STALLS
The Dress Circle overhangs the Stalls at row M (and curves around to row J
at the sides). This affects the view of the
top of the stage from row S back. Extra speakers hung under the circle overhang
clip a further 5cm off the view too from some centrally located seats - not a
problem though, the monkey just records it from interest!Aisles split the stalls into a centre and two side blocks. A further aisle in
front of row K splits seats into front and rear sections. A noticeable rake ensures a good view from all seats to row S. Row K is
a few millimetres higher than row J too.
In row A, a reader feels that, when he got a large discount:
"A3 in the stalls! for £20! The view from this seat was immense... and
the leg room, well, I had enough room to put my bags in front of my seat
and outstretch my legs fully and still let people get past!"
Further along, another says (paying full price at "Oliver,")
"A9: you get a truly magnificent view from here. You are, of course,
probably a bit too close, as due to the size of the sets you are
constantly moving your head and eyes around as there is so much
happening on stage. You don't have to look up too much as the stage is
set quite low and there is fantastic legroom. Also, the conductor
doesn't get in the way."
With another reader commenting at the same show,
"A12: A wonderful seat - you'll love it! So close that you feel you're
totally in the show.
The setting is a monument and sometimes you will be blasted by the huge
and beautiful stage design. The only one thing which can harm you is the
spittle from the actors, because when the get in front of the orchestra
pit they are so close that you're able to smell them :-) It is a very
good choice to spend your money on that seat because the experience is
fantastic."
Moving back another row, another reader says,
"We had stalls B9 to B15 which were superb seats. Had to look up slightly but we
didn't lose any of the view from where we were. You really get to "feel" the
atmosphere from these seats and the orchestra is well "hidden" below the stage
so again no problems. 3 children aged 8 to 10 years did find the booster
cushions provided useful."
Behind this, theatremonkey regular seat connoisseur James says,
"D17: Good seat, but for a huge musical, would recommend
Upper Circle or Balcony as if the show is "big" it's better to
appreciate it from afar."
Another reader adds,
"D15 and 16. They were expensive seats but well worth the money.
Excellent view, loads of legroom and no heads in the way! We had a great
close up view of the actors' faces and we really felt part of the
action."
Among the best seats in the house are rows E to G 10 to 26 and rows H and J
11 to 27. The monkey would
also add rows K and L seats 6 to 30. Of the rest of the top price Stalls, the centre block row D then
row M is prime.
From row E, an "Oliver" watcher, Martin, comments,
"E16 had an excellent view and just enough legroom (I'm 6' 01") although
I wouldn't recommend sitting any closer."
In row F, a reader says for "Oliver" (January 2009),
"I sat in F12 in the stalls, which was (as indicated by the Monkey) a
great seat, with clear views of the actors’ expressions. However, I paid
full price (£65 in total) for my ticket, and would have felt cheated had
I sat any further back or off-centre (although that said, the production
makes full use of the massive stage depth and height, so the dress
circle would probably be great for catching a better all-round view of
the show) Legroom in row F of the stalls was snug but just about ok -
I'm 5'9, but I think anyone taller would struggle."
From row G, Dave says of the same show,
"Seats in row G centre stalls were excellent. I am please we bought top
price."
One reader says,
"Seats H 9 and 10 of the Stalls (for "Lord of the Rings" - May 2007) were just
perfect. 10 is on the aisle and is angled to give a wonderful view of the stage.
I had an enormous man of about 20 stone sitting in front of me but he didn't
spoil my view one bit."
Over the aisle, reader Sally Scott says H13 to H16 were "Great seats." while
another reader rates central row F excellent, though with average legroom (that
didn't bother her, as she wasn't that tall, but might concern others.)
Reader Diego endorses this,
"H13 and H14: got for the student rate of £25 for "Oliver" in June 2010.
To my shock, these are the so called 'premium seats' and although they
aren't often sold at their £85 listing price, I knew that I was getting
a bargain! The seats were really, really good and you have a clear view
of everything. I was very pleased."
Reader Daryl says,
"Stalls Row H17 - the view was fab"
Reader Rob continues the reviews one row back,
"we sat in J11 and J12 of the stalls – excellent seats. Bit of trade off with the seats
– we were on the aisle of the centre set of seats; very handy for making a quick
getaway but there were two moments - during the show we saw - where the actors standing at
the front of the stage blocked our view of actors in the middle; this would not
be the case if you were sat in middle of this centre row. My guess is that the
very best seats in the house would be K16 to 20 – these are bang in the middle
and you have an aisle in front of you allowing extra leg room."
Some "Premium" seats drawn from seats in the central stalls,
usually around rows G to J are also made available. Up to you if you
wish to pay more, feels the monkey, though the view is very good. A
reader says,
"We sat in "Premium Seat" G22 and G23 in the Stalls, Excellent view of
the stage and all of the fantastic movements of the scenery. Actors were up
close and you could see every facial expression.
£85.00 is too much however for this seat and a free programme and I still
believe these are still just £60 Stalls seats for some performances."
