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Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

COMEDY THEATRE



LA BETE (play)
Ends 4th September 2010.

Valere earns a living as a street clown. Princess Conti thinks that will enliven her troupe of actors and invites him to join them. Elitist troop leader Elomire thinks otherwise...

Mark Rylance takes on Valere, David Hyde Pierce is Elomire (no type casting there of course) while Joanna Lumley is Princess Conti. Matthew Warchus directs.



 

Theatremonkey Opinion:
As one reader advises, use the loo before the play starts - or you won't have another opportunity until it ends... though some may choose to escape early.

The performances of Rylance and David Hyde Pierce should be enough to keep you in your seat until the end; but though Rylance proves again his ability as an actor with a 40 minute monologue, the crudity may prove too much for some sensibilities - and struck the monkey as a bit unnecessary. Hyde Pierce, while proving he can handle stage work is rather left with a repeat of his TV role thanks to a somewhat limited requirement to react rather than lead the story. Still, both performances are worth the price of an Upper Circle ticket, if not a Stalls one. That's a compliment, by the way, considering the price of tickets...

Joanna Lumley's role struck the monkey as odd - until it found out that in the original production it had been written for a male and subsequently altered for this version. She does OK, at least managing to keep up with her co-stars, but like Hyde Pierce a little more for her to do would be nice.

A decent set and a reasonably interesting idea of art and commercialism put over in rhyming couplets are almost enough to convince the monkey that this really is a sophisticated entertainment, even without a particularly starry cast. Worth seeing for those who can afford to do so - if only to say you were there.
 

Your Reviews: Add your own by clicking here.
Important: Some reviews below can contain "spoilers" - please don't read if this bothers you!

(4 reviews)

Superb production, Rylance is sublime and must go head to head with David Suchet ( All My Sons) for best actor awards for 2010. David Hyde Pierce is very good and Joanna Lumley plays her part to perfection. Only on for 10 weeks so grab a ticket as fast as you can.

I was sat in the Upper Circle in F14 and had a fine view. Also a mention for the staff who are really good here. My one warning is that its 1 hour 45 minutes with no interval, so a visit to the loo before hand is advised.

Taljaard
_______________

'La Bete' is something else entirely. I believe that this is the best performance that I have seen from Mark Rylance, and I think he may possibly be a genius. He outshines all the others in the play, albeit assisted by the fact that he speaks most of the dialogue. He was embarrassingly disgusting, but amusingly so. How anyone can remember a speech that long is past my understanding, but I enjoyed it so much I didn’t miss the interval at all. The rest of the cast supported him very well, but I do agree that they could have had a bit more to do. I laughed out loud for much of this play, well worth the ticket price, and I was in the stalls.

H21 and 22, plenty of legroom and comfortable seats.
________________

Half the audience enthusiastically jumped out of their seats and gave this play a standing ovation last night (26th July 2010), but some cynics may feel this was a burning desire to exercise after enduring 105 uninterrupted minutes of verse-play.

That Fulham Couple had mixed thoughts on the evening and agreed to disagree. He thoroughly enjoyed this witty and clever period-pastiche-pantomime of a comedy performed by first rate actors, hamming it up and clearly enjoying themselves in the process. She disliked it, kept looking at her watch and felt it was a contrived, crude and tedious smart-ass rhyming play with a poorly developed plot.

Both agreed that all the leading actors were spot-on. Mark Rylance as the foolish Valere is staggeringly brilliant. There is an outstanding comedy performance from an outraged and somewhat croaky David Hyde Pierce as Elomire and a surprisingly good turn from ‘Princess’ Joanna Lumley. Tickets are expensive, but if you like any one of these actors and you can’t make up your mind whether to treat yourself - go see this play - you will not be disappointed.

Stalls seats 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. 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.

