STALLS
The Dress Circle overhangs row N. Rows P to S lose their view of the top of
the stage view due to this.The stage is very high in this theatre. Those in
rows AA to C will experience neck strain looking upwards - for many rows
A and B at top price might be avoidable due to this. If row AA isn't
discounted, casual visitors paying top price might want to avoid this
row if they are prone to discomfort.
A good rake in the stalls ensures good to excellent
views from almost all seats in rows D to N. A centre aisle means the prime seats
in the middle of the theatre have
the added luxury of space next to them.
A reader comments of row AA, for productions where it is discounted - not for "The
Madness of George III" (January 2012) though - and / or there is no high floored set,
"I sat front row and view was fine. Stage slopes down and there's a rail then
the stage so not too much in your face."
A reader agrees for a previous show,
"I got a £10 day seat in the front row of the stalls. Excellent! I
didn't find the stage high at all. The stages at the Savoy and Novello
are higher than this! Maybe they have lowered it for this production? Or
maybe it's just that I like being really up close and personal and don't
even think about the stage height!"
Lowered for this production, says the monkey. Indeed, at "Blithe
Spirit" (March 2011) a reader reports,
"AA6 and AA7: I was a bit disappointed about being here at first because
I do think that sometimes you miss quite a lot by being on the front
row. However, it was very interesting to see the actors at such close
quarters and there was nothing to obstruct our view. I would have
preferred more of an overview of the stage but I wouldn't discourage
anyone from being on the front row, you get a good view of everything
and there is plenty of leg room."
As "Day Seats" for "Jerusalem" (October 2011) a reader says,
"AA6 and AA7: It was mind blowing! The stage isn't too high, and none of
the action is missed whatsoever. For such an emotionally tense show as
this, I feel it would be spoilt if you sat too far back, but the view
from here was amazing! Definitely worth the early start! Also, worth
noting, there is no leg room issue here whatsoever! I could outstretch
my legs fully, and still be no where near touching the stage (and I'm
6ft 2!) Finally, if you are sitting in seats 1 to 7 of
the front row, be aware; you may get a little wet at various points!
;)"
another reader at the same production adds,
"AA12: Got as a day seat for £10. Extraordinary leg room (I almost felt
like royalty!), and the ability to be that close to an extraordinary
production was stellar. Nothing more to report here besides amazing
sight lines and the many bugs living in the set's grassy stage that fly
about in your face, which makes one feel very much a part of the
action! If you sit on the other side of AA (house right), you might
want to not hold or wear anything you like dry! ;)"
A few rows behind that, a reader says,
"Got row C at a discount - absolutely fine"
Reader Monica says,
"We sat in row F which is too near as the stage is high, I would recommend sitting H and behind. It is a small theatre therefore most of the seats in the stalls probably have a good
view".
Reader John Lafferty agrees,
"Our seats were in the seventh row and we were right on top of the
action, of which we had an unencumbered view."
Reader Rupi comments,
"Row J Seats 5 to 7. Very good with a full view of the stage. There is a
decent rake in this theatre, which means there isn't a problem looking
over the head of the person in front of you."
Reader Mark also rated J18, "Excellent," while reader Graham
enthuses,
"J15: An excellent seat. Comfortable and, being over 6', I was also
pleasantly surprised by the legroom compared to other theatres I have
been in. There wasn't a huge amount, but I didn't feel trapped in my
seat."
Monkey regular seat connoisseur reporter James says,
"“Sat in Stalls K9 and K10 – great seats with a great rake. There was a
particularly tall person in front of me as is always the way, but if it wasn’t
for this then there’d be no problem with the seats at all.”
He does note, though that this was for a one-off performance though that
didn’t have big sets / lighting, so it could be different for other productions.
The monkey feels his instincts pretty spot-on for all circumstances, though.
In the same row for "The Country Girl" (October 2010) a reader
confirms this,
"K13 and 14: excellent view of the whole stage, comfortable seats with
good leg-room. Also I had no problem with hearing any of the actors."
For "The Madness of George III" (January 2012) there are
"premium" seats in
the centre stalls. It's your call if you wish to pay the for them, feels
the monkey. Those in front or behind are equally as good but cheaper -
rows F to N seats 5, 6, 15 and 16. In
fact, given the shallow rake of these stalls, the extra is really worth
paying mostly for aisle privilege, it feels.
