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LYRIC THEATRE
Shaftesbury Avenue, London |
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THRILLER - LIVE (musical)
The songbook of the Jackson 5 and the late, great spangle-gloved one himself is explored in
this discography of his life.
Producers enhanced the show in Spring 2013 by introducing an exciting new
opening, featuring new video material and graphics.
Four boys are to get a starring role in the hit West End show Thriller Live
as the first successful graduates of the Thriller Live MJ Academy.
Producers launched the afterschool academy in 2012 to train young boys to take
on the demanding role of singing the songs of young Michael Jackson and the
Jackson 5 in the hit West End show, now in its fifth year at the Lyric Theatre
on Shaftesbury Avenue.
Sixteen boys - pictured above - started the three-month training. After a
successful final audition before the show's award-winning director and
choreographer, Gary Lloyd, Producer Paul Walden, Executive Director Adrian Grant
and Musical Supervisor John Maher.
Torann Opara, 11, from Putney, Emmanuel Sakyi, nine, from Brent, Ramon Smith,
10, from Tooting and Brian Kotelo, 14, from Cambridge will share the coveted
role in one of the most successful shows in the West End and on tour.
A new cast took over performing in the West End in April 2013, the same
day the show continues its world tour in Scandinavia. Three of the boys will be
seen in the West End production from early April and Torann will tour
Scandinavia and the UK.
In May 2013, Thriller Live became the longest running show at the venue since
it first opened in December 1888.
Nica, Chief Executive of Nimax Theatres, appeared on stage at the end of the
1,815th performance to announce to the packed audience: “You are part of history
being made tonight. Michael Jackson won so many amazing awards and set some
impressive records in his lifetime - and he continues to do that today! This is
my theatre, and I’m delighted to anounce that Thriller Live has become the
longest running show in its 125-year history.”
She then presented trophies from Nimax Theatres to mark the momentous occasion
to Producers Paul Walden and Derek Nicol of Flying Music, the show’s
award-winning Director/Choreographer Gary Lloyd, Musical Supervisor John Maher
and to Original Creator Adrian Grant, whose personal association with Michael
Jackson spanned 21 years and who first came up with the concept for the show.
Gary Lloyd paid tribute to the dozens of singers and dancers who have performed
in the West End production before over one million customers, and to the
backstage staff, technicians, designers and crew who, he said, had all played a
vital part in the success of the show, but largely go unseen by the public.
___________________________
Reader RZ cautions,
"Anybody who is in the least bit
photosensitive
should stay away. The upper backdrop is a star curtain (sometimes animated)
and alright, but the lower background is an animated LED board, with
a
descending LED board and six side LED boards, all of which are
animated. This is in addition to a strobe-heavy colour-flashing
heavy
(think the "Joseph Megamix" lighting on steroids) show. Definitely
one to observe the epilepsy warnings on."
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Theatremonkey Opinion: |
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Not available. Reports are that this is more concert than biopic musical, and
when the biography does happen it's short and usually misfiring. Luckily, the
songs themselves seem to land in the stalls just fine. Praise for the
performances and energy of the dancers - particularly the youngsters taking the
roles of the early Jackson 5. Simply, something which fills a theatre in a
difficult time and gives pleasure to fans of the late Neverland One. Not for
theatrical snobs or those who require more sophistication from a script or
evening out.
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Important: Some reviews below can contain "spoilers" - please don't read if this
bothers you!
(8 reviews)
I saw 'Thriller Live' on Tuesday 13th January 2009 (preview).
Some fantastic individual performances, but the show was let down by
a pretty ropey audience. People who chat, mobile phones going off,
watches beeping every half-hour, drink slurping, sweet wrapper
rustling, and people who turn up late. I know this degenerate
behaviour isn't exclusive to young people, but the audience were
notably young and and clearly ignorant. Theatre staff did nothing.
In the end the shushing became a joke in itself because the people
who were being shushed at started shushing back.
On the whole the show itself was average. Top marks for the
performers, but the production was a touch 'dumbed down' and might
only appeal to the kind of casual audience I saw last night. Also,
one thing I absolutely hate is when a cast tell me to stand up /
clap my hands / spin on my head (and there was plenty of that). No
no no! I pay good money to come see YOU perform. This isn't a
holiday camp, this should be a world class quality West End
production, and I detest solicited attempts to get the audience up
and dancing.
Also the programmes were £6! 'Welcome to the West End' the seller
said. What a cheek. We see practically all there is to see in the
West End but we've never paid £6 for a basic programme. To sum up,
it's an evening of music as opposed to a musical (I do appreciate
it's not been billed as musical, however it's nothing more that 2
hours 30 minutes of songs cobbled together with a very basic and not
particularly informing narrative).
'Thriller Live' could have been innovative, but it frustrated me
because it just felt low quality - both the audience and the
production.
