STALLS
The Dress Circle overhangs the stalls at row R, the view of the top of the
stage is affected from row T. In addition the ceiling is low and painted dull
purple making a gloomy atmosphere in the back stalls.The stalls are split into a large centre block and two narrow side blocks by
aisles.
The centre block offers good value in all seats from rows A to P.
Row A seats 10 to 13 are identified as "conductor in view." They are
also reduced in price to account for it. Almost all of the rest of row A
is top price. For those who are tall
enough not to mind having a rail slightly in view, no problems really, if you
like being that close to the stage.
One reader felt,
"The 2 or 3 first rows
are too close to the stage."
though in contrast two other readers feels that,
"We sat on the 2nd row. Possibly might have got a better overall view from
the dress circle but you certainly felt part of the show being so near" Before
the conductor's podium was moved, they also felt, "Theatremonkey seating plan says A9 is not good due to the view of the
conductor but seated just one seat to the side of this I could not see this
as being a major problem. The head of the conductor is in view for all Row A and
B seats in the centre section for some part, but it's not too bad."
In July 2007, another reader notes,
"I felt a little sorry for the lady in A12 who did have the conductor’s head in
her way. We sat in the stalls Row A seats 13, 14 and 15... The main issue with
being so close is that you miss some of the “low-down” action e.g. when the
characters are lying down or crouching. I also saw the stage hands 3 or 4 times
which wasn’t good!! If I went again, I would sit in the centre stalls about 6 to
10 rows back."
The monkey rated the first three rows highly, but recognises the
other comments as equally valid. While it felt rows A to C worthwhile,
this is obviously a case for many to make up their own minds!
In row B a reader says,
"B seats 8 and 9, which I feel is too close for this particular
production as you get to see all the workings close up and all the fed
up tired looking faces of the cast and all the puppets which are falling
apart. I'm also glad I wasn't sat further along the row towards the
centre because my view would have been obstructed by the rather large
head of the conductor, complete with Tina Turner hair do!!"
A gentle slope begins about row C, and is more noticeable from row E back,
though children may still prefer an aisle seat as it won't help them much.
Readers Messrs Colin and Asa Mccarthy-Burton report:
"Our tickets were just off the aisle in the stalls centre block on row E,
well what a fantastic view we had!! Lots of legroom and a perfect
view".
Reader Andy says,
"I recommend getting seats as close to the front as possible to really
appreciate this show. We were in Row H of the stalls which was perfect."
another reader agrees,
"Seats H7 and H8 were fine."
Another reader comments,
"Sat in seats J11 and 12 in the stalls. Excellent seats. Great legroom, superb
view and you are next to the aisle in the centre block which means the animals
parade past you at various points in the performance. Once again Theatremonkey's
green seat recommendation is spot on. There really is only one place to see this
show and that is from the stalls."
Centre block seats in rows H to L are sold as "Premium" - at a higher
price. One way to guarantee an outstanding view, if you are happy to pay it,
thinks the monkey.
In row M a reader observes,
"M 29: I had a left hand block aisle seat in the stalls. The view was
reasonable, but if I went a second time I would sit in the middle block
and a little further forward as, at times, the actors appeared somewhat
distant. I must also say that my seat was one of the most uncomfortable
I have sat in, in any theatre. I’m only 5’8’’ tall and average build,
but I just couldn’t stop fidgeting to find a comfortable position."
Rows Q to T
are fair but far from the stage for the money (worth considering on Wednesday
Afternoons), though reader Caroline notes,
"We sat in the middle of Row Q which I would definitely recommend."
as does another reader,
"I was sitting in Q13 and I must say the view was superb. Not too far
back and not too close to the stage. The legroom wasn't too bad either
(considering I'm 5 foot 10)."
Rows U to W at top price may be tending a little more expensive too.
Row X is second price and much more worthwhile than the more expensive row in
front, feels the monkey. The view is average here, but the ambience is
miserable. Still, away from the sound desk, it looks a fairish deal. Row Y 17 to
22, Z 15 and 16 and ZA 11 and 12 should be avoided as they are around the
sound control desk and so have distractions during the production. If you are
willing to put up with this, though, the price is fairly attractively reduced by
up to £10 savings at all performances in these seats - a welcome move, notes the
monkey.
