STALLS
The Dress Circle (Royal Circle in this theatre) overhangs the stalls at
row G but does not affect the view from any seat. Seats (replaced in October
2005) are rather comfortable, and an interesting shade of pink.The
seats are arranged in a single large block in front of the stage. Seats
in row AA are in front of an ornate gold rail and curtain affair to
protect customers from drowning in the orchestra pit. The "acorns" which
plagued the view have now been removed according to kind correspondents,
so these seats are great for proximity to the stage, and row AA is still
outstanding for legroom. Neck ache can happen, less in row A
than AA for those prone to it.
For "Hay Fever" (February 2012) row AA is front
row. When they are discounted they are worthwhile, feels the monkey.
A reader agrees,
"AA21: Perhaps a bit close for the show I saw, but I enjoyed it and definitely
worth the £25 I paid for it."
Reader Mark says, for Deathtrap (August 2010)
"AA21: Was a Day seat. Interestingly I got it online and was told unsold
day seats for that play were released for online sale if there were not
enough people at the box office. Got it at about 11am. Very good seat;
even though it is right on the edge, you miss nothing."
Behind it, a reader says of row A, at "Million Dollar Quartet" (February
2011),
A13: At a discount I was more than happy with the view. As to the sound, I was
perfectly happy too - a pleasure to listen to, even at their loudest."
Beside this seat at a previous production, another reader comments,
"I pre-booked row A14 and was quite surprised by the great legroom (I'm 6ft 2"
tall). The seats were comfortable and I had a great time at the show."
While still another reader adds,
"We sat Stalls row A 16, 17 and 18... the stage is a bit high but you get used
to it..."
Reader Pip continues,
"A16. An excellent view, right in the centre. Could see everything and
almost touch the actors. Comfortable seats with a respectable legroom."
and a final one comments,
"Seats A19 and 20, having secured a cheap deal (£32.50 each for the
show I saw in 2007). I'd say this was about fair
value for money - definitely not a first choice at full price. Legroom was more than adequate for both of us."
A row behind, a reader comments,
"Sat in the stalls in Row B seats 10 to 14. None of us had any problems
what so ever. The sound is perfect and the view is outstanding. Also the
theatre is very cool here, especially as it was boiling outside. These
are the most comfortable seats I have ever had in a theatre, and the
ones with the most legroom. In fact we had about 10 bags between us, and
we didn't have to pick them up or stand up ourselves to let people by,
because there was enough space to walk round us. The view is incredible.
I recommend them every time!"
Endorsed by another reader,
"Row B seats 10, 11 and 12. Absolute perfection, best seats in the
house."
Beside them for "Deathtrap" (August 2010) another reader agrees,
"B14 and 15: I am six feet tall and there was lots and lots of leg room.
The action is right in front of you and the actors do not come too far
forward on the stage so you do not have to keep looking up at the
actors."
Theatremonkey regular Liam says,
"Got Row C of the Stalls (the last 4 seats of the row but still excellent and
almost seemed central)."
Another reader also likes row C, saying,
"I was in C23 of the stalls, AMAZING seat. I saw
absolutely everything - occasionally I missed a few facial expressions but very
rarely."
as did another at "Avenue Q,"
"C 15 and 16: These seats are 4 rows from the front and are central to
the stage. These offer a fantastic view of the stage, and the action. I
would not hesitate in purchasing these tickets again. At 5ft 9, the leg
room was snug but comfortable."
The rake (or slope of the floor) is noticeable from row F - and pronounced from
around K. Seats are elevated enough to see over the rows in front quite well.
This ensures more than just the rear view of someone's head for most customers.
A high stage in the theatre also helps.
Reader Paul Nicholls says,
"seats E11 and 12 in the stalls. A shade too close to the stage for my liking
but, wow, I've never had so much leg room. You could almost lie down!"
For "Million Dollar Quartet" (February 2011) a reader says,
"E9 in the stalls provided an excellent view of the stage with great
legroom. The stage is quite high and I would advise readers to sit in
Row D or further back if they want to see the full stage without craning
necks."