Reader Ian notes,
"I sat in K20 in the Stalls and it was the most amazing place to sit. Yes - it's
a Green seat without doubt. I am 6 feet 4 inches tall and there is tons of leg
room and the seat affords a magnificent view of the spectacle on stage... I will
always choose this row in the centre block of the stalls for all future visits
to the Theatre Royal Drury Lane. They should be 24 carat Gold - not green !!
WOW."
Reader Rich agrees,
"Row K in the stalls is an excellent position to see the show from,
loads of legroom and a great view."
Another feels, though, that,
"There is superb legroom in row K, but even this row could be considered
to be a little too far back."
Off in the side block, reader Jon reports,
"Stalls F27, aisle seat right hand side of left block. Excellent
view
(though Dress Circle I guess will be better for some of a raised
set),
seats a little low (i.e. your backside is slightly below your knees
if you are over 5'8" so "cheek shuffling" may be required - apologies to
those sat
behind me!) though plenty of leg room as I could full extend under
seat in front and I could shift to stretch to my right into the aisle."
For 'Oliver' (December 2008) reader Kirsty says,
"Row E seat 5: It's an OK seat and I was really able to feel part of the
show from there. The sound quality was good and you could see the casts'
faces clearly. They did have their backs to you sometimes though, which
is to be expected if you sit at the very right hand side of the stage."
Reader James comments,
"Stalls L12 and L13 were great – you are far enough back to see the whole stage
without turning your head from side to side, but still close enough to really
engage with the show. Stalls C22 and C23 were far too close to the stage and I
would not sit there again."
A young reader disagrees,
"L 12 and 13. Personally I am not a fan of the stalls, however I
mistakenly brought these seats. AWFUL!! I was so disappointed with the
view. Such a poor rake between the rows and constantly had to keep
dodging the heads in front of me. I went home feeling terribly ripped
off!"
For adults, more than smaller children, maybe.
Next try the rest of side blocks of K to M, then central row C and the side block of rows
C to J (except the first and last 4 seats - which should be avoided), and
finally row N back - centre then side blocks.
Of M8 and 9, reader Steph Nicholls says,
"The seats were great with a clear view. I would like to see it again
from the dress circle to get the full spectacle as sometimes we were too
close to take in everything."
Further along, another reader says,
"M16 - Perfect view of the stage."
In row O for "Oliver" (January 2009) reader Penny comments,
"O1 to 5: Very good seats, although could have been a little cramped for
very tall people. Great view."
Reader Jackie, in the same seats for the same show opines,
"O3: The seat was well placed and gave an uninterrupted view of the
stage. The legroom was dreadful though. I am 5ft 9 and at first couldn’t
seem to fit my legs in to the gap! Eventually managed to wedge them in
the triangular gap where the two seats in front joined – not the most
comfortable evening and my back / hips are still aching from the hours
in this unfortunate position."
Another reader agrees with this from O 28 and 29, noting that while
the view to centre stage is great, the legroom isn't what you might
expect in the stalls.
One reader rated aisle seats in row P excellent. Reader Mila expands on this
for "Oliver!":
"P26, 27 and 28. White in the TM seating plan, but very good seats I thought,
especially with the booster cushions for the kids, we had a perfect view of the
whole stage, and a nice aisle seat so we were first to the ice creams and able
to stand and give Jodie a cheer at the end!"
In row R a reader says,
"7 and 8: Pretty
good
view, leg room OK. 1 and 2 are OK as well."
Reader Sharon reports,
"We had seats in the Stalls in Row S numbers 29 to 33 and had a wonderful view
of the stage. One of our party is a 6-footer and he had just enough leg-room,
whilst the somewhat shorter family members borrowed the theatre's booster
cushions which made our line of sight uninterrupted."
Rows A to J have reduced prices at the extreme ends. Currently, row A
sides and very end seats in B are removed / not on sale for "Oliver." Large speakers
are often positioned at the edges of the stage, which may blast those at the
ends of rows B and C in particular. All the very end seats are well outside the
proscenium arch, leading to strange viewing angles around the soundman's
hardware. The discounts reflect this and the monkey feels them not seats to take first or all
that great, but close to the front and a bit cheaper for those willing to take a
chance. At second price for "Oliver," it rates E to G 1 and 2 and 34 and 35
about "fair" if willing to accept extreme side views - not a generous
discount, but a cheaper way of being near the front, perhaps.
As for the rest of row A, one reader writes:
"Seat 15: The view from here is of course, excellent. I had no difficulty seeing
anything on stage...and the legroom was excellent."
Reader Ali agrees from the adjacent seat,
"Row A, seat 16, one of the best seats I have ever had – good legroom, very
little neckache, and is fantastic for getting a really good look at the action"
Wheelchair spaces are at K 1 and 35 and L 1 and 35. Take K first. The view is
fair, a little sideways on but better than the rows in front. Transfer able can
use any seat - take aisle if possible. See notes.
