HAROLD PINTER THEATRE (formerly the Comedy Theatre)

MERRILY WE ROLL ALONG (musical) What lies behind famous musical theatre composers' speeches to a graduation class? This Sondheim musical travels backwards to find out. Classic songs like "Not a Day Goes By" and "Old Friends" are directed by Maria Friedman in this transfer from the Menier Chocolate Factory following a successful run in winter 2012.

Theatremonkey Opinion:

Not available. Rave reviews from the professionals, though. Cast, direction and staging all rated stellar - the transfer has worked brilliantly, too, apparently. Only gripe is that the book isn't as strong as the music. Otherwise, rated a "must" by all. The monkey "must" try to get there.

Buying Tickets Online:	Other Box Office Information
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.

Theatre Box Office: Online: Ambassador Theatre Group, the theatre group's own website provide the service for this theatre. This site allows you to choose your own tickets from those available. Booking fees per transaction for online bookings: £3 per transaction (not per ticket) fee. Pays the fillings in the rolls, thinks the monkey.   Other Online Choices (with S.T.A.R. genuine ticket agencies): www.ticketmaster.co.uk provide an alternative with the same fee as the box office - £3 per booking NOT per ticket applies to each transaction. This site allows you to choose your own tickets from those available. When the box office does not have what you require, the Theatremonkey Ticketshop, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), offers an extra selection of £59.50 seats with a £9 (£6.75 on £45, £3.75 on £25 seats) per ticket booking fee. Slightly higher than the box office, but lower than most agencies. Worth checking if the box office cannot provide the exact tickets you might require. Note that this system will confirm exact seat numbers prior to purchase. Another alternative is www.seetickets.com / telephone 0870 830 0200 which offers £49.50 seats with a £4.95 per ticket booking fee Monday to Thursday (£7.43 on £49.50 seats Friday and Saturday) plus a £2.75 per booking (not per ticket) service charge. (FREE call if using BT.com Calling Plan at your chosen times). Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer £59.50 seats with a £15.50 booking fee per ticket ( £12 on £45, £10 on £35, £7 on £25 seats). A postage charge of £2 per booking, not per ticket may be applied to bookings made from UK addresses more than 5 days before the performance. The "Flexiticket" Exchange Service, allowing FREE transfer / cancellation (credit note up to 12 months) of your booking up to 3 days before the performance is also available for £2.50 per ticket. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available. Lastminute.com offer £59.50 seats with a £5.45 booking fee per ticket (£7.50 on £85, £4.30 on £45, £2.70 on £25, £2.30 on £20, £1.50 on £10 seats). NOTE: Seat numbers are NOT available in advance from this company. All seats booked in the same price group will, of course, be together or at the very least be in front or behind each other in the theatre. In the very unlikely event of this not being possible this company will call you and give you the option of cancelling your booking. However if booking in two or more price bands, you will not be sat together. Please DO NOT purchase if this is unacceptable to you, as all tickets are sold subject to this condition. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available. Londontheatredirect.com offer £59.50 and £45 seats with a £10 booking fee per ticket (£5 on £25 and £20 tickets). A box office collection fee of £1.50 OR, if time allows, postage charge option of £2.75 (£3.75 to non-UK addresses) per booking, not per ticket applies to all bookings. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.   ALSO SEE Tickettree.com for great value "hotel and theatre ticket" packages. Note that the tickets offered may differ between phone and online sources. Other Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.

Box Office Information:

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.

Theatre Box Office: Telephone: 0844 871 7622 Operated by the Ambassador Theatre group's own phoneroom from 9am until 10pm (Sundays 10am until 8pm). Outside these hours the Ticketmaster agency answer calls on their behalf. Booking fees per transaction for telephone bookings: £3 per transaction (not per ticket) fee. Pays the fillings in the rolls, thinks the monkey.   For personal callers or by post: Panton Street, London. SW1 4DN No booking fee for personal callers. Special Access Needs Customers: Wheelchair users and other registered disabled theatregoers can book their seats on 0871 297 5477 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the theatre chain central phoneroom in London during working hours. See Notes.

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Performance Times

Ticket Prices

Where to Buy Tickets

Seating Plan

Seat Opinions

Getting Here

Theatre Seat Opinions:

Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.