A professional reviewer noted that for "Glengarry Glen Ross" ( in October 2007)
that row L 11 and 12 have a problem if someone taller sits in front of you. This
may have been due to the set not having the usual plinth raising it from the
stage. The monkey welcomes further comments, contact us.
Beside him regular seat reporter, James says for "Jerusalem" (October
2011),
"L9: a perfect place to see the show."
Row O seats 7 and 8 offer an uninterrupted view down the centre aisle...
worthwhile says the monkey.
Reader Wim says,
"seat N7 in the stalls: perfect view, reasonable leg room, comfortable chairs. I
did move to the centre seat of row O (which was almost empty) during the break
because of the luxurious leg space in front of that row."
In the same row for "Yes, Prime Minister" (July 2011) a reader says,
"N: It’s a lovely theatre, but a bit hot. I had a good-ish view from row
N, though I had to lean sideways to see past the hair in row M. Mid-way
through the first half a woman (in row M) opened a bag of crisps and
munched and rustled her way through the next 10 minutes, much to the
annoyance of everyone around her. Perhaps a £1 chav surcharge should be
imposed."
Hopefully such a surcharge will keep her out when others use that
row, thinks the monkey.
Row O
seats 1,2,13 and 14 are disconcertingly pinned in pairs to the side wall of the
theatre, either side of the deep alcove which houses the rest of rows O to S. The
view is OK, but a weird place for seats.
Behind those, a reader says,
"My ticket was centre Row R. I'm only
5'10.5" tall but for the first time in my life I found I could NOT sit in
the seat. It was unbearably uncomfortable. There is next to no leg room and
my knees would have been either continually bumping the back of or around
the ears of the person sitting in front of me. I kindly asked the House
Manager if I could have an aisle seat. There were very accommodating stating
that they realise the limited legroom in those seats.
I ended up in P1 which is fantastic, perfect view because the back stall
seats are pretty much centre."
Rows R and S, when cheaper, may be worth considering for vertigo-sufferers with short
legs, feels the monkey - though be warned that the discount may indicate
a restricted view of the set. With rows
back to S at top price, as for "The Madness of George III" (January
2012) monkey rates rows from Q back avoidable. At low price for
other
productions row S is fair value for the shorter, it feels, unless you
have smaller theatremonkeys in tow.
Wheelchair users are able to use this theatre, and have a reasonable view
too! See Notes.
Legroom is excellent for all but the tallest throughout the Stalls until row
Q. Row O offers extra space as a
gangway runs in front of it.
Stalls Boxes
Boxes A and B are either side of the stage. They are designated restricted
view as the nearest side of stage cannot be seen. Sold at top or second price when not needed for technical
use. Each box has three seats.
A reader says,
"We booked for box D, but were shunted down
to box A as they closed the dress circle. Box A was not good for this
one ("Carrie's War" July 2009) as so much takes place out of your view."
If available, these boxes are worth considering as an alternative to seats in
the Circles.
DRESS CIRCLE
A shallow ledge above and at the back of the stalls, with a poor rake. Seats
are split into a central and two side blocks by aisles.
A single metal bar in front of the aisles affects the view from row A seats
12,13,20 and 21.
The central block faces the stage. Seats here offer only fair value for money as they are
far from
the stage and suffer a shallow rake, affecting the view from row C
back.
"The Madness of George III" (January 2012) has 4 seats in row A at
"premium" price... sit around them and save cash, feels the monkey.
In row F for "Jerusalem" (November 2011) a reader comments,
"F1, F2, F3, F4: In January 2011. The leg room in these seats is so bad they can only be
suitable for children. Even Ryanair wouldn’t allow seats like this. Yet
they charged £55 for the 3 hours of discomfort – made worse by having a
set of those stupid little binoculars on the back of the seat in front
of F1. We had to stand for part of the performance and the discomfort
significantly reduced our enjoyment of the evening. AVOID them at all
costs!"
Luckily, the monkey happens to know the company who put those
binoculars into the theatres. Within a week they responded that,
"The feedback was correct and this morning (January 2011) we have moved
the opera glass holder into a position where it won’t ‘restrict
legroom’."
The power of customer contact, thinks the monkey!
Reader
John Lafferty reports,
"Despite being on the back row, seats G1 and G2 afforded an excellent
view and there was plenty of leg room."