James - Kent
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Went to see this yesterday (Sunday 18th January 2009, 3.30pm
performance). Although I enjoyed it, I didn't
feel it was worthy of a trip to the West End, more of a 'go and see
it if it's coming to your local theatre' type of thing. I paid £40 and
thought it was more of a £15 'at local theatre' show.
I felt the first
half of the show, when it was the 'Jackson 5,' was a bit amateurish,
but the second half was better, they did 'Thriller' and 'Smooth
Criminal' well. The actual stage set is just a video screen with a
staircase that goes along the back of the stage and the sides, which
did look a bit low budget, although the steps did light up! All in
all, more of a tribute act than an actual theatre production. If you
are more of a "theatre" person then I would not recommend it. With
reference to the other review, yes, I found that there were
constantly people talking throughout the show, which was very
irritating!
Although a staff member said that the show was sold out, there were
clearly lots of empty seats, so maybe they only put 75% of the
available seats up for sale, so they could technically advertise as
"sold out"? The medley at the end was good, people weren't clapping
wildly, there was no curtain call or encore, the audience left quite
quickly, usually they stick around to see if there is an encore!
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I saw 'Thriller Live' last night (13th May 2009) from D18 and had two comments.
First,
the seat was great for seeing the cast and choreography, but some of
the side lightboards were cut off by the actual lights. I would
note,
however, that the show is very loud and that patrons in the front
stalls may wish to bring earplugs.
I would also note that anybody who is in the least bit
photosensitive
stay away. The upper backdrop is a star curtain (sometimes animated)
and alright, but the lower background is an animated LED board, with
a
descending LED board and six side LED boards, all of which are
animated. This is in addition to a strobe-heavy colour-flashing
heavy
(think the "Joseph Megamix" lighting on steroids) show. Definitely
one to observe the epilepsy warnings on.
rz
http://roguezentradi.blogspot.com
________________________________
We bought tickets for "Thriller Live" for the same September 2009
date we had booked to see the late Michael Jackson at the O2.
We could only get seats at the rear with our view blocked by
those in front as the seats were not tiered and reasons given below:
A general comment on ticket availability for all shows is that the
theatres put the worst seats on sale first to panic people into
buying side seats, restricted views etc. because they think all the
others are sold out. When the worst are sold the best seats are put
online and they sell themselves with a result that seat occupancy
for the most popular shows are 95% sold if not 100% sold out. You
naughty theatre owners and ticket agents !!! Its a conspiracy.
Three of the singers were out of tune for the whole show. Two
male dancers were practically performing simulated sex in some
scenes.
The show started with the story of the Jackson Family rise to
fame and then broke apart introducing singers of other nationalities
and ages that had nothing to do with the story.
Lastly cast members encouraged the audience to stand up, clap, dance
about and hence block the view of a party of disabled adults and
children seated behind me.
Politely I asked the row in front to sit down but they wouldn't
because they had tanked themselves up in the bar before and during
the show interval. I purposely did not stand up in protest at this
annoyance yet still managed to appreciate the music (not the
singers) for the whole show.
A good night ruined by a shoddy performance and inconsiderate
audience members.
If you take children choose the front row if you can afford it but
take your earplugs for when the cast try to sing.
Dave the rave
Redcar
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Saturday evening, January 29th 2011.
More of a 'tribute show' than a musical. Thought it was expensive
for this kind of show with no headliners.
Michael Jackson songs are excellent of course and, though some
reviewers object to the standing to sing and clap, I go out to enjoy
myself, not sit bolt rigid objecting. Having waited all night for
'Thriller,' what a let down. The number was just bolted on at the
end with the singers and dancers just dressed in what seemed
anything they could find. Having seen "Man In The Mirror" (at half
the price of this last July at Leeds Grand) they were all dressed in
white ghostly attire which looked the part.
Finally, a reminder that the lighting is fierce for some, though
for me the ears buzzing at the end was more of a problem. One of
those shows to see, but for me, only once.
We had seats E7 and E8 - E8 next to the Monkey's Green plan and
found to be an excellent choice. Row 7 as there's an AA and BB here.
Plenty of leg room and very much close to the performers.
Michael
___________________________________
Hands down the worst piece of dross I've ever endured. And
certainly the least "Thrilling" musical I've ever (grudgingly) sat
through.
To start.....almost NONE of the singing is even live, which is an
insult to the sensibilities. This is not some teenage pop act, where
you EXPECT that the "artist" cant' really sing, so it will all be
lip-synced. In the West End the very LEAST you can expect is actual
live singing. But time after time we saw (from our third row seats)
voices coming out when the singer's mouths weren't even open. An
absolute travesty. You could maybe, POSSIBLY have a bit of sympathy
if there was some palpable sense of humility evinced by the
"performers"...but to see these virtually talent-free posers
strutting around the stage as though they were putting on God's gift
to the West End.....when in fact they were miming along to a very
poor musical score, was WELL beyond irritating.