It is also worth noting that Dress Circle row P is the same price as
X - your call, feels the monkey, who feels the Dress Circle view for the
same money is far back but has a better rake over seats in front than the stalls
do - worth considering if you have younger monkeys in the group.
Wheelchairs have spaces in the side and centre blocks in row P.
The view is acceptable. See notes.
Transfer is possible to any stalls aisle seat.
The side blocks are narrow and mostly located outside the proscenium arch.
The two seats closest to the central aisles in rows A to J are fine, and from
row K to P the viewing angle is sufficient to consider these seats over seats
farther back in the centre block. Rows R to ZA are little colonies with access
ways in front. The view is distant from the stage and the seats feel isolated
from the action. Take S to W only if nothing better is offered, and note that
from X back they are much cheaper, and perhaps worth a thought if you can't get
more central tickets for the money (take Dress Circle rows M and N before these,
though).
Side block row W back is cheaper, as are extreme ends of rows S to V. The monkey would take
the nearest central aisle seats in W or X first if possible.
The ends of rows A to M are sold at restricted view prices. The end two seats
in rows C to L, and the end 3 in rows A and B all drop to third price. Take G to
J first, then J, K then L, then M or F. The distance from the stage lessens the
restriction slightly. Then consider E and rows forward - though bear in mind the
further forward you go, the less you see. Some may want to take row ZA before
rows C, B and A.
Reader "Hoodlum" reports:
We got restricted seats F31 and 32 and it really wasn't too bad. You miss a bit
of the action that is taking place on the extreme left of the stage but this
only happens in two scenes. The opening and closing, because so many people are
on stage. it is thrilling to be in the stalls because you are involved in the
action. I had a singer come right next to my seat and tap it with his stick! The
tickets cost about £32 - considering full price is £47.50 (then), I felt that
restricted view in Lion King was not all that bad."
Another reader comments that they felt the end seats were not really
"restricted view", more just cheap because they are at the extreme
ends of the row. On the other hand, a reader found that,
"D28 and 29. I fully accepted and was aware that the tickets were restricted
view because they were at the end of the row and therefore parts of the show
would not be in view. However, I was not made aware that it was a signed
performance and that the signer was right in my line of vision blocking off much
more of the stage and significantly impacting on my enjoyment of the show. I
feel that when a show is signed anyone buying these tickets should be made aware
that the signer is right in your line of vision and this includes blocking out
the scenes on top of Pride Rock. With that in mind the tickets are not worth
anything like £42.50."
Worth noting, feels the monkey. For future reference, it adds that
"signed" performance dates are announced both on
www.lionking.co.uk and also the
very top of this page under the show title too, when available.
Legroom is good in rows E to ZA, adequate in rows A to D, and outstanding in
row N seats 1 to 5 and 52 to 60 which have aisles in front.
Stalls Boxes
One either side of the theatre. These have a side view, which one reader
is keen on, preferring them to Dress Circle boxes. They are actually above the
stalls, not at the same level. Another reader says,
"I took my grandson (he's a very small 8) - buying the two seats in box
D of the Stalls (restricted view). I must say that I
consider these ideal if you have a small child with you.
The left hand side of the stage is cut off a little true - but my grandson
was able to stand, and his view was very good and the box is very near
the stage for a little one - and no 'tutting' off people sitting by you as
there are only the two of you in the box. The chairs were a little
old-but that was bearable! SPOILER:
A member of the cast joins you for 5 minutes at the start of the second
half-very exciting for a little one!
All in all-100% recommended with a small child."
Another reader says of box D,
"I didn't tell my partner we had box seats so was very exciting being
led down a secret corridor to our own room. The left hand side is a bit
obscured, but you are pretty close to the front. You can move the chairs
around and lean on the edge of the box so you don't really miss
anything. Great seats if, like me, you tend to fidget having to sit
still for so long, and of course no problems with legroom! You feel a
bit like royalty in there, and can talk quietly between yourselves
during the production without disturbing anyone. If you don't like
crowds or chattering kids its ideal. SPOILER:
A minor dancer joins you in the first song of the second act, but in box
K (I think) you are joined by a singer in the very first song. I'd
really recommend a box for romantic couples or for parents with kids. It
felt more like a private performance just for us. Good value!"