Seating Plan Diagram

Stalls

Dress Circle

Upper Circle

Balcony

Notes

STALLS  Layout: The Dress Circle overhangs the stalls at row L. Two large pillars in row M hold the circle up and destroy the view from most seats in the rear stalls (though creating a few cut price ticket opportunities; see below). Seats are in a single block, except in the back three rows where a central pillar divides them into two sections. The rake (sloped floor to help see over rows in front) of the stalls is adequate.   Legroom: Row C seats 1 and 21 and row K seats 1 and 20 should be avoided for having restricted legroom. Elsewhere, legroom is acceptable throughout the stalls for all but the tallest, except in row N 7, 8, 15 and 16 where the pillars restrict it and row C seat 1 and 21, and row K seats 1 and 20. 5ft 10 reader Lany felt in C1 that "the pillar immediately in front of your right leg is not so big that you can not curl your leg around it out into the aisle." Choosing Seats in General: Rows A and B may well be uncomfortable for many, as those seated here "look up" to the stage and suffer neck ache in the process, though the tickets aren't sold more cheaply to allow for that fact! Row A seat 1 especially is to be avoided as it has an official "restricted view" designation, but isn't discounted significantly unless used as a "day seat." If a production has row A heavily discounted either in advance or as “day seats,” the monkey would take 5 to 15 first, 1 and 19 last for view and comfort. Almost all of rows C to M normally offer acceptable value for money with only the first and last few seats in rows C to H should be avoided. These are outside the proscenium arch, with a poor view of the outermost edges of the stage. Unacceptable at the price. Sadly, they are too close to the stage for distance to improve the viewing angle. Rows D to H seats 7 to 16, row J seats 5 to 14 and K 6 to 15 offer best value at top (non-premium) price, in the monkey's opinion. At top price, the monkey would probably skip anything top price from row N back to row U, as they are behind pillars. Against this, seats here are a better bet for comfort than the Upper Circle if at the same price. Pillar intrusion is noticeable from central rows P and Q onwards - the monkey would give the non-offset seats between the goalposts a miss if possible. They feel as if one is looking through a window ... and circle overhang adds further lack-of-delight to the view from the rows beyond around row R. If the monkey has to sit in the rear stalls, it would take seats near the outer aisles first. The view is surprisingly decent (at worst you have only one pillar to contend with) even if the price sometimes isn’t. A second price seat will be more comfortable here, though, than the upper circle equivalent. Hence the monkey would endure the pillars rather than the cramp... The monkey is happy now to grab N 7 (and the pairs of seats behind it in row O) if sold for a very low price - as they sometimes are.. As reader Richard explains, in 2013, "they have redone the seating in the stalls which affects the restricted view seats. There's now a gap between N7 (and its equivalent) and the seat next to it - so these seats no longer have the pillar in front. In fact they are now better than normal seats as you have somewhere to put your coat! I was in one of the row O seats, a bargain at (I think) £15 - it cut off the very extreme edge of the stage but could see any "action" by moving my head slightly." The monkey might also take the other cheaper seats nearby too, allowing again for the pillar issues. On the other hand, it's still just £10 - bargain. When day seats are in use, if you miss out on a "day seat" at the same price...   General Hazard Notes: Pillars in the centre of rows M and S restrict views of seats behind. Outermost seats in row A have poor views. Seats in row P are not offset to see between seats in front. The circle overhang cuts views of the stage top from around row R. A sound desk can replace seats in the centre of rows S to U. Worth skipping seats near it, feels the monkey. Changes for the current production: Row C is the front row, and cheap as they are "day seats." Take them - outermost two last just for the viewing angle, but all are fine as the stage is lower than usual and there is more legroom. A very few front central stalls in rows E to H are at "premium" prices. Far fewer than usual, with some good things in front of them - row D 7 to 16- plus plenty of seats right next to them available for less cash but similar views. Purists may wish to avoid a sound desk located next to seats T and U 5. Nobody else will probably need worry. The location of other seat prices (except "premium" ones) will change three times during the run: All seats except "premium" and "restricted view" are top price. Take the two or three seats closest to the "premium" seats first, then central rows D 7 to 16, J 5 to 14 or K 6 to 15 depending how close you like to be to the stage. Next, take central L, M or N, the sides of M or N then central O. Further back, most seats in the rear section are top price. This is unusual - the monkey would go for seats at the outer ends of rows (1 to 7 or 15 onwards) rather than central between the pillars (8 to 13 or 14) if it has to sit this far back. It would look at centre block row A or even B dress circle over seats beyond row O first. All ‘restricted view’ seats are third price. Cheap, fair value if willing to put up with the obstructions. Only the short should consider equivalent priced seats in the upper circle, where the steps would admittedly help them see over those in front. Row N 7, and O 6, 7, 16 and 17 are a decent deal at £35, N15 expensive at top price as the pillar is still nearby, if not totally in view. Reader Comments: "A4 and A5: "The Children's Hour" (February 2011). Taken as they were rejected by the woman ahead of me - who took row C1 and C2 