Seats have been restored to the back of the centre block and a sound
technicians desk has been added. Avoid the seats around this desk if you will be
disturbed by the noise and light, though sensibly they have added a gap between
the desk and the seating. Currently, the worst affected seats are
Y14 to 24, YY14 and 20, Z14 and 24 and ZZ 14 and 24. Other seats in the centre blocks
rows Y to ZZ have to contend with being either side of the pillars. Just
avoid them if possible, though if sat here, you could do worse.
At the back of the theatre, top price runs back a good way. Luckily, they are
being sensible for "Oliver," working perhaps on the theory that the overhang of
the circle above may reduce the views of scenes taking place on the bridge above
the stage (which was used in the last production of the show at the Palladium).
Monkey likes central row U and side block Y 4 to 10 and 28 to 34 as they are cheaper than the seats in front but
with a similar view.
One reader does feel, though,
"After all the hype, I left 'Oliver' on Friday 30th January 2009 feeling
rather disappointed. It just wasn't the 'wow' I had expected. I suspect
that a lot of this was because of our seats (Stalls U19 to 24) - I had
wanted to book top price, but with a group of 6 this was all that was
available. From here you do miss the grandeur of the colossal sets and
the whole show feels enclosed by the Dress Circle - a bit like a TV. I
like to be immersed in theatre. When I saw 'Lord of the Rings' at this
theatre, I sat in the centre of row G and it was a fantastic experience.
Also, from back here you miss a lot of Rowan Atkinson's performance -
closer up you would get a lot more from his facial expressions. My
biggest complaint is the sound at the back. It all seemed quite quiet!
It definitely proves it is worth paying full price - for me at least!"
Reader Lorna agrees,
"Row U Stalls for "Oliver" and I too felt a bit far away. As Fagin
jokes, I'm the poor at the back."
If used to more expensive seats, well, these may not be quite the
same indeed; but that is the reason they are cheaper, of course, notes
the monkey.
Another reader makes this point well for "Oliver" (January 2009),
"Y28 and 29: As others have said, it's a long way back in these seats
and the overhang does mean you only see the feet of some of the dancers
at times but we could see top stage scenes OK although I suspect even
one or two rows back may not have been able to. I can see why Monkey
marked these seats as green because the 3 rows in front are £7.50 more
and the one in front of that is £22.50 more - I would be wholly
unimpressed paying £60 for seat T39! If I went again, I'd pay £20 more
for the best Grand Circle or Stalls seats - but like much in life, you
get what you pay for and those that complain about poor visuals from the
back probably moan about the price of bread compared with 20 years ago."
Yet another wasn't keen for the same production,
"Y9 and 10: I am normally fairly positive about theatre seats but these
were horrendous! I felt so low to the ground, my knees were by my ears
and the restriction of the circle overhang cuts of half of the stage
which is a problem in this show. We felt very claustrophobic! I asked
if we could move at the interval and despite it being a near sell-out
the front of house manager was very kind and let us move to some great
seats in the upper circle."
Ahead of them, another writes,
"Interestingly, you have widely differing opinions from theatre goers on
the Theatre Royal's stalls seats. Myself and a friend were in stalls W31 and 32, the
second
row back in the second price ticket band. Originally we thought the
seats
would be pretty awful as we were quite a way back, but we were
pleasantly
surprised as the view wasn't bad at all. Yes, it was slightly
restricted by
the overhang of the Grand Circle resulting in the top of the
scenery,
particularly the bridges, being hidden from view, but as the setting
is so
big, you get a wider perspective of the action. Also we didn't have
any tall
people sitting in front of us to spoil the view! The seats were
quite low,
though, but we both thought the sound from this part of the theatre
was very
good. There certainly seems to be a mixture of opinion on sitting in
this
part of the theatre!
I have seen "Oliver!" several times now and my favourite seats have
been in
stalls rows D, E and F in the centre block. I know they may be
classed as
being too close to the stage but you do feel part of the action and
personally I love to see the expressions on the actors' faces and
all their
little mannerisms!
One of the main reasons I would generally go for the stalls in any
theatre
is that legroom is usually so much better than in the upper tiers.
I'm only
5'8" but I do like to be sitting comfortably! In row W legroom was
adequate,
but still better than the Circles and Balcony."
For best results, try and avoid the first and last 4 seats in the side
blocks, plus those around the sound desk to maximise the experience. There isn't
much wrong with any of the mentioned tickets - except missing the top of the
stage at times, just that there are better seats for the same hard earned
bananas in the monkey view. The front Upper
Circle is more expensive than the very back stalls - but a show sure looks
spectacular from up there (though the legroom isn't as
good...).
A reader comments,
"row X seat 36 and 37 for "Oliver!." Warning; no legroom for anyone over
5'8" (I am 6'1")! I might be exaggerating a bit, but my
knees were definitely pressed against the seat in front and I had to sit
slightly sideways to fit in (difficult when it's a sell out). It meant
that I couldn't "shift about" in my seat resulting in the inevitable
"numb bum"! The view was good, close enough to see the faces and
far enough to see the big set-pieces to the extremes of the stage. Some
of the high levels were lost although none of the main action was
missed."