That Fulham Couple
__________________

Thank you for your note on the Q&A session held on 2nd August 2010 - the whole evening was fantastic. I'm a first time user of theatremonkey (despite being a regular theatre goer) and I was very happy with your seat recommendations and advice on the particular performance. I bought my tickets through SEE in order to get access to the post performance Q&A; this seemed to only be available for dress circle seats and I was allocated C13 and C14 - not bad but not the best (which would be A row of dress circle). The performance was marvellous, the cast exceptional and the script hilarious. I loved every minute of it and will probably go again. The post performance Q&A was entertaining with Rylance, Hyde Pierce and Lumley very generous with their humour, time and perspectives on the play. Superb.

"First time user of theatre monkey"

 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Performance Schedule:
The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Monday to Saturday at 7.30pm
Wednesday and Saturday at 2.30pm and 7.30pm

Runs 1 hour 45 minutes with NO interval.

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form


Stalls:
Row E 6 to 17; F 7, 8, 13 to 18; G 5, 6, 13 to 18: £80 (£90 Friday and Saturday performances) Glass of champagne and souvenir brochure included.
Row D 3 to 20; E 3 to 5, 18, 19; F 3 to 6, 9 to 12; 19, 20; G 3, 4, 7 to 12; H 3 to 18; J 3 to 18; K 3 to 18; L 3 to 19; M 3 to 17: £65 (£75 Friday and Saturday performances)
all other seats: £50 except
Restricted view seats: £40

Dress Circle:
Row A seats 4, 5, 7 to 11, 13, 14: £80 (£90 Friday and Saturday performances) Glass of champagne and souvenir brochure included.
all other seats: £65 (£75 Friday and Saturday performances) except
Row B 1, 15, 16, 19; C 1, 16, 20; D and E 1, 21: £50
Restricted view seats: £35

Upper Circle:
All seats: £32.50 except
Restricted view seats: £20

Balcony:
Rows A to E: £20
Row F: £15

Boxes:
£35 per seat if sold.

Standing:
£10 Upper Circle or £8 Balcony if all other seats are sold.



NOTE: Alcohol cannot be served to those aged under 18. Proof of age may be required, and the right to refuse service is reserved. Choice of brand is at venue discretion. No refund for unused vouchers.

Day Seats: Up to 10 tickets, priced £10 each, and located at venue discretion, may go on sale at 10am on the day of performance to personal callers at the box office at most performances. First come-first served, these are usually limited to 2 per person. The monkey always advises taking both cash and cards, though, to be safe, and also calling the theatre in advance to check that the "day seat" ticket policy is in operation.

 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Buying Tickets Online:

Other Box Office Information

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
Online: Ambassador Theatre Group, the theatre group's own website provide the service for this theatre.

Booking fees per transaction for online bookings:
£3 per transaction (not per ticket) fee. Pays for the mortgage consultants, thinks the monkey.


Other Online Choices (with S.T.A.R. genuine ticket agencies):

www.ticketmaster.co.uk provide an alternative with the same fee as the box office by telephone - £3 per booking NOT per ticket applies to each transaction - the same as by telephone. This site allows you to choose your own tickets from those available.

When the box office does not have what you require, the Theatremonkey Ticketshop offers an extra selection of top price £75 seats with a £7.50 per ticket booking fee (£6.50 on £65, £5 on £50 seats). Slightly higher than the box office, but lower than most agencies. Worth checking if the box office cannot provide the exact tickets you might require. Simply select the show from the "drop down" menu in the centre of the page. Note that this system will confirm exact seat numbers prior to purchase.

Another alternative is www.seetickets.com / telephone 0870 830 0200 with offers £65 seats with a £6.50 per ticket booking fee (£5 on £50 seats) Monday to Thursday / £75 seats with an £11.25 per ticket booking fee (£7.50 on £50 seats) Friday and Saturday; plus a £2 per booking (not per ticket) postal charge. (FREE call if using BT.com Calling Plan at your chosen times).

