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.
Usually, 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.
When row A is in use, one person felt his seat in row A, "was extremely uncomfortable!"
Another reader says of it,
"A18 and A19 (front row): could see everything. Booked through Delfont
Mackintosh (tickets £21.75 each for the show I saw - Avenue Q in 2009) which I thought was a bargain price
considering the excellent view of the stage and television screens. (No
neck ache at all)."
another reader rated A9 'incredible' as a £20 "day seat" at "Hair"
(April 2010), with regular seat connoisseur Taljaard agreeing at "The
Ladykillers" (December 2011),
"A8, in the stall for a tenner at 11am (not always available at the
price, notes the monkey). The view at 5 foot
7 was fine for me."
Another reader echoes this for "Umbrellas Of Cherbourg" (March 2011),
"A17: Got for £19.50 as a day ticket during previews. I thoroughly
enjoyed it - even got bussed by Meow Meow - Yeow!! Did not find
restricted view a problem - felt right in the action with ensemble and
diva hovering all around me."
Reader Kirsty adds for "Avenue Q,"
"I had seats A18 and 19 in the stalls booked. I didn't find the high
stage a problem at all, and I could see everything. My very short 5ft
friend though, deffo had problems seeing the actors and puppets when
they moved to the back of the stage. All the actors were very close up."
At "Hair" (April 2010) reader Beth says,
"End of Row D. These seats are great, really comfortable and great value
for money (if you get them discounted obviously!). I personally rate the
Gielgud Theatre highly and think the seats there are really good!!
I think I would rather have been further back than Row D."
At "Lend Me A Tenor: The Musical" (June 2011) a reader reports,
"D10 and D11: The stage was at head height for Row D, and in future I
would book slightly further back (F or G). The amplification was ear-burstingly
loud at times, and this is another reason to sit further back."
From there, another reader adds at the same show,
"E22 and 23: These seats were great, and this heightened my experience."
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."
At "Yes Prime Minister" (October 2010) a reader adds,
"E15: For the £22.50 I paid it was an excellent seat; however the stage
was quite high so it is probably worth sitting a couple of rows further
back."
From row F at "Lend Me A Tenor: The Musical" (June 2011) a reader
says,
"F11 to 16: Fairly close to the stage (row A removed due to the 'pit').
The stage seemed pretty high, I don't remember it being quite this high
when seeing 'Avenue Q,' - but I was sat further back at that
performance. I didn't suffer from any neck ache so it wasn't too bad.
The rake seemed pretty non-existent, so can see why the stage would be
higher. Comfortable seats in a lovely auditorium."
In row G for "Equus" (March 2007), a reader says,
"G19 and 20 at £22.50 with some offer. These were great seats, really
close but without having to look up too much. The theatre felt really
small, so even if you sat at the back of the stalls I think you’d still
feel quite close to the stage."
For "Hair" (April 2010) a reader says,
"G 6 and 7: good uninterrupted view and ample legroom."
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 "The Ladykillers" (November 2011) central rows F to L (plus
E on Saturdays) are at
"premium" prices. Monkey says OK if you have to - fair value, but it notes you can do very well in normal priced seats nearby.
It would avoid row J at the price, though, as it is lower than the one
in front...
Moved to row K for "Hair," reader Taljaard says,
"We had seats on the front row of the Grand Circle and were all move to
row K in the stalls. The (new) seats were fine."
Regular site seat commentator James says at “Lend Me A Tenor” (June
2011),
"K18 and K19: very fair at discount price."
At "The Umbrellas Of Cherbourg" (March 2011) again regular site seat
commentator James reports,
"K15 and 16: The rake is okay here, although I was lucky not to have
anyone in front - as I may have struggled otherwise. The sound is great
from here. A bit steep at premium price though but good if at regular
price, or less."
On a second visit there he adds,
"K6 to 8: Got them at a discount, making them fantastic value,
considering they’re next to the premium seats. Good view and sound from
here."
adding on a third visit, a row behind,
"L15 and L16 - perfect!"
From row N, regular reader Rupi comments,
"N7 to 9. Great seats, but if I was being really fussy, I'd like to be a
little further forward."
More centrally in the same row, another regular seat reporter, James
says for "The Ladykillers" (December 2011),
"N13: Perfect seat. A good place to take in the whole stage and also far
enough back to avoid craning your neck as a lot of action takes place
higher than the main stage level."
Another reader says, for "Umbrellas Of Cherbourg" (March 2011),
"P7: Offered a really good and clear view, and the overhang didn't
obstruct my view at all, highly recommend."
From row Q at "The Ladykillers" (December 2011) a reader reports,
"Q7 and 8: There is a good view of the amazing set for 'The Ladykillers.'
Ideally I would have liked to be a two or three rows forward to be able
to see the top tip of the house that is cut off by the overhang of the
circle, and to perhaps the faces of the actors a little more clearly.
Personally I did miss a few words of dialogue that I might have heard
from further forward but this was usually just due to audience laughter.
The legroom was sufficient for someone of my size just over 6 foot and
being a little further back in the stalls there is a reasonable rake
that helps you see over the head of the people in the rows ahead."
In Q for "Hair" (April 2010) a reader says,
"Q 3, 4, 5 and 6: They were actually pretty good seats, we were under
the overhang of the circle but you could still see everything and it
felt really close. I sat in Q3 and I didn't lose anything from being to
the side. Leg room was fine, my friend who's 6 foot whatever didn't
complain."
From row R, a reader says for "Avenue Q" (June 2009),
"R6 and 7, towards the back and just slightly off centre - but not a
problem for any part of this show I think. The seats themselves I found
to be very comfortable and being over 6' I also had plenty of knee room
which was great, the seats look pretty new too. It certainly seems to
have been well thought out which makes a change."