Reader Rachel feels similarly, for "Oliver!,":
"Centre of row X – awful! Such shabby legroom. Overhang of circle
obscures some bridge scenes. Just felt too far away from the action to
become absorbed by the show."
Reader Louise Robinson comments for "Oliver!,":
"Seats YY7 and YY8 have a good view of the majority of the stage, but
you cannot see the upper bridge and so miss Nancy's death almost
completely. However, the binoculars are fab; if you fancy homing in on
Rowan Atkinson's many expressions, you can do so very well from these
seats."
Reader Ros feels, though,
"We saw 'Oliver' ( or as much of it as sitting in YY 29 and 30 will
allow). The sets are the best part of the show, although if you are
sitting far back in the Stalls you won't be able to see the bridge or
the characters on it, as they are cut off by the overhang. We bought
these seats as that was all that was available - and they were truly
awful. The seats themselves are so low that you feel as if you are
sitting on the floor. If you are under 5' 3'' you will have a problem in
seeing the stage. Despite a cushion pad issued by the theatre, the young
boy of about 10 years sitting next to my husband ended up sitting on his
father's knee throughout the performance as he couldn't see the stage."
Legroom is good throughout the front stalls for all but the very tallest (over 6ft
or so - a reader feels 5' 8" though), particularly good in row K - the only place for the longest legged to
choose. Most readers found A and rows from L back noticeably tighter, though.
DRESS CIRCLE
Called the Grand Circle in this theatre.
The Upper Circle overhangs the Grand Circle at row E. The view of the top of
the stage is badly affected from row H back.
The Grand Circle is split into three blocks - centre and two sides - by
aisles. It has a very shallow rake making row F back seem a long way from the
stage at top price, and also affecting the view for anyone not tall enough to see over the row
in fronts' heads.
Reader Rich opines,
"The best position to see a big show from is the front of
the Dress Circle. You get to appreciate the whole spectacle. Having sat
at the front of the stalls and the Dress Circle, I would go for the
Circle any time."
Among the best seats in the house are rows B and C 12 to 26, D and E 13 to
27, and row A 11 to 25 in that order. Row A loses marks for legroom comfort. Next best are rows F and G centre.
In row A, a reader says,
"A16: the
view was magnificent with a completely unobstructed view of the
stage. You
don't even need to lean forward to see clearly!"
Reader James was happy in A,
"Seat A24 Front row of Dress Circle was perfect for view and legroom."
Next to him, a young reader says,
"A26 and 27. Outstanding view, every aspect of the stage was seen so
clearly and there was no annoying safety bar."
reader Paul Nicholls disagrees on legroom, though,
"row A of the dress circle. Superb view, but legroom for hobbits and people who
were born without knees!"
Contrast that with reader Vicky at the end of row A,
" We sat in Row A of the Dress Circle, seats 3 and 4. These seats were
absolutely fantastic and I cannot recommend them enough. Everyone should
see this show from the front row of the Dress Circle if they can!
Reviews of cramped legroom is absolute rubbish, there is much more room
here than what you would get in a normal row. In fact we had room to put
down our bags, coats and sweets in front of us! Fantastic show and
view."
More room at the ends than the centre, it seems to the monkey.
Behind them, row B gets a good report for "Oliver" (December 2008),
"B 29 and 30. These seats offer a brilliant view of the stage. As the
stage adjusts the Dress Circle in my opinion offers the best of both
worlds at this show. A major downside of these seats was the lack of leg
room (I'm 5ft 9), which made sitting through the show uncomfortable to
say the least."
Row C
certainly draws the praise of theatremonkey regular seat opinion
contributor James,
"Sat in the Dress Circle C12 and 13 for “Oliver!”. They are fantastic
seats. The Dress Circle feels lower down compared to other theatres or
perhaps the stage is just high, but either way it’s on an excellent
level to see the performance. Leg room is good and the sound is
fantastic from here too."
Further along, another James adds,
"C17 and C18 for 'Oliver!'... Excellent!"
A row back, a reader says for the same show,
"D19 and 20: bang in the middle of the row and in TM's green area too!
The seats were excellent with a great view of the huge set, although
it was a
little obscured at times by the head of the rather large gentleman
sitting
in front of me. But I suppose that's the luck of the draw, isn't it?
Legroom was fine, not as good as if you were sitting in the stalls,
but more
than adequate. I would like to sit in the front row of the Grand
Circle
again, just for the spectacle! Given the choice I still prefer the
front
few rows of the stalls, though."
Then consider the side blocks. Take rows B to G the first four seats
nearest the centre aisle. Then choose whether to take row H back, or seats in
rows B to G further along to the side. If action mostly happens centre stage,
then rows B to G ends get a reasonable (just about) view. The first and last seats in the
side blocks of all rows are affected by the boxes projecting into the field of
view a little, but the rest allow an adequate view. Side block seats are not
really a bargain, and for top price special occasions are possibly best avoided,
but for those willing to pay top price to just "see the show" the
monkey feels many will be satisfied.