as she didn't want to be so close. Front row is actually no problem for this, ankles cut off - but prime view otherwise, with action taking place a few feet away. Bargain for £15 if you get up early enough." "A8: "Absent Friends" (February 2012), (Taljaard). Got a day seat, A8 in the stalls. Was worried that it might be too close but was promised that the stage was not too close to the front row. And it was not. At 5'7" I hardly had to look up at all and at £15 was a bargain!" "A18: "A Chorus of Disapproval" (September 2012), (Taljaard). Bought a day seat.. Even though they have raised the stage this does not prove a problem. No neck ache to report. I would avoid A19 as it really is right on the side facing a wall but my seat was fine." “B7 and 8: (Kevin). We sat in the stalls row B, seats 7 and 8, and I'd tend to agree with the Monkey about the possibility of neck ache because it's so close" B 17 and 18: (Adam Walker). These were EXCELLENT! Agreed, a little neck-ache but totally worth it. You are so close to the action that you might as well be on stage with them. Neil Stuke's sweat was more than evident. Row C: (with row A absent), (MF). We had half price seats in Row C (thanks Theatremonkey for the advice). Seats were great, close to the stage but not neck-strainingly so." "C1: "The Children's Hour" (February 2011), (Iany). I found the seat good for £15 day seat, as the pillar immediately in front of your right leg is not so big that you cannot curl your leg around it out into the aisle - I'm 5ft 10. The pillar does not cause any sight restriction or feel imposing upon you. A small amount of restricted view of side rear of stage (not really a problem for this production) caused because you are out wider than the stage." "C9 and 10: "Absent Friends" (February 2012). I think row B would have been too close, C was just about OK for the neck but brilliant for the experience. Every nervous twitch and uncomfortable grimace on the stage was clear to see - and there were plenty of those. Seeing Reece Shearsmith's "Colin faces" up close was a treat in itself." “Row D: Sunset Boulevard" (December 2008). I was in the fourth row of the stalls and loved the intimate scale and closeness of it, not sure how well it would have played to the back... hopefully another reviewer might be able to confirm." “D5 and 6: (Mila). We had a great view from the stalls row D seats 5 and 6 (only a white but a perfect view)" “D11 and 12: (Theatremonkey regular). Theatremonkey has, quite rightly, marked as "GREEN"! Great seats." "D12: "La Bete" (June 2010). Brilliant seat. Very close to the stage so all the subtle facial expressions can be seen. Ideally I may have preferred the row behind, just to be a tiny bit further away." "Row E: "Merrily We Roll Along" (May 2013). Lovely little theatre and seats in row E (third row from the front for this show) were excellent , being comfortable, enough leg room, and good sightings between heads in front." “E 7 and 8 for “Sunset Boulevard” (May 2009), (James – regular reader). Close enough to see all facial expressions and hear everything clearly, but I would have preferred to be a few rows back to see the whole stage without turning from side to side. However, the rows behind were premium seats and I got row E at a discount, so definitely a good deal." "E9 and 10: (Theatremonkey regular). Seats were good. It certainly isn't worth paying premium to be in the row behind as you do not have to look up from these seats.(This alludes to the fact that central seats in rows F to K were slightly more expensive for "Prick Up Your Ears" in September 2009). “E13 to 15: "Sunset Boulevard" (March 2009). Usually I am a bit wary of sitting too close to the stage (last time I was in row G), but I really enjoyed being so close to the actors. We certainly didn't get neck ache." "F1 and F2: “Betrayal (2011). Comfortable seats even for us bigger people, good view." “F17 and 18: “Absent Friends” (March 2012), (Chris B). Good clear view of the stage; you are close enough to feel totally absorbed in the action and can see every last detail and facial expression. (and there are some great ones!) These seats are slightly to the left but you can see the whole stage. No trouble to see over the heads in front either. Plenty of legroom.” "G4: (Sam). On this occasion (the first time really) I strongly disagree with theatremonkey's assessment. Even though I bought my ticket from TKTS, so it was discounted, I still would recommend this seat at full price. I felt very satisfied with my seat. The view was very clear, and legroom was good. The monkey raises the issue of the outermost edges of the stage. I can't comment on all productions, but for "Donkey's Years" that wasn't the case from G4, but I believe he is right for G1, and G2, and maybe G3. I can't comment on the first 3 seats, but personally I would give G4 a Green. White at worst." "G11 and 12: Great seats with a full view of the stage whilst also feeling intimate." "H7: (Mark). Very good view of the stage, no problems at all." "H10: "Merrily We Roll Along" (May 2013). Just about perfect as far as position goes. Dead centre so a perfect view. Decent leg room. Stage highish but even with some action in this production taking place up stage you don't miss a thing with this seat." "H12 to H14: (James – regular reader). Good rake ensures a good view from here." "H21 and 22: plenty of legroom and comfortable seats." "J6: "Spamalot" (August 2012). Only slightly off centre and a good view of everything, including the action (quite a bit of it in Spamalot) that took place quite tight stage left (people in the boxes were hanging by their toes). Close enough to feel part of it and decent leg room. Not a great deal of rake here, but decent height to the stage so tall people in front shouldn't be any more of a problem than in most theatres." "J14: “Betrayal” (2011), (Taljaard). Got it for £20 15 minutes before