'Love Never Dies,'
but prefer the stalls for this show." while reader Ben Grower opines,
at "Love Never Dies" (March 2010),
"Dress Circle Seats Row F 18 and19 were perfect. Good view, enough leg room and
not too hot in theatre during show." Slightly further along another
reader feels in the same row,
"Row F, seats 7and 8. I must say I was actually quite happy with these
seats. They are certainly not anything special but you get a very good
view of the whole stage, allowing for a good overview on the production.
And the leg room was much better than I experienced in the stalls at the
Aldwych Theatre." Sounds like some comments have been
addressed, notes the monkey... ...though reader Sharon notes:
"We sat in the Dress Circle G 23 to 26 and the view was fine. As we are all on
the short side the lack of leg-room didn't bother us, but I could see others in
our row squirming to get comfortable at times." Another reader in row G
says,
"Sat in Row G of the dress circle twice now (for "Joseph" in July 2007), once in
seats 6 and 7, the second time seats 29 to 31. Both gave a great view of all the
stage. I notice lots of people complain about leg room but I found there was
plenty (I'm 5'6"). Have to agree with the grumble that if someone taller is in
front you need to lean to the side to see though." Reader Mark Lane
reports, for "Love Never Dies,"
"K31 and 32: Got at TKTS for £48 each instead of £67.50. As a rule I
generally go for stalls in the Adelphi, and have seen many shows from
there. I have only sat in the dress circle twice before, and always a
lot nearer the front and from a more central position as well, so I was
a bit apprehensive about the seats we had. All I will say is I would
have been happy if I'd paid full price for the same seats. The view was
fantastic especially of the projections, and the sound was fine. From
these seats you still feel surprisingly close to the stage. I agree with
the monkey that the rake is not great in this circle, it's certainly not
like being in the Prince of Wales circle where even row C is pretty
vertigo inducing. The only negative I could find is that the seats seem
pretty low down, and although the legroom appears good it can be a bit
uncomfortable - and I'm only 5ft 6." Reader Gail says,
"Sat in dress circle
row L 25 to 29 plenty of leg room ( I am 6ft tall). Viewing only restricted when
Evita and Peron sang sat on floor (once). Would recommend that the more
vertically challenged sat nearer the front." For "Love Never Dies," a
reader adds,
"We sat towards the back of the Dress Circle and the view from here was
superb! Even faces were clear to make out and the overall production was
stunning!"
Theatremonkey regular seat connoisseur James, at "Love Never Dies"
(February 2010) weighs in with,
"N6 and 7: It sounds a long way back in the circle but I was very
impressed with the view and the sound from here. Admittedly I had no-one
directly in front of me and can see how with a shallow rake, even
someone short in front might have been a problem. At top price, a little
steep perhaps, but would definitely recommend if they're discounted at
all." A balanced view, felt the monkey. Row N back for "One
Man, Two Guvnors" (November 2011) are cheaper than usual - worth a
glance it feels. Row P has been grafted onto two plinths at the back of the Dress Circle. You
will see very little from this eyrie - the overhang of the circle above is the
reason. Take as a last resort! It is cheaper for "One Man, Two Guvnors"
(November 2011), but so are the rows directly in front. Bearing in mind what could be lost to the circle
overhang, think carefully, feels the monkey, and investigate those rows
and the front Upper Circle. Legroom in the front rows of the circle is abysmal - worst in rows B and C, slightly
better from D back - 6ft persons found D and L tolerable, for example. Theatremonkey has his knees in his
ears in row C, but on a recent visit noted that F, G, H, J and K appeared to
have more. Tall people in particular should choose the Stalls instead or find a great physiotherapist for
afterwards.
Dress Circle Boxes
Two on each side of the theatre, about half way between the stage and the
Dress Circle. The position of boxes C and D make viewing the rear of the stage
difficult. Box C has a
slightly better view, but not much. Both are rarely used. Charging third
price seems greedy, consider rear rows of the stalls for the same money. Boxes seat 4 people.
Reader Daryl opines,
"I am a avid box user and find that many get "bad press", I have seen many shows
from them and few of them impair the enjoyment of a show and "cut off" much of
the stage as said. Recently I sat in Box C seat 1 for the final performance of
Evita on the 26th May. Seeing the show previously I had to see it one final time
before it closed. This box provided a very good view at 3rd price and none of
the show was missed (yet if in Box B opposite - Peron's Mistress's song "another
suitcase in another hall" would have been quite difficult to see). Overall I was
highly pleased with the view the legroom (as well as having a box to myself :) )
and the sound quality. I think this will have some use in the those booking for
Joseph and I personally will be experiencing that show in the same seat."
