STALLS
Layout:
A single block of seats faces the stage.
The Dress Circle overhangs the stalls at row K.
The rake
(sloped floor to help see over rows in front) is noticeable from around row D back to row O.
Legroom:
Good in rows AA (when used) to Q, except row BB (limited for those over
5ft 10 or so, unless the row
in front is removed notes Tim, a regular monkey reader).
Adequate in R and S. Row U has less - those over 5ft 11 or so may feel
cramped.
Best legroom in AA 1 to 10, B1, 12, C 1, 2, 3, 16, 17, D 1, 2, 19, 20, E 1,
H1 and 21
all of which have no seats in front.
E21 and Q2 have 9/10ths of the seat with nothing in front, T1 about
5/8ths clear and A1 about 1/10th for those who are happy to peer a bit.
Choosing seats in general:
The monkey has always enjoyed the atmosphere of rows AA to C for
proximity to the stage. The enclosing walls create a very intimate
atmosphere at the front of this theatre.
The good news is that, given a high stage, row AA is often sold cheaply
to those willing to accept neck ache.
Behind it, at top price, rows BB and A may be out for many whose health
cover does not run to physiotherapy.
The positions of the boxes at the front of this theatre mean that the
first and last two seats of rows C to F face walls rather than the
stage. These seats (plus occasionally extra ones behind them as far back
as row H) are usually a bargain when sold at restricted view prices for
those accepting a little wall with their play. The monkey prefers them
over “clear view” more expensive seats in row R back, anyway.
Take the seat one in from the aisle first in all cases - D2, 19, E2, 20,
F2 and H2 and 20 etc, and work forward from row H to D in that order.
The outermost seats lose around an eighth of the stage nearest to them,
the seat further in about a tenth.
If any of these seats are sold at top price, just enquire if the wall
has been demolished - the reply will be negative - and insist on central
seats.
The rest of the stalls to row O are comfortable with a good rake,
offering at least average value for money.
The monkey picks rows F to H as prime value, but would be wary of rows
J, K, M and N
– not sufficiently offset to see past the row in front, according to one
reader. The monkey would add row G to the list too. Fine if you are 5ft
7 or so, but shorter and with someone tall in front, you could be
weaving to see both sides of the stage.
Rows P to U feel like a large room tacked behind the main theatre. The
rake is not great here, but the lower prices in rows R to U usually
marks out these seats as pretty acceptable value for money. On the other
hand, row U is often the same price as row AA – the monkey prefers neck
ache to lost view, but accepts it is a personal choice. It's more
cramped too, and feels a little grey in its spot alone.
General Hazard Notes:
Neck ache in rows AA, A and B.
Ends of rows C to H face a wall rather than the stage.
A reader reported that row N is not "staggered" sufficient to see around
people in row M ahead of you. These seats should possibly be avoided by
the shorter person as it could cause a problem, though none has been
reported to the box office at any point and the rake is good enough to
generally allow a clear view of the stage, in the monkey's opinion. The
cause is suspected to be a problem with flooring, allegedly...
Row P has thick pillars either end. This creates a detached environment
for rows P to U.
Views from row P back are slightly affected by circle overhang - the top
of the set / action happening at a higher level cannot be seen.
A sound desk can replace seats 1 to 6 in rows T and U.
Changes for the current production:
Row AA is in use as cheap "day seats." The stage is 15cm
higher than usual and it is a sharp look up. There's also footlights
between seats 1 and 2, 3 and 4, 5 and 6, 7 and 8 and 9 and 10. Those
small posts can assume giant proportions thanks to the seating angle.
Not exactly view-blocking, but many will notice them. On the plus side,
legroom is excellent. Oh, basically, these are a total bargain and take
any you can get, going from centre to sides as available. Just accept
that you will miss some action. SPOILER ALERT:
Somebody in the row may be given something from the stage. No actual
participation required, but the shiest may wish not to sit on the "low
numbers" end. SPOILER ENDS.
