STALLS
The Dress Circle overhangs the stalls at row L. Two large pillars in row M
hold this circle up and destroy the view from most seats in the rear stalls
(though creating a few cut price ticket opportunities; see below).The rake of
the stalls is adequate. Rows A and B may well be uncomfortable for many,
as those seated here "look up" to the stage and suffer neck ache in the
process, though the tickets aren't sold more cheaply to allow for that
fact! Row A seat 1 especially is to be avoided as it has an official
"restricted view" designation, but isn't discounted
significantly.
Reader Kevin agrees:
"We sat in the stalls row B, seats 7 and 8, and I'd tend to agree with the
Monkey about the possibility of neck ache because it's so close"
Reader Adam Walker says,
"We sat in Stalls row B 17 and 18. These were EXCELLENT! Agreed, a little
neck-ache but totally worth it. You are so close to the action that you
might as well be on stage with them. Neil Stuke's sweat was more than evident.
Almost all of rows C to M normally offer acceptable value for money with only the first
and last few seats in rows C to H should be avoided. These are outside the
proscenium arch, with a poor view of the outermost edges of the stage.
Unacceptable at the price. Sadly, they are too close to the stage for distance
to improve the viewing angle. Row C seats 1 and 21 and row K seats 1 and 20
should be avoided for having restricted legroom.
In row C, with row A absent, reader MF says,
"We had half price seats in Row C (thanks Theatremonkey for the advice).
Seats were great, close to the stage but not neck-strainingly so."
From row D, a theatremonkey regular notes,
"Row D seats 11 and 12: Theatremonkey has, quite rightly, marked as
"GREEN"! Great seats."
another comments, for "La Bete" (June 2010),
"D12: Brilliant seat. Very close to the stage so all the subtle facial
expressions can be seen. Ideally I may have preferred the row behind,
just to be a tiny bit further away."
Note that for "La Bete" (June 2010) the 'green' rating has
gone though, despite this - see below...
A theatremonkey regular comments,
"E9 and 10 were good. It certainly isn't worth paying premium to be in
the row behind as you do not have to look up from these seats."
This alludes to the fact that central seats in rows F to K were
slightly more expensive for "Prick Up Your Ears" (September 2009). For
"La Bete" (June 2010) almost the entire central stalls back to row M are
at "premium" prices.
The centre of these rows are totally your choice if you wish to pay
those prices. The monkey rates them fair value for the price only
relative to those seats around them. It would skip central row M,
though.
Reader Mila reports,
"We had a great view from the stalls row D seats 5 and 6 (only a white but a
perfect view)"
"La Bete" (June 2010) has these at "premium price" too... The ends of
the row (and those rows behind) suddenly aren't that terrible, if
considering what it costs to sit next to those seats...
For "Sunset Boulevard" (December 2008) a reader comments,
"I was in the fourth row of the stalls and
loved the intimate scale and closeness of it, not sure how well it would
have played to the back... hopefully another reviewer might be able to
confirm."
Feel free to add to the debate, says the monkey.
Another reader says, for "Sunset Boulevard" (March 2009):
"We were in Stalls E13 to 15. Usually I am a bit wary of sitting too
close to the stage (last time I was in row G), but I really enjoyed
being so close to the actors. We certainly didn't get neck ache."
Theatremonkey regular seat commentator James says,
"Sat in Stalls E 7and 8 for “Sunset Boulevard” (May 2009). Close enough
to see all facial expressions and hear everything clearly, but I would
have preferred to be a few rows back to see the whole stage without
turning from side to side. However, the rows behind were premium seats
and I got row E at a discount, so definitely a good deal."
Reader Sam feels of G4:
"Stalls G4. On this occasion (the first time really) I
strongly disagree with theatremonkey's assessment. Even though I bought my ticket
from TKTS, so it was discounted, I still would recommend this seat at full
price. I felt very satisfied with my seat. The view was very clear, and legroom
was good. The monkey raises the issue of the outermost edges of the stage. I
can't comment on all productions, but for "Donkey's Years" that wasn't the case
from G4, but I believe he is right for G1, and G2, and maybe G3. I can't comment
on the first 3 seats, but personally I would give G4 a Green. White at worst."
Fair enough, feels the monkey, who tends further towards caution when
writing.
Further along, a reader notes,
"G11 and 12: Great seats with a full view of the stage whilst
also feeling
intimate."
Rows D to H seats 7 to 16, row J seats 5 to 14 and K 6 to 15 offer best value
at top price, in the monkey's opinion.