In box C, reader Damian Riverol observes,
"I had 2 tickets for box C and it was one of the best seats ever. I had
booked a box for a surprise for a friend and didn't want him to know
until we got to the box, the staff were brilliant and didn't let on
until we got to the box.
The box is above the stalls and is really close to the front, it is
slightly restricted view but you only miss about a minute of the action
the whole show so it is worth the discounted price. As you are able to
move the chairs and lean on the side you can move about and see
everything else.
SPOILER: We were particularly excited when one of the cast members
joined us for the beginning of act 2 and she was very nice - saying 'hi'
before the song started. SPOILER ENDS.
I would recommend anyone to go for these seats if you are looking for
cheaper seats but want a brilliant view. There are only 2 seats per box
though. You could see a little of what was going on offstage right but
as myself and my friend work in theatre this added to the excitement."
The seating is on chairs, which can be moved around.
DRESS CIRCLE
Called the ROYAL CIRCLE in this theatre.
The Upper Circle overhangs this at row C, making the top of the stage
invisible from row J back.
Aisles split these seats into a central and two side blocks. A reader notes
that the two centre aisles have metal bars at the end, affecting the view slightly in row A, seats 12, 13, 25 and 26. The steep rake mean these are not so much of a problem in the equivalent seats of row B.
Reader Michelle warns, though:
"We paid top price for 4 front row (A) Dress Circle seats in the centre for
ourselves and our two children. As you state, there is a bar running
along the edge here which does slightly restrict the view if sat right back in
your seat, but what we found worse was the light gantry which protrudes from
the font centre of the dress circle. This comes out so far that short people
(like me) and my two children had to sit forward in our seats all the way
through (to constant tutting from people behind!) so that we could see the
performance otherwise our view of the entire front part of the stage was
totally masked. Very disappointing."
another reader noticed it too,
"From Row B seats 27 and 28, the view was extremely good and could see
everything clearly. The people in the first row of the Dress Circle may have a
problem seeing due to something sticking out the front of the circle."
Central rows B and C are "premium" priced. A
way to guarantee a good view, feels the monkey. It notes that younger
children will probably find the stepped view better than the same price
stalls if somebody tall is in front of them, but that there is slightly
more interaction with the stage in the downstairs seating.
One reader notes that he prefers the view from the front Dress Circle to that
in the same priced stalls, another felt that,
"I had a perfect view from the centre of row F. Worth paying top price for".
Reader Pam Coombs endorses this,
"Our seats were perfect in the centre of Row F Royal Circle, 17, 18 and 19."
Reader Richard Sellens says,
"My view from Row C in the Dress Circle was great and at one point I also had a
cast member singing near me!!!"
In row D, reader Paul comments,
"D19, 20 and 21: recommended by the nice Ticketmaster lady when I booked
the seats months ago, and very well recommended seats too. Plenty of leg
room (I’m 5ft11) and bag room round the feet – even enough room for my
wife who is expecting our second child in May(!). I would have booked an
aisle seat had I known then what I know now!! The rake is steep enough
that we missed the mess of the lighting gantry that spoils the Row A
view and steep enough that my boy could see everything over the heads of
those in front."
The central
block offers clear views and fair value back to row H. From row J back the view
is affected by the overhang of the Circle above. Row P suffers especially from
this. If you are a purist who likes to
see the very top of the proscenium arch, avoid. Some also feel that rows M to P feel a long way from the stage. Choose rear stalls
over these.
A reader comments,
"The seats in row L are comfortable and there is sufficient leg room for even me
at 6' 2" but we were so far from the stage we couldn't see faces or expressions
and the public involvement with the action is only for those in the stalls so
you feel deprived in the circle. When you are quite close in the stalls you can
make yourself look at the characters heads and believe in them. From the back of
the circle you are mainly aware of the actor working the character which is not
the same."
