STALLS
The Dress Circle overhangs the Stalls at row M. The view from row V back is
noticeably affected by this.All seats in the stalls offer good views and fair value for money, with only
a very few notable exceptions. These miscreants are pilloried below.
Be aware that row A has a neck aching view of the stage. A reader notes that it has
recently been kept empty for some plays. Another person moved back two rows for
similar reasons. The monkey usually marks row A red to note this (though view and
comfort, neck ache apart, are OK for many) and marks row B red only for
potential legroom
and some neck ache properties too. These seats may be unsuitable for the shorter visitor.
If rows A, B or C are sold as "Day Seats" they can be a bargain,
feels the monkey - fairly cheap even if it is restricted view. "The
Importance of Being Earnest" (January 2012) has row A at a low "Day Seat" price - and may
only have 9 available out of the row total of 13, as some seats are
often kept for use by the theatre.
Reader Mark says for "Sweet Charity" (April 2010),
"A4 and A7: Possibly the best day seats in town. View is perfect, you
miss NOTHING, and get to see the wonderful performance of Tamzin
Outhwaite up close and personal."
Reader Zena comments that when row A is in use,
"My seat (stalls B1) was fine - there was the orchestral pit in between
us and the moderately high stage and legroom, so I never felt too
oppressed. But it deserves its discount as you do have the usual
restricted view (nothing below the mid-calf visible...). You may also
want to note that the conductor stands quite tall and therefore the
middle seats in the row will have some obstructed view. Row C may also
be too close for some too"
For "Breakfast At Tiffany's" (September 2009) a reader adds,
"Rang up and got 2 day seats in the front row paying £15 plus £2 booking
fee each ( a service available if there are day seats unsold after the
box office personal callers line is satisfied - Editor). I agree with
another reader that some characters did speak quietly but we were OK
being in the front row."
At "Flare Path" (March 2011) reader Taljaard reports,
"B13: I got this as a day seat for £21, and the view was excellent."
The monkey saw "Marguerite" (May 2008) from C1 and agrees that
front rows may be close
for some.
For normal productions, with row A in place, reader Bobbi
wasn't impressed with row D either,
"We were in row D and it was too close to the stage. We had to look up the
entire time and it hurt our necks greatly. I’d recommend rows F and back since
it is a small theatre. "
Reader Kevin also felt of row D,
"I was really struggling with the uncomfortable narrow seating in this 285 year
old theatre ( I thought people all them years ago had large bottoms as well?).
Anyhow, I was in row D of the stalls and now know what it feels like to be in a
straight jacket".
defending the row, readers Matt and Sam say,
"We had good seats stalls row D5 and 6, any closer to the stage would have been
uncomfortable as this is a very high stage indeed."
and reader Mila adds,
"our seats in row D of the stalls were superb - We were caught up in every
emotion and could see every nuance. I don’t know if it would be so good from
further away."
Another reader reports from "Breakfast At Tiffany's" (September
2009),
"We had excellent seats D13, 14 and 15. Theatremonkey’s seat assessment
appears spot on."
On the other hand, reader Lisa feels:
"Despite being in stalls row B (1 and 2) we suffered no neck-ache and enjoyed a
brilliant view of the stage, feeling part of the whole drama. However, the legroom on
these 2 seats seems much less than on the row behind (or front but row A has
plenty!) It may be the curve that causes this as looking down the seats in the
centre appeared better".
Reader Richard Bradbury agrees:
"We sat in stalls seats B3 and B4. Excellent seats and like Lisa (above) we
suffered no neck ache. Row B is the front row as A is kept empty and you are
really close to the actors and in certain scenes they literally tower above you.
Have to agree again with the previous reviewer - legroom in these seats is
limited."
Reader J Hockley says of "Sweet Charity" (April 2010),
"B6: perfect view (though probably not if you have neck problems). The
seats were not the largest, and the legroom was minimal - and I'm only
5'3" - but I did notice seats 4 and 5 had more legroom (and 10 and 11 I
think), as the angle of the curve widens at these points."
At the same show, another reader says,
"E1: Good seat, but a little too close for my personal preference."
More centrally, for "Flare Path" (March 2011) a reader notes,
"E5 and 6: Fine. Granted, a row or two back would've been more
panoramic, but I was equally happy to be closer, especially at the
reduced £35 price I paid!"
Reader Mila praised F5 and 6 for being close enough to see detail in
individual performances. Theatremonkey seat connoisseur James opines,
"Sat in Stalls F6 to F8 for “Marguerite” (July 2008 - row B as front row, and a
high stage in use). A fair rake ensures a good view and the sound is great here,
but I would have preferred to have been a row or two further back to see the
whole stage without turning from side to side."