At the side of row C, and with a heavy discount, a reader opines,
"Don't be fooled by the red squares on the seat diagram, Row C seats 1,
2 and 3 of the GRAND CIRCLE are amazing. The legroom is plenty, in fact
I could stretch my whole legs at an angle and I still wasn't disturbing
the people next to me. And the view is amazing. Because of the circular
setting of the theatre, you can see everything on stage (and above) and
you feel a part of the play. If the moving stage is being used in the
show you are seeing, these seats (or ones similar) would be my choice
because when the moving stage is high, if you're in the stalls, you have
to tilt your head up where in these seats we looked down or straight
ahead. For £25, totally worth it!"
at full price, though, the monkey still feels other seats preferable.
From row F, reader Anne Hysted says of "Oliver" (December 2008),
"F18 and 19: I bought these from a coach operator for £37.50 each. Very
central, we thought these seats were excellent. The Grand Circle does
have quite a shallow rake but I don't agree with the comment that from
Row F back it seems a long way from the stage, perhaps it depends on the
production but we had a great view, didn't need opera glasses although
they were available. Leg room not bad at all, have had a lot worse - I'm
5'8" with long legs and I was fine, I guess anyone taller might have
found it a bit cramped but it's rare to have generous leg room in any
theatre seat."
Another reader reports,
"Row H, Dead centre gave me a full view of the stage, literally the
edges of the walls bordered the set. The leg room is OK, and it allowed
me to look down slightly, so I got the impact of the on stage projection
and lighting."
A reader reports, of discounted tickets,
"Sat in seats K3 and K4 in the Dress Circle. We got them half price at
TKTS half an hour before the show started (the matinee on 24th November
2007). View was absolutely fine and for £32.50 were really good value.
Could see the whole stage and set really well and didn't feel like we
were all the way over at the side."
A group organiser sums things
up for "Oliver" (December 2008) with,
"We got so called £62.50 seats for £35 so can't really complain; but it
is obviously just a clever way of filling seats that they have not been
able to sell for the top price by giving the impression they are at a
big discount when really they should have been priced at a second rate
in the first place.
We had a block of seats in rows H J & K ( we were sitting in J), and
were so far from the stage that it was not possible to see faces to be
able to identify who was playing Oliver or The Artful Dodger." On a
second visit, the reader was far happier with his seat in row G.
Reader Peter Grant reports for a previous production,
"Our particular seats (which were described as "best" and appeared to be
normally full priced - now reduced, editor) were in row L of the Grand
Circle, but have a very restricted view of the top of the stage. They
don't actually miss any action but they do miss some of the atmosphere
which would be created from seeing the entire stage." For "Oliver," row L is cheaper. Again working perhaps on the theory
that the overhang of the circle above may reduce the views of scenes
taking place on the bridge above the stage (which was used in the last
production of the show at the Palladium). A pretty good bet, though,
feels the monkey, for those who don't mind a little less legroom than
the stalls but a better rake over rows in front.
Legroom is adequate in all seats except row A for all but the tall (on reader
says row A has, "legroom for hobbits and people who were born without knees!"
Another reader though felt A 3 and 4 had space and even room to put bags down.
Seems to be less space towards the centre of the circle in that row. The tall should
should pick row K stalls. Extra comfort can be had
taking seats on the central aisle.
Dress Circle Boxes
Boxes J to P are arranged across the back of the Grand Circle. These
offer average views of the stage, being affected by the overhang of the Upper
Circle. When sold at third price or less, they are a good value, preferred alternative
to the rear stalls.
Boxes B, C, BB and CC are at the sides of the Dress Circle between it and the
stage. B is the Royal box and is double height. BB matches the design
architecturally. C and CC offer the best view of the stage, then B and BB.
Frankly, choose central seats first as around an eighth of the stage is
not visible from any of these boxes. When sold at third price, they are a good
value, preferred alternative to the rear stalls.
Reader Daryl says for a previous production:
"Sat in Box CC. I can 100% say if this box is let out at £20
it is well worth it! (not a usual concession - editor). I've had the box to
myself twice now and the view
is stunning from here. Yes, about an 1/8th of the left of the stage is cut off,
but much of the show is symmetrical so you can quite easily picture the
other side. I'm an avid box user, as I've said before elsewhere on this website,
and this box doesn't fail to please: a great view, great space, privacy and a fab sound quality."
Above this set of boxes are D, E, DD and EE. E and EE are preferable, but
should only be a first choice for those wanting more legroom at Upper Circle
prices. Again, the view is restricted slightly.
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UPPER CIRCLE
The balcony overhangs the Upper Circle at row E. The view of the top of the
stage is affected from row H back.
Like the Grand Circle, the Upper Circle is split into three blocks - centre
and two sides - by aisles. Each aisle has a low bar at the end. The circle, too, has a very shallow rake making row F back seem
a long way from the stage and annoying shorter persons. Quirkily, rows A to D
feel quite close to the stage.
Best seats are rows B and C 13 to 28, D and E 13 to 28, and row A 17 to 32 in
that order. Row A again loses marks for legroom comfort. Slips at the edge of
row A offer a poor view - looking down at the stage through the thicket of
projecting boxes, as well as poor legroom and are worth avoiding!