Encore Tickets offer £50 seats with a £12.50 booking fee per ticket (£11.50 on £45 seats) - plus optional UK postage of £1.50 per booking, not per ticket, available if time allows. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

ALSO SEE Tickettree.com for great value "hotel and theatre ticket" packages.

Note that the tickets offered may differ between phone and online sources.

Other Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.


 

Box Office Information:
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
Telephone: 0870 060 6637
( 020 8544 7424 if you cannot use the 0870 number)
Operated by the Ambassador Theatre group's own phoneroom from 9am until 10pm (Sundays 10am until 8pm). Outside these hours the Ticketmaster agency answer calls on their behalf.

Booking fees per transaction for telephone bookings:
£3 per transaction (not per ticket) fee is made. Pays for the mortgage consultants, thinks the monkey.

For personal callers or by post: Panton Street, London. SW1 4DN
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 0871 297 5477 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the theatre chain central phoneroom in London during working hours. See Notes.

 

 
 
Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Theatre Seat Opinions:
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.

Note that for "La Bete" (June 2010) prices in the stalls and dress circle are higher than usual in many seats. The monkey cannot guarantee your satisfaction with value for money if choosing to sit there!

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Balcony Notes
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


 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Getting to this Theatre
Find this theatre on a Street Map
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Piccadilly Circus - Piccadilly (Dark Blue) and Bakerloo (Brown) lines.

Plan your tube journey to this station using the button below:

The escalator from the platforms ends in a large circular underground area. 

After leaving the barriers, turn to your left, and follow the curve of the barriers around until you see an exit to your right with the sign "Subway 4" over it. Walk under this sign.

Keep walking through this tunnel and ignore the first staircase marked "Shaftesbury Avenue". Continue along the tunnel passing the "Trocadero" doors, and follow it as it curves past another set of doors. Follow the arrow on the sign ahead of you that says "Eros" (the tunnel continues to the right). 

In this new section of tunnel, take the stairs ahead and to your right up to the street.

You will emerge near the Criterion Theatre. Walk ahead of you. If you see two roads - Piccadilly and Regent Street - with a shop between them..., wrong way. 

You will come to a busy road, Haymarket. A large statue of horses is to your right. Turn to your right and walk down Haymarket. At the traffic lights, cross Haymarket. Continue walking downhill (your right as you cross). The next side street on your left is Panton Street. Turn into it and cross it to the Comedy Theatre.

 

Buses:
6,12,13,15,22B,38,53, 88,159 to Haymarket. Haymarket is a one way street. If you are travelling by bus from Trafalgar Square to Piccadilly Circus, leave the bus at Piccadilly Circus and follow the walking route above. If travelling from Oxford Street or Shaftesbury Avenue you will be able to leave the bus on Haymarket itself. Do so at the first stop in the street.

 

Car Park:
Whitcomb Street. Leave the car park, turn left and walk uphill. The first street on your left is Panton Street. Turn down it and pass the multiscreen film complex. Keep going straight on. The Comedy Theatre is in front of you.

Call Westminster City Council car parks on 0800 243 348 or see www.westminster.gov.uk/carparks for details. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost. Spaces CANNOT be reserved at these prices, so choose whether you would prefer to book and pay more, or use this scheme.

If you choose the "Theatreland Parking Scheme", you must get your car park ticket validated at the theatre's box office counter (the theatre attendant will insert the car parking ticket into a small machine which updates the information held on the magnetic strip on the reverse, thus enabling the discount). When you pay using the machines at the car park, 50% will be deducted from the full tariff. You may park for up to 72 hours using this scheme and it is endorsed by the Society of London Theatre.

For a full list of car parks that participate in the 50% off theatreland scheme here see www.westminster.gov.uk/carparks/theatreland.cfm, and for a full list of theatres that participate in the scheme see www.westminster.gov.uk/carparks/theatres.cfm.


 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

 

 

 

 

 

 

 

 

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