STALLS
The Dress Circle overhangs the stalls at row G. The top of the stage is not
visible from row N back.In the front stalls the first and last three seats in rows C to L should be
avoided as the viewing angle is not acceptable value from a top price seat.
Pillars at the ends of row G affect the view of the seats in rows H to L
directly behind.
Rows A and B provide a fair view, though you should be willing to put up
with neck ache and sometimes a limited view of the rear of the stage. Totally
your call, thinks the monkey. With rows AA and BB added, accept that
you'll look sharply upward from them - not great at top price, feels the monkey.
For "Chicago" (November 2011) the front row is
AA. When AA is
cheaper it's about fair, feels the monkey, who prefers it to rear stalls or
upper circle at the same price. At top price, unless proximity to the
star is a requirement, it's always worth sitting further back for
comfort. The stage is high enough that anyone under 5ft 5 or so will see
little, and even those less than 6ft will be looking upwards and
probably miss action towards the rear of the stage.
For "A Little Night Music" (April 2009) a reader reports a problem
with the very front row,
"We always like to sit front row so booked row BB, appreciating that
sometimes stages can be high. My daughter and I sat down (we are 5ft
1inch tall) and all I will say is that we could not see anything: no
stage, no scenery except the very top where the scenery finished. It was
as if somebody had turned off the light!! My Husband, who is 6ft, could
see the last little bit of the scenery at the top. As it was impossible
to stay there, we went to the box office and they exchanged them after a
slight disagreement - so obviously nobody has told them there is NO view
and that you would only hear the music. Nobody sat in the row. As they
have extended the stage, why has nobody sat there and realized and taken
out row BB? It's the first time we were all actually speechless!!!!"
Luckily, the reader says on a second visit,
"They had completely removed row BB.
Behind it, row A was fine for us (but then we are front
rowers); at one small point when they laid flat on the floor you
couldn't see them, but that didn't bother us. We had a great night and are booking same seats again before
it finishes."
A reader says,
"I booked front row seats for Zorro (closed March 2009), when extra
row AA5 to 8 were available for £37. I was a bit
apprehensive as people have said about the stage being high. The stage
is high and people prone to neck ache, I suppose, will get it. I am only
5ft and I did have to look up, but I loved it - well worth the money. I
would sit here again but will not pay full price. It did not bother
me in the slightest. Sitting in the front row you are on the edge of
your seat. A great experience."
Reader John Lafferty reports,
"My view was unobstructed and there was plenty of leg room for seats BB1
and BB2 in the stalls."
Reader Bas agrees,
"I sat in BB in the stalls (when second row) and the pitch was
fine. You had to look up but were close to the action -
recommended!"
Another reader agrees for "When We Are Married" (November 2010),
"BB10: was perfect."
as does reader Taljaard for the same show,
"BB8: For £20 as a 'day seat' in the middle of the second row was
perfect, with the low stage there."
Another reader observed,
"We had seats B2 and 3 in the stalls. The Garrick is an amazingly
intimate theatre and these seats felt truly part of the action. There was a family
seated in row AA, but the children couldn't even see the stage so they
were luckily moved to row BB, which seemed to be OK."
From the same row, another says,
"B14: Enjoy being on the aisle, you don't miss anything and it's a great
view."
Behind, another says,
"Sat in Stalls row C9-C12 for 'Zorro' (March 2009). I felt a little too close to the
stage as I think you miss some things because you can’t see the entire
stage without turning your head. Also, I had to look up quite a bit as
there’s a high stage. However, I did get the tickets for £30 via TKTS
and at this price they were very fair."
During "Quick Change" artist Arturo Brachetti's November 2009 show,
another reader observes,
"C 15, 16 and 17 were good, but for this show I would recommend sitting
a bit further back because we could sometimes see under his skirt and
see part of the other costumes underneath, which spoils the magic a
bit."
