STALLS
Seating is in a single block, with the dress circle overhanging the stalls
from row K in the centre, and the boxes and slips also overhanging the first and
last three or four seats from around row D back. The top of the stage is not
visible from around row R back - purists might even say O, with noticeable loss from row T.
Entrance doors are behind the centre of row W and to the sides of rows F and G
approximately.Much thought has gone into the
layout. All rows are "offset" so that those who are shorter should see between
the gaps of the seats in front between the taller folk in front. Rows A to D are
also lower to improve sightlines for those behind, previously poor due to the
shallow flooring rake.
The stage is at eye-level for a 5ft 7 monkey, so those in A will look up
slightly (not really for neck-ache avoiders, though most should be fine). The
row curves, with the central seats 9 to 19 having extra legroom - but even the
ends of the row will be adequate for the shorter legged - provided they don't
mind sharing seats 6 and 21 with a light fitting off to one side ahead of them.
One person felt his seat in row A, "was extremely uncomfortable!"
For "Avenue Q" (June 2009) row A is cheaper Monday to Thursday and
Friday 5.30 performances, A and B cheaper Friday late and both Saturday
shows. Good value then, feels the monkey.
A reader remarks of "Equus" (March 2007),
"My seat, E15 was only four rows from the front and right in the centre. It was excellent with above average
legroom. Some people have commented that they couldn't always hear
Richard Griffiths but I certainly had no problems where I sat and
Daniel Radcliffe comes across loud and clear."
Moving back, the rake begins noticeably at row K, and the monkey liked L too.
It would pick L or K 8 to 19 first, then M or J (be aware it is lower than H in
front - which helps the viewing angle but not the shortest) or back to Q in that order, then H
and G or R to S at top price, or even perhaps saving a few pounds and picking U
over these rows at second price. After that, if of average height (over around 5ft 5) it would
choose F to D.
For "Avenue Q" (June 2009) central rows K to M are at "premium"
prices. Actually no higher than other musicals in this case, monkey says
OK, though notes you can do very well in normal priced seats nearby.
Rows T to W are further back and the rake is rather good there. At second
price go for T 8 to 19 first, but the monkey feels itself
comfy in any of these rows at lower prices - taking seats 8 to 19 first, for
most central views. Remember too, though, that the central Upper Circle is also
available for the same prices as T to W, so those who prefer not to lose a
little of the stage to an overhang, and who don't need the extra legroom of the
stalls / are not worried by heights will probably also enjoy well-chosen central
upstairs seats as much in the monkey view... even saving a few pounds more by
taking central row D up there...
Reader Jos says,
"The seats (row W off centre) afforded a pretty good view of the stage...Oh and theatre monkey were spot on in their review of the seating and
the theatre!"
A sound desk makes U 10 to 17, plus V and W seats 10 and 17 avoidable
for purists, feels the monkey.
Those who are shorter may feel rows C to F worth taking after the rear rows,
as the rake isn't significant and with someone taller than around 5ft 10 in
front the view to the stage may be less than optimal, the monkey felt on first
viewing - though it welcomes comments on this and strongly advises personal
preference based on previous experiences is taken into account too.
Legroom is adequate for all but the tallest (over 6ft or so) in all seats -
and there is space to tuck legs under the seats in front. A reader over 6ft tall
indeed found row J cramped. The very tall should enjoy E24, G24 and N1 which have
nothing in front of them; and E4 and G2 which have space for at least one leg to
stretch into.
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Stalls Boxes
A and C at the sides of the theatre offer a restricted view eliminating the
sides of the stage. At top price they are poor value, second price not much
better, but at a discount they may worth considering to obtain
better than average legroom. Each box seats 3 people.
DRESS CIRCLE
Seats are in a single block in the centre of the circle, with two short rows
of "slips" in the space between the Dress Circle and stage boxes at the sides of
the theatre. Entrance doors are beside rows B and J.
The Upper Circle overhangs the Dress Circle at row C. This does not affect
the view from any seat, though claustrophobics may find H and J a little less
comfortable.
Oddly, the front of the circle feels almost at stage height, with the closest
slip seats in row A almost within touching distance of the stage. The rake is
also comparatively shallow by West End standards, feels the monkey.
In the central block, rows B to D 13 to 23 are prime viewing, then the ends
of these rows or the centres of either A or E according to taste for leg-space -
a little less in A. The theatre are keen on the seats
in the Dress Circle, and the monkey agrees.