curtain up. A really good seat and bargain." "K3 and K4: "La Bete" (June 2010), (That Fulham Couple). A good view of the stage, but the lumbar and back support cushioning was noticeably poor as you approach the 90 minute mark." “K5: (A 6ft 6 reader). Excellent position, legroom was adequate, therefore the seat was comfortable. However the theatre has a very shallow rake which means that there is a lot of head dodging to be done, although the spacing of the seats allows you to see through gaps. If you are smaller than average I would advise caution, suffice to say I personally didn't have a problem, although others in my group did. The person behind me did ask me to slouch in my seat but the legroom would not allow that even if I wanted to!" "K5 to K7: "A Chorus of Disapproval." We got our tickets for £35 each. At 6ft tall I found there to be no issue with sitting in K5 and I could even stretch out a bit under the seat in front. The rake isn't great here but at least the rows are staggered so you can see between the space of the two seats directly in front. In general all three of us had a great view of the entire stage, missing nothing. I thought the seats were comfortable enough with fair padding and didn't experience any discomfort (though one lady in our group said she was a little uncomfortable towards the end of the play)." “J 1 to 3: (Mum paying, why go with the cheap seats?) They are nice and close to the action and the view is not obscured by one of the myriad of poles the architect seems to have distributed through the theatre. However, the rake is only very slight and if you are a bit short and are sat behind some tall/with an afro you may have to do a bit of leaning. Deserving of the white rating methinks." "J3 and J4: (James – regular reader). Unlike some theatres, these seats didn’t feel like they were too far to the side. Good view and good sound from here." "J7 and J8: Good - as enough legroom and centre stage." "J9 and J10: (James) Great view, feels very close to the action." “L11 to 15: (Lizzie) Very good indeed." "L13: "Sunset Boulevard" (December 2008), (Alison). Very good: plenty of leg room (well, I'm short, but I had plenty of room). I believe the prices in row L are less than in row K, directly ahead, and thus I think row L is a good value." "L13 and 14: "The Children's Hour" (February 2011), excellent seats. Highly recommended as they are completely central to the stage and just the right distance from it. Comfy seats, with loads of leg room." “L21: Avoid as it is beside a pillar - you don't actually miss any of the stage, but perhaps lose a bit of atmosphere and legroom." “Row M: has pillars interrupting the usual flow of seating so that, between the pillars, the seats are directly behind those in front rather than staggered as in the rest of the stalls. I suggest these seats are downgraded in your colour coded advice." "M8: Great seat for me but not raked very well for my friends who are of an average height. They always seem to struggle when tall people sit in front of them." “N7: "The Children's Hour" (February 2011). "Tested the notorious N7 and N15 £5 seats...sat in them for test purposes I would have zero complaints, easy-peasy to avoid the pillar - a no brainer giveaway if booked in advance." “N15: "The Children's Hour" (February 2011). As a £5 pillar seat it was a STEAL! Great view just by leaning on the right arm-rest slightly. I could see 100% of the stage. Excellent." "Row O: "Old Times" (February 2013), (Richard). They have redone the seating in the stalls which affects the restricted view seats. There's now a gap between N7 (and its equivalent) and the seat next to it - so these seats no longer have the pillar in front. In fact they are now better than normal seats as you have somewhere to put your coat! I was in one of the row O seats, a bargain at (I think) £15 - it cut off the very extreme edge of the stage but could see any "action" by moving my head slightly." “O12 and 13 in the stalls were fantastic." "O12 and 13: "Birdsong" (September 2010), (Rich). I would recommend these seats to get a clear, central view of the stage; however I would not have wanted to be any further back. The legroom was satisfactory but considering we only paid for balcony seats and got upgraded, I can't complain." "P3 and 4: "Merrily We Roll Along" (May 2013).  At a discount rate of £25 were a bargain." “Q9 and 10: “Death and the Maiden” (December 2011), (Chris B). Centrally located seats with a good clear view of the entire stage. There is a good rake so you are not obstructed by heads in front (unless you are unlucky to have a giant sitting in front). I would say these seats are a little far back, you do feel a bit distant although it is quite a small, intimate theatre. Having sat further forward in this theatre I would recommend it for a more engaging experience.” “Q9 and 10: “Old Times,” (Chris B). These seats are at the back of the stalls but are centrally located. They offer a clear, unobstructed view of the whole stage, as there is a good sized rake. However the overhang from the dress circle does cut off a slight bit of the top of the stage, but this doesn't impact on the view of 'Old Times' at all. You are a little too far back to clearly make out facial expressions though. The low ceiling does make it feel a little boxed in though. The legroom is sufficient, but not plentiful and Q10 is next to a small central aisle allowing for extra legroom if needed.” "Q16 and 17: Marked white in your plan. They should definitely be red. A pillar is directly in line with centre stage and you have to keep craning your neck. This must also annoy the people in the row behind."       DRESS CIRCLE  Layout: The Upper Circle overhangs the Dress Circle at row B. The support pillars holding it up appear in row B. The overhang does not affect the view from Dress Circle seats, the pillars, do! Seats are divided into three blocks by gangways. The outer two blocks follow the curve of the horseshoe shaped circle towards the sides of the theatre. The circle has a shallow rake. Legroom: Legroom is poor, except in row A; also, aisle seats allow stretching for one leg.   