In the same row for "The Hurley Burly Show" (March 2011) reader
Michael says,
"C7 and 8: Worse for leg room than charter airlines. View of the stage
was fine, just cramped. The short run time of this show helped in the
comfort factor. As rows here can be removed and easily replaced, it
seemed that may have been an error replacing them as row B had much more
leg room than C. Bear this in mind when choosing either B or C."
In row D, reader Michael says,
"D7 and D8: We were pleasantly surprised that this row was "offset",
whereas all the rows AA to C were placed seat behind seat. This gave us
a view between bodies/heads and feel that D6 to D13 could be GREEN as
your row behind is. From our row, there was a real feeling that the
performers were right on top of you when at the front of the stage, a
nice touch in this theatre."
One reader felt seat E8 was excellent.
Another reader cautions,
"I paid more for a better seat in
the Stalls and was glad that I did. A final tip is that the stage is
very high, rows D and forwards are below the action and people with
these tickets have to look up all the time. Row E was excellent."
Another reader agrees,
"E9 to 12: Excellent seats: dead
central and a full view of the stage."
Endorsed by another reader,
"E11: Got student ticket 45 minutes before for £20. E11 is a FAB seat!
If you are gonna be paying full price for a ticket definitely go for
something around this area of the theatre."
while another observes,
"When walking to the Stalls bar which is situated at the rear of the
seating area we happened to look back at the stage and realised exactly
what other readers have commented on regarding the rear most rows of
seats. You would miss quite a bit of action if it happened on a high
level above the stage. We
were in Row E (6 and 7) and found them to be excellent, perfect distance
from the stage and enough legroom for a large lanky oaf like me."
F 22 and 23 are designated restricted view. If sold at reduced price
- as for "Chicago" (November 2011) - they
are very much worth consideration, when sold (as usually happens) at top price, avoid. E21
and H 1 and 23 fall into the same category.
In rows G and H, regular Theatremonkey seat commentator James comments for
"Zorro" (July 2008),
"Sat in Stalls G14 to G16. I certainly wouldn’t
want to be any further forward and even G16 was beginning to affect
the viewing angle. It’s definitely a show that you need to be as
central as possible for but if you are on a side it’s probably best
to be in the higher numbers due to where the action takes place on
stage. From H11 and 12: Staggered seats and a good rake meant that the view was
excellent. For this show I’d probably sit a row or two further back
just to see the whole stage without turning from side to side but
that’s just personal preference."
"Chicago" (November 2011) sees "premium" priced seats in
the centre of rows F to J. Monkey advice is take seats around them for
the same view at lower cost.
As a reader says at another production when the row in front of these
was also included,
"F4, 5 and 6: I was sitting in F6 which had a really good view.
Although I can see from the plan that for the production I saw it was a "premium" seat, I wouldn't
pay more than I would for any of the surrounding seats. F4 and 5 were
also good according to my friends. Even this far forward in the theatre,
the rake isv't disrupted at all. Legroom was
also very good."
In row J, for "All the Fun of the Fair," (May 2010) reader Frances
says,
"J20 and 21: What excellent seats they were, and should definitely be
green on Theatremonkey's seating plan. I was lucky enough to get my
tickets on offer - £55.00 down to £27.00. The theatre was very
comfortable as it was half empty; from my seat (J21) the next 10 seats
were empty, so I had room to spread - and rows M backwards were
completely empty and no one sat in front of us. Seats from M backwards
were really not worth paying top price for as you can't see the back of
the set or the top, and quite a few parts of the story are at the back
of the set."
From row L, reader James says,
"Sat in L13 in the stalls, great seat but worth noting that from row J
backwards to row N the seating is bizarrely not staggered - so you will
have someone's head directly in front of yours. Would definitely agree
about needing to see the top of the stage if
using its height."
In row M, another reader opines,
"M9: Seat was very good."
and a row behind, reader Steve Chalmers happily reports,
"row N, good view."