In the same row at the same show, reader Michael adds,
"E17 and E18: An excellent choice. Plenty of leg room and just far
enough back to have the stage sight line just above the heads of the row
in front."
From F19 a reader says succinctly,
"No problems to report with this seat."
Behind him, another reader says,
"Our seats were in the stalls, row G, 7 to 10. Very good view and wouldn't
hesitate getting these again if offered."
Reader Thom comments,
"sat in stalls G 7 and 8. Excellent seats, right in the middle of the action."
A limited number of "Premium" stalls seats in rows F to H,
plus E at Saturday Evening performances are available. Your choice if you wish to pay that much, feels the
monkey. Further over, someone reports,
"Row H last 2 seats: The view was rather good (even for a short person
like me)."
In row J for "Million Dollar Quartet" (March 2011) a reader observes,
"Mid-row J: I'm not tall, and had a tall guy in front of me, but most
action seemed to be slightly to either side of the stage so it wasn't a
problem."
Reader Mark comments,
"stalls K19 to 22 were as good as the monkey seating plan indicated and ideal
for seeing actors expressions as well as everything that takes place on
stage. Good rake at that level too so that the Munchkin and our other two
friends were all able to see everything without any obstruction. And quite comfy
seats too even if I did find myself sinking further down in them as the show
progressed (though I think that is more to do with me and my poor posture than
the well padded seats)."
Stephan Nicholls, on the end of row L notes,"The view was fine."
Back a row, one reader notes,
"We sat in seats L17 and 18. Great seats, you can see all of the stage and the
actors expressions clearly and you are pretty much central along the
row. There is limited space for each seat even though legroom is good. I was
constantly being poked in the side by the woman next to me who it seemed had
made it her mission to battle me for arm room."
Further along that row, reader Rochelle rated L22 and L23 highly too.
Another reader says for "Enron" (February 2010):
"M 17 to 19: The circle overhang didn't cut off any part of the stage,
but I wouldn't want to be any further back. The raking was good, and you
still felt close to the actors and were able to see all their
expressions."
Reader Mel adds:
"We sat in the middle of the Stalls, row M and had a perfect view of the stage
including the top. We are both quite short, so luckily the rows have an incline
from row K upwards! Any rows further back I’m not sure if you could see. "
Reader Alf goes further,
" from about from J or K the rake suddenly becomes a lot steeper, giving a much
better view. However, the stage is fairly high as it is. I would recommend
avoiding the rear stalls (row Q etc) as the dress overhang chops off the top half
of the stage, when used for a show with high sets."
Still in row M a reader says,
"We bought our tickets from TKTS for the show we saw in 2009, getting M13 to 16 in the
stalls. The view was fantastic, the rake allowing all my group to see, but close
enough to the action to not miss a thing. Legroom was excellent (I'm 6ft 6
tall), so a comfortable night for me... Or at least it would have been if I
hadn't had to share my seat with a lady with, shall we say, a fuller figure in
the seat next to me. Never mind, I would recommend these seats and say they are
worthy of full price, but an absolute steal at half price."
Reader Carol Morrison adds,
"We sat in the middle of stalls row O and had a perfect view. Although the Dress
Circle overhangs the back of the stalls we were still able to see all the action
on stage."
Behind them, at the same production, another adds,
"N 13, 14 and 15: These were really great seats, excellent leg room and
there is really quite a steep rake here so you get a really great view,
although if I could pick any seat I would probably go a couple rows in
front as they have the same rake but slightly closer."
Reader Ali says,
"Row O 10 and 11 - excellent legroom, a bit narrow, and for some unknown reason,
I had quite an aching back afterwards. The view was unobstructed, and we had no
problem seeing the top of the building set. I would like to be further forward, about row K next
time, so I could see the actors expressions better."
Further along that row, reader Clive adds,
"O22 and O23: With a good rake these afforded an excellent view and the
legroom was also good. (Excellent show as well - Enron, January 2010)."