With the high stage, it is worth missing row BB as it's full price
but a real neck ache, and the shortest under 5ft 8 or so should also
skip A for the same reason. Rows B and C are fine, but if you
pathologically dislike looking up
and paying a lot for it,
sitting further back is probably worthwhile.
The ends of rows C to J are not discounted. Skip the outermost two seats
in every row, as there are far better views available for the money.
Central seats in rows D to G are designated "premium" and cost more.
There's seats as good nearby, so a case of whether you feel it
worthwhile, thinks the monkey... H and J 5 to 16 (plus C if taller so
that the stage height isn't an issue for you) could save a
good few pounds for the same view, it feels.
Row R is cheaper than Q and decent value, the monkey feels.
At second price, row U is a little far back, but still score
heavily over the upper circle for comfort. Put another way, the monkey would
take this row before that circle on those grounds alone.
Reader comments:
"Row AA: (Beth) The front row at The Duke Of York's is fine - it was a
perfect view and the only problem was getting soaked by water and hit by
debris during the production itself, which we were not expecting and
came as quite a shock. It was fine though - we didn't have to pay extra
for being involved actually in the production (and screaming at a tense
moment when being hit by water unexpectedly) - Crash helmets advised,
feels the monkey.”
"AA10: "Jumpy" (August 2012), (Taljaard). I asked if the stage was very
high and advised not so gave over my £10 and bought the ticket. Got to
my seat to find it very close to the stage but with a steep rake on the
stage no problem with having to arch my neck very far."
"AA5 and AA6: the seats were really brilliant, although we did have to
look up but having the whole cast standing within touching distance
really is an unforgettable experience."
"BB 5: "Passion Play" (May 2013). Purchased a day seat for just £10
for Passion Play. This seat was centre stage and had ample leg room, the
stage height means looking up but not to any real detriment - only
losing the actors' feet from view. The closeness of the stage front at
first felt intimidating until the curtain went up, This then freed you
from this feeling and you could happily watch the play."
A1 to A3: “Under The Blue Sky” (July 2008), (James – regular reader).
Ordinarily I wouldn’t book so far forward but the tickets were free so I
wasn’t complaining! I was pleasantly surprised though… I thought I’d
have to crane my neck a lot but it wasn’t really that bad although there
is quite a bit of action that takes place with people sat on the stage
rather than standing so perhaps it would be more of a problem if this
weren’t the case. Good seats overall, though, but if you’re paying full
price I’d go a few rows further back."
"A9:(Mark) Excellent seat! Not too close to induce neck pain, but close
enough to feel involved with the performance. Some people may find it
too close, but I personally love to be this close to see all the actors
expressions."
"A2: “Journey's End” (August 2011.) Sat here for £25 - what a bargain
loads of leg room. The stage does feel high but I think this is due to
the stage front projecting forward 12" from the actual stage making the
view seem higher than it really is, You have a great view of the entire
stage - only unable to see the actors feet ( for this production WWI
boots ) so no real loss! You have a great feeling of intimacy with the
actors as the stage walls are quite close to the end of the front rows.
I had no problem with neck ache. For this production the feeling of
being so close to the action only added to the experience of watching a
wonderful play. A great value seat."
"B5 and B6: (Rebecca) These are roughly in the centre of the row and we
didn't think that we were too close to the stage. I wasn't aware of any
neck-ache looking up at the stage. Leg room wasn't great (I'm 5ft 9) but
was by no means uncomfortable."
“C8 and C9: (David). Good legroom and perfect to see all expressions and
hear the excellent dialogue. The front rows of the stalls look as though
they should be avoided and very likely to cause a 'crick in the neck',
as although the stage is sloped forwards it is also quite high. Row C is
about about 5 rows back as the theatre has A, AA, B, BB method of
identification and fellow theatre goers will have no problem where we
sat."