Another reader cautions, though,
"N17 and 18, good view, acres of legroom, but
watch the toes with passers by."
Of N19, a reader says when obtained at a discount,
"Just the top corner of the view is cut off by the balcony. This is
often irrelevant for a play, and - with no row in front - the extra leg room
more than made up for this. So though this is a red seat on the monkey
chart, I think I had my money's worth with a heavily reduced ticket."
Row N back sees the stalls divided into three blocks - centre and sides. In
the central block the view is acceptable except in seats behind pillars. For
"Chicago" (November 2011) value is about fair in the centre of rows
U to X (8
to 17) where seats drop a price over those in front. Skip S and T at top price,
though, really not worth it for "Chicago" as you miss the top of the set
- though no action takes place there, it's still annoying at full price. Your choice whether you
prefer the Stalls or cheaper Upper Circle. The monkey goes for the
rear stalls for comfort, Upper Circle slightly for view compared to row W back,
perhaps.
Pillars occur in the centre of the stalls next to seats N6 and 16, and R 7
and 16. This makes seat 7 in rows O, P, Q, T, U, V, W and X, seat 18 in rows O,
P, Q, T, U, V and X restricted view. The pillars directly in front of seats
7 and 18 in row O and T restrict legroom somewhat, but the view (for
those willing to peer round them) isn't bad, with the pillars lining up
pretty much with the edge of the stage. For "Chicago" (November 2011)
you may miss action taking place there - one full song and one key scene
among them, but that is all. Otherwise, rows O, P and Q are not that bad
and would have been an alternative to the upper circle at similar prices...
at top price, though, the monkey would look elsewhere.
Side block seats Row N 3 to 5, 17 and 18
are also are acceptable, offering reasonable
value for money, though
central stalls are preferable. Side block seats do not have aisles at the far ends
- claustrophobics
may prefer to sit elsewhere. "Chicago" (November 2011) has big problems with the
aisle seats in these side blocks, though. A pillar removes any sight of
action at the sides of the stage (crucial for one scene and a song) and
destroys the symmetry of the production staging. Avoid these blocks.
In row O, reader Clive observes,
"O10 to 13: The seats were comfortable, the view fine but the rake is
quite poor. While we had no problems shorter patrons with the wrong
people in front could have an impeded view."
From row P at "Potted Potter" (August 2011) reader Clive noted,
"P19 and 20: These seats felt a little remote from the stage. However
despite this and being to one side there was a good view of all the
stage and the legroom was also good. It was however impossible to see
when one of the performers drew something and when in a card trick a
card was held up for everyone to see. These really didn’t interfere with
the enjoyment of the show however."
In row Q for "A Little Night Music" (March 2009) a reader reports,
"Q17: Since the actions of this show were mainly at the stage level and
the set was designed accordingly, I am happy to report that the view
from my seat that is considered at the back section of stalls was not
obstructed by the Dress Circle hanging at all."
Also from row Q, regular contributor James notes,
"Sat in Stalls Q5 and Q6 for “A Little Night Music” (April 2009). The
view was good but they felt a little far from the stage for top price.
For this show the overhang doesn’t cause a problem, but I can see it
doing so for other shows. Legroom is also not great here."
A row behind, for "When We Are Married" (December 2010), reader
Graham says,
"R14 and 15: Fine - although the rake is non existent. Would have liked
to have been slightly closer, but was OK."
At the side of row R for "Lance Horne: First Things Last" (February
2011), reader Clive notes:
R1 and 2: A good view except for the very near side of the stage which
was not visible. Elbow room was tight, leg room poor and there was no
rake."
Reader Lorna agrees,
"We sat in row S of the stalls, unfortunately the view is not quite so
good from back here as the dress circle roof cuts off the top of the
stage ,so you miss a bit of the action. I'd say pay a little bit more
and go for row L or forward."