The two side blocks curve inwards, and
many seats here are designated restricted view due to the viewing
angle precluding seeing the side eighth of the stage. These seats are - Row A
2, 3, 4, 27, 28, 29, 30, 31; B 1, 2, 3, 4, 5, 28, 29, 30, 31, 32; C 1, 2, 25, 26, 27; D
1, 2, 3, 23, 24, 26. It is probably worth avoiding them, and the rest
of the seats in these blocks too. If you must, take those seats closest to the
centre aisle.
One reader comments for "All My Sons" (May 2010),
"A2: Bit of a side view but missed very little. As this was a £10 'day
seat' it was fantastic value."
Poor legroom throughout the circle for many, worst in row A.
Dress Circle Boxes
Boxes C, D and E are at Dress Circle level next to the stage. When sold they
offer adequate but side on views of the stage. Box D is best, being halfway
between stage and Dress Circle. Two boxes have three seats
each, one box can seat four people.
If available these boxes are worth considering as an alternative to seats in
the Circles for comfort, but not really for view.
Reader Mark says, for "All My Sons" (June 2010),
"My seat in box C was pretty good as a £10 day seat. Missed about 10% of
the stage but for £10 that is to be expected."
UPPER CIRCLE
High up, with a shallow rake. The balcony above overhangs the circle but does
not affect the view noticeably.
A metal bar runs across the side front of the circle, with a second bar at the
ends of the aisles, affecting the view in outermost row A, notably seats 6, 18, 19 and 33
and B 12 and 13.
"The Madness of George III" (January 2012) sees row A central seats undiscounted...
worth skipping for comfort alone, if not view, the monkey feels.
Regular theatregoer Deb reports for "Jerusalem" (January 2010),
"A19 and 20: I noted that these were listed as seats to avoid. When we
took our seats, we found that we had to sit bolt upright or lean forward
in order to see the front of the stage (a three hour show! Hard on the
back and neck). I would really advise people to avoid these, as they are
not even particularly cheap. Very luckily for us, most of the action
took place mid-stage, and it was a great play, so it didn't ruin the
evening, but I would avoid Upper Circle in future, and wish the box
office would be more honest about what constitutes restricted view. I
think for nearly £40 you should be able to see the whole stage!"
At the revival of "Jerusalem" (November 2011) reader C Omran says,
"A 25 and 26: Brilliant play, what a pity we couldn’t enjoy it in full,
due to poor sightline, despite paying £47.50 plus £3.80 booking fee per
ticket. These were purchased through lastminute.com, and as they were a
Christmas present we went for the higher price, and they were not
marketed, or priced, as Restricted View. When we queried this, we were
handed a form with the address to complain to, and we were obviously not
the first, as the assistant came armed with a pile, ready to hand out.
As our tickets were A25 and 26, front row upper circle, obviously we
thought that being front row we would have a good view... but there is a
wide ledge in front of balcony, then a wide bank of lights beyond that,
so left stage facing was completely out of view. A lot of the action
takes place in that part of the stage it became increasingly
frustrating. Talking to people outside during the interval, the general
feeling was the same, that they have your money, and as they are not
relying on ‘repeat’ bookings they can do what they like.
All in all it was a very uncomfortable 3 hours 10 minutes as we
struggled to find a comfortable position to sit with a decent view of
stage. We go to theatre regularly, and yes, if we buy low price tickets,
expect there to be a certain element of chance in the view, but not when
you pay for front row seats. Yes, it is a very old theatre with all the
accompanying problems adapting to modern lighting etc, but stop fleecing
the public."
Reader Julian Taylor reports:
"I sat in B13 in the Upper Circle, would that I had spotted the red mark of doom
before booking! The seat itself seemed designed for the benefit of a
contortionist, though, oddly enough, knee-room was adequate for my 6ft plus.
My view of the action was blocked almost entirely by the head of the person in
front, who leant forward for the duration, this, and the brass bar blocked any
view of action downstage - and there was a lot of it for the production I saw
("Virginia Woolf" in Spring 2006)."
In two blocks, with a centre aisle, the ends of the rows share the same
restricted view problems as the Dress Circle below.
Note that row A, rows B and C 1 to 3, D to F seats 1 to 4, Row B 23 to 25, Row C 22 to 25, Row D 21 to 23,
Row E 19 to 22 and row F 17 to 20 are designated restricted view. It is worth
avoiding the next two seats as well, in rows B to F, to be on the safe side unless the price is
good enough to make sitting here a bargain. Theatremonkey usually finds not.