Another adds for the same show,
"R 5 to 8: Although 18 rows back, I normally prefer to sit near the
stage then this. However you do not feel that far away from the action.
Can be a bit of a problem if any action is going on above stage level,
this is because the overhang from the Dress Circle blocks the view of
the top of the stage. However these seats offer plenty of legroom which
is vital for any West End show."
From row S, theatremonkey regular seat opinionator James opines for
"Hair" (April 2010),
"S1 to S4: The view was adequate from here. You do lose the top of the
stage and the extreme right of it due to the overhang and being at the
side, but for “Hair” at least, it doesn’t lose any important action.
Good sound from here too. However, for distance from the stage, a bit
pricey at £65."
Rows T to W are further back and the rake is rather good there. "The
Ladykillers" (November 2011) has row T and row V dropping a price over the row
in front - save money if offered S and U by picking these as the view is similar
for fewer bananas, feels the monkey.
At third
price go for V 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 for "The Ladykillers" (November 2011), 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...
Reader Graham says, for "Avenue Q" (June 2009),
"Sat in stalls row T, leg room is good (I'm 6ft) but the row is far
enough back the circle above blocks the view a couple of times when the
top of the set is used. I can't see how row S commands a higher price as
it would have the same issue.
Sound quality is not as good as it could have been. Unlike another
reviewer, I found the volume was plenty high enough. But the vocals lack
clarity, sounding muffled. Ts and Ps are especially hard to pick out
making the lyrics of some songs tricky to follow. Amateur-quality sound
engineering in a professional music show is a big disappointment."
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 V 7 to 18, plus W seats 7 and 18 avoidable for
purists, feels the monkey, when in use. Not used for "The Ladykillers"
(November 2011).
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.
PLEASE NOTE: For copyright reasons, information and
graphics on this
page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed.
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 "The Ladykillers" (November 2011) central rows A and B are at "premium"
prices. Again, monkey says OK, though notes you can do very well in normal priced seats
nearby; and legroom is better in the stalls for the taller, view better
for the shorter from the circle.
A reader says,
"Sat in Dress Circle A16. At 6'1 tall, space a little cramped but
certainly not uncomfortable."
Regular theatremonkey seat reporting reader Mark feels,
"Row B centre - Good seat, got for £25 student standby. Much prefer the
stalls for 'Avenue Q' though."
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... For "The Ladykillers"
(November 2011),
those same extreme end seats in rows A, B and C are cheaper.
The monkey likes the end two in B particularly for a bit of extra space
at a discount, if available - wheelchair users get priority; it always hopes the producers haven't re-priced them...!
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.
A reader says, at "Yes, Prime Minister" (October 2011),
"Dress Circle Box Seats F7 and F8: Refusing to pay over £80 each for
front-row circle seats, we opted instead for Dress Circle Box Seats F7
and F8 at less than half the price. What a delight! We were the only
people in the boxes, so we could spread out and relax. Entry is direct
from the Dress Circle corridor, with no steps down to the seats:
something I normally dread because I walk with a stick. There are large
glass windows at the back of the boxes, but someone pulled curtains over
them at lights-down, so we had total privacy. The view was fine. The
very top of the scenery was lost, but that was hardly noticeable and
didn't matter in any case. The front of the stage was lost if I slouched
in my seat.
Beforehand, my main concern had been about the sound because my
companion normally uses a non-inductive hearing-aid to give a slight
boost to her hearing, but she had left that behind -which meant I could
always blame her if she couldn't hear properly. The higher pitches
tended to be lost so we had difficulty at times with the only female
player and with the male with the highest-pitched voice, but for most of
the time there were no problems although a bit of concentration was
occasionally needed.
All of the front-row seats (E1 to 4, F5 to 10 and G11 to 14) seemed to
be equally acceptable. But I'm not sure I would choose the second-row
seats, F21 to F24, which seemed to have nothing going for them even
without anyone sitting in front, and could only have been worse for
sound and vision.
If returning to the Gielgud, we would certainly choose these seats
again."
Another reader says, at 'The Ladykillers' (November 2011),
"Box F: Tickets are very expensive (like most London shows nowadays) but
we took the Theatremonkey's advice and got £45 seats in Box F. This is
actually a great little collection of seats because it's right at the
back of the Dress Circe but with its own entrance, which makes it feel
quite private. Visibility is as good as most of the Dress Circle,
bearing in mind that the Upper Circle extends across a good deal of it.
In this show you can see all the action on stage including a very novel
depiction of the robbery. My only comment would be that my hearing is no
longer in its prime, so I did have to listen very hard. if you've good
hearing, go for these seats definitely."
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graphics on this
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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."
For "The Ladykillers" (November 2011) centre C to E first is the
monkey advice, though A and B are fair enough, it feels. Remember that D
is cheaper than C too...
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.
One reader notes,
"D 10 and 11 for 'Hair.' The Monkey was totally right about these seats
being the last ones in the section where you could really see the whole
stage (the view was even better when I decided to move to the unoccupied
D12 for the second act)."
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 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 normally 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.
Views are quite clear from the rear section - though some feel it really does
feel higher and further away from the stage than the rows in front (which mostly
feel quite close - the monkey hopes that makes sense).
If this section, from row F back, are only tickets left: take seats
as close as possible to the central aisle for both view and comfort, taking the
most central seats available. Usually, 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.
"The Ladykillers" (November 2011) has F to H at the
same price as D and E... the monkey would skip them, and take J
first as it is cheaper with similar view and (lack of) comfort.
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, usually 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...
PLEASE NOTE: For copyright reasons, information and
graphics on this
page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed.
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.
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. 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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