A reader notes,
"I was in seat B12 of the Upper Circle. Before the show everything
seemed fine but as soon as the performance started my view was restricted by the
safety barrier. At 5ft 8 inches I do not regard myself as abnormally short
but I must have been a distraction to the people behind as I was ducking and
stretching to see what was happening on stage".
Another reader, slightly further to the edge of the venue says,
"B6 and 7: Leg room was just about adequate for me (5'10'') and view was
great, but the very front of the stage was blocked by the balcony, and
when most of the acting which took place at the front was happening, we
all had to lean forwards to see."
Another reader notes that,
"Seats B12 and 29 can be great if reduced due to some complaints over a
safety rail. A bargain, particularly when you consider the surrounding seats are
often £40+ and the only other seats at that price are either far to the side in the
slips/extreme edges of the circle or behind a pillar!"
Reader James weighs in with,
"The double height safety bar at
the aisle affects the view in seats A, B, C and D 12 and
29. Not particularly badly, but would avoid these and
sit around them."
The monkey welcomes reports from others experiencing the same problem,
along with other comments from other readers like James on this one - especially since
producers now seem to acknowledge an issue and have made the seats cheaper...
well worth a look, as the second reader points out!
Indeed another reader - Mike from Shropshire says,
"Sat in B29 in the upper circle for £5. What a bargain!!! Yes, the handrail is
in your view but because of the nature of the production, much of the action
takes place in the raised revolving set so you don't need to look around it very
often.
If you are a perfectionist and expect a clear view, then avoid it but for
far LESS than all the seats next to me, it is definitely worthwhile! Even
at £15 it is still well worth the money but I wouldn't be
surprised if the producers don't decide to increase the value of this seat to
'one less than surrounding tickets."
Fingers crossed they don't, feels the monkey...
Another reader rates the centre of row B, "Good for the price."
One row back a reader says,
"We sat in Upper Circle C28 and C27. View was excellent and legroom perfectly
adequate for two people of 5’6” and 5’8” respectively. A word of warning - the
Upper Circle steps are quite steep and there are no handrails or anything else
within grabbing distance if you slip, so if you’re not good on steps, give
yourself plenty of time to find your seat before the last minute crowds."
Another row back a reader reports,
"D23 and 24 had a decent view (slight obstruction due to person sat in front)
but slightly cramped for legroom."
While another row back, a reader says,
"Excellent views from E21/22. Only one gripe, the seats are rock hard
and at a strange angle."
in the same row for "Oliver" (December 2008) a reader adds,
"E11 and 12: I thought these were really good seats for the view but not
for legroom. I was very uncomfortable and most others also appeared to
have their knees crushed up against the seat in front. The sound from
here was also very poor and at times could hardly make out what was
being said."
At the same show, a few rows behind, a reader says,
"J21 and 22: I would avoid these seats in the future. Although these
seats are classed as the second highest price bracket, I would recommend
paying the extra! These seats are just too far back, the atmosphere is
lacking, and the leg room is more cramped than the dress circle. The
only plus side to these seats was view of the stage, and even that was
limited."
Row K of the centre block offers good value, being cheaper than the row in
front but having a very similar view. Take K over J and save a few pounds!
Row K also wins a reader's vote:
"Upper Circle Row K seats 24 to 28 were wonderful. Felt like I was near the stage and fantastic view. Leg space was not bad for me considering
I'm 5''2 but my friend who is 5''8 had more of a problem".
As in the Grand Circle, the first and last few seats in the side blocks of all
rows offer grotty views and poor value with the edges of boxes intruding into
the view at the extreme edge of the stage. The first and last 2 in rows B and C
are worth a thought - as are the ones in A if legroom isn't an issue. Otherwise,
the rest are possibly the most worth
avoiding given that there is no discount now to make it bearable.
Rows K and L seats 12 and 29 are behind pillars. They offer fair value at a
lower price. If you can bear the restricted view then choose row L over K for
the slightly better view for this production in the monkey's opinion. The pillar
is thick and directly in front of the seat in row K, so you lean further over to see around
it. Those in row L will lean less and be a bit
more comfortable in the monkey opinion. It also felt that seat 12 was slightly
superior to seat 29. DO REMEMBER, though, that
these are restricted view seats - you won't see the whole stage from them...but
many pillar seat fans may well be happy here.
Row D seat 1 is haunted, but never after 6 pm and only if the theatre is
full. The gentleman is an elegantly dressed, white wigged man who moves from his
seat, across the gangway, and through a wall. A skeleton with a dagger in its
ribs was found behind this wall in mid Victorian times. His appearance during
previews is a good omen for the production.
Legroom is just barely adequate in all seats except row A. One reader
goes further in his report:
"Upper circle row J seats 12 & 13 at The Theatre Royal: I am 5ft 8, my
friend 5ft 6 so we're not that tall and we found the leg room a bit cramped, how
people 6ft and over cope is beyond me!". This was echoed by other readers
for rows B, D and K too (see above).