Choosing Seats in General: Centre Block: Central row A, when not at premium price, is the way to go. Of the rest, B 7 to 13 and C 8 to 13 in the centre are the better end of average. Also look across the aisle at B 4, 5, 15, 16 and C 4, 5, 16, 17. The remaining central block seats are between pillars and sitting here feels like watching through goalposts. The shallow rake makes rows from E back seem far from the stage. One reader reports a poor view from row E back too. Restricted view seats: Those behind the pillars are poor value with a bad view at top price. Theatremonkey advises not buying them unless very cheap. If they are very cheap, take them once the same priced ones in stalls rows N and O are gone, and before any seats further back in the stalls at that cheap price. For those willing to mostly see pillar and have less legroom unless stretched sideways into the aisle. More expensive, usually, are seats behind rails in row A, and behind a pillar in row D. If reduced to second price or less, A6 and 12, reduced for the rail in view - are worth nabbing, it thinks. After this, take the ones in row D if it is the only way of seeing the show. A reader comments for one previous production, "It is true that there was a column that obstructed some of the action, but it was a very thin one. You just had to lean to one side or the other sometimes." Worth knowing is that sometimes the pairs of aisle seats behind in rows E and F are also reduced. The row F ones have little legroom, take only the aisle seat. The row E ones are a more interesting pair, once the seat in D has gone. Note that in both rows, the seat that isn't on the aisle has a better view - a trade off for the cramped legroom. Wheelchair users can either sit at seat E17, or transfer is possible from a wheelchair to E4, 5, 16 or 17. Seats on the ends of the row have some of the worst restricted views. E 5 or 17 are best bet, feels the monkey. Side Blocks: These offer an odd viewing angle. Seats here face the stage at an angle - the view of centre stage is fine. The view of the sides less so. At top price, the monkey would skip all but inner aisle seats in rows B and C, really. It would go more central in the stalls for less cash in the 'restricted view' seats if it were honest. As a reader sums it up, "A fair bit of restricted vision up here if you sit to one side, but centrally it is fine." General Hazard Notes: Each gangway has a double height bar at the end of it - it does not really affect the view (except in A 6 and 12) but the picky like to know these things and sit one seat in from them, the monkey finds. Outermost ends of rows do not have aisles next to them – claustrophobics beware. The shallow rake makes row E feel distant from the stage. Poor legroom in row F is worth underlining.   Changes for the current production: Row A is at non-premium price, a good opportunity, feels the monkey. Other seat locations at a particular price change three times during the early part of the run: Row A is at top non-premium price, a good opportunity, feels the monkey. Unless short and preferring a dress circle view, first take stalls at the same price over other seats at the same price in centre block rows B to E, though, for comfort as much as anything. Other "clear view" seats are also the same top price as very good front stalls. Again, unless shorter and / or only having a choice of seats in the centre of stalls row O back or circle seats - the monkey would again take stalls for the same price. If taking the circle, take central B then C. Then take side block aisle seats if you have to - in those same rows - before working back centre then sides through rows D and E. Avoid row F as it is too cramped. Restricted view seats are the same two prices as the upper circle. C 6 and 15 are the cheapest. Not bad, so (unless shorter) take them once the row N 7 and O 6, 7, 16 and 17 in the stalls at the same price, have gone. A little more expensive, if A 6 or 12 are available, take them, then perhaps the same priced centre block aisle seats in row D then E. The ones in row F are too uncomfortable to be a bargain, feels the monkey.   Reader Comments: "B15: This was a good seat as you could see the whole stage and felt very close to the action. The safety bar was slightly annoying however. For the £25 I paid I thought it was good value." C6 and 7: “Spamalot” August 2012 (Chris B). The circle feels very close to the stage and it feels low down too so you feel the atmosphere. The legroom is great as the circle is on a curve so these two seats being next to the aisle (C6) seem to get more legroom. The rake is not very steep however so if you have a tall person in front this can be frustrating. There is a pillar in front of C6 and is advertised as blocking 1/4 of the stage, however it is in reality only about 6 inches wide and not the big column you are expecting. As long as you know the person next to you, you can lean towards them and only cut out a very small sliver of the stage on the far right.” "C13 and 14: "La Bete" (June 2010). Not bad but not the best (which would be A row of dress circle)." “Row F: I specifically booked row F as the seating plan shows a space in front of that row which suggests extra legroom and two members of my family are over 6 foot tall. In fact the row had even less legroom than elsewhere in the dress circle and my 6'4" husband had to move to a restricted view seat. So be warned, avoid row F if you are tall.” "F6 and 7: The back row, with a good view of the stage. The problem is the leg room. For two people, each around 6 feet tall it was impossible to sit down and I mean that. The seats were so uncomfortable, putting undue