On sale, but A
and D may have large speakers in them - avoid. The monkey did notice other folk
enjoying
B and C, though, at "Love Never Dies" (March 2010) - so possible on a budget... if proximity to the speakers
in the next box isn't an issue.
UPPER CIRCLE
Very high and suffers the same poor rake and legroom as the Dress Circle.
There are short rails in front of the last seat at either end
of row B, but the annoying front rail has now gone.
The circle is split into front and rear sections by an aisle in front of row
J. Again, there is a rail at the front of the section, behind row H, plus a
further rail in front of row K seats 12 to 22. Seats in the rear section are
also older and narrower than those in the front block.
"One Man, Two Guvnors" (November 2011) often has action taking place
at the very front of the stage. Seats in this circle may have trouble
seeing this - hence the very low prices they are charging for this
production to sit up here.
In the front section rows D to F seats 10 to 30 offer the best view and
value, combining a central position with the least disruption from the front
circle bar. These seats feel a medium distance from the stage and the open
theatre design makes them feel closer to it than the higher priced rear stalls.
Seats at the ends of rows A to E suffer a slight loss of the edge of the
stage, due to the angled nature of the theatre design. Row A is usually discounted due
to legroom (not for "One Man, Two Guvnors" (November 2011) though. The monkey would skip it unless you are happy to take the
trade off, and also avoid (usually more expensive) row B 10 to 28 behind as, potentially,
those in row A choosing to lean forwards would block your view.
In row A for "Love Never Dies" a reader says,
"A9: Thought
the view was brilliant for the cheaper price. Pretty sure I did not
miss anything. Yeah legroom is tight on account of the wall in front
but I’ve sat in far far worse (I’m 6ft by the way), here I still had
about 6” in front of my knees. Worth a note to definitely avoid A10
and A11 (and I imagine the corresponding on the other side) because
these two angle awkwardly towards each other far more than is
normally acceptable (so one seat’s limited legroom basically
projects over the other one’s). All other seats in the front row
don’t have this problem, just the pair where the bend in the balcony
front wall is."
Further along for the same show, reader Mike adds,
"A 11 to 15: View was fantastic. No obstruction or need to lean forward,
the action was always in the middle of the stage. I would definitely
recommend these seats for the price."
One seat along, same show, same row, another viewer observes,
"A15 and 16: What a great view, although we can see why the theatre
charges a lower price for row A. When sitting back in your seats you
can't see the front few feet of the stage. Some action does occur in
this area and often the actors' legs are "cut-off" by the front of the
balcony. Also, in the final scene you can't
see one actor for a time. Despite this, and the fact that personally I feel you are
just a
little too far away from the action, I would certainly recommend
these seats. Being some distance from the stage does allow you to take
in the
superb sets, special effects and video projections, many of which
are quite
awe inspiring. My immediate neighbours were pretty impressed judging
from
the oohs and aahs coming from them! At £37.50 they're a bargain and
I would
certainly sit in them again! Legroom was poor, but because I was
riveted by
the show I just forgot about my legs!
One interesting point to note about the Upper Circle is the
temperature
variance. Perhaps surprisingly it was warmer at the front of the
circle
than the rear. In fact, standing by the exit doors at the back wall,
it was
positively chilly! So much for the physics that teaches you that
heat
rises!"
Reader feedback has lead the monkey to raise the rating in A 12 to 25
to "white" considering price and view - comfort for the tallest should
be taken into account, however. It would also be interested to hear from
any passing physicist who can explain the heat phenomenon...
Another reader says, at a different show,
"Moved from Row K to Row H in the Upper Circle. We were happy with this,
but when we saw that a few seats in the front row of the Upper circle
were empty, we decided to move during the interval. We were sat in Row A
seats 15 and 16 and the view was amazing. Only the very edge of the
stage was obscured and it didn't affect us in any way. We were
especially pleased during the finale that we had moved seats. The seats
were slightly cramped, as others have said, but it didn't affect either
me or my Mum as we are both under 5' 6"."