“C11: (Hannah M) … which was brilliant. Leg room is OK, fine for
averagely sized me at least, but isn’t hugely generous. This seat is
very central and far enough away from the stage so you don’t get a crick
in your neck, but close enough so that you see everything and feel
really in on the action. I would say it is worthy of a green rating, but
then I was paying a bargain £25 Studentmonkey price…"
“Row D: We'd booked seats for row D of the stalls in the dead centre, I
really couldn't ask for seats any better than these. I didn't miss a
thing from these seats at all they were actually perfect. The leg room
was also really really good, being 5'11 I usually find some seats quite
restricting on my knees but I had plenty of room. The seats aren't the
most comfortable I've sat in at a theatre but were still very good."
“D3, 4 and 5: I would have preferred less amplification, which was even
more hard on the ears in the front stalls than in the front of the dress
circle (seat A5) where I sat last time."
"D17 and 18: "Twelfth Night" (December 2009). Had a good view and was
close to the stage without having to look up. I would avoid D19 and E20
and 21 as you will be facing a wall and have to turn left to see the
stage."
“D19 and 20: view not especially brilliant, but plenty of legroom."
“Row E centre: the view was great as it wasn't blocked by another member
of the audience."
"E13 and 14: (James F). Delivered a view close to the action, but for
top price tickets my view was often obscured by the people in front of
me, who weren’t that tall, and also the actors. The legroom was great,
but for a near three hour production, your bum does get sore after a
while."
"G1 and G2: No problem with the view as the play is set quite centrally,
but the dear old wall is still there."
"G8 and 9: "Ghost Stories" (July 2010). Thought these would be good...
until 3 x 6' guys sat in front of us and blocked the entire middle of
the stage, where what little action there was actually happened."
"G9 and G10: “Rent” (James – regular reader). Great seats to see the
show from, but even row G felt a little far forward, especially when
action takes place on a raised walkway, but I’m not the tallest of
people."
“G10 and 11: “Constellations,” (Chris B). Got these seats in a
premium seat upgrade offer, as these seats are designated premium. No
complaints whatsoever, they offered a wonderful view of the fairly small
stage, close enough to see all the facial expressions etc but far enough
back to feel comfortable. The rake is also high enough to easily see
over the heads in front. The legroom was quite plentiful too. Can't
recommend these seats highly enough.”
"Row J: Very good seats! I wouldn't have wanted to be any further back,
maybe a couple of rows further forward. Be advised that the floor of the
main set is about two feet above the stage and the front five or six
rows of the Stalls will have to look upward or slightly upward for most
of the play."
“Row J: Checked online before I went out and saw that there were lots
and lots of unsold seats. Went into the theatre and bought the cheapest
£10 ticket in the back row of the upper circle, and was immediately
upgraded to Row J stalls (in the premium seats!). Seat was very good,
although I really wouldn't think it is worth the extra money for
"premium" seats."
“J21: (end of the row). The person in front of me was not especially
tall. But at row J there is no elevation/rake from the row in front and
the angle of vision to the centre of the stage was blocked by the head
in front." Again not something the monkey (or the theatre) had heard
about before, but some visitors may find knowing about this issue
helpful.
"N17 and 18: Great seats (on discount), would have liked to be a few
rows further forward but I could still see everything from where I was."
“Q1 and 2: "Backbeat" (October 2011). Great seats from Leicester Square
booth, great discount price £30 each."
Stalls Boxes
Layout:
G and H at
Stalls level, at either side of the stage
Legroom:
Good, as movable chairs are used.
Choosing Seats in General:
Fair value
if sold at less than top price, skip it if more expensive, though.
General Hazard
Notes:
A
side-on viewing angle and the nearest rear corner of the
stage obscured.
Changes for the current production:
Not in use.
Reader Comments:
None.
DRESS CIRCLE
Called the ROYAL CIRCLE in this theatre.
Layout:
The Upper Circle overhangs the Dress
Circle but does not affect the view from any seat.
A single block of seats in long rows. Row F is divided into three by
pillars half emerging from the wall behind. These create a gap between
seats F5 and 6 and 13 and 14.