The plot, such as it was, wavered between being laughable and
frustrating. There is no repairing this load of rubbish...no
"tweaks" that would fix it. You would have to scrap the whole thing
and start over. Utterly, irredeemably horrid.
December 2011.
___________________________________
Date: Tuesday 29th May 2012
Seats: Dress Circle B18 and 19
The show was rubbish, and something I would of expected to see on a
cruise ship. The only saving grace was the dancers as they really do
work hard and were the best part of the evening.
Not sure if this was supposed to be a tribute, biopic, song and
dance show, gawd knows.... As it was more of a very bad concert
people thought they could talk: behind us, in front of us, in fact,
everywhere we could hear chatter. Terrible.
Also it is apparent that during a couple of numbers the singer
decides to 'mime', which to me is disgraceful during a West-End show
and in one called Thriller 'Live'!
The Dress Circle has no rake and it was quite difficult to see the
stage. The theatre was very hot and I was sweating more than the
performers on stage. No Air-con obviously.
I really am getting to the stage of not seeing many more shows as
this experience has proven to me that a lot of theatre
owners/producers are not interested in the patrons comfort.
High ticket prices with cramped seats where you can't see the
stage, and unbearable temperatures inside the venue.
This is an awful show in an awful theatre...congratulations to
the producers of Thriller 'not Live'.
_____________________________________
We saw' Thriller Live' at The Lyric on 29th August 2012 as part
of Kids Week. We sat in the stalls E19, 20, 21 and I was initially
concerned that it might be too close to the stage. However once the
show started it was not a problem and you really get to see the
actors expressions and of course dance moves. The only concern that
I would have about the stalls is that the rake is very shallow and
if you had some very tall people in front you may have a problem. We
paid an average of £30 per seat (Kids Week) and at this price the
show and seats represented excellent value.
Owwww!
Max G
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The monkey advises checking performance times on your tickets and
that performances are happening as scheduled, before travelling.
Tuesday to Friday at 7.30pm
Saturday at 4pm and 8pm
Sundays at 3.30pm and 7.30pm
NO MONDAY PERFORMANCES
Runs 2 hours 40 minutes approximately.
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View this information in
diagram form
Until 15th September 2013:
Stalls
All seats except "Premium" seats, row Q and restricted view: £62.50
Row Q (except restricted view seats): £57.50
Restricted view seats: £33.50
Premium Seats rows F to J seats 9 to 16: £85
Dress Circle
All seats (except "Premium" and restricted view seats): £62.50
Restricted view seats: £33.50
Premium Seats row A 5 to 14: £85 Upper Circle
All seats (except A5 to 12 and 36 to 43; D 5 to 7 and 22 to 24; E 5, 6, 23, 24
and restricted view seats): £47.50
Row A5 to 12 and 36 to 43; D 5 to 7 and 22 to 24; E 5, 6, 23, 24: £33.50
Restricted view seats: £27.50 Balcony
Rows A to G (except centre block A to C 1 and 2, A 20, 21, B 22, 23, C 24, 25
and side block rows E to J): £33.50
Side block rows E to J and centre block restricted view A to C 1 and 2, A 20,
21, B 22, 23, C 24, 25 plus clear view rows H and J: £27.50 Boxes C, D, E, J,
K, L: £62.50 per seat; Boxes: A, B, H and M: £57.50 per seat.
Family Ticket: Buy a best available top non-premium price £62.50 ticket for an
adult, and get a ticket for a child aged under 18 for £31.25 at all Sunday to
Thursday performances ONLY. A maximum of 2 adult and 4 child tickets may be
purchased. The minimum purchase is 1 adult and 1 child ticket, maximum 6 tickets
in a single transaction, and the party must be seated together.
See
www.seetickets.com
for details. This offer is subject to availability and may not be available for
"peak" performances, the system will advise at time of enquiry.
A 10% per ticket booking fee, and £2.75 per booking, not per ticket, handling
fee applies.
From 17th September 2013:
Stalls
All seats except "Premium" seats, row Q and restricted view: £65
Row Q (except restricted view seats): £58.50
Restricted view seats: £35
Premium Seats rows F to J seats 9 to 16: £85
Dress Circle
All seats (except "Premium" and restricted view seats): £65
Restricted view seats: £35
Premium Seats row A 5 to 14: £85 Upper Circle
All seats (except A5 to 12 and 36 to 43; D 5 to 7 and 22 to 24; E 5, 6, 23, 24
and restricted view seats): £48.50
Row A5 to 12 and 36 to 43; D 5 to 7 and 22 to 24; E 5, 6, 23, 24: £35
Restricted view seats: £27.50 Balcony
Rows A to G (except centre block A to C 1 and 2, A 20, 21, B 22, 23, C 24, 25
and side block rows E to J): £35
Side block rows E to J and centre block restricted view A to C 1 and 2, A 20,
21, B 22, 23, C 24, 25 plus clear view rows H and J: £27.50 Boxes C, D, E, J,
K, L: £65 per seat; Boxes: A, B, H and M: £58.50 per seat.