In row H, theatremonkey regular James says,
"H12 to H14. Good rake ensures a good view from here."
Regular theatremonkey seat reporting reader Mark agrees,
"H7: Very good view of the stage, no problems at all."
At the other end of the row, a reader comments,
"H21 and 22: plenty of legroom and comfortable seats."
From row K at "La Bete" (June 2010), 'That Fulham Couple' say,
"K3 and K4 provided a good view of the stage, but the lumber and back
support cushioning was noticeably poor as you approach the 90 minute
mark."
A 6ft 6 reader says,
"Sat in seat K5 in the stalls. Excellent position, legroom was adequate,
therefore the seat was comfortable. However the theatre has a very shallow rake
which means that there is a lot of head dodging to be done, although the spacing
of the seats allows you to see through gaps. If you are smaller than average I
would advise caution, suffice to say I personally didn't have a problem,
although others in my group did. The person behind me did ask me to slouch in my
seat but the legroom would not allow that even if I wanted to!"
Reader Hannah reports,
"We sat in stalls J 1 to 3 (Mum paying, why go with the cheap seats?) They are
nice and close to the action and the view is not obscured by one of the myriad
of poles the architect seems to have distributed through the theatre. However,
the rake is only very slight and if you are a bit short and are sat behind some
tall/with an afro you may have to do a bit of leaning. Deserving of the white
rating methinks."
Two seats along, theatremonkey regular seat connoisseur James agrees,
"J3 and J4. Unlike some theatres, these seats didn’t feel like they
were too far to the side. Good view and good sound from here."
Further along the row a reader says,
"Stalls J7 and J8 were good as enough legroom and centre stage."
beside them, reader James says,
"Stalls J9 and J10 – great view, feels very close to the action."
Reader Lizzie said of her discounted seats,
"row L of stalls 11 to 15 – very good indeed."
With which reader Alison concurs, for "Sunset Bouleverd" (December
2008),
"L13, was very good: plenty of leg room (well, I'm short, but I had
plenty of room). I believe the prices in row L are less than in row K,
directly ahead, and thus I think row L is a good value. You can probably
get a ticket on special offer."
Pretty good at full price too, thinks the monkey.
At the end of this row, a reader comments,
"I would avoid L21 as it is beside a pillar - you don't actually miss
any of the stage, but perhaps lose a bit of atmosphere and legroom."
Another reader says,
"M8: Great seat for me but not raked very well for my friends who are of
an average height. They always seem to struggle when tall people sit in
front of them."
while another reports,
"Row M: has pillars interrupting the usual flow of seating so that,
between the pillars, the seats are directly behind those in front rather
than staggered as in the rest of the stalls. I suggest these seats are
downgraded in your colour coded advice."
"La Bete" (June 2010) has them at premium prices - a miss for sure,
feels the monkey.
A row back a reader comments,
"We sat is seats O12 and 13 in the stalls which were fantastic."
Rows N to U are behind the pillars. Central row P back at top price for this
production is worth a miss, as is Q behind. Not terrible, just more expensive
than usual. The seats in the centre of rows
P back feel as if one is looking through a window. Trying sit forward of
row M is a wise investment here - worth the extra money, in the monkey's
opinion. Also note the overhang of the circle adds further lack-of-delight to
the view from the rows beyond around row R.
All the other stalls seats are restricted view as the pillars put a vertical
stripe through your field of vision. Sold at third price or lower, the seats
worth considering, in order of preference, are P 5, R4, Q18 / 19 , R18 / 19. These
are not great, but they beat the rest for minimising impact of pillars, and
proximity to the stage.
One reader puts another view,
"Q16 and
17: marked white in your plan. They should definitely be red. A pillar
is directly in line with centre stage and you have to keep craning your
neck. This must also annoy the people in the row behind."
Legroom is acceptable throughout the stalls for all but the tallest, except in row N 7, 8, 15 and 16
where the pillars restrict it and row C seat 1 and 21, and row K seats 1 and 20.
Stalls Boxes
Four boxes, two either side of the stage. The view from the boxes is
sideways on with the rear corner of the stage not visible. Theatremonkey rates
the seats barely adequate. These seats are rarely sold. For "La Bete" (June
2010), they are fairly expensive if available,
but may be a way to see the show if ticket demand is high.
'That Fulham Couple' say,
"At 'La Bete' (June 2010) we noticed that occupiers in Box D stood up a
couple of times and stretched out over the balcony to catch some of the
action."