Reader Clive found likewise,
"S7 to 10: For "HIT ME! The Life And Rhymes Of Ian Dury." Perfect view
of the performers and all of the set, however the view of the screen
used infrequently for film images was obscured at the top by the
overhang of the Dress Circle. Seats were comfortable and legroom
adequate. The spoken (but not sung) words were sometimes difficult to
make out. The lack of amplification by itself would not have been so
much of a problem, but for an exceptionally noisy audience, very creaky
seats and noise from the sound booth behind."
Another reader in the same row at "Pygmalion" (May 2011) found that,
"S11 and 12: Supposedly this is a full price seat, but the circle
overhang means that the top of the stage is obstructed - but that wasn't
the problem. The seats aren't fully staggered to 50/50 to see through
the row in front. I had a woman with very big hair in front of me, and
in front of her a man with a very big head. Subsequently during the
first half I could only see the right third of the stage, if often felt
that some of the actors were a monologue, or that I was listening to a
radio drama. During the interval the man swapped with his partner (I
didn't ask, so wonder if there had been other comments). I was now able
to see the left hand third of the stage. I was never able to see
anything in the centre of the stage which meant I didn't get to see
Eliza (Kara Tointon) until about 3 scenes in."
Check if Marge Simpson is in town before booking here, feels the
monkey...
One reader warns that if action is staged high
up, as it was for "Zorro" when she saw it in 2008,
"I thoroughly enjoyed the show... from the knees down! Why? Because the
clever designers have maximised the limited stage space by building
vertically. If, like me, you are in Row V (or in fact any stalls seat
from N back); you will spend happy minutes during the show trying to
work out whose knees belong to which character... and when the rest of the
auditorium gasps, you will just be
sighing with relief when actors make it into view!"
Also in row V a reader comments for "Zorro" (July 2008),
"We had tickets in Row V, Seats 3, 4, 5 and 6 and we could only see
about a third of the stage. The overhang blocked all the action taking
place at the top of the stage. The pillar to the side of our seats also blocked our view of the
actors to the left of the stage (audience left).
We were lucky enough to move to better seats in the Dress Circle during
the interval but I was bitterly disappointed in the quality of the seats
in Row V. They are definitely restricted view."
Row X 7 to 9 is slightly raised on a step, but it doesn't improve the
view much.
A sound desk is placed at the back of the theatre for musicals -
worth skipping W 9 to 17 and X9 for purists.
Legroom is fair throughout the stalls, tight in row C and tighter for those
over 5ft 9 or so from O back, best in row N seats 1 to 5 and 17 to
21, which have an aisle in front of them. One reader in row N warns, "N17 and 18: watch the toes with passers by."
A 1 and 14, D 1 and 19, E 1 and 21, F 1 and 23, H 1 and 23, O 1 and 24 and T1
have space in front for at least one leg to stretch.
Stalls Boxes
Boxes A is adjacent to the stage. The view is side on but acceptable at
a low price. Seats 2 people. Not in use for "Chicago" (November 2011).
DRESS CIRCLE
The Upper Circle overhangs this circle completely but is high enough not to
affect the view.
A metal bar runs across the front of this circle. This is slightly annoying
in row A for the shortest, but otherwise does not affect the view from any seat.
Apart from the first and last three seats in each row the view from all seats
in rows B to E is unobstructed and fair value. Choose A or
D depending if closeness to the action or no bar in front is your higher
priority. Row E isn't cheaper, though the overhang feels too low for some.
Reader Rich notes for "Zorro" in December 2008,
"We sat in B6 and 7. Good seats but go central because the front of the
circle cuts off a little of the stage when sitting near the edge."
Reader Mark adds that B10 also has a, "Great clear view of the
stage."
The first and last two seats in rows B and C are at lower price, designated
restricted view. In all cases a view with boxes and the curve of the circle intruding to make seeing the
sides of the stage awkward is the cause. Think about boxes over these (and
other end of row seats in the Dress Circle) for the same money or less.