Behind these, the monkey felt that B 6, 7 and 31 to 33, C 6 to 8, D 4 to 6, E 3 to 5 and
rows C to E 32 to 34 the most problematic. It won't spoil your enjoyment much,
but it just felt it worth noting - hence the "red" rating. On the plus side, all
these seats (except B31 and C8) are usually discounted to allow for the problems - fair value
here, thinks the monkey...who also notes that D7 is also cheaper with less
drawback than the others...when they do... "One Man, Two Guvnors" (November
2011) has all seats the same price - so skip the ends unless you want to sit on
an aisle, feels the monkey.
A reader says of "Joseph,"
"We were in row B of the Grand Circle (comfortable seats and a great view
although very tight leg room for anyone like me at over 6 feet) and to be eye to
eye with Lee as he rose from the stage was just great"
Reader Rochelle adds to that,
"B15 to B18: I had my doubts about being in the Upper Circle after
reading some reviews but we couldn't have asked for more for the amount
we paid! (Discount used).
You couldn't see the very front of the stage unless you leant forward
but you don't miss much of the action as most of it goes on further
back. Otherwise we had a great view - especially of Lewis at the end
when he rose up on a platform (much to my friend's delight!). The people
in front of us leant forward most of the time but a few minutes into the
show, we didn't notice them and they didn't really get in the way. I
didn't feel that there was bad legroom (and my legs are too long for my
own good!) but, to be honest, I was concentrating more on the show."
Reader James comments,
"Upper Circle C12 – felt very far away and people in front kept leaning forward
to see which obscured my view too. Didn’t seem great value for money."
In the restricted view seats, a reader noted:
"I saw 'Joseph' in seat C36 of the Upper Circle. I didn't feel too far from the
action at all, but my view of about a third of the stage on that side was
obscured, partly by people in front and those on the side leaning forward. This
seat is definitely worth avoiding if you want to see 'Close Every Door,' as I
was only able to see the last couple of lines, when the action moved closer to
the centre of the stage."
At "Love Never Dies" (February 2010) in the middle of row D, reader
Stephen says,
"Ds 22 and 23: My friend was affected by the rake and had to hold the
rail tightly while walking very gingerly to his seat. At 5ft 8 and 5ft 6
we are not tall, neither are we overweight, but the seats were very
cramped. My friend's view was spoiled a bit by the leaners, but I was
fortunate in that my view wasn't too bad. At £47.50 each these seats
were not good value at all. At those prices, and very cramped seats, I
won't be returning."
Moving back, the rest of the central block offered just about fair value in
the monkey book - though horribly expensive in real money terms, of course. It
quite liked the money saving opportunities from the discounted ends of rows from
F back, though. Considering these discounted first and last four seats in these
rows, it would choose the ones in G first, then H then F - taking first the
particular seat numbers closest to the start of the central more-expensive seats.
One reader opines,
"Row F seats 33 and 34. Both my friend and I were happy with these seats
and we found them comfortable with plenty of leg room space, and I am
5ft 7 and my friend is taller than me. View is perfect. The price is
definitely worth it!"
Behind, in row G for "Love Never Dies" (February 2010) reader Mrs
Thomas says,
"G16 and G17: priced at £47 each - which we found a bit on the high side
considering where they were. Our view was OK but not recommended if your
sight is a little weak, as you can't see the Phantom's makeup. Most
people kept still throughout the performance until the end scene when
most of the performers were at the very front of the stage and most
people lent forward."
In row H, a reader says for "Love Never Dies" (February 2010),
"H5: The view was great, there is nothing that happens above the stage
so the overhang for people downstairs should have been no problem. The
leg room was fine for me and I am over six foot. There is nothing major
that happens at either corner of the stage so there should be little
restriction in the Dress Circle "restricted view" seats."
In the rear section Row J seats 2 to 37 are on a gangway, and Row N seats
11and 23 have stairs in front.
Row J has a safety rail in front of it, on the opposite side of the gangway,
behind row H. Decide if you can tolerate this before buying either J or K side
block. The rail lines up with the stage about a fifth of the way back, and some
of the "uprights" holding it in place are also a nuisance for many.
The
centre of row K, seats 13 to 22 for a little more, offer a little extra legroom and an
uninterrupted view of the stage without the back of a persons' head directly in
front - though there is a rail...
Reader Kyrsty Mewett notes that, at another show,
"I was sitting high up - row K in the Upper Circle, and though I didn't miss much from that position, I felt as though I was outside the action, and the actors were all performing to the lower levels, which is in complete contrast to other shows such as
" Saturday Night Fever" and " Les Mis". Also, the fire exit sign was really bright, and the curtains leading out of the auditorium were left open."