Against this, someone else says,
"Seats M23 and 24. I took the advice of the Monkey's seating plan and
once again it didn't let me down! When we got there it seemed that the
overhang might be an issue with regards of what we were able to see but
I was wrong! They were perfect. In fact, I think it is better to be sat
a little way back then you see less of the actors in the costumes. All
you see is the animals!"
At second price rows M and N behind are just about fairly priced. Probably
for the shorter they represent a better deal than rear stalls at the same price,
as views are less affected by the height of folk in front.
One reader is a real fan of row P behind, his comment is
that:
"From row P, they say it is restricted view as during "Can You
Feel..." you miss about a minute of the ariel ballet because of the
overhang of the other circle above it. I think they are a bit of a bargain,
though, as the main actors etc are on stage during this minute anyway. Children
will see the ballet from here - it is just taller people will miss out".
The side blocks also offer a clear view from all seats. The first and last
four seats in each row, should be avoided or considered last for being on the
sides of the block - small children in particular could miss parts of the show
from the very endmost seats. The same notes
as for the centre block apply about the best rows.
Row AA, tucked between the edge of circle and boxes, gives a box like
side view of the action. Seats closest to the circle have the better
view, closest to the boxes an inch more leg space. Acceptable for the
less fussy at "day seat" prices.
Rows J to L in the side blocks are top price. Try for the
most central seats available, or consider M behind them at the lower price to
save a few pounds for a similar view.
The rake is very steep in this circle making the back row seem a long way
from the stage. Since the circle itself is towards the rear of the theatre it
feels a long way from the stage even in the front row. Theatremonkey prefers the
stalls for the same cost.
Legroom is fairly cramped in row A, acceptable for most in other seats,
though choose the stalls if over
five foot eight tall. One reader felt that row K was cramped, for example,
though another in row L found it comfortable even for someone 6ft 2 tall.
Dress Circle Boxes
Two either side of the theatre, between stage and circle. They were
originally not sold, then just two seats of a possible six were placed on sale
at restricted view price.
On the plus side, you pay for what you get - a view of about two thirds of
the stage, for two thirds of the price. You may also be joined by cast members
fooling about. On the negative side, well, they had a good reason for not
selling these seats before, so why are they doing it now? Ask this before
buying. The monkey likes the legroom, but is not keen on the view. A reader
feels that if you want a box, C and D in the stalls are a better bet.
The seating is on chairs, which can be moved around.
Boxes G, H, J and K are a possible
discount choice over other restricted view seats in the Upper Circle or full
view seats in the Grand Circle. For those willing to share the box with
actors...and lose a little view, the monkey thinks the seats may build a cult
following at the new price.
UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.
This circle is very high above the ground and steeply raked enough to induce
vertigo in many people. Normally, this is as they make their way down to their
seats and most find that, once seated, they become used to the height.
A metal bar runs across the front of this circle affecting the view slightly
in row A.
Double bars at the ends of the aisles affect seats A 14, 15, B 15, 16, C 15, 16, D
14, 15, A
33, 34, B 34, 35, C 25, 34 and D 33, 34 enough to have the price reduced. These seats are
average value.
Reader Roxana comments of these,
"We sat in seats 33 and 34, row A of the Upper (top) Circle. These are marked
as partially restricted view ( lowest price ) because they have a rail in front
of them. We just leaned on the ( dirty) rail , and the view was perfect, though
high up. Not worth it to buy any other seats in the same level at a more
expensive price because we had the same view as everyone else. From reading the
reviews, it seems as though the viewers who sat in the stalls had a better
impression of the play than I did at the top. From up there, we could see layers
of dirt and dust on all the wall stucco ornaments and the whole thing looked
very shabby. The velvet on the rail was torn to pieces."
As in the Dress Circle, aisles split these seats into a central and two side
blocks. The central block offers clear views and fair value back to row G. With
almost all seats a single price in those rows, monkey advice is to take those
furthest forward and most central first - remembering that A has less legroom.
If taller, then B before A, really tall... aisle seats are the safest bet with
space for one leg to stretch at least.
From
row H back the rake angle is noticeably steep and it feels a long way down and
also far from the stage. Value for money is still fair - better now row H is
cheaper.