DRESS CIRCLE
The Upper Circle overhangs the Dress Circle at row B. The support pillars
holding it up appear in row B. The overhang does not affect the view from Dress
Circle seats, the pillars, do!
Seats are divided into three blocks by gangways. The outer two blocks follow
the curve of the horseshoe shaped circle towards the sides of the theatre. Each
gangway has a double height bar at the end of it - it does not really affect the
view (except in A 6 and 12) but the picky like to know these things and sit one
seat in from them, the monkey finds.
The circle has a shallow rake, making rows from E back seem far from the
stage. One reader reports a poor view from row E back too.
In the centre block, B 7 to 13, C 8 to 13, B 4,5,15,16, C 4,5,16,17 are the
ones at the better end of average. Some also like central row A very much too -
note that row A 6 and 12 have that safety bar in front of them.
A reader observes, for "La Bete" (June 2010),
"C13 and 14: not bad but not the best (which would be A row of dress
circle)."
The whole circle, bar a few restricted view and end seats are at
premium prices for "La Bete" (June 2010). The monkey
thinks that in rows A and B, all but A 6 and 12 and B 6 and 14 are fair if you are willing to pay more - it would take
those in A first if either loaded (or clinically certifiable, maybe)...
Personally, it would then skip any other expensive seat in the
circle, only bothering with the three cheaper ones in rows B and C. This
is down to comfort alone - the stalls at the same price at least allow
your circulation to keep up, even if your wallet is equally empty. Only
the shortest theatregoer will find these satisfactory otherwise.
The remaining central block seats are between pillars and sitting here feels
like watching through goalposts.
Side block seats offer an odd viewing angle. Seats here face the stage at an
angle - the view of centrestage is fine. The view of the sides less so. There is
also no aisle next to the outermost seats.
Reader Lizzie comments,
"A fair bit of restricted vision up here if
you sit to one side, but centrally it is fine."
Seats behind the pillars are poor value with a bad view. Theatremonkey
advises not buying them.
Wheelchair users can either sit at seat E17, or transfer is possible from a
wheelchair to E4, 5, 16 or 17. See notes. Seats on
the ends of the row have some of the worst restricted views. E 5 or 17 are best
bet, feels the monkey.
Legroom is poor, worst
in row A, though one reader disagrees - "the seats in row A appeared to
have more legroom not less as stated in your seating plans". A fair point
feels the monkey, though it's rating was based on the idea that the wall in
front prevents you from stretching or changing leg position. Still, worth noting
the reader's view and could be good if you are not too tall.
Another reader says,
"I specifically booked row F as the seating plan shows a space in front of that
row which suggests extra legroom and two members of my family are over 6 foot
tall. In fact the row had even less legroom than elsewhere in the dress
circle and my 6'4" husband had to move to a restricted view seat. So be warned, avoid row F if you are tall.
To which another reader adds,
"F6
and 7: The back row, with a good view of the stage. The problem is the
leg room. For two people, each around 6 feet tall it was impossible to
sit down and I mean that. The seats were so uncomfortable, putting undue
pressure on my back by being forced to try to sit so uncomfortably I was
prepared to walk out without seeing the production rather than enduring
such uncomfortable seats. Fortunately the box office moved us to the
Stalls on my request, where the leg room is slightly better. My advice
to anyone tall is to absolutely avoid all seats in Dress Circle Row F.
These are charged at the top price which in my view is wrong. They
should certainly come with a warning. I know leg room is a problem in
many West End theatres but in more than 20 years of theatre going this
is amongst the worst I’ve encountered."
This is backed up by another opinion,
"F9: Although the view was fine and unobscured, leg room is
non-existent. I'm only 5'9" tall, but even when sitting as far back in
my seat as possible, my knees were still touching the back of the seat
in front.
I don't know whether microphones were used in the production I saw
("Prick Up Your Ears, September 2009), but if not, either the cast were
exceptionally good at voice projection, or the theatre has good
acoustics, because the clarity of the dialogue was outstanding from the
back row of the Dress Circle."
The monkey downgraded the seat rating on comfort grounds. It puts sound down to the age of the theatre - designed for
best acoustics in an era without microphones, but would welcome
observations from other visitors about other productions:
contact us.
UPPER CIRCLE
The Balcony overhangs the Upper Circle at row B, pillars holding it up
appear in row B. The overhang does not affect the view from Upper Circle seats,
the pillars, as in the Dress Circle, do!
A metal bar runs across the front of the circle. This intrudes into the view
from many seats, running horizontally across it. Vertical supports cut across
the view of every fourth seat, notably in rows A and B. Further safety bars at
the edges of the circle make row A seats 1,2,16 and 17 well worth missing.