The walls at the front of the auditorium narrow at row G. The first and last
four seats in all rows H back should be avoided as the direct view forwards is
of a wall. This does not mean the seats are designated restricted view, because
the stage can be seen, just at a very strange angle. If you pay full price then
why not expect the best without compromise.
Reader Celia Robinson comments:
"We sat in Stalls
H 5 and 6 which were great seats"
Another reader reports,
"Row J offered a good view of the stage."
"The Importance of Being Earnest" (January 2012) has central rows G
to J, and a bit of row F at "premium"
prices. The monkey would honestly take cheaper seats - row F first - around them. Same
view, so why pay more?
Of it, when cheaper, a reader says,
"K9 to 11: Perfect seats, though oddly the seats in the next row are
directly in front of you, meaning you have to do a bit of head-dodging!"
Two rows back at "The Rivals" (November 2010) another reader feels,
"M 4 and 5: Although these are off-centre, the view from both seats was
fine for this production and sound quality was good too. Incidentally,
I cannot comprehend why anyone would want to pay extra for 'premium'
seats in row K!"
One reader says, for "Breakfast At Tiffany's" (October 2009),
"M 16 and 17: Despite being towards the rear and on the side, these
seats gave us excellent views of the stage. There is only a very gentle
rake to the seating but for some strange reason I felt slightly elevated
in my seat. I think it might be because the stage is high. In addition,
the slight curve at the end of the row allows you to see between heads
in front of you. I would happily pay top price to sit in these seats
again."
Further back in R, a reader notes,
"R17 and 18 were in a very good location and looking around the stalls
in general I don't think anyone would have had a problem with a view of
the stage and the seats (although not the most comfortable) were OK and
enough legroom for this 6'+ beast and not the usual problem of Mr
Pumpkin head sat in the way and wouldn't have been either had he decided
to come along for this show."
Rows V, W and X in the rear stalls suffer the Dress Circle overhang cutting
off the top of the stage, along with feeling far from the stage. If offered V
back
at
top price for "The Importance of Being Earnest" (January 2012), you might want to sit elsewhere.
Reader James says of row V,
"Sat in Stalls V3 and V4 for "Marguerite" at the Haymarket. I was a bit
concerned about being so far back, but it really wasn't a problem. I
still felt very involved and could see and hear everything perfectly.
The only reason I can think of to be further forward is so that you can
see the full effect of the wonderful sets which you miss slightly from
the overhang but other than that, great seats. However, I did get
freebies and would perhaps be reluctant to pay top price for them."
In row X, on a special discount offer for "Sweet Charity" a reader
says,
"X1 to X6: These are clearly not the best seats in the stalls but were
very acceptable for what we paid and actually afforded a perfectly fine
view except for a slightly reduced sight of the performers in the scene
set on a fairground ride in the air. There was a gap between the sound
booth and seat X6 and the person using that seat found it fine. The only
negative comment I have is rather a strange but important one; seat X1
did not exist!!" *
*The monkey is reliably informed that the seat has now been
re-captured and firmly chained into place once more...
For musicals - not "The Importance of Being Earnest" (January 2012), a sound desk replaces W and X
7
to 11, making W and X 6 and 12 and V 6 to 12 worth a miss for purists, perhaps.
A wheelchair
can replace stalls seat X18. See notes. Sadly, a better
seat isn't removable. Theatremonkey rates the view from here poor value at full
price.
Legroom is good in all seats for all but the very tallest. Outstanding are seats F1 and G21, which are at
the ends of the row. G21 has nothing in front and offer the luxury of a good
stretch, F1 and G1 have 9/10ths nothing in front - G1 the tad more of the pair,
F21 only about 3/10ths clear of the seat in front. Readers Lisa and Richard Bradbury both note less room at the ends of row B
when A is in use.
Lisa attributes this
to the curve of the row as there is more in the centre than at the ends. Reader
J Hockley adds, "I did notice seats B4 and 5 had more legroom (and B10 and 11 I
think), as the angle of the curve widens at these points."
Another
reader noted,
"Row R back: the one problem was for anyone over about 6 foot was the seats are
very tight. I was afraid I was going to get cramp with my left leg stuck against
the seat in front but fortunately the interval came in time for me to get up and
move about."
Stalls Boxes
A and C are beside the stage. Both offer a fair view of the stage with only
the far corners at the rear of the stage not visible. 3 seats in each. Do be
aware that this can change depending on the layout of the set - the box office
will advise if this is the case.
These seats offer JUST average value, but at top price should be only be
considered if prime Stalls / Dress Circle are unavailable. The monkey would
normally skip these boxes as they are expensive for the view offered.