Legroom:
Poor in all seats for those over 5ft 10
or so, notably row A where you don't gain any extra inches for feet to
use the spaces left by the curved backs of seats in front. The ends of
row D also have a little less. Oddly, readers feel it depends on "leg
length" a bit, with one 6ft reader happy in row A, another 5ft 7 feeling
cramped...
Seats F1 and 19 have nothing in front, worth a look if tall and not
minding the loss of view, perhaps.
Seat B1 has nothing in front of one tenth of it, allowing a thin leg to
stretch a bit, perhaps.
Choosing Seats in General:
A fairly shallow rake makes the view average from row D back.
On the whole, this hairball prefers the stalls at the same price, but
will accept the circle if it has to. The box office manager though,
disagrees and prefers the Dress Circle... - as does a reader who rates
A5 outstanding - so everyone has an opinion here!
Central rows A and B are often sold at “premium” prices. There are seats
with the same view beside and behind them, and more legroom in the
stalls, notes the monkey.
The length of rows B and C cause B1, 2, 21, 22 and C1, 2, 23 and 24 to
be designated restricted view. Walls cut the edges of the stage off and
a strange viewing angle is created - it feels like peering round a
corner. At low price these are at least fair to good value, but the
monkey would take same price stalls for "comfort over view" reasons.
Avoid at full price and take the inner seat first as the improvement in
view is noticeable - the outermost seats lose a third of the stage, the
next seat in less than an eighth, the monkey felt.
In the rear Dress Circle, row F seats 6 to 13 are expensive at top
price, feels the monkey as the front of the stage is often lost.
Seats at the extreme ends of row F are normally cheaper. At top price,
just about average, feels the monkey. If extra legroom is required, F 1
and 19 are possible, though.
The monkey would take the cheaper
seats in rows B and C before these, to be honest, otherwise.
Two wheelchair spaces in restricted view sides of Dress Circle at around
row C.
Theatremonkey rates the left side better than the right, but all are
fair value. Still, a better view would have been nice if possible. See
notes.
General Hazard Notes:
Seats on the extreme ends of rows B and
C are affected by boxes intruding into view.
Seats on the ends of row F lose view to the curve of the circle cutting
off the stage front.
Changes for the current production:
Premium seats are located in the centre of rows A and B. Fine if you feel
like it, but there are seats as good around
them to either side. Stalls premium seats will offer more legroom too.
The restricted view
seats at the ends of rows B and C are fairly priced, but the monkey
would take the dress circle boxes at the same price first for comfort if
not view. Your call too on taking the more expensive row U stalls over these
too - the shorter should take the circle, the taller the boxes or stalls
for sure.
Row F, at second price, is fair if you can't get stalls rows R or S for
the same money, or are
shorter and would have a problem seeing over heads if in the stalls, the monkey feels.
Reader Comments:
"A5: "Jumpy" (2013). Have seen
some reviews that suggest the seats are cramped. View of stage was excellent
as was leg room. Am 6 ft tall and had ample legroom."
"A14: "Passion Play" (2013). View of stage was excellent as was leg room. Am
6 ft tall and had ample legroom. These seats are not premium price so for me
represented excellent value for money."
"B4 and 5: "Posh" (May 2012),
(Chris B). Excellent
view, could easily make out all the actors facial expressions and have a
good overview of the whole stage. Plenty of legroom."
"Row C: "Backbeat" (October 2011), (Richard). We sat in the middle of row C,
which were good seats, but the Duke of York is such a small theatre that I
don't think there's a poor seat in the house."
“D6 and D5: The leg room was exceedingly poor and it was difficult to hear -
if someone opened a bottle of water it was louder than the people on stage.
Also as the leg room was so bad, people were restless and constantly
shifting around in their seats. The view was restricted by the people
sitting in front of us - who weren't even especially tall (5ft 4?). I think
only people in the centre of Row A of the Dress circle would have had a good
view from the Circle. A fat person in Row A stood up during the ovation in a
vain attempt to catch Orlando Bloom's eye and in so doing restricted the
view of every person in the Dress Circle."