In row K a reader feels,
"K7: End of row, with bar by left side - but only comfort intrusive rather than
view which was good."
another reader adds,
"K 3 and 4: A distant but clear view of the stage. Row J sits directly
onto the aisle / corridor behind the front block of Upper Circle seats
and there is a rail which I would think restricts the view from these
seats. It didn't obscure our view in K even when we were sitting back."
Further along row K, another reader notes:
"I am 5ft 6" and the rail was in my eye line in row K seat 21, the only way to see properly
was to lean forward. The rail cuts through the legs of the performers. I would
totally agree with your readers comment ' felt I was outside the action".
The monkey felt that this was reasonable comment for a shorter person, though
it considers this row to be the best of the seats at that price in the circle,
as only a sliver of the front of the stage isn't seen.
Another reader says of the same row,
"K18: Not a bad seat! Probably the best of the cheaper seats at the back
of the upper circle as there is nobody directly in front of you. The
only thing bad is that it is a distant view. Still with the binoculars
you can get a nice view of the facial expressions, which I used during
some of the more intimate moments."
Just remember the rail...
Row M seats 8, 9, 25, 26 and 27 are behind a wall of bars above a stairwell. Taller
people get the best view here, but poor legroom. Avoid unless long of body or
addicted to dropping things on the heads of stairwell users in the dark.
For "Joseph" a reader says,
"Upper Circle row M23 - had to lean forward but that's only
because I had someone rather tall in front of me and I didn't want to miss a
moment of Lee!!"
Of the rest of the rear section pick rows K to M seats 14 to 20 first for the
most central view. With all seats in the rear section at a single price (low, as
you will again miss a lot of front stage action), any further back isn't worth
it unless the legroom of N9 to 11 and 23 to 25 tempts you.
Reader James agrees,
"Sat in N18, right at the back of the Upper Circle. For the money, the
seat was very good value. Worth noting that they also stick Lee (in
"Joseph") on a platform and raise him up near the end so the people
above the stalls get to see him closer up which is a nice touch seeing
as many people will go to see it for him only."
Reader Tracey says for "Joseph,":
"N24 and 25 - had a safety rail in front of us which did not impede our view -
we were far away from the stage but dead centre, so did not miss any action,
nothing to block your view but stairs are steep and probably not good if you
suffer from vertigo!"
Reader Pip adds,
"N25 and 26. For a (almost) back row, the price is cheap and that is
good. You can still see everything and in great detail. Not like some
shows where the back row is dreadful. You can hear everything clearly
too. The stairwell is by these seats and legroom is good. Seats are
comfortable BUT do not have arms and I kept getting annoyed at that as I
like to rest them when I sit. The rail in front did not ruin either
seats view."
Row O is a last resort, tucked at the rear of the theatre,
but it is among the cheapest seating in the venue.
Go for seats 4 to 7 first. Seats 37 to 39 could have offered an opportunity for a little back seat romance,
if they had restricted it to only two seats. Perhaps that is why they didn't.
A reader says, for "Joseph,"
"We sat in the Upper Circle seats row O, 5 to 7. Until a tall big man sat in
front of us the seats were amazing value for money, however with a large person
in front of you they're not worth seeing the show for. We sat in seats 7 and 6
and stood at seat number 5 and swapped between us throughout the show to make it
fair. Would have been great value for money if it wasn't for the restriction
from the large person in front. The theatre did also not offer booster seats for
anyone in the Upper Circle."
The monkey has since heard that the theatre has been made aware of the
"booster seat issue" and have noted it.
Another reader comments,
"We sat in seat O 37 to 39 Upper Circle. These tickets are so high and far from
the action as to be not worth doing, even when using opera glasses! The height
made 2 of us feel extremely queasy for most of the show as your eye has to keep
adjusting between looking at the ceiling (which we were perilously close to) and
the stage miles below. Everyone seemed to have a big head which blocked the
stage and we spent the whole performance craning our necks and moving from side
to side for better views. The actors never included us in their gaze and it all
became a bit boring... I am surprised the seating hasn't had a revamp as its not
worth sitting in the last half of the Upper Circle at all as views are
terrible."