For "Avenue Q" (June 2009) central rows A to D are at "premium"
prices. Again, actually no higher than other musicals in this case,
monkey says OK, though notes you can do very well in normal priced seats
nearby.
A reader says,
"Sat in Dress Circle A16. At 6'1 tall, space a little cramped but
certainly not uncomfortable."
With the whole rear central Dress Circle at top price, the monkey
would think twice about J for legroom, but for view the value is at
least fair at second price it opines.
At the extreme corners of the central block, a few seats in rows A to C
have a slightly side view. The monkey rather likes
those at the ends of B as they have a little extra
legroom... Very cheap for "Avenue Q" (June 2009) too - monkey likes, row
B in particular for comfort.
Wheelchair users can choose from B 5 or 30, as both seats are replaceable
with a chair place. Indeed, B31 can also be substituted too if need be... the
monkey would take B30 first. B5 is on the same side of the theatre as the
adapted toilet facility. See notes.
Row A seats 3 to 6 and 30 to 33, and B 3, 4, 31 and 32 are at the sides of
the circle. The combination of poor legroom and needing to lean forward for a
view says no the seats in row A, though seats 3 and 33 are within touching
distance of the stage and the view is good without needing to lean forward too
far. Trouble is, for anyone taller than around 4ft 5 or so, there is almost no
legroom at all in those seats. Behind, B 4 and 31 have a little legroom, but
over a third of the stage isn't visible - skip them unless there isn't another
seat except row AA Upper Circle available (legroom there is tighter) and you
REALLY, REALLY need to see about two-thirds of the show.
Legroom is tolerable in all seats for all under around 5ft 10 inches, except in
row A where it is tight, and the centre of row J, where the 5ft 7 monkey was
only just comfortable. It is best in row B seats 5 and 30 with almost nothing in
front, as well as B 4 and 31 which have a little space for one leg thanks to the
curve of the venue and seat position.
Dress Circle Boxes
B and D are at the sides of the theatre, and offer an adequate viewing angle
with only a little of the stage obscured. Worth considering at third price to obtain some legroom.
Expensive above that, perhaps. Each box seats 3 people.
At the back of the Dress Circle are boxes E, F and G. Originally intended to
be partitioned into three, instead they are combined into a single plush "Royal
Albert Hall" style box-space at the back of the Dress Circle, behind (and
looking slightly down on) row J of the Dress Circle.
Fixed theatre seats are arranged in two rows. The front row has six centre
seats, a gap, then four more seats either side of the central six. Behind the
six central seats are another row of four seats raised up on a plinth. Fixed
pillars lie at the front of the box area, between the three blocks of seats.
They don't affect the sightlines in any way whatsoever, but enhance the
exclusive "private room looking out into the theatre" atmosphere wonderfully.
Though the very top of the stage isn't visible (and the monkey suspects, but
can't test the theory that if the stage extends forwards those seated here may
not quite see the front of it), the result is an interesting and exclusive
viewing position. Indeed, the monkey hereby puts a bid in for use, come its next
birthday celebration...
Legroom is adequate here for all but the tallest in the front row, but is
very tight for those over 5ft 6 or so in the row behind.
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UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.
A quirk of architecture splits the circle into front and rear sections, with
a low wall in front of row F marking the change. The front block drops quite
sharply downwards in front of it, while the rear block is shallower, but feels
very high and far from the stage. The circle itself curves tightly round,
causing most off-centre seats to lose a crescent shaped sliver of the front
corner of the stage.
A bar runs across the front of the circle, which could affect the view in row
A for the shortest - and could also bother the shortest people in the row behind
too. It is double height at the aisles, which does mean those in the rear circle
at the far ends have it in line.
A reader reports,
"Fair to say there is a rail at front of Grand Circle though doesn't obscure
view even in front row where we sat."
A further safety rail exists at the ends of row D, meaning E 2 and 28
have it beside them. Not particularly in vision, the monkey felt, but worth
knowing about if you are particularly picky.
The rear section rows F to J are split into two blocks by a central aisle
containing an ornate gold rail. This doesn't affect the view from any seat.
The front section is now equipped with high-backed seats (identical to those
in the Novello Theatre Upper Circle) providing both comfort and extra legroom
thanks to good design and installation. These five long rows wrap around without
an aisle, and only the first and last two seats in all rows really have
noticeable restricted views as the curve of the circle and box intrusions cut a
fifteenth or so of the stage off. In fact, the next two seats in from the
"restricted view" ones may even be
raised from "restricted view" status at some point, if a canny producer realises
the potential... as they now have in row A. The theatre feel that the further
back you go in the circle, the less the restrictions are noticeable.