In row P, reader Stephan Nicholls says,
"We used an offer for stalls P2 and P3 (note there
is no P1). The view was fine."
From the same row another reader opines,
"Stalls
row P for £25 was a great offer when I went.
Good leg room and
view. I am 6ft so sometimes suffer; very warm sat under the circle, but
saw all of the stage."
Reader Hannah M says,
"We sat in stalls seats Q 23 to 25 at £27.50 each, for the show we saw in
2007, which are really good. The
overhang of the circle cuts off the very top of the stage, but I could still see
everything that went on without stooping. As the theatre is so small you feel
close to the action in row Q anyway."
A reader says,
"We sat close to the back of the stalls (Row Q) so we had to bend to see the top
of the stage. Overall, the value for money was excellent when we paid less than
£30."
The view from all seats fairly reflect the prices charged, with even
those in the last rows feeling reasonably close to the action. When
action is missed, prices reflect this.
Reader Abbie Mason feels that,
"It's true you don't feel far away, but I would describe rows R and S as
restricted view - the circle overhang obscures the top half of the stage area.
It may be the case that third price is the going rate for a restricted view in
the West End, but these seats should be advertised as such."
Rows S and T are cheaper for for "Hay Fever" (February 2012). Sometimes the overhang can cut the top off the stage in these
rows. A sound desk, luckily not used for this production, would make worth
skipping seats nearby for purists, feels the monkey.
One reader rates row T perfect for escaping quickly at the end of the
show, and says it simply feels a long way back. Another, at "Deathtrap"
(August 2010) opines,
"T9: didn't find the distance a problem or the overhang. All of the
action takes place at floor level, so all anyone who can't see the top
of the stage will miss are a few roof beams. Whilst the actors make use
of the front of the stage a lot, it hasn't been extended out at all
through the proscenium, so views should be fairly god from all seats."
Legroom is good throughout the stalls. Row AA seats 12 to 17 have a
particularly good space for a stretch when it is in use! A 6ft 6 tall
reader rated M 13 to 16, and a 6ft one row B 13 and 14, excellent too.
A larger reader opines,
""big enough seats in the stalls, slightly cramped but I suppose O.K."
Stalls Boxes
Boxes A and B are just above stalls level either side of the stage. When
in use, those sitting here cannot see a quarter of the edge of the stage nearest
to them. The view offered is now below average value for money and boxes should
be considered only if extra legroom is needed or rear stalls at the same price
are unavailable. One reader comments, "Don't touch them as they are extremely
side on (and I'm a great fan and user of boxes)."
For "Million Dollar Quartet" (February 2011) a reader says,
"A little word about the boxes (A to D I think) at the side of the
theatre for this show: (contains possible spoilers), these are
definitely restricted view, you sit in the ones to the left of the
stage, you miss the actor playing."
DRESS CIRCLE
Called the ROYAL CIRCLE in this theatre.
The Upper Circle overhangs row F. This does not affect the view from any
seat.
The Dress Circle is split into a main central and two small side blocks by
aisles.
The view is good from all seats, though rows F, G and H are normally far
enough from the stage for the discerning ticket buyer to wonder why they are
being charged top price. Think twice before paying it in these circumstances.
For "Hay Fever" (February 2012) part of central rows A
and Bare "premium" priced.
Your choice if you wish to pay the extra, feels the monkey. If you do,
it would take premium stalls instead if tall and long legged, dress
circle if shorter - B before A. It would also look at the "non-premium"
seats right beside the ones in rows A and B too... again, B before A
usually.
For "Avenue Q" though, in 2008, reader Lee comments,
"I was in the centre of the Royal Circle on Row G and it was a great place to
see the show from didn't feel far away at all, seats were comfy and even though
I am 6 foot 1" I had more than enough legroom. I tried the seats at the back few
rows of the Stalls and they felt much further from the stage than being in the
Royal Circle for some reason. If a friend asked me I would say go for anywhere
centre Royal Circle or front middle Stalls for this show."