Reader Peter Kirby reports,
"We were in the back row of the Upper Circle for "Evita" (2006) and the only criticism is that
"Don't Cry For Me" started too far upstage. The bonus was that we could see all
the superb chorography patterns which you would not see from the stalls."
Reader Christina Brooks feels,
"Make sure you do not sit in the circle at the back - very poor and not
worth compromising a good show."
Row B seat 5 and 34 and row D seat 3 usually place a little further
forward than in other seats at the same price. People on a tight budget might consider
these over row J and K restricted view seats above. Other restricted view seats in the
section - C to F seat 35 also otherwise prove good hunting for some willing to miss
about an eighth off the side of the stage.
Row A seats 3, 4, 33 and 34 are restricted view seats at the edge of
the theatre, and are not on sale for "One Man, Two Guvnors" (November
2011).
A reader elaborates,
"A3/4/33/34: they’re not there any more on
account of a followspot on both sides. One of the two seats does
survive on each side but the followspot operator was sitting in it
while “off duty”. Very unlikely they would be able to sell that seat
to anyone unless it comes with a hard hat for when the followspot
swings round!"
If they were present, then two of them are just about fair value for
the intrepid. At the bottom price, you'll just about hear and see the
show, but they are probably NOT for "first timers". They are often not
released until the last minute by the box office, but do ask if a
performance is heavily booked. Expect to have to lean forward to see
more than a tenth of the stage. A 4 and 33 give the best views when you
do this - almost as good as more expensive restricted view seats in the main block...PROVIDED
that the person in the other seat doesn't want to lean forward too much!
Perhaps best for friends willing to alternate...
Legroom is poor in almost all seats, best in row J, row N seats 9 to 11 and 23 to 25
and also row D seat 3 - though the floor slopes sideways here.
Notes
Total 1500 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 Circle overhangs. Just a bit of advice from
someone in the theatre industry who has a grasp of physics...
Reader Victoria noticed that in June 2006 she was fine in Stalls E 15, and
could feel the cool air, but people further back "mentioned that they were
roasting." The better news is that by July, reader Gary
reports that,
"I found the bar area a bit stuffy, but that was in the middle of a heat wave
(the London papers actually reported it as a "5 day heat wave") and the theatre
had an almost full house. The auditorium (row D, Dress Circle) was at a
perfectly comfortable temperature and I think, perhaps, air conditioned."
Another reader says,
"It was so hot in this theatre last Thursday matinee (24 May 2007) that my
husband and I had to leave at interval - hugely disappointing but he was just
not feeling at all well in the atmosphere. My advice is to avoid this theatre
during summer matinees - perhaps all summer?"
The theatre is air-cooled still, but more effective in some parts of the theatre than
others, according to the venue.
Food: Ice Cream and confectionery available. Also bookable in advance (redeem
voucher on day of performance to collect) is a food container called a "Royal
Box" (nothing to do with sitting in a box in the theatre!) containing a
selection of canapés for consumption in the
bar or at your seat. A half bottle of champagne is also available as an optional
extra with the box too - for those over 18 only, subject to usual licensing
laws. Click here for more
information.
Four bars. Side and rear stalls, Dress Circle and Grand Circle. One reader
notes that if seated in Stalls row AA:
"The front row seats give you easy access to the bar at the front of the theatre on the left, which was little used at the interval, and much more civilised than getting crushed in the main
bars."
Infrared loop for the deaf. Headsets can be rented for this. Some signed and
audio described performances. Guide dogs can be dog-sat. Wheelchair spaces in
stalls with a restricted view. Wheelchairs also have their own slope up from the
street to the foyer, with automatic doors at the top to allow the user inside
easily - and a low box office counter for chair users is also available. Fuller details www.theatre-access.co.uk.
or Artsline on 020 7388 2227, e-mail artsline@dircon.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.
10 toilets in all; Side Stalls bar 1 Gents cubicle 5 ladies cubicles, Rear
stalls bar 1 Gents cubicle. Ground floor foyer 3 Ladies cubicles and a disabled
unit, Dress Circle bar 1 Gents cubicle 6 Ladies cubicles, Grand Circle 1 Gents
cubicle 6 Ladies cubicles in 2 restrooms.
In January 2012 a reader noted, "Despite its paint job the Adelphi
has something down at heel about it. (And the loos are an aberration –
all two working cubicles of them.)"
This theatre is haunted by the ghost of Mr. William Terriss, an actor
tragically murdered in 1897. The gentleman also haunts Covent Garden underground
station.
|