“D12 and 13: The view was perfect (no heads in the way), the sound quality
fab, the leg room good, the chair size adequate."
“E13 and 14: Fine at £25 but I'm not sure I would pay full price for them.
The view is actually fine, but the Upper Circle makes you feel a little
claustrophobic!"
Dress Circle Boxes
Layout:
Dress Circle
level, at either side of the stage, between the front of it and the
front of the circle.
Legroom:
Good, as seats are movable chairs.
Choosing Seats in General:
With a fair viewing angle, boxes
C and F then B and E (in that order) offer especially
attractive options for comfortable well-priced Dress Circle seating at
less than full price. At full price, they may be considered a little
average.
Boxes B and E at
second price might be attractive for comfort, perhaps, to some wanting
more legroom and a Dress Circle view.
General Hazard Notes:
Side-on
viewing angle and the nearest rear corner of the stage obscured.
Changes for the current production:
About value
for those
wanting a dress circle level sideways view with more comfort than second
price edge
of circle seats offer.
Boxes C and F are cheaper than usual and a good buy for those wanting
to be nearer the stage and comfortable.
Boxes A, B and D are not used.
Reader Comments:
None.
UPPER CIRCLE
Layout:
A disused balcony (housing a recording
studio!) overhangs all rows on the Upper Circle. This does not affect
the view from any seat.
A single block of seats curve towards the stage.
The back two short rows are benches rather than normal seats with arm
rests.
Legroom:
Poor in all seats in rows A to F, worst in row A.
Row G is acceptable for those up to around 5ft 6, row H to around 5ft
8... H 1 and 8 though have no arm rests and 50% of each seat has nothing
in front - allowing stretching for one leg at least.
Choosing Seats in General:
Tickets are normally split into two, sometimes three prices.
Central row A may be sold more expensively than other seats. Really
not worth it unless very short, feels the monkey.
Around and behind row A, and back to row F, central seats are the next
price down.
In the front section, Monkey view is to take the seats beside the most expensive in row A
first, moving back from B to E before moving out to seats further
towards the sides of the auditorium.
All remaining seats are more reasonably priced, so for the monkey it
is just a case of picking the most central and avoiding the worst of the
restricted views by skipping the outermost seats if possible.
Monkey would particularly skip B8, C to E 16, F 7, 8, 14 and 15. All
are overpriced, it feels, given both comfort and view.
The first and last two seats at least in rows B to F are normally sold
as restricted view, due to the same 'peering round corners' effect as in
the Dress Circle below. At bottom price take a box instead. There is no
real bargain to be had in sitting here - and plenty of discomfort. Note that seats B 1, 2, 22 and
23 and C 1, 2, 23 and 24 have been pressed into service again after not
being used for a while due to this issue. The seats next to these - two
or three in each row also used to be discounted, but are now merged into
the next price up.
Rows G and H are a long way from the stage and may or may not offer
poor value - pick a box or seats a row or two further forward (but not
on the absolute ends of the row) instead if there is action on more than
one level of the stage. If something is played "front and centre"
though, a possible choice.
They are benches - so arrive early to stake out your bit (and hope there
is nobody too vast sharing the row that night!). Row H only has a metal
bar to lean on, row G lean against a wall. The ends of row H are the
most comfortable seats in the upper circle, given that they have
stretching for one leg.
All other seats offer a clear view - though parts of the stage can be
missing - and fair value for money relative to the price and position of
the seats.
General Hazard Notes:
The curve of the circle cuts the view of the front and sides of the
stage.
Anybody leaning forward blocks the view for those behind.
Some more central “restricted view” seats are often re-priced as “clear
view” if producers feel the restriction isn’t sufficient.