That makes the monkey give G a higher rating, given the extra space
available.
One row forward for "Deathtrap" (August 2010) the same reader
comments,
"F24 and 25: Whilst this area was fine for 'Avenue Q' I
would recommend front stalls for a play like Deathtrap, you
definitely
feel a little out of the action being even in the first circle. I
imagine the shocks and jumps are much more amplified being so much
closer to the action. Legroom isn't great on row F so I was very
glad
to be on an aisle, there is definitely a wider gap behind for row G,
the lady in front of me banged my knees with her head and arm a few
times last night."
Be aware of Row A 1,2,3,4,5,27,28,29,30,31, Row B 1,2,3,26,27,28, and Row C
3,27. Part of a small group of seats located either side of the main block,
these seats are at the edges of the circle and have a sideways view of the
stage. They are sold as top price, and an OK alternative to the rear of the
circle. At second price, the outermost two in B are worth considering as the view isn't that bad
- better than the extreme edges of row A. Not ones for a special night out, but still worth a
thought as they are closer to the stage than the rear stalls for the same money.
All warnings of restricted views duly noted before purchase, though.
In row A, reader Pip says,
"A3 and 4. I see that it's red rated on the diagram, and I know they're
at the side, but the view was brilliant! I didn't miss anything but one
entrance. And there seems to be more legroom over here then in the
centre and you can lean forward if need too and not bother anyone. Seats
very comfortable and are cheaper than the middle."
Reader Pez says,
"I was sitting in row B of the royal circle, Seat 27, It was actually a
very good view, We had quite a lot of leg room, and most importantly I could see
every of the actors expressions, and we were quite close to the stage."
Reader Rich makes the contrast more directly,
"A29 to 31: We originally had these, at the extreme edge of the circle.
These are restricted view but aren't too bad if you're prepared to lean
forward. The play was almost sold out but the front of the circle had
several seats free (premium prices?) and so after consulting a friendly
usher, we sat in the middle of row A for the second half - amazing seats
- great view and the leg room was OK too!"
Back in the centre block, another reader also rates B22 as, "a very good seat."
Reader Rochelle opines,
"C11 and C12. The view was great here; the only downside was the leg
room (I have very long legs!)."
Another reader agrees,
"My seat was in the middle of Row C, the seat was great as I could
clearly see the whole stage with nobody blocking my view as the
cambering of the seats is first class."
In row D, a reader says,
"As I was on my own, I asked for and was allocated D4 in the Royal
Circle. This is one of two single seats that sit in front of the rear
Royal Circle Boxes. Despite being on the side block, this seat offers
fine unrestricted views of the stage and because people always go for
the centre, there was also nobody in front of me. This is a seat that I
would certainly recommend for the theatre goer who occasionally likes to
go alone. With lots of room to stretch out it almost felt like having
your own private box. The very friendly and helpful member of staff in
the box office also informed me that the director will sometimes sit in
this seat taking notes as it is often unsold. If it’s good enough for
them then it’s good enough for me!"
Reader James comments,
"Have seen "Avenue Q" many times (2006 to 2009), once from the stalls (central row M) and the
rest of the time from the Dress Circle (usually around rows B to D). Whilst the
stalls seats weren’t bad by any means, I prefer seeing the show from the Dress
Circle as you can take in more of the stage.
I’ve never had a bad seat experience there yet and even F24 and F25 in the Dress
Circle, whilst not marked as green, gave me a great view."
Another reader says,
"We went to see Avenue Q in 2008 on the Dress Circle row G. I think for £17.50 I paid
this row provides a superb view for the stage. Views are totally unrestricted
and although it’s at the back of the area the theatre is quite small. I think
this is better than the back of the stalls."