pressure on my back by being forced to try to sit so uncomfortably I was prepared to walk out without seeing the production rather than enduring such uncomfortable seats. Fortunately the box office moved us to the Stalls on my request, where the leg room is slightly better. My advice to anyone tall is to absolutely avoid all seats in Dress Circle Row F. These are charged at the top price which in my view is wrong. They should certainly come with a warning. I know leg room is a problem in many West End theatres but in more than 20 years of theatre going this is amongst the worst I’ve encountered." "F9: “Prick Up Your Ears” (September 2009). Although the view was fine and unobscured, leg room is non-existent. I'm only 5'9" tall, but even when sitting as far back in my seat as possible, my knees were still touching the back of the seat in front. I don't know whether microphones were used in the production I saw, but if not, either the cast were exceptionally good at voice projection, or the theatre has good acoustics, because the clarity of the dialogue was outstanding from the back row of the Dress Circle. (The monkey downgraded the seat rating on comfort grounds. It puts sound down to the age of the theatre - designed for best acoustics in an era without microphones, but would welcome observations from other guests.)     Dress Circle Boxes Layout: Four boxes, two either side of the stage. Legroom: Acceptable, as movable chairs are used. Choosing Seats in General: The view from the boxes is sideways on. Theatremonkey rates the seats barely adequate. These seats are rarely sold. At third price or less they are a way to see the show if ticket demand is high. General Hazard Notes: The rear corner of the stage is not visible. Changes for the current production: Averagely priced, so not terrible value. Reader Comments: “Box D: “La Bete” (June 2010), (That Fulham Couple). We noticed that occupiers in Box D stood up a couple of times and stretched out over the balcony to catch some of the action."     UPPER CIRCLE Called the Royal Circle in this theatre Layout: The Balcony overhangs the Upper Circle at row B, pillars holding it up appear in row B. The overhang does not affect the view from Upper Circle seats, the pillars, as in the Dress Circle, do! Seats are a tiered single block, curved towards the stage. Legroom: Poor throughout the circle, worst in all of row A and in seat numbers B 5, 6, 15, 16 and E 10 and 11.   Choosing Seats in General: Be careful choosing seats here. Many “restricted view” seats – some quite central – are priced as high as possible by some producers. Skip row A for comfort and view at any price. Best seats are row B 7 to 14 and row C 8 to 14. Row D 11 to 14 are also good value when sold at fourth price. At second price, the monkey would go for rear stalls or pay a bit more for best stalls, rather than squeeze itself into expensive seats up here. The shallow rake of the circle does not help sightlines from row D back. "Restricted view" seats B 3, 4, 6, 17 and 18, C 2 to 5 and 17 to 19, D 8 and 16, E 4, 5, 21 and 22 and F 3, 4, 16 and 17 are acceptable if discounted to fifth price or below for view, if not comfort. Again, not seats it would choose particularly. If they are more expensive, certainly worth missing. B5 and 16 are cramped, another reason to avoid, the monkey feels, other cheaper seats might be worth a look even if this circle is more cramped than most generally. Of the seats directly behind the pillars, consider paying more - they are too poor to recommend. As the circle curves like the Dress Circle below it, the first and last five seats in each row face the stage at an angle - the view of centre stage is fine. The view of the sides less so. This makes these seats poor value though these aisle end seats may still appeal to some. General Hazard Notes: A metal bar runs across the front of the circle. This intrudes into the view from many seats, running horizontally across it. Vertical supports cut across the view of every fourth seat, notably in rows A and B. Further safety bars at the edges of the circle make row A seats 1,2,16 and 17 well worth missing. One reader, taking a quick glance during an interval summed it up with, "I thought there was quite a lot of restriction up there." Changes for the current production: There are many central seats at second price, with some restricted view seats at a lower price next to them. At second price the monkey would take a look at rows B 7 to 14 and C 6 to 16 at these prices, but would actually take cheaper stalls for comfort - accepting the restricted view the stalls will have. It notes that normally "restricted view" seats B 3 to 5 and 16 to 18, C 3 to 5 and 17 to 19, D 19 and 20, E 4, 5, 21 and 22 and F 3, 4, 16 and 17 are at second price too. Not seats it would choose. Of the restricted view seats, all are the same price as more comfortable restricted view seats in the stalls. Check first that stalls row N 7 and O 6, 7, 16 and 17 have gone before considering sitting up here for the same money. Even then, only the particularly short may prefer to sit up here (the steps will aid seeing over those in front). Outermost seats in all rows are cheaper than usual, making those pairs fair value once the same priced seats back to row S in the stalls have gone. Otherwise, only the short may find these seats a preferable pick over rear stalls, the monkey feels.   