Family Ticket: Buy a best available top non-premium price £65 ticket for an
adult, and get a ticket for a child aged under 18 for £32.50 at all Sunday to
Thursday performances ONLY. A maximum of 2 adult and 4 child tickets may be
purchased. The minimum purchase is 1 adult and 1 child ticket, maximum 6 tickets
in a single transaction, and the party must be seated together.
See
www.seetickets.com
for details. This offer is subject to availability and may not be available for
"peak" performances, the system will advise at time of enquiry.
A 10% per ticket booking fee, and £2.75 per booking, not per ticket, handling
fee applies.
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Theatre Box Office:
Shared between two companies at this venue
www.nimaxtheatres.com
or www.seetickets.comWith See Tickets: £6.25 on £62.50, £4.75 on £47.50,
£3.35 on £33.50, £2.75 on £27.50 seats until 15th September 2013 / £6.50 on £65,
£4.85 on £48.50, £3.50 on £35, £2.75 on £27.50 seats from 17th September 2013. Pays for the bubble kit, thinks the monkey. A £2.75 per
booking, not per ticket, handling fee is also added. With Nimax Theatres
Online: £2.50 on
all tickets, except £2 on tickets priced £29 or below. Other Online Choices
(with S.T.A.R. genuine ticket
agencies):
For performances until
21st July 2013
Buy best available top non-premium price £62.50
tickets (from agency / offer allocation) reduced to £34.50 each at all
Sunday to Friday performances ONLY.
OR
Buy best available top non-premium price £62.50 tickets (from agency / offer allocation) reduced to £37 each at all
Saturday Afternoon performances ONLY.
Some "peak dates" are excluded - the system will advise at time of enquiry.
Ticket selection is from agency's allocation. Subject to allocation
availability, change, withdrawal and agency discretion.
Book online at the
Theatremonkey
Ticketshop.
Click the "Apply Special Offer" button above the calendar grid to highlight
available offer dates in green on it. Or else book
by telephone from LoveTheatre, quoting "Theatremonkey Ticketshop" on
020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom).
At other times, when the theatre does not have the tickets you desire available, it is well
worth trying the
Theatremonkey
Ticketshop agency,
telephone
020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom),
which offers £62.50 seats with a £9.50 booking fee per
ticket (£7.25 on £47.50, £5.25 on £33.50. £4.25 on £27.50 seats) until 15th
September 2013 / £65 seats with a £9.75 booking fee per ticket (£7.50 on £48.50,
£5.25 on £35, £4.35 on £27.50 seats) from 17th September 2013 - moderate by agency standards, though higher than box
office fees, worth trying as they often have an alternative choice of seats available!
Note
that this system will confirm exact seat numbers prior to purchase.
Another
alternative is Ticketmaster.co.uk
who offer £62.50 seats with a £5 booking fee per ticket (£6.80
on £85, £3.80 on £47.50, £2.70 on £33.50 seats) until 15th September 2013 / £65
seats with a £6.15 booking fee per ticket (£8.10 on £85, £4.60 on £48.50, £3.30
on £35 seats) from 17th September 2013. A £3 per booking (not per
ticket) handling charge is also added for ALL transactions. This system allows you to choose your own seats from the selection the company
has available.
Encore
Tickets (telephone 0207 400 1253 /
0044 207 400 1253 if calling from outside the United Kingdom)
offer £62.50 seats with a £16.50 booking fee per ticket (£23 on £85, £12.50 on
£47.50, £9.50 on £33.50, £7.50 on £27.50 tickets) until 15th September 2013 /
£65 seats with a £17 booking fee per ticket (£23 on £85, £14.50 on £48.50, £10
on £35, £7.50 on £27.50 tickets) from 17th September 2013.
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 £62.50 seats with a £6.50 booking fee per
ticket (£6.80 on £85, £4.60 on £57.50, £3.80 on £47.50, £2.68 on £33.50 seats)
until 15th September 2013 / £65 seats with a £5.20 booking fee per ticket (£6.80
on £85, £4.68 on £58.50, £3.88 on £48.50, £2.80 on £35, £2.20 on £27.50 seats)
from 17th September 2013. 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 £62.50 and £47.50 seats with a £10 booking fee per ticket
until 15th September 2013 /
£65 and £48.50 seats with a £10 booking fee per ticket from 17th
September 2013.
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.
Independent S.T.A.R. ticket
agencies
may offer an alternative choice of seats.
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Box Office Information: |
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Tickets offered differ between outlets. Outlets also may offer
different seats via their phone and online systems. Offers may be
available click here. |
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Theatre Box Office:
Shared between two companies at this venue
Telephone: 0870
830 0200
(FREE call if using BT.com
Calling Plan at your chosen times)
Operated by See Tickets on behalf of the venue.