Reader Alf feels,
"outstanding view from all seats: great rake, not too far back from the stage,
masses of leg room in row A by the way. Slips aren't too bad if you are happy to
lean a bit"
Reader James in Finchley feels the same,
"Sat in Dress Circle A19 and A20. What a fantastic place to see the show
from. No-one in front of you, no steel bar or high front to obscure the
view. Sound is excellent from here and you can see all the actor expressions. Didn’t find legroom a problem at all. Definitely
my new favourite viewing point!"
Another reader agrees,
"Sat in A 21 and 22. Great seats (and at top price they should be!) I
have to say I thought the leg room was very generous for a front circle
seat. I'm only 5ft 4 though so had loads of room. 6ft Husband with
laptop bag also seemed to think there was a decent amount of room for
him - legs, laptop and all!"
The monkey wasn't as keen on row A legroom - feeling it cramped, so welcomes
another viewpoint and has raised the rating of these seats accordingly.
Legroom in row A is cramped (though see above for a different view); the
other rows all have just acceptable levels of comfort - a bit more legroom in
row G. Reader Lee at 6ft 1 felt comfy sitting here, more so than in row F on
another occasion, "Legroom isn't great on row F so I was very glad to be on an
aisle. There is definitely a wider gap behind for row G, the lady in front of me
banged my knees with her head and arm a few times last night." The very first and
last two seats of rows B and C - the outer edges of the side blocks - may also help
the taller, with row G preferable for them.
Another reader disagrees,
"My girlfriend and I sat in G7 and 8. The seats were at the end of the
row, which provided extra legroom, which was appreciated. We're both
around 5'9", anyone much taller would probably find their legroom a
little constrained anywhere else on that row. The view was entirely
acceptable, and although you are a little off-centre, no part of the
stage was cut off.
I have to say that I disagree with the green rating achieved by these
seats on the Theatremonkey page. The seats were absolutely acceptable,
and certainly shouldn't be red, but for top price I would expect green
seats to be a bit more central, and probably closer to the stage.
Methinks the Monkey has been a bit generous with the green pen when
colouring the seating plan for this theatre!"
On consideration, the monkey agrees, and has changed things
accordingly...
Reader Mark says, for Deathtrap (August 2010), though,
"G8: not as good as front row stalls (obviously!) but a very good clear
view of the stage."
In row H, in 2011, seats 5 and 25 are currently lost to repair works
going on there.
Reader David Fisher felt of row E seat 9,
"the view was excellent however I found that the seat had little leg room and my
knee pushed into the seat in front. I only have short legs as well."
Dress Circle Boxes
Boxes C and D are either side of the stage at
Dress Circle level. Boxes L and M are at the rear of the Dress Circle.
All boxes have a restricted view. From C and D you cannot
see into the back corner quarter of the stage, nor is the nearest quarter edge
of the stage visible; boxes L and M are to the rear of the circle, are recessed and
the overhang of the circle affect the view of the edges, top and front of the
stage.
That said, one box fan says,
"Box D: lovely box, very comfy, excellent view."
Box M can take a wheelchair, see notes.
The view may be better than most wheelchair positions, but access is hard.
Where not used for technical equipment all boxes
except L and M are
sold at second price, getting heavy in this monkey's opinion. Take box L or M first,
but only if you have to - it is tending to expensive at top price. The view is slightly less than perfect
but extra legroom
compensates.
Box Connoisseur Alf adds,
"box M is great! It is NOT rear of the dress, but about in line with row D or E,
has a full, clear view of the stage, is nice and roomy (with your own curtains)
and is a really good way of getting in to see the show last minute. Still a bit
greedy as first price, but arguably better than rear dress or stalls."
Fair comment, feels the monkey.
UPPER CIRCLE
Called the GRAND CIRCLE in this theatre
A high circle with a good rake. The balcony
overhangs to row B but does not affect the view from any seat.
A single metal bar runs across the circle affecting the view in row A. Seats
A 6 and 23 and S 14 and 15 should be particularly avoided as a double bar
protects the end of the aisle. The rest of the seats in the centre block
represent acceptable value for money at second price.
A reader reports,
"The view from the front few rows of the Grand Circle is dizzy."