DRESS CIRCLE
Called the "ROYAL CIRCLE" in this theatre.
The Upper Circle overhangs the Dress Circle at row C; this does not affect
the view from any seat.
The seats are split into three blocks, centre and two sides by aisles.
Only eight seats in this circle have a truly poor view of the stage. Row A
1, 2, 30 and 31 are at the ends of the row, behind the boxes projecting from the
walls of the auditorium. The viewing angle makes sitting in these seats annoying
- though they are cheaper. Reader David Farthing felt of them:
"(the) two pairs of £26 seats on either of the balcony in the Royal Circle
looked like good positions even if you have to lean forward to see all of the
stage on your side!"
"The Importance of Being Earnest" (January 2012) has row A 8 to 24
and centre block B and C at "premium" prices.
The monkey would honestly take cheaper seats around them - row D centre
first. Same view, so
why pay more?
Row G 1 and 25 and row H 1 and 24 are designated restricted view for similar
reasons but offer enough of a view to be worth considering for the budget
conscious if reduced (not for most productions) and if there are no other
alternatives.
At top price, the centre block is the best value, choose row B then C first
for the prime view. The side blocks offer reasonable value, but again if all
seats are the same price why sit in the side blocks? Avoiding the first and last
four seats in each row in the side blocks is also worthwhile to improve your
view of the stage.
From row C, for "Sweet Charity" (May 2010) theatremonkey regular seat
comment provider James says,
"C5 to 8: View was good, but C5 and 6 are certainly not worth top price
as they start to cut off a significant part of the stage."
A row back, regular reader Mark says for "Sweet Charity" (May 2010),
"D7: Good seat, but I'd say go for the stalls at top price or at least
central dress circle."
In the centre of row E at "Rosencrantz and Guilderstern Are Dead"
(June 2011) reader Laura says,
"E16 and E17: On the left hand side (looking towards the stage) of the
centre block. Plenty of legroom (but then we are only 5'2" and 5'3", not
sure how it would be for those lucky enough to be taller), and excellent
view of the whole stage. It also felt like a very intimate space which
added to the production. There may have been a slight bit of overhang
but it genuinely wasn't noticeable, although due to the set construction
most of the action seems concentrated in the first half of the stage but
that could change for other shows."
Another reader reports, at another production,
"I was in the circle row E right side which was OK, and seats
comfortable with sufficient leg room (I am over 6') but Stalls, and
close to the stage, would probably have been better as there is less
distraction and you can feel more involved with the action."
Reader David Farthing notes:
"F4 and 5 in the Royal Circle are fair value as suggested"
Reader "Lizzie loves the Theatre" adds,
"sat in the Royal Circle Row F17 to 21 and all had a really good view – the
legroom was fine too"
Behind her, a reader says,
"H16: The overhang of the upper circle pretty much lines up with the top
of the proscenium so nothing is missed. However for a (usually) top
price seat I would go for something further forward."
On the far side of the circle, another reader reports,
"A party of five we sat in the Dress Circle A3 to 7. Poor seats
especially
A5 to 7 who only saw about one third of the stage. A3 and A4 had the
bottom corner of the stage cut off and so missed a substantial amount of
the action. I think it is very cheeky how the theatre would normally
charge you £60 for these seats and do not mark them as restricted view.
These seats should be marked red and probably the ends of the rows
behind us and are to be avoided."
Just off the centre aisle in the side block, a reader opines,
"D21 and 22: 21 is on the aisle, which definitely helps with legroom,
although room was not lacking in 22 either (both occupants around 5'
9"). The circle has a substantial curve, which means that the viewing
angle in the side block is rather odd - if you sit straight in either
seat you're naturally looking towards the SL side of the proscenium
arch, if not the box seats. As such, you watch the whole show sitting
slightly squint in your seat. Not a massive problem, but probably worth
knowing.
Also, a reasonable chunk of the Downstage Right corner (left front
corner as the audience looks at the stage - editor) is cut off by the
circle rail, but very little action took place here in Godot (January
2010), so we didn't really find this to be an issue. These seats are
apparently top price, and if I had paid full price I would have been
decidedly unhappy, however if they're available at a discount then they
may be worthwhile."
The outermost ends of the Dress Circle are NOT cheaper for
"The Importance of Being Earnest" (January 2012). When they are, monkey feeling is choose carefully, avoiding
the extreme ends of row - first and last seats in - as mentioned above, but otherwise,
not terrible.