OR
Telephone: 0844 482 9674
Operated by The Ticket Factory on behalf of the venue.
Booking fees per ticket for telephone bookings:
With See Tickets: £6.25 on £62.50, £4.75 on £47.50, £3.35 on £33.50,
£2.75 on £27.50 seats until 15th September 2013 / £6.50 on £65,
£4.85 on £48.50, £3.50 on £35, £2.75 on £27.50 seats from 17th
September 2013. Pays for the bubble kit, thinks the monkey. A £2.75 per
booking, not per ticket, handling fee is also added. With The
Ticket Factory: £2.50 on
all tickets, except £2 on tickets priced £29 or below.
For personal callers or by post: Shaftesbury Avenue, London, W1V 7HD
No booking fee for personal callers.
Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book
their seats on 0844 412 4648 and enquire about
concessionary prices that may be available to them.
The wheelchair users line connects
directly to the See Theatres phoneroom helpdesk in London.
See Notes.
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Theatre Seat Opinions: |
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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. |
STALLS
Layout:
The Dress Circle overhangs the stalls at row N. The top of the
stage is visible in all rows except Q and R.
A single block of seats face the stage.
Pillars intersperse the seats in rows N and Q.
Legroom:
About adequate in all seats, better in row AA and (with a
compromised view) in row E seats 1 and 24, since these seats have
nothing directly in front of them.
Choosing Seats in General:
The high stage often makes rows AA to A a bit of a neck strain for the
shortest. At top price, some may wish to sit elsewhere.
Rows A to C normally offer acceptable views of the stage from all seats. The
central seats offer a slightly better view - thus they are the best value.
One reader also noted that in row C she had a larger person in front...and
thus missed some "centre stage" happenings. Though the monkey hasn't had the
same problem, it feels that some may wish to know that the rake here isn't
perhaps as good as it could be!
The first and last three seats in rows E to M are outside the proscenium and
the view directly ahead is of the wall. If asked to pay top price for these
seats, choose those situated more centrally in the row.
From row O back, some seats are behind a pillar. Choose these over similarly
priced seats in any of the three circles for greater legroom. The price is
fair for the view - BUT accept the view is not as great as it could be.
General Hazard Notes:
Row O 3, 4, 14 and 15; Row P 1, 2, 12, 13; Row Q 1,2, 11,12 and row R
1,2, 4, 12,13 have commanding views of pillars supporting the circle.
Changes for the current production:
Rows F to J seats 9 to 16 are "premium" seats. Unless a recipient of the
late Spangly one's will, monkey would sit a row ahead, behind, or in
seats beside them. The view just isn't worth the extra, it feels.
Rear stalls are the same price as front ones, with the back row a mere
two pounds cheaper... skip the interval ice-cream for a seat further
forward, is the monkey feeling.
Reader Comments:
“Row BB: I had one of the runners up in Britain’s Fattest Man contest
next to me, and the out-and-out winner just one seat along on the other
side. Heaven knows how uncomfortable both of them must have been feeling!"
“BB5: “Cabaret” (2007) (A 6ft 6 tall reader). Second row from the front.
Excellent view, legroom adequate. Being so close to the stage means that you
get a lot of eye contact with the performers. This could be a positive or
negative point given the nature of parts of this production, particularly
when the Emcee (James Dreyfus) is on stage. Some people around me were
clearly horrified to be addressed directly from the stage, others appeared
to love it. You take your choice!"
"Row A: (Anthony). Strangely enough, this is actually the third row from the
front. The view was good, we did not have to crane our necks to see the
floor of the stage and although it might have been better to sit further
back I am glad we did not because of the poor rake at this theatre. One
further thing worth mentioning is that from where I was sitting the sound
balance was undoubtedly the best of any musical I have even seen in the West
End."
“Row B: (Paul). "I sat in row B the first time in seat 9 and 10 and the
second time 6 and 7, and both were great. Did not miss a thing!"
“Row C: (Liz). It felt like the TV had come to life.”
“C15: A little too close to the action."
“D18: “Thriller Live” (rz). Was great for seeing the cast and choreography,
but some of the side lightboards were cut off by the actual lights. I would
note, also that the show is very loud and that patrons in the front stalls
may wish to bring earplugs."
"E7 and E8: “Thriller Live” (Michael). E8 is next to the Monkey's Green seat
on its plan, and we found it to be an excellent choice. Row 7 as there's an
AA and BB here. Plenty of leg room and very much close to the performers."
"E12 and E13: Perfect view, good leg room compared to many other West End
theatres, and just about the right distance from the stage."
"E18 and 19: “Cabaret”. The legroom was good (best I’ve had in a while), but
the fabric of the seats became annoying on a hot summer evening. The view
was good but set pieces sometimes obstructed my view."