Reader Alf feels,
"much higher than the Dress...I would only take the first 3 rows of it. Avoid
the slips here too if you can."
In row A, a reader says for "Calendar Girls" (April 2009),
"Sat in seats A21 and A22 at discount price. As pointed out already
there is a safety rail in front of you but for me (at 5ft 2 I could see
under it and for my friend at 5ft 8 could see over it – without altering
our sitting position and others in the row lent forward). The view was
great and the ticket price a bargain, as you could see all the facial
expressions... and more to the point didn’t see anything you shouldn’t
when the cast went ‘nude’."
For "Hay Fever" (February 2012) row A is discounted -
but only worth a punt
if bars and reduced legroom REALLY don't worry you, perhaps; feels the monkey.
Extreme edges of other rows are the same price, and may be more
comfortable at least - though the view isn't as central.
Reader Paul comments,
"B 5 and 6: The seats offered a good view, we could see everything.
Although the numbers are 5 and 6 this was on the end of a row - I asked
specifically for seats with extra legroom. As it happened, unless I sat
in the seat sideways there was no extra room here than any other seat,
but it was perfectly adequate. The rail in front was slightly
distracting for about the first two minutes but then I didn't notice
it."
Another reader says,
"I sat in Row D seats 20 and 21. I personally think they are JUST fair
for money as you can see everything but the corner of the stage. I think the
price could be lower. However, the view is acceptable and for a second
time to a show worth the money. Otherwise, first timers avoid here
because you won't see as much expressions (which are vital for musicals
and comedies). There is no legroom, but otherwise seats are comfy. Sound
is fine."
Reader Ian Grace indeed finds much to recommend,
"We were in seats E13 and 14 in the Upper Circle.
Visibility was very good (we had fairly average sized people in front) but not
having anyone sitting behind meant we could also lean forward or shift about
without having to worry that we were blocking the view of others behind us.
I haven't been to that many London theatres but these seats felt very high up in
the building (there are higher!) which could just possibly be an issue for those
who suffer from vertigo, especially when standing up getting to some of the
seats."
Reader Jos Hockley comments for "Calendar Girls" (July 2009),
"E 9 and 10: I chose to save money and go for the grand balcony. I have
to say they were well worth the money; yes, it's high (but not as high
or steep as the Palace Theatre where you need a mountaineering kit), and
I didn't need to sit forward in my chair to see the edge of the stage -
and I'm only 5'4". We could also perfectly see the expressions on the
actresses faces, though if you don't wear glasses 20/20 vision is a
must; don't be vain - get the specs out! On such a hot day we were
blessed with air-conditioning at it's most effective and it was a
perfect temperature but it may be a little too cold on cooler days. The
seats comfy and legroom reasonable for a theatre. If I have to make one
criticism it would be that from our seats we couldn't see the tops of
the first two photos to drop down in the finale - but then we wouldn't
have seen them from the back of the stalls either due to the overhang of
the balcony above. It's a minor detail that really makes no difference
to the enjoyment of the show."
Another reader says,
"Row F 18 and 19 provided
a very good view (although probably wouldn't be worth it if they were paying
full price of £27.50 upwards for them."
Row AA is a set of 28 seats curving around the
side wall of the theatre on a narrow ledge extending from the front of the
circle. Known as 'Slips' the view is best from seats 9 to 20. At low prices
these are usually a bargain for those willing to accept a precarious perch...not for the
unadventurous or long legged, though, feels the
monkey.
Reader Gavin comments,
"Went to see Avenue Q in 2007... I bought a £10 ticket at the box office and sat in the
Upper Circle slips - view was practically nonexistent, backache severe so
probably not even worth a tenner."
At the same price for "Enron" (February 2010), a reader adds,
" interesting that the Upper Circle slips have gone up an awful lot in
price for "Deathtrap" (August 2010). I'm sure they were £12.50 or so and
now they are £19.50. I sat in AA2 for 'Enron' and thought my £10
lastminute ticket was just about fair value. And the woman next to me
was not pleased with her seat."