D to G 2 and D and E 26, F 25 and G 24 may be worth a punt for the least fussy. When paying the same as someone in the best and most central seats, you could
well be
disappointed with sitting in these corners, though. The monkey would
pick the aisle seats in these rows over Stalls row T back at the lower price, but
would take into account being in the
extreme corners of the circle.
A reader feels, though,
"G24
and 25: Really good view. I think G25 is unfairly marked red on the
Theatremonkey website. I swapped seats at interval as G25 had more
legroom and the view was the same. I think these are fairly priced at
second price, and are good if you want a little extra room."
The only problem
is that it varies with how far forward the stage is, feels the monkey,
but it upgraded the rating accordingly.
Legroom is poor in row A but probably adequate for all under five foot nine tall in the
other seats. A little extra comfort can be had from sitting in the aisle seats
of the centre block (rows B to H), where the seats are not directly in front of
each other.
Dress Circle Boxes
Both offer a fair view of the stage with only the far corners at the rear
of the stage not visible. 3 seats in each. Do be aware that this can change
depending on the layout of the set - the box office will advise if this is the
case. Box D is used as a sound desk.
A reader says, at "Flare Path" (February 2011),
"Box B: Not the best box I have ever used, but a long way from the
worst."
These seats normally offer average value at discount, but at top / second price should be only be
considered if prime Stalls / Dress Circle are unavailable. Choose Dress Circle
level boxes first as the height improves the view. For the current
production, at third price, the monkey might consider them for comfort, if not
view, over the similarly priced Upper Circle.
UPPER CIRCLE
The Balcony is behind this circle and the view is not affected by it.
A metal bar runs across the aisle ends of this circle. The view from the ends
of row A is
affected slightly by it.
Reader A Morgan also reports that:
"We sat in row C. The view from the first two aisle seats in the centre
block is partly obscured by a plastic safety screen above the bars of the front
row - but it only probably interferes with the seats in rows A and B. It does
not really spoil the enjoyment of the show."
another reader says,
"C9. You can live with it, but that glass barrier is in the view, and I
ended up for long stretches looking through it. It is highly annoying. I
was lucky that no one sat in front of me. Legroom is OK. I guess in
relative terms this might deserve a white, but with lots of red splashed
on it. And at £30, it is not value for money."
The good news is that these seats are reduced in price... worth considering C
9 and 20 feels the monkey.
The seats are split into three blocks, centre and two sides by aisles.
In the centre block, rows A to C feel close to the stage, pick row C then B;
then A if legroom is not a factor - avoiding the ends of the row unless you wish
to take advantage of the restricted view discount.
All seats in rows B to E except the first and last four in each row offer a
fair view of the stage without architectural problems intruding - plastic safety
screens excluded. Sadly, though,
a reader notes that:
"I bought in row B but the view was seriously compromised by row A
leaning forward and obscuring most of the stage. The bar that you mentioned in
your review leads to Row A leaning over it and meant I spent my time moving from
side to side to get a view, this seriously undercut my enjoyment of the play."
Very sad that the ill-manners of the theatre opposite's Upper Circle
customers has spread to the Haymarket, feels the monkey. On this reader's
report, it can only advise taking row C before row B in order to minimise the
problem - sad as row B offered a good view of the stage when audiences behave
themselves.
Of row D a readers says,
"I sat in the fairly uncomfortable D7/8 and for the price it's passable.
I would like to have seen this from the stalls."
Another reader says, for "Sweet Charity" (April 2010),
"D11: Not a bad seat, view was quite good, although there was nobody in
the two rows in front of my seat so I think that helped. It did feel a
little bit far away, I would have liked some binoculars but they didn't
seem to have any."
Rows F and G feel far from the stage. These are rated
average rather than fair value by theatremonkey. Once
the cheaper aisle seats in the side block have gone, the monkey would consider
paying more for centre row G rather than the outer side block seats for the more central view.
Also worth thinking about is that central row F is more expensive than central
row G... so take G over row F in front for the same view at lower cost...
Reader Jon Bemrose says,
"G3, slight imposition of glass/plastic screen at bottom of stairs,
circle edge, but this only impacted on a very small stage front area and
didn't cover any action on stage.)"
Centrally, reader Hannah reports,
"G 11 and 12 were £30 for 'Last Five Years,' (October 2008) and I think
that was a fair price. We were quite far away, but very central and the
view was excellent due to the steep rake. So not bad!"
All side block are designated restricted view as the sides of the
stage are obscured. All these seats represent fair value only where sold
at bottom price - rare. Choose row E, F then D over A to C as the
distance improves the view. A to C are last resorts if the rest are
sold. For "The Importance of Being Earnest" (January 2012), the box office are
NOT treading
carefully, with outer edges
at the second lowest price as they normally are to reflect that views are a problem here. These are
more comfortable than the centre rows of the Balcony, though - so once
the front row of the Balcony is gone and if you can get
a seat near the centre aisle, probably worth it, feels the monkey.