Upper Circle Boxes
Between the Upper Circle and Balcony are boxes E and EE. High up and
slightly restricted views. Good value at near Balcony price for extra
legroom and lack of ironwork spoiling the view. These are a good budget
option, sold to the public instead of housing spotlight operators.
BALCONY
THESE TICKETS ARE OFTEN BOUGHT BY TOUTS / SCALPERS FOR RESALE. THEY ARE THEN
PASSED OFF AS DRESS CIRCLE (first balcony) SEATS - WHICH THEY ARE MOST CERTAINLY
NOT!. DO NOT PURCHASE FOR MORE THAN FACE VALUE OR FROM UNAUTHORISED SOURCES.
The balcony overhangs the Upper Circle at row E.
A metal bar runs across the front of this circle, triple height at the ends
of the aisles in the corners. Row A and B seats are sold at bottom price to make
amends for the restricted view. If you can stand the legroom, sit in the centre
block of this row.
Regular reader Astrid comments,
"We sat in row A for "The Producers". We thought the tickets were fine with a
good view - we didn't really need the binoculars much. We did lean forward to
look through the bars. My arms are still hurting from doing that, though."
Like the Upper Circle the balcony is split into three blocks - centre and two
sides - by aisles. It too has a very shallow rake and is very high above the
stage, inducing vertigo in many people. Reader Jean Marshall felt that:
"the balcony was steep enough to give a good view of the stage, but I wouldn't
have wanted to be at the back".
Best seats are rows D to F 13 to 27. Row A loses marks for legroom comfort,
rows B and C because inconsiderate folk leaning forward could be a problem -
though B may worth a try at bottom price, feels the monkey...but only if you can
intimidate folk in front to behave. If you can't, then pick A instead and maybe
be the person to be intimidated...! That of course is a whole different
discussion, though.
Reader Adam Walker reports from row D,
"We sat in the Balcony row D 29 and 30. Be warned, the climb to seats from
ground level is a big one, especially when you're faced with the curt
warning of 'Showtime in 2 minutes!' Leave yourself plenty of time to get in
and settle back.
Agreed, it is high up. But really the seats are excellent value for money
(especially in preview price). You see the whole set from here, and you're
looking down on it, so really you don't miss a trick - and it's awe
inspiring to see the set at work (more on that in minute)."
Another reader says,
"I was sat on row D of the Balcony seat 27 which sounds really high up, which in
some ways it is but for a show of such enormity I wouldn't have wanted much
closer at all, it was a brilliant seat to be honest, although it was very hot
and a long walk. I can't really pick a fault at these seats apart from
when somebody stood towards the front of the stage I missed it due to the
person's head in front of me, but that was only once or twice."
Reader James is also keen on row D,
"Would agree strongly that row D centre block of
balcony is a good buy - such a "big" show that being
far away didn't matter. However, not sure how this
will be for Oliver, which will obviously depend less
on big spectacle and more on characters."
The monkey thinks it will be fine... it has been for other smaller
shows... paws crossed...
A row behind for "Oliver" a reader assures it that all is well,
"E 13 to 20: as the lovely lady a the foot of the stairs told us "you'll
need to take a big breath to get up there but we've got a great show
waiting for you once you've made it!" Only problem with being so high up
was that, on occasion, you could see the heads of people onstage who
would otherwise have been obscured from the audience's view by the set."
Reader Thomas Evans is also a Balcony fan:
"I booked two seats at the centre of row H of the Balcony, and was initially
worried about the distance from the stage. However, pleasantly surprised, I
seemed to have picked the perfect row: the whole stage could be seen and only
once did we need to lean forward"
While reader Zoe, another few rows back for "Lord of the Rings" (in May 2007)
says,
I sat up in the balcony Row K. It was very high up, and very hot, but at only
£10 a ticket was excellent value. I have to admit though it is probably even
better when you are closer." Another Row K dweller, for "Oliver," says,
"K3, 4 and 5, are just about as far away and as high up as you can get.
The legroom was OK (didn’t come away with bruises on the knees) and the
heat bearable. I think for this sort of production some distance from
the stage is good, you can almost the full depth (lot’s of it at the
Theatre Royal) and width easily to appreciate the choreography. The
walkway was partially obscured as was the top of the stage meaning we
missed the very occasional bit of action on one of the bridges if it was
particularly high. Sound levels were reasonable, but some vocals were
lost behind the orchestra." As in the Upper Circle, the first and last few seats in the side blocks of
all rows offer grotty views and poor value. Only row B seat 38 is excepted
because it offers a little extra legroom combined with being sold at bottom
price to compensate for a slightly restricted view of one side of the stage.
Also worth a look for "Oliver" are the end two seats in rows C to E,
also cheaper. Take the one in off the aisle for view, on the aisle for
legroom. NOT a particular recommendation, but a way to sit further
forward in the Balcony and save a few extra pounds for the least picky,
feels the monkey.