Reader Comments: "B9 and 10: "Sunset Boulevard" (December 2008), (James). Seats were great, but as they've pulled the stage forwards over the pit, we couldn't see that bit very well. I had a look from A9 and 10 and have to say that if you're over 5'11, the bar runs below the stage and the view is wonderful, better than in row B. My gripe is that they've pulled the stage forwards over the orchestra pit - fine if you're in the stalls, but makes the Upper Circle / Balcony seats suffer." "D4 and D5: Bought a £5 Gallery ticket and was upgraded to the Upper Circle D4 and 5. We were right at the side and had a lot of trouble seeing the right hand side of the stage because of the bar. We moved into the centre but the bar still gave us problems, but we could see the whole stage from here. Would not recommend the Upper Circle at this theatre." "D7: "La Bete" (June 2010). I wouldn't choose seats these high up personally. This seat has a pillar directly in your eyeline so you have to move your head a bit for some parts. You can see all the stage, but it's too far away from the stage for me." “E15 and 16: (James F). I could not wait for the production to end. The seats leg room was really small, which meant everyone was really uncomfortable. I recommend buy two seats next to each other (one for you, or one for your legs) or buy the much cheaper standing tickets and you will not have to suffer the pain and you will enjoy the production more." "E24: "Absent Friends" (January 2012). As you rightly point out, the upper circle of this theatre is (rather misleadingly) known as The ROYAL Circle – rumour has it that this is because The Queen and Prince Philip used to sit up there when they were newly married and setting up home together, not having the money to sit in their now customary boxes. OK, so it was probably misnamed by an anti-royalist theatre executive, but hey! The view from many of the seats there is even more restricted than that of a box, with restricted views galore behind pillars and mega rails at the sides. I sat in E24 and my view wasn’t helped by the high rails that protect any royals sitting up there." "F14: "La Bete" (June 2010), (Taljaard). Had a fine view.       Upper Circle Boxes Layout: Two boxes, one either side of the stage. Legroom: Acceptable, as movable chairs are used. Choosing Seats in General: The view from the boxes is sideways on. Theatremonkey rates the seats adequate. Box E is rarely sold, the other box isn't generally used at all. At third price or less they are a way to see the show if ticket demand is high. General Hazard Notes: The rear corner of the stage is not visible. Changes for the current production: Averagely priced, so not terrible value. Reader Comments: None.     BALCONY Layout: Overhangs the Upper Circle at row B and is high up enough to see the pearly gates. One block of seats, with aisles at either end. A shallow rake means looking down is fortunately not particularly vertigo inducing. Rails in front of, and at the ends of, each row add to the secure feeling.   Legroom: Poor throughout the circle, worst in all of row A. Even standing is an issue as the tall feel they are sweeping the ceiling with their hair... Choosing Seats in General: As in the other circles, the first and last five seats in each row face the stage at an angle - the view of centrestage is fine. The view of the sides less so. This makes these seats poor value unless the first and last two seats in each row (which are designated restricted view) are sold cheaply. Without pillars to add to rail intrusion, for those wanting a central view, take row C first, then B, then A; which will be uncomfortable for those over four foot tall. When the ends of rows are cheap, the monkey would take aisle seats in rows B to D instead, for an inch of extra legroom and save a few pounds at the same time. Rows E and F are often the same price as these end seats – the shorter will appreciate a more central view, perhaps. Sold cheaper, row E is particularly worth a thought - saving over row D but with a similar view. General Hazard Notes: A metal bar runs across the front of the circle. This affects the view from all seats in rows A and B, running horizontally across it. Vertical supports also cut across the view of every fourth seat in rows A and B. Further safety bars at the edges of the circle make row A seats 1 and 20 worth avoiding. One reader, taking a quick glance during an interval summed it up with, "I thought there was quite a lot of restriction up there."   Changes for the current production: All seats except the outermost 2 in each row are a single price. The monkey would take the outermost cheapest seats in rows B to E first, for comfort as much as anything. At a price upwards, the shorter can go for rows B to D in that order as first choice, always remembering just how uncomfortable the balcony can be.   Reader Comments: "Row C (centre): "The Children's Hour" (February 2011), (Gary). Rubbish seat - felt I was sitting on the ceiling. Not worth £30. Too far way. Unable to hear the dialogue at times." "F14: "The Children's Hour" (February 2011), (Taljaard ). Last row in the Balcony. Not too bad at all, could hear and see everything." "Gallery Standing: Let's just say I hope I never have to stand at the back of the balcony at the Comedy again. My back ache was horrendous. I swapped with someone in the front row of the gallery for act two (they had knee pain because of the cramped conditions (Moved to A3). I actually felt quite near to the performers here, could see expressions and everything albeit being high up. The bars were a problem though, especially my seat as it had one of those vertical supports you mention."   Notes Total 796 seats. Air-conditioned auditorium. Infrared headsets available, as is guide dog sitting. Wheelchair spaces or transfer seating are in row E of the Dress Circle via an 8cm ramp at a side door and into the foyer. Chair footrests may have to be removed. No adapted toilets, the best in offer is down 6 stairs and a 64-cm wide door. A little construction work is needed here. Fuller details from www.ambassadortickets.com or 0844 8717 677; Artsline on 020 7388 2227 or e-mail 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. Three bars. Foyer, Stalls and Upper Circle. 6 toilets. Stalls 1 gents 1 cubicle, 1 ladies 5 cubicles; Upper Circle 1 gents 1 cubicle, 1 ladies 3 cubicles; Balcony 1 gents 1 cubicle, 1 ladies 2 cubicles