"E19, 20, 21: “Thriller Live”, (Max G). I was initially concerned that it
might be too close to the stage. However once the show started it was not a
problem and you really get to see the actors expressions and of course dance
moves. The only concern that I would have about the stalls is that the rake
is very shallow and if you had some very tall people in front you may have a
problem. We paid an average of £30 per seat (Kids Week) and at this price
the show and seats represented excellent value."
"Row F (end): (Lynne Hill). Good, but slightly sideways, view of stage,
although having to look upwards doesn't help the experience!"
"K10 and K11: (James). Was lucky not to have anyone sat directly in front as
a fairly shallow rake would have meant an obscured view. However, I was
fortunate and could see clearly. I could see the whole stage clearly without
turning from side to side and the sound was great too."
“K17: Good with excellent sightlines.”
“Row N: (Anne). Our friends in the centre of row N had difficulty seeing
over the heads of those in front."
“Row O: … and backwards are most certainly not worth £42.50. At all. Good
legroom though."
Stalls Boxes
Layout:
Either side of the stage.
Boxes seat 3 people.
Legroom:
Acceptable as they have movable chairs.
Choosing Seats in General:
A moderate view, hovering at average value. Choose Dress Circle boxes L
and E first – the height and distance from the stage improves the
viewing angle.
General Hazard Notes:
Nearest corner of the stage isn’t visible.
Changes for the current production:
None.
Reader Comments:
None.
DRESS CIRCLE
Layout:
The Upper Circle overhangs the Dress Circle at row C.
A single block of seats curve tightly towards the stage.
Pillars intersperse seats in row F.
Legroom:
Slightly
cramped in many seats, better in the front rows except B. Readers rate
row A and one
rated legroom in row D as "great" - the monkey felt D "average," though.
Choosing Seats in General:
A clear view of the stage is offered from most seats in rows A to E if
taller than 5ft 7 or so. Shorter folk suffer from the shallow rake here.
Worth avoiding are the first and last three seats in rows B and C, first
and last four in row D and first and last five in row E because they are
angled toward the stage, with a lesser view of the edges for the same
price!
Row G seats 3 and 10 and row H seats 4 and 11 are directly behind
pillars. Other seats in these two rows are ambitiously marked as top
price. These rows should be ignored unless a real discount is offered.
If considering a seat behind a pillar, choose the stalls first for
greater legroom, although the value is not too bad here.
General Hazard Notes:
The two seats on the ends of row A often have lighting clamps in front.
The monkey received one comment from a reader complaining about people
leaning forward in row A and obstructing the view for those in row B.
The curve of the circle cuts off the front of the stage for outermost
seats in all rows.
The seating tiers are shallow, not much elevation over the row in front.
The view from row F back is compromised by pillars supporting the circle
above.
Changes for the current production:
Row A seats 5 to 14 are "premium" seats. Comfortable, sure, but only 10
to 14 are really the very best, it feels - and a row behind has similar
views but less legroom. If wealthy and with people wanting a higher
view, 10 to 14 are worth looking at as they avoid the problem of a
shallow rake in the same priced stalls seats. Shortest patrons may find
the wall ahead a slight issue, though, if sat back in their seats.
Reader Comments:
"A3 and A4: The seats were excellent, perfect views."
“A10 and A11: I have absolutely no complaints at all. All I would say was
that when we returned to our seats after the interval not one person got up
to let us pass!! No manners at all!"
“A15 and 16: “Thriller Live,” (Chris B). The view from these seats is
amazing, you can see the whole stage clearly with no restrictions (being
the front row) and feel very close to the action. The sound is top notch
and great for all the MJ classics. There is plenty of legroom too, I
can’t recommend these seats highly enough. Don’t forget your dancing
shoes!”
"B6: (Chris May). Seat was fine, view was fine, until fat man in front leans
forward."
"B18 and 19: The Dress Circle has no rake and it was quite difficult to see
the stage. The theatre was very hot and I was sweating more than the
performers on stage. No Air-con obviously. I really am getting to the stage
of not seeing many more shows as this experience has proven to me that a lot
of theatre owners/producers are not interested in the patrons comfort.
High ticket prices with cramped seats where you can't see the stage, and
unbearable temperatures inside the venue."
"C5 and C6: The seats have to be the worse we have ever sat in. Thanks
heavens we only paid half price. It was impossible to see over the person in
front."
"C13 and 14: (Cathy). Yes, we had a perfect view, but these have to be the
most uncomfortable West End seats ever (other than the Upper Circle at the
Palladium !). The upholstery was shot - so effectively sat on a wooden board
the whole time"
"C22: Poor view due to the curving front of the balcony cutting off the left
hand edge of the stage. I also couldn't see the centre of the stage due to
the head of the person in front of me and had to keep moving from side to
side."