A reader says,
"C2: I specifically asked the Sales advisor if the seat had a restricted
view as I would not have bought it and was told that it had not. In
reality there was an hand rail running a couple of rows in front of me
at the same height of my eyes. I complained and was very disappointed in
receiving a very general standard letter back saying that following a
review of the seating by the producer before and after the show they
were advised that the seat did not warrant a restricted view
classification or a seating notice advising about the safety rail at the
front of row A. I did not quite completely understand what this meant,
but I know that the safety rail partly obstructed my view. I recently
noted that your website rightly describes this seat as restricted view.
Unfortunately I discovered your very useful website only recently. I
must say that since musical theatre tickets in London are not exactly
cheap, I was very disappointed by what happened." The rear two rows offer very poor views from all seats, being far
from the stage. Skip them as the are now the same price as rows in front - making them a "red" warning rating to the monkey mind.
Take these last or as an option if you don't fancy paying less to
lean through bars or peer round pillars. Go centre block before side blocks, naturally, in
true theatremonkey style!
Do remember that this is the Balcony, though, and even £29.50 will not
provide the same (or even close to the same) view as a £60 stalls seat might.
Reader Chris May comments:
"At twenty quid a ticket in the balcony I feel that if you are
in the centre block up there it's a fine view no obstructions. Binoculars are
good for close up views
The
only problem is that you may want to strip naked as its so bloomin' hot up
there. But it's worth the sweating for the cheap 20 quid.
Plus if you can't
walk well or like me had danced the night away for 4 hours non stop the
previous night don't expect the climb to the top to be an easy one.. The view of the actual show
from row H is fine but you may miss the top of the sets".
Someone else comments,
"I sat in J 24 of the balcony. I had plenty of leg room, but I know other people
didn't as the two ladies beside me ended up moving so that they could put their
feet over the seat. The view was great - I could even see some facial
expressions! The only problem is if someone sits on the edge of the stage - literally the whole balcony leaned forward.
Actually the other bad thing about being so high up was that it ruined some
effects, if you can see behind the set.
My other complaint about the seats up there - they're
all connected very firmly. Normally this is not a problem, but in this case
anytime the people next to me moved, they brought my seat with them - this was
particularly uncomfortable during the interval. Also, I felt it anytime the
person behind me moved their leg because they moved my seat. Luckily I wasn't
able to notice it too much once the show started!"
Reader Teresa Gustafsson says,
"K20 to 22: these seats are marked red but I disagree. I admit it’s
pretty high up but you have a totally clear view of the stage and don’t
miss out on anything except maybe facial expressions, but with the
binoculars you can have that to. The only bad thing is if you are afraid
of heights, like my friend, because it’s a lot of steps to climb!"
The exact reason the monkey has them "red" - though it takes the good
point the actual view isn't restricted. You do miss facial emotions in a
big musical, though, it feels.
Another reader notes similarly:
"We sat in Row L of the balcony... At first I thought it would be a nightmare
being so far back, but the Producers is not an intimate show and you don't miss
out on the action by being there. We shared a pair of binoculars to get a few
close up looks at the dancers costumes etc... I must agree it gets HOT up there,
and the seats are very cramped so get an aisle (not that it's any worse than
other theatres!)"
Legroom is just tolerable in all seats except row A - the very tall won't be
happy up here in any seat, though. Extra comfort can be had
taking seats on the central aisle and row B seat 38 - except for the tallest!
One person felt that,
"I could see very well as each row was raised up, but if I had been taller than 5ft 6 here, I would have been uncomfortable
where I sat in row E."
PLEASE NOTE: For copyright reasons, information
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page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed.
Notes
Total 2200 seats approx.
Air-conditioned using an air cooling system. Readers report this ineffective
(paper fans and bottled water are sometimes provided!),
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...
Good news in February 2009 is that permission is being sought to
install an air-conditioning system. Fingers and paws crossed, thinks the
monkey.
Infrared headsets available, working best in the central stalls - get the technicians
on the current show to improve this says the monkey; Signed and audio described
performances occasionally. Printed matter available in Braille. Wheelchair
access via a firedoor but no step for a change. Guide dogs can be dogsat. Unisex adapted toilet available.
Kept locked - ask for key. Fuller details www.theatre-access.co.uk,
www.seetickets.com,
or 0844 412 4648 or e-mail customer.relations@seetickets.com. Artsline 020 7388 2227, email artsline@dicon.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.
Food: a café plus confectionery and Ice cream. 5 bars: Stalls,
"Saloon" at Grand Circle level, 1 Upper Circle, 2 balcony.
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.
16 toilets; Stalls 2 gents, 3 ladies, 1 disabled, Grand Circle 2 gents, 2
ladies. Upper Circle 1 gents, 1 ladies. Balcony 2 ladies, 1 gents.
A further ghost, theatremonkey's hero Joe Grimaldi, haunts the stage and
kicks lazy and poor actors in the rear end as appropriate. Rumour has it
that the spook retired with exhaustion after dealing with a problem during the
run of "My Fair Lady" in the early 2000s... but the monkey cannot confirm
that...
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