A reader agrees, saying,
""Seat D5. Grand Circle. Restricted view. The restriction is felt. It is not
negligible. The lady in front of me (C4) kept leaning forward ALL THE TIME. It
was just too bad. I had to move my head around. Actually, I have been around a
bunch of leaning people. At one point, they even stood!!! Leg room is just about
acceptable. Considering the price, I probably go along with the Monkey’s
assessment of this seat."
Bad manners never help, feels the monkey.
Another customer feels the same about those seats,
"Went to 'God of Carnage' and sat at D5 / D6 as suggested by this site
for the price of £15 each (preview prices for that production in 2008). The seats are OK for the
price but it is restrictive view indeed.
We were lucky enough not to have anyone in the row in front for the
first part, but then two latecomers joined and blocked our view,
especially since these people kept on changing position in their seats
and leaning forward and annoying everyone who had already settled down.
We moved up and again were able to get empty seats in front (the ones we
left). Personally I would not have wanted to pay the higher prices for a
more central view but we were lucky there was some margin for keeping
empty seats in front, otherwise the restrictive view would have really
been annoying, at least in this show, which has only four people on
stage. It is not the part that is really cut from your view (which may
be behind the the restrictive view classification), but that fact that
if the rows in front are full, your view is really reduced. So my advice
for this price range and this show would be to try and go in a less
popular day so that there are free seats close to you and you can
somehow ad! just your position. If other people's heads are going hinder the view, better go
for a discounted price."
Anyway, prime seats in this section are row C 12 to 18, D and E 11 to 19
in the monkey view. Then take the next two seats beside these, then
either take central E, or, if you don't mind paying a bit more, central row B, or consider row A if legroom isn't a factor - otherwise stick with D or E a bit further
along within the price band.
Of restricted view seats, for comfort take
those closest to the centre first, rows D, E, C, B, A in that order, and then
repeat for the seats nearest the aisles. For "Avenue Q" (June 2009) D and E 6
and 7, D 24 and 25 and E 23 and 24 are cheaper than usual. Pick these first from
the "restricted view" choices, feels the monkey. For view G (or F if you can stand the
legroom) then H and J are better than A to E, many feel. Note that these restricted view seats
are the same price
all the way back to J, but much more comfortable in the front section of seating.
The monkey would pick discounted
front section seats over those behind first without hesitation for comfort - and
the view isn't bad either, all things considered.
A reader reports,
"For 'Macbeth' (September 2007). Unfortunately we booked quite late so we didn't
have much choice but found seats C 8 and 9 - which AREN'T in the restricted view
area and wouldn't seem TOO far along from the seats which ought to be the best.
So I thought these might be OK. I'm pretty used to sitting 'in the gods' so I
don't expect an 'amazing view' but I thought these seats were some of the worst
I've ever had, I think, principally because the curve of this circle seems quite
exaggerated? I don't know, I've sat much higher up in other theatres and enjoyed
a much better view.
From my calculations, C 8 and 9 are 4 or 5 along from the restricted view
seats but they really don't warrant the £37.50 price. A good quarter of the near
corner of the stage was obscured but when folk in row A lean forward (as they
mostly do, because of the bar) this rises to about half the stage, even if you
lean forward yourself. Effectively, we were only able to see the left-hand
triangle as it were. Added to this, I think the leg-room and seat angle were
pretty poor up here - it wasn't just us shuffling about. After the interval, we
were able to move to C16-17, which hadn't been available at booking. All the
stage was viewable from here, though leg-room is unchanged. Be aware that if you
get someone with a big head in front of you in these rows of the upper circle,
the rake isn't steep enough for you to see over them - and we're quite tall! I
think, on balance, C16 and 17 were reasonable value for this price range but in
future I wouldn't consider any seats beyond 12 and would, in preference go for a
higher row."
The monkey would welcome further comment on this from other readers. It felt
(having had another long look) that the restriction in fact feels greater than
it actually is: while it seems like huge lumps of circle are cutting off the
whole view, it felt the circle lines up pretty well with the very front of the
stage, and you don't actually lose much of the playing area itself.
Moving back to the rear section, the low wall in front of row F is only
noticeable for the effect on legroom - it doesn't affect sightlines.