"D7 and D8: I can't believe they charge £55 for these seats. The circle is
so poorly tiered that, unless you're on the front row, you have no clear
view of the stage and have to keep ducking and diving to see around the
person in front of you. However, for £25 (discount offer), I suppose I can't
complain."
"D 16 to 20: Not the best seats in the world but not bad for £17.50
(discounted) I suppose. It is quite a restricted view past about seat 19
onwards and the Royal Circle is rather an odd shape – like an inverted
horseshoe almost, so it gives the impression that you are quite a way back
from the stage, however the leg room is great."
"Row E (centre): I had a badly obstructed view of the stage because of the
heads of two normal-size people in front of me, thanks to the absence of a
reasonable rake in the seating”
Dress Circle Boxes
Layout:
Four on each side of the theatre at Dress Circle level between the stage
and Dress Circle against the side walls of the auditorium.
Six boxes seat three people each, two boxes (D and K) have either two,
three or four seats each, depending on production - being narrower, two
seats is the preferred configuration though.
Legroom:
Acceptable, as movable chairs are used.
Choosing Seats in General:
All boxes offer good value at third price, average at second,
considering the restricted views.
These are worth choosing for comfort over the rear stalls and Upper Circle
at the same price. Pick boxes L and E first, then D and K, I and C and B and
H in that order. price, the monkey would skip B and H, perhaps, unless
legroom is required.
Boxes E, D and C can take a wheelchair each. Wheelchair users should take
box E first, then D then C.
General Hazard Notes:
The edges and back corners are missed.
Changes for the current production:
All boxes have 3 seats, except B and H, which have 4.
Reader Comments:
None.
UPPER CIRCLE
Layout:
The Balcony overhangs the Upper Circle at row C. Views are not
particularly affected by it, though E back can feel claustrophobic with a
low ceiling.
The Upper Circle is split into a central and two side blocks by aisles.
Row A extends a long way down the sides of the theatre towards the stage.
Pillars intersperse centre block row D.
Legroom:
Confined in all seats, worst in row A.
A little more space is offered in row B seat 11 and row C seat 10 which
have the seat in front slightly offset, leaving a small gap.
Choosing Seats in General:
Centre Block:
Clear views of the stage from all seats in rows A to C. Take B or C, and
avoid A unless a housemate of Snow White’s.
The view from row E back is compromised by pillars supporting the circle
above. Those seats directly behind it are very cheap... but there are
better views from the Balcony above for the same money, the monkey
feels.
Normally the rest of the seats in these three rows are usually cheaper.
Only row E 13 to 16 should be considered, skip rows F and G and try for
further forward for the same money.
Side Blocks:
An odd viewing angle is noticeable in all seats.
Row A is worth missing for legroom.
Row A seats 1 to 12 and 36 to 47 extend along the side of the theatre,
above the boxes. The viewing angle is poor and these seats should be
ignored unless you really MUST get into a sold out performance, in which
case they will be the last to go and are worth asking for. Cramped, side
view, have to lean forward to see much...
Further back, choose the seats closest to the centre aisles in rows D
and E only if you must, and they are cheaper than central block.
If seats here are cheap they just hover into "fair value" range, feels
the monkey... but really only just. It opts for a good box then a seat
in the rear stalls first, or saves money by paying less for central
Balcony seats in the level above.
General Hazard Notes:
Legroom, particularly row A. So poor it is repeated again here...
Seats at the outermost ends of the row may also have rails or equipment
in view.
Row E seats 10, 11, 18 and 19, and rows F and G seats 5, 6, 12 and 13
are directly behind pillars.
There are no aisles at the extreme ends of any row in the side blocks.
Claustrophobics may like to avoid these!
Changes for the current production:
The centre block back three rows are not cheaper. Skip them.
Reader Comments:
“A32: (Sam). I know this site is strongly recommending against them, but
I just wanted to add a first-hand experience. I am 174cm tall (around 5'
10''). If you are around that height DO NOT sit in those seats AT ANY COST.
The view is not awful, but the legroom is CATASTROPHIC!!. I survived the
show only because the seats near me were empty, so I sat the whole show
sideways".
“D10: “Smaller” (April 2006). Just thought I'd let you know about my recent
experience. It was hell! I purchased seat number D10 in the Upper Circle for
a performance of "Smaller" (April 2006). Oh the irony at even mentioning the
name of the play! Unfortunately, the seat I sat in was not the one I had
paid for. I found that I had to sit sideways, not only due to the
non-existent leg room, but also due to the seats being extremely narrow.
As a slightly broader theatre-goer (size 18 and 5ft 8), I never expect to be
sitting in a seat that is vastly wider than myself, but i do expect to be
able to fit into the seat. Imagine my mortification to find that I couldn't!
I initially tried by sitting sideways, but found this unbearable as there
was no leg room and both seats either side of me was occupied. in the end I
spent the first half of the play standing at the back, and managed to find
an unoccupied aisle seat to sit in for the second half, which I still had to
sit in sideways but was able to stretch one leg out into the aisle. However,
I now find that I have bruises on my left leg which was unfortunately wedged
against the seat in front.