The side blocks as usual offer a clear view from all except the first and
last four seats in each row, which should be avoided. If paying full price, opt
for the centre block as you will get better views for the same cash. The same
notes as for the centre block apply about the best rows.
Row A 1, 47, row B 1, 2, 48, 49 and row C 1, 49 are felt by one reader to have a
"sideways" view of the stage.
The rear rows in all blocks are reasonably priced for those on a budget, but
a head for heights is advisable.
A reader notes that if those in the front row lean forward, you will be
forced to do so too in order to see the whole stage.
Another reader comments that,
"In the Upper Circle, Row A. I could see
the stage easily but I could see rather too much in that the effects were ruined by the fact that you could see how they were created. Given that I
was at the front of the Upper Circle, I thought this was appalling.
You could see the rollers the buffalos were on more
clearly than the buffalos themselves. During the river
scene, the fish were not visible but the people holding the cutouts and the
lights very definitely were. And the pad onto which the character
jumped obvious for the whole
piece.
I would certainly recommend not to go to Upper Circle. Seats may be cheaper
but they are still a lot of money and these 'errors' reduced my enjoyment
considerably."
In row L, a reader says,
"Row L seats 28 and 29. I think the price is very very good for these
seats, especially as they're in the middle and you can see everything.
Although in the stalls you get the cast walking right by you so you feel
more included. But as I'm not the biggest fan, I think these are the
best seats as the view hardly changes in the grand circle where ever you
sit and they're the cheapest. The leg room is good, but be a bit careful
if you're 5ft 7 and above, because it can be a little uncomfortable." Another reader says,
"Upper Circle row M seats 36 to 39 - the view was fine." Legroom is poor in all seats, worst in row A. Those over five foot tall
should consider end of row seats on the centre aisle which should provide some
respite for one leg anyway.
Standing space is behind a fairly high wall with a bar on top, so is not
suitable for children or those under 5ft 6 or so. Reader Chris May stood here,
and reports:
"WHAT A BARGAIN!! I stood in 'position 17' at the back of
the Upper Circle and had a marvellous view of the stage. After bribing a
small boy with a pound to use his binoculars I was able to stand back and
watch the fantastic big set pieces that make this show so good unfold before
my natural view, and when solo songs and speaky bits happened I could zoom in
and look at the faces in detail. The only draw back from the standing
tickets are that you are not close to all the stalls action that happens but
you still see it all and you have to join in the applause simply for the
arrival of the animals.
One problem is that it is inevitable that when standing you may be next to annoying
Japanese girls who don't understand ' no photos' and talk to one another a lot.
Be firm with them and, if they don't shut up, make the ushers do some
work. Also, due to the cheap (well cheaper) seats being at the back....school
groups are inevitable. This cannot be helped so there is nowt you can do."
Notes
Total 2102 seats approx.
Air-conditioned auditorium.
This theatre takes incredible care to make the show accessible to everybody.
All the information a disabled visitor could need is available at:
http://www2.disney.co.uk/MusicalTheatre/TheLionKing/access/index.jsp
- in much more detail than the monkey can provide. A brief summary, though, is: Infrared headsets available - 99% of the auditorium is covered by the system,
as is the box office; signed and audio described performances
occasionally. Large print and Braille programmes available. Braille script also
available for reading at the theatre (contact the House Manager for details). Guide dogs can be dog sat, bowls of water are
offered to them too. Wheelchair access is down a slope from a fire exit, not
ideal but at least users get good seats in the auditorium on row P. Two disabled toilets
available - gender segregated adapted toilets - ALMOST UNIQUE IN LONDON!!! Other
theatres take note. This theatre gets it right.. Overall this is good going for the West End. For
fuller details and to arrange facilities contact the Front Of House Manager on
020 7420 8100. To book wheelchair user and
other registered disabled theatregoer tickets call 020 7420 8113. These numbers
are NOT
available for general bookings.
General theatregoing advice for the disabled is available from: www.theatre-access.co.uk,
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.
Four bars; one in the Stalls, Two in the Dress Circle and one on the Upper Circle level.
Two V.I.P. suites - the "White room" and "Red room" are
also available for hire.
Toilets at Stalls, Dress Circle and Upper Circle level.
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