"Chicago" (November 2011) staging means you miss action in these corners - quite
important at times.
A reader comments for "Zorro" (July 2008),
"I sat in Dress Circle E17 which ordinarily would be a good seat with
plenty of leg room but the Upper Circle overhangs just enough to block
the heads of the actors when they are on the top level of the stage
set."
Wheelchair users (if they can get down a step from a fire exit) can park
at the end of Dress Circle row E. Theatremonkey rates these seats
poor. See notes.
Legroom is tending to uncomfortable in all seats for the taller, though
acceptable for those under around 5ft 9 in row A and outside of the central 14
seats in rows D and E. Central rows B and C have least legroom overall. If taller than five
foot nine, try the stalls.
Dress Circle Boxes
Boxes B and C are at Dress Circle level next to D and E, halfway between
the main seating block and the stage. A fair view is offered at a lower
price - expensive at top price, though. Boxes seat 2 people. B and C are
not sold for "Chicago" (November 2011)
UPPER CIRCLE
A disused balcony overhangs this circle but does not obstruct the view from
any seat.
A metal bar runs across the front of the centre aisle. This
particularly affects the view from seats A 10, 11, B 11 and 12, C 13 and 14, D 12 and 13 and
E 11 and 12, annoyingly.
The first and last few seats in rows A to E are designated restricted view.
In all cases a view with boxes and the curve of the circle intruding make seeing the sides of the stage
awkward is the cause. These seats are poor value at £30 or more in the monkey
opinion. For "Chicago" (November 2011) it would consider C 4 and 23, D2 and 23
and E 1 to 4 and 20 to 22 at the lowest
price if you have to (cheap seats are limited at this show). It would also look
at C 1 and 26, simply because they have nothing in front of them and would be
comfortable. Accept that you will miss one song and one key scene from all these
seats, though, and that these are observations rather than recommendations.
For the rest, if you decide on the Upper Circle rather than similarly priced
rear
stalls, either take row E first at third price, then D then C or B (legroom is
least in B and C).
Row A is often reduced in price in the past to allow for the bar in front -
not for "Chicago" (November 2011) though. Decide if legroom is important before buying a
seat here, and if it isn't, it's not a terrible place to be if cramped
conditions don't worry you.
In general, the circle is fairly high
up, but the view is clear enough to make the unrestricted view seats average
value for money.
Legroom is uncomfortable in all seats, worst in row A, with central B and C
not having much more either. Generally, as you move towards the centre of each
row, legroom gets less. Centre aisle seats
offer a bit more, if you are prepared to compromise on the
view. Row C 1 and 26, and the first and last 3 seats in row E have a little
more.
Upper Circle Boxes
J and H are best of these, then G and F. The view is adequate from all
boxes, and pricing about acceptable to slightly high. Boxes seat 2
people.
Notes
Total 650 seats.
Not air-conditioned, so avoid the rear stalls and circles on hot days as heat
gets trapped here.
Infrared system requiring headsets for deaf patrons. Best from row D back in
the stalls. Those deaf and partially sighted get an extra, fun, choice to make
here. Occasional signed performances. Occasional audio described performances
for the blind, guide dog sitter available. Wheelchair users (if they can get
down a step from a fire exit) can park at the end of Dress Circle row E. Adapted toilet is now
available in the form of being able to use the women's toilet if able to leave
chair. Specific information from
www.seetickets.com
or 0844 412 4648 or e-mail customer.relations@seetickets.com. A
"venue access guide" from the team who created book "Theatremonkey,
A Guide to London's West End," is available to download in PDF format
by clicking here.
No food except Ice cream and confectionery.
Three bars, Foyer, Stalls and Upper Circle.
Six toilets in all; Foyer 1 gents 4 cubicles, 1 ladies 4 cubicles; Stalls 2
ladies 3 cubicles, 4 cubicles respectively; Upper Circle 1 gents 1 cubicle, 1
ladies 4 cubicles.
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