As the two leads of the play I saw were both role models for the larger
lady, I would be amazed to discover I am the only person with this
complaint. It is debatable whether Alison Moyet would be able to squeeze
into the seat, while Dawn French wouldn't have a hope! I have been told that
if I had purchased a seat in the stalls or Dress Circle I wouldn't have had
this problem. Unfortunately, I couldn't afford these, so am in effect being
punished for being overweight! Isn't it about time theatres realised they
need to update their seating arrangements for the 21st Century audience?!"
“Row E: Perhaps not the best seat to comfortably enjoy a show from
especially when knees are jammed hard against the seat in front."
BALCONY
Layout:
The balcony is split from row E back into three blocks,
centre and two sides.
Legroom:
Poor in all seats, row A the worst.
Choosing Seats in General:
Seats here are high above the ground, but not vertigo inducing.
Views from almost all seats are clear, except for the first and last two
seats in rows B and C. C2 and 24 are officially "restricted view," the
others are just to be safe. The monkey doesn't condemn particularly,
just notes that other options might be better...
Row F back feels a very long way from the stage - skip G back if
possible unless cheaper than rows in front.
When all seats are the same price, choose centre block A to G over sides
for the best view and value. Then take the seats just off the centre
aisle in E to G before central seats in row H, then aisle side block H,
then centre block J or side block aisle J depending on personal
preference.
With two or more price bands, take front central seats first, then those
side block seats just off the centre aisle in rows E to G, before
accepting centre block seats further back than row E.
General Hazard Notes:
In the rear side blocks there are no aisles at the extreme ends
of the row. Claustrophobics may like to avoid these!
A rail tucked behind the end seats in row C upsets some in row D7 and
20.
C2 and 24 are “restricted view.”
Changes for the current production:
The end pair of seats in rows A, B and C is cheaper. B and C are worth a
look, feels the monkey. Further forward, even if you do miss the side
stage action.
Ignore central F and G at second to bottom price - you may as
well save a few pounds in the rows behind for the same view - or explore
the side blocks where centre aisle seats will give you similar views for
less cash.
Rear central rows H and J are just about "fair" value, sides a little
more expensive considering the view. Not for the vertigo sufferer or
comfort seeker, though.
Reader Comments:
"D7: Has a safety rail in
front (running around the back of row C and turning into a handrail to go
down to the steps to row C) making it a quite restricted view splitting the
stage in half, I imagine its the same for D20 the other side."
Notes
Total 959 seats.
Air-conditioned auditorium.
Infrared headsets available, Guide dog sitter available, or dog can remain
with owner if the owner is seated in a box - boxes E, D and C can
take a wheelchair each. Accessed via level ground through a fire exit, the
'Royal Entrance' apparently. The adapted toilet is next to the Royal Entrance. A
fair stab is made at the Lyric. Specific information from www.seetickets.com
or 0844 412 4648 or e-mail customer.relations@rutheatres.com.
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.
Four bars; Foyer (for Dress Circle), Stalls, Upper Circle and Balcony.
No food except Ice-cream and confectionery.
9 Toilets; Stalls 2 gents 3 and 1 cubicle respectively, 2 ladies 2 cubicles
in each; Dress Circle 1 gents 1 cubicle, 1 ladies 6 cubicles, 1 Unisex Disabled;
Upper Circle 1 gents 2 cubicles, 1 ladies 2 cubicles
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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.
Walk through this tunnel and take the first staircase to your right, marked
"Shaftesbury Avenue", take the stairs up to the street.
At the top of the stairs, take a very sharp "U Turn" through 180
degrees to your left. Look forwards and upwards for the huge "Sanyo"
sign. Walk forwards towards it.
The busy road to your left is Shaftesbury Avenue. If you see the Prince of
Wales Theatre, and Trocadero centre, wrong way.
For the Lyric Theatre cross the road and turn to your right, walk under the
covered area where the cash ATM's and street artists are. Walk straight on,
crossing Denman Street, Great Windmill Street, Archer Street and Wardour Street.
The Lyric is the first theatre on Shaftesbury Avenue.
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Buses:
14,19,22B, 38,53,88,94,159 To Shaftesbury Avenue.
Taxi:
A rank for Black taxis is at Charing Cross Station - a long distance
from the theatre. Best chance of hailing one is in the street outside.
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Car Park:
Newport Place, China Town. The "Theatreland Parking Scheme" may be available. 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.
Denman Street - NOT in the discount schemet. Turn to your left as you
leave the car park. If you see the Piccadilly Theatre, wrong way. Walk
to the end of the street and turn left. Walk straight on, crossing Great
Windmill Street, The Lyric is the first theatre on Shaftesbury Avenue.
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