Best seats are row B 7 to 14 and row C 8 to 14. Row D 11 to 14 are also good
value when sold at fourth price. The shallow rake of the circle does not help
sightlines from row D back.
Reader James says of "Sunset Boulevard" (December 2008),
"B9 and 10 were great, but as they've pulled
the stage forwards over the pit, we couldn't see that bit very well. I
had a look from A9 and 10 and have to say that if you're over 5'11, the
bar runs below the stage and the view is wonderful, better than in row
B. My gripe is that they've pulled the stage forwards over the orchestra
pit - fine if you're in the stalls, but makes the Upper Circle / Balcony
seats suffer."
Reader Taljaard remarks for "La Bete" (June 2010),
"F14: had a fine view.
As the circle curves like the Dress Circle below it, the first and last five
seats in each row face the stage at an angle - the view of centrestage is fine.
The view of the sides less so. This makes these seats poor value.
A reader reports,
"Bought a £5 Gallery ticket and was upgraded to the Upper Circle D4 and
5. We were right at the side and had a lot of trouble seeing the right
hand side of the stage because of the bar. We moved into the centre but
the bar still gave us problems, but we could see the whole stage from
here. Would not recommend the Upper Circle at this theatre."
Of the seats behind the pillars, consider paying more - they are too poor to
recommend.
One reader says for "La Bete" (June 2010),
"D7: I wouldn't choose seats these high up personally. This seat has a
pillar directly in your eyeline so you have to move your head a bit for
some parts. You can see all the stage, but it's too far away from the
stage for me."
Legroom is poor throughout the circle, worst in all of row A and in seat
numbers B 5,6,15,16.
Reader James F summarises the situation,
"I sat in the Upper Circle (I believe it was E15 and 16) and could not wait for
the production to end. The seats leg room was really small, which meant everyone
was really uncomfortable. I recommend buy two seats next to each other (one for
you, or one for your legs) or buy the much cheaper standing tickets and you will
not have to suffer the pain and you will enjoy the production more."
BALCONY
Overhangs the Upper Circle at row B and is high up enough to see the pearly
gates. A shallow rake means looking down is fortunately not particularly vertigo
inducing. Rails in front of, and at the ends of, each row add to the secure feeling.
A metal bar runs across the front of the circle. This affects the view from
all seats in rows A and B, running horizontally across it. Vertical supports
also cut across the view of every fourth seat in rows A and B. Further safety
bars at the edges of the circle make row A seats 1 and 20 worth avoiding.
As in the other circles, the first and last five seats in each row face the
stage at an angle - the view of centrestage is fine. The view of the sides less
so. This makes these seats poor value unless the first and last two seats in
each of rows C to F (which are designated restricted view) and were often sold
cheaply - not often the case any more, so avoid.
Without pillars to distort things further, at fifth price take any central
seat going - row C first, then B or D, then A; which will be uncomfortable for
those over four foot tall. Sold cheaper, row E is also
worth a thought - saving over row D but with a similar view. "La Bete" (June
2010) has E at the same price as D, leaving just one row of cheaper tickets...
on the plus side, at least there are a few affordable seats...
Legroom is poor throughout the circle, worst in all of row A. Even standing
is an issue, a reader says,
"Gallery Standing: Let's just say I hope I never have to stand at the back of
the balcony at the Comedy again. My back ache was horrendous. I swapped with
someone in the front row of the gallery for act two (they had knee pain because
of the cramped conditions (Moved to A3). I actually felt quite near to the
performers here, could see expressions and everything albeit being high up. The
bars were a problem though, especially my seat as it had one of those vertical
supports you mention."
Notes
Total 796 seats.
Air-conditioned auditorium.
Infrared headsets available, as is guide dog sitting. Wheelchair spaces or
transfer seating are in row E of the Dress Circle via an 8cm ramp at a side door
and into the foyer. Chair footrests may have to be removed. No adapted toilets,
the best in offer is down 6 stairs and a 64-cm wide door. A little construction
work is needed here. Fuller details from www.ambassadortickets.com
or 0844 8717 677; Artsline on 020 7388 2227 or 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.
No food except Ice cream and confectionery.
Three bars. Foyer, Stalls and Upper Circle.
6 toilets. Stalls 1 gents 1 cubicle, 1 ladies 5 cubicles; Upper Circle 1
gents 1 cubicle, 1 ladies 3 cubicles; Balcony 1 gents 1 cubicle, 1 ladies 2
cubicles
|