Changes for the current production:
Central seats are at third price. If on a budget, legroom isn't an issue and you prefer not to lose the top of
the stage, or endure neck ache, these are your choice...
the monkey takes the slightly more expensive rear stalls
for comfort, every time. If you are tempted by the circle, take B
over A for a half inch of extra legroom. B8 is better value than usual,
as it's cheaper for a change.
Be careful: A 3 to 6 and 15 to 18, B
4 to 8 and 16 to 20, plus C and D 6 to 8 and 16 to 18 are all normally
classed as "restricted view and sold more cheaply. Not this time - so a
final choice.
Other seats are more fairly priced -
you'll get what you pay for. Be aware that
the bench seats at the back are better for both view
and comfort than the seats further forward, as a budget choice, the
monkey feels. Still, those saving money by sitting in the aisle seats of
rows B to F won't be doing too badly either, it feels.
Reader Comments:
"C7: "The Judas Kiss" (February 2013), (Marcus). Though a good area of
the stage is blocked from view, it's an area that's little used. The higher
seat numbers would have missed more of the action so worth noting if you're
booking these cheaper 'restricted view' seats."
“C17 and 18: We paid £30 each for these
seats. There is no leg room at all - I am 5' 8" and my knees just wouldn't
fit - my legs went to sleep and we just had to move elsewhere after the
interval. The Americans sitting next to us couldn't get over how bad the
seats were for the price charged. Be very careful where you sit in this
theatre. Surely something could be done to improve this."
D 16 and 17: "Little Shop of Horrors" (March 2007), (Rob). Fairly good view.
I see no reason for people to lean forward in these seats but they still
did! Lad in front of me was very accommodating and sat back after I asked,
lad in front of my partner had no-one in front of him but still spent whole
show 'elbows on knees' leaning forward and spoiled it for next 3 rows behind
him."
"E16 and E17: "Arcadia" (June 2009), (Marty). The view was fine. (once the
girls in front of us stopped leaning forward) Apart from a very tiny bit of
acting on the floor downstage at one point I could see everything. The
acoustics and the projection of the actors were perfect and I never got that
feeling of not being involved you sometimes get sitting in the gods. The
whole upper circle were laughing and part of the experience. Bring water if
it's a hot day as it was a bit muggy up there. There's a balcony in the
upper circle bar with limited room, so good to head there first during the
interval for some fresh air."
Upper Circle Boxes
Layout:
Upper Circle level, at either side of the stage, between the front of it
and the front of the circle.
Legroom:
Good, as
seats are movable chairs.
Choosing Seats in General:
A good choice when
sold, offering cheap restricted view seating with decent legroom - worth
considering. Take L and O, then N and K for the maximum angle available.
General Hazard Notes:
Side-on viewing angle
and the nearest rear corner of the stage obscured.
Changes for the current production:
Boxes K, L, N
and O are in use at lowest price. A very decent perch for the money, the
monkey feels, offering greater comfort than other seats at the price.
Reader Comments:
None.
Notes
Total 659 seats.
Air-conditioned.
Infrared loop in whole auditorium. Occasional signed
performances. Guide dog sitter available. 2 wheelchair spaces in restricted view
sides of Dress Circle. Adapted toilet near
seats, large but with inconveniently placed toilet roll holder warn the box
office. Call 020 7565 6485 to reach the box office direct and make a booking.
See www.ambassadortickets.com or 0844
8717 677;
Artsline 020 7388 2227 email artsline@dircon.co.uk
for further info. A "venue access guide" from the team who created book "Theatremonkey: A Guide to London's West End ," is available to download in PDF format
by clicking here.
No food except Ice cream and confectionery.
Two Bars, at Stalls and Upper Circle level. Reader Marty notes,
"There's a balcony in the upper circle bar with limited room, so good to head
there first during the interval for some fresh air."
Five toilets in all. Stalls 1 gents, 1 cubicle; Dress Circle 1 ladies 4
cubicles, 1 unisex disabled; Upper Circle 1 gents 1 cubicle, 1 ladies 3
cubicles.
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