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Getting to this Theatre

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Nearest Underground Station

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Nearest Underground Station: Piccadilly Circus - Piccadilly (Dark Blue) and Bakerloo (Brown) lines. The escalator from the platforms ends in a large circular underground area.  After leaving the barriers, turn to your left, and follow the curve of the barriers around until you see an exit to your right with the sign "Subway 4" over it. Walk under this sign. Keep walking through this tunnel and ignore the first staircase marked "Shaftesbury Avenue". Continue along the tunnel passing the "Trocadero" doors, and follow it as it curves past another set of doors. Follow the arrow on the sign ahead of you that says "Eros" (the tunnel continues to the right).  In this new section of tunnel, take the stairs ahead and to your right up to the street. You will emerge near the Criterion Theatre. Walk ahead of you. If you see two roads - Piccadilly and Regent Street - with a shop between them..., wrong way.  You will come to a busy road, Haymarket. A large statue of horses is to your right. Turn to your right and walk down Haymarket. At the traffic lights, cross Haymarket. Continue walking downhill (your right as you cross). The next side street on your left is Panton Street. Turn into it and cross it to the Harold Pinter (formerly Comedy) Theatre.

Buses: 6,12,13,15,22B,38,53, 88,159 to Haymarket. Haymarket is a one way street. If you are travelling by bus from Trafalgar Square to Piccadilly Circus, leave the bus at Piccadilly Circus and follow the walking route above. If travelling from Oxford Street or Shaftesbury Avenue you will be able to leave the bus on Haymarket itself. Do so at the first stop in the street.   Taxi: A rank for Black taxis is at Charing Cross Station - a long distance from the theatre. Walk up Panton Street to Haymarket to maximise your chances of hailing one in the street.

Car Park: Whitcomb Street. Leave the car park, turn left and walk uphill. The first street on your left is Panton Street. Turn down it and pass the multiscreen film complex. Keep going straight on. The Comedy Theatre is in front of you. This car park does NOT participate in the 50% discount scheme. The nearest option that does is Spring Gardens / Trafalgar Square. Call Q-Park car parks on 0870 442 0104 or see http://www.q-park.co.uk for details. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost. Spaces CANNOT be reserved at these prices, so choose whether you would prefer to book and pay more, or use this scheme. If you choose the "Theatreland Parking Scheme", you must get your car park ticket validated at the theatre's box office counter (the theatre attendant will insert the car parking ticket into a small machine which updates the information held on the magnetic strip on the reverse, thus enabling the discount). When you pay using the machines at the car park, 50% will be deducted from the full tariff. You may park for up to 24 hours using this scheme and it is endorsed by the Society of London Theatre. For a full list of car parks and theatres that participate in the 50% off theatreland scheme see http://www.q-park.co.uk.

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