Theatremonkey regular seat commentator James says,
"C6 and 7 for "Waiting For Godot." (January 2010). Sitting upright in
the seat you miss almost half of the stage. Leaning forward helps
considerably, but doesn't usually please people sitting behind you. At
least the actors project well, so sound isn't an issue here."
Legroom is average in all seats (except row A) for all but the tallest. Row A
is poor for everyone.
BALCONY
Called the GALLERY in this theatre.
This is behind and above the Upper Circle.
Thick metal bars run across the front of the circle. A reader notes, at "The
Tempest" (September 2011),
"Row A: Just an update on the Gallery seats. I saw 'The Tempest' with
trepidation, having seen the reviews of these seats on your site. I didn't need
to worry; the Theatre Royal have removed the top metal bar and the view was not
restricted. The leg room in row A was great, I am over 6ft and had no problem.
The sound was fine from the stage, but the other audience members up here took a
while to settle. I would say the middle of the Gallery is a better bet than the
edges of the upper circle. Yes the seats don't have comfortable backs, the
cushions are not great and you are quite a way up, and the seat numbers are hard
to see, and you are not worthy enough to go in the main entrance for the
theatre..... But what do you expect for the kind of money these seats go for.
Good value for money I say."
Rows behind may still find these bars noticeable, and folk in row B can be
annoyed by those in row A leaning forwards.
It is a long climb upstairs to these seats. Consider your health before
buying (the stairwell is quite narrow for getting paramedics and/or coffins to
the spot). While not particularly vertigo inducing, those really fearing heights
should avoid these seats. Also note that they are benches.
The view is distant from these seats, but if tickets are under £15 then
consider them when on a budget. At £16 or more though...beware. As balcony seats go, these really are not bad
value IF sold cheap enough. Pick the closest row to the front that you can. No bargain, though, just a place to
see the show from if you have too and are on the tightest budget.
"The Importance of Being Earnest" (January 2012) does not have the very back two rows far cheaper
than those in front. When they are, the monkey was torn between keeping the 'red'
warning or upgrading to 'white.' Though still concerned on comfort
grounds, glowing reader reports have upgraded its opinion to white.
For £5 to sit anywhere up here, though, for "The Importance of Being
Earnest" (January 2012) the monkey would take row A and not worry very
much at all.
Reader M Boyd highlights another issue at a previous production:
" I plumped for Gallery seats. When I arrived (Row C) I was very disappointed to find all the Gallery seats
are hard and my husband couldn't stand the lack of legroom.
Also it gets very hot in these seats. One man nearly collapsed due to the
heat and had to leave in the intermission. The view is obscured by the
barrier so I ended up fidgeting in my seat all night to see the stage
properly...avoid the gallery seats at all
costs."
Seconded by reader Ian,
"I too sat in row C of the gallery and also was appalled at the dreadful
view from my seat. I was not advised that it was restricted view nor that it was
a bench. The Gallery rows B to F have 19 seats - (despite what the managers said
when I complained) I felt that they are NOT staggered so from
the centre of the rows you ARE directly behind the person in front".
"Thirded" by another reader,
"AVOID the gallery seating! God it is uncomfortable. Now off to see my Chiropractor to sort out my back after sitting in those blasted seats!"
Reader Jon Bemrose adds the final comment,
"E1. Seat was end of row, so OK for me, being larger. I would advise
anyone on the larger side (either waist or hips!) that squeezing between
the seat dividers in any gallery seat is tight, and would afford very
limited fidgeting on the 'bum numbing' bench seats. So, to be avoided,
although the view was OK for this - but distant - and no binoculars to
rent."
Legroom is cramped in all seats, a 6ft reader now reports it better in row A,
but cramped in other seats.
Notes
Total 888 seats.
Air-cooled auditorium.
Hearing loop available - both "T" type and headsets. Guide dogs may be dogsat. Level access via fire doors to a wheelchair space replacing stalls seat
X18. Adapted toilet available, situated in the short
corridor which runs from the disabled entrance to the rear stalls entrance. Fuller details www.theatre-access.co.uk,
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; Stalls, Dress Circle and Upper Circle.
Six toilets in all; Stalls 1 gents 4 cubicles, 1 ladies 4 cubicles, 1
disabled unit; Dress
Circle 1 gents 2 cubicles 1 ladies 2 cubicles; Upper Circle 1 gents 4 cubicles,
1 ladies 4 cubicles.
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