The monkey thinks the reader means the woman was unhappy with the
view, rather than the size of any part of her anatomy, of course.
Another reader opines, for "Calendar Girls" (July 2009),
"I wanted the £5 slips tickets and we got seats AA 7 and 8 in the grand
circle. Although I'm not really complaining as they were only £5, these
seats are not great. If you sit properly, you can't see anything at all,
but with leaning forwards you can see a half to two thirds of the stage,
although there are some poles in the way but I think you get used to
them and sort of stop seeing them. Legroom was very poor though,
However, at 7.30pm, nobody else had turned up to sit in the slips, so we
moved along to AA 2 and 3. These are much, much better, you can pretty
much see all of the stage apart from the extreme left side and back
corner, and the legroom was a bit better, especially in AA 2. So you
want the £5 tickets I would definitely recommend asking for AA 2 an 3,
or 26 and 27 on the other side which I assume have a similar view. These
seats are great if you're just looking for something to do of an evening
as it's actually cheaper than going to the cinema (and about 1/3 of the
price of going to the cinema in Leicester square!), and they're not as
bad as the price suggests... they're certainly not 5 times worse than
seats in the balcony, but if it's a special treat definitely go for some
proper seats."
For "Deathtrap" (August 2010) a reader for that show endorses this, saying,
"AA15: You have to do a bit of leaning out but as there is no one behind
it's guilt free. Nicely prices at £15 for the previews."
Legroom is acceptable in rows B to F for those of an average height, poorer in
row A and tight in all seats for those over 5ft 10 or so. In row S it is uncomfortable except for 14 and 15 which have the
advantage of being the ends of the row nearest the aisle.
BALCONY
Around 90 feet from the stage - straight down!
These seats are tucked up high on a shelf directly under the theatre roof. The
climb up the stairs is VERY long. Those not in best health should not buy these
seats.
A double height metal bar runs across the circle, this becomes a triple bar
at the ends of the aisle and in front of rows A seats 3 and 19. Seats here have
been renewed...rather comfy.
Reader Alf elaborates,
"very distant and very high. Especially when much humour is in the
expression of the actors. The price seems a bit greedy. HOWEVER,
for anyone that likes bit of extra legroom or a wider seat, the first and last
seats of the central block (e.g. Row A; seats 3 and 19, Row B; seats 3 and 21
etc) are double width - literally twice as wide as the rest of the seats - they
are like sitting on a throne! The one next to them (Row A seats 4 and 18 etc)
are also a tad wider than normal."
Reader Jan goes further,
"We went to see a show in August 2006 and sat in row D in the Balcony. Not
recommended simply because you can hardly see anything from that distance, let
alone any expressions on the faces of the actors. The sound was good though
which was just as well as there wasn't much to look at. Nice view of the very
decorative ceiling though!!! These seats should be free they are so bad. Avoid
the upper Balcony like the plague."
A distant view is possible from all central seats. The bars at the front of
the circle do intrude for everybody, but sitting in row D or E minimises the
problem most - D 7 to 22 being optimum, then E 6 to 20. Take D first, then E, C
then B as all seats are the same price for "Hay Fever" (February 2012).
Reader Pip says,
"Row B seats 15 and 16 (I think): I personally don't see what the
problem is. I was dreading sitting up so high from all the reviews, but
it really isn't as high at some theatre's I've been too. It's also
closer to the action then other balconies I've been in. Could see
everything; yes the bar got in the way, but the price makes up for that.
Legroom is brilliant and the seats are so wide and the best ever. I kept
forgetting that they weren't folding ones so had an amusing time
thinking the seat would fold as I sat down."
At the end of the row for "Million Dollar Quartet" (February 2011) a
reader adds,
"B4: Not bad at £5 for previews! Would hesitate to pay anything more
though as the view is high and slightly restricted."
At "Enron" (January 2010) a reader comments,
"I would probably want to avoid the Balcony as the set is fairly high."
Like the Upper Circle, slips are available along