Of the remaining seats, row B is best, the rest offer average value for a
fairly distant view...even the box office are not keen on this Upper Circle.
Legroom is poor in all rows, notably A. Centre aisle seats should be
requested for maximum comfort.
Upper Circle Boxes
Boxes F and G are above boxes C, D and E at Upper Circle
level. These offer similar views to the Dress Circle boxes below, from a
higher level. Normally sold at third price or less. Each box seats two
people. Sadly, "Yes, Prime Minister" (June 2011) has them in the more
expensive than usual second
price band. Maybe because those sitting there might be able to claim
them on expenses, perhaps, ponders the monkey...
If available these boxes are worth considering as an alternative to seats in
the Circles for comfort, but not really for view.
A reader underlines this for "All My Sons" (June 2010), when they
were
very much more expensive than usual,
"I cannot recommend is the view from box G. I spent most of the
performance standing up and leaning over the edge as that was the only
way I could see more than half of the stage – I noticed the lady in box
F doing the same. I am a dedicated box user (being broader in the beam
than most), and I have to say that this box, for this play, is the worst
view I have ever had, and they seem to think that this is worth £46. No
way! It was overpriced at the original £33, not for this body again."
BALCONY
Directly above the Upper Circle, a superb view of aircraft at maximum
cruising height can be seen below you, subject to cloud cover.
A double height metal bar appears at the
ends of the aisles, affecting the view in row A, notably seats 20 and 21. Bars
run between the rows too, but don't really affect the view for any but the
absolute shortest. Some find them reassuring as well.
In row A a reader says,
"We were in the Balcony, A12 to 15, but had to move as the view is so
restricted - not by a safety bar, but by a high safety ledge. The seats
are also relatively low to the floor, which means you have no choice but
to lean forward on to the ledge if you want to have any chance of seeing
the stage. Dreadful seats, with very little legroom too."
A shallow rake and being so high up means a modest view of the stage. The 6
seats either end of rows A to C are worst, as they curve to the sides of the
auditorium. Rows D to F just induce vertigo. Usually, take C
first, before
B, then D - or for those who don't mind the height, pick E over D and save a few
pounds if discounted - not for "The Madness of George III" (January 2012).
The monkey would skip central row A at second to bottom price for a
slightly improved view behind that. To explain, row A is uncomfortable, and the very ends of rows B and C are reduced for
"The Madness of George III" (January 2012). Monkey feeling is that B 6 and 25 and C 5 and 24, all next to the
more expensive seats, are the most average of the bunch and may be worth a look
for those desperate for a ticket. Not a recommendation particularly, just an
observation of a way to sit nearer more expensive seats and save a very little
cash - if you have to see the show and don't get much other choice.
All seats here, except those marked normally offer a cheap way in to the show and
value exactly matching the low price.
Legroom is tight in all seats, worst in row A.
Notes
Total 776 seats
Air-conditioning.
Infrared headsets, not working in the front row of the stalls. If short
sighted and deaf, a problem! Guide dogs can be dogsat
outside.
The theatre has a stair lift to allow wheelchair
users into the venue. They can either park at the ends of stalls row N -
replacing 1, 2, 19 or 20 or transfer to
any aisle seat - though O12, P11 and Q11 are considered the best bet. There is
also an adapted toilet available. The monkey salutes RU Theatres for an amazing
improvement in facilities at this venue when it was owned by them. Interestingly, the stair lift is
installed in the original "Pit" entrance - at one time the
"Pit" was an area of cheap seating at the rear of the stalls.
Other good news is that there are two disabled parking spaces behind the theatre in
Archer Street. Fuller details from
www.seetickets.com
or 0844 412 4648 or e-mail customer.relations@seetickets.com. 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.
No food except Ice cream and confectionery.
Two bars. Stalls and Upper Circle.
Seven Toilets. Stalls 1 gents 1 cubicle, 2 ladies, 3 and 4 cubicles
respectively; 1 adapted disabled unit. Upper Circle 1 gents 1 cubicle, 1 ladies 2 cubicles; Balcony 1
gents 1 cubicle, 1 ladies 2 cubicles.
Reader Taljaard also notes,
"Totally random, but my walk from the Donmar theatre to Piccadilly took
me down Shaftesbury Avenue and I really noticed how magnificently well
it is lit and looks. Fantastic job done on the exterior and the jewel on
the Avenue!"
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