If the row F back section are the only tickets left: take seats
as close as possible to the central aisle for both view and comfort, taking the
most central seats available. Consider G or H first - whichever has the more
central tickets left, then the next closest to the aisle in either row after
that. Leave F unless you can get an aisle seat and don't mind sitting slightly
sideways in it, in the monkey opinion.
For "Avenue Q" (June 2009) row J is replaced by spotlight operators.
Shouldn't worry anyone, feels the monkey, who would welcome
comments.
Reader Marcus Chaplin comments:
"We had seats G25 and 26 in the Upper Circle. These were excellent value as they
are sold as restricted view tickets but for "Equus" (in 2007) the area of the stage you
can't see is very rarely used, it all focuses on the centre of the stage. Good
seats if you're on a budget."
Reader James expands on this,
"We saw comedian Bill Bailey from G23 to 26 in December 2008, and I thought the view was fine (the show was
fantastic too). Once you first sit down you do seem to think it is
fairly high, however once you get into the show you really don’t
notice it at all, G26 and G25 (which I was in) has only the very
side of the stage slightly, and I mean slightly, obscured by a rail
but things are still visible and no problems at all. I would
definitely recommend these seats as they are great value for money."
Another reader says,
"Sat in F7. At first I thought, woah I'm high (and the lady next to me was
scared of the height). But once the play started the distance between myself and
the players didn't matter. I could hear and see
everything. If you're in this section, it is best to be nearer the middle if
possible. I thoroughly enjoyed the play and the seat was fine."
Of the restricted view seats in this section, take seats 3 and 23 then 4 and 24 over the others, remembering to take row F
last. The row H and J restricted view seats are the same price as those further
forward, though, so take them after rows A to E but before F if legroom is an
issue. At the very front edges of the circle are six seats either side of
the central block. Designated row AA, these are last pick of all, as you
need to lean forward to see more than two-thirds of the stage. Take 5 to
8 first if you absolutely must, but be aware you get what you pay for...
or even a bit less...
Legroom is likely to be acceptably OK for those under 5ft 10 or so
in rows B to E - even moving towards comfortable for the 5ft 6 or so brigade, and for those under 5ft
4 or so in row A and AA, thanks to new seating. It is cramped in all seats from
row F to J (and row F is the worst of these four rows), with the low wall using
up some handy toe-space. On the other hand, without it, the theatre might
collapse, so on balance, the monkey guesses it has to stay...
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Notes
Total 973 seats.
Air-cooled auditorium. Not as effective as proper air conditioning, 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...
Infrared headsets available working best in the front of each part of the
auditorium (not good from Stalls row K back, though). Guide dog sitter
available. Wheelchairs can replace seats B 5 and 30 in the Dress Circle. Access is via a fire exit and 12-cm step. Adapted
toilet in foyer near the bar on the B5 side. Specific information from the theatre group
dedicated phoneline on 0844 482 5137,
www.delfontmackintosh.co.uk
or Artsline 020 7388 2227 email artsline@dircon.co.uk.
No food except Ice-cream and confectionery. Bar snacks also available.
Three bars, Foyer, Stalls and Dress Circle. Reader Barfly noted that the
Stalls one is, "nicely tucked away, meaning that it wasn't too crowded."
A VIP room leading off from a corridor behind the Dress Circle is available
for hire.
8 toilets in all; Stalls 1 gents 1 cubicle, 2 ladies 6 cubicles, 4 cubicles;
Dress Circle 1 gents 3 cubicles, 1 ladies 4 cubicles; Upper Circle 1 gents 2
cubicles, 2 ladies 2 cubicles each.
Reader Sam notes in November 2005 that:
"As a female I wanted to let others know that the toilets are just
outside the stalls and not once (in the three times I used it) did I have to
wait on line. That was the best part of the show!"
Another, in 2008 adds,
"the Gielgud has the nicest women's toilets of any theatre I've ever
been to. As so many theatre toilets, especially in the West End, are so
very skanky I thought it was something worth remarking on. Plenty of
cubicles, room to queue (not that it's needed as there are plenty of
cubicles), nice smelling soap, space to move around and not get stuck in
the loo, pretty wallpaper and all very very clean."
A reader says of upstairs facilities,
"The ladies' loos in the Upper Circle are more cramped (if that's possible!)
than the seating - literally no room to turn round - or to let people in and
out!"
One reader notes that latecomers may have to watch part of the performance on
a TV in the foyer. He found this rather a noisy location, alas, and wishes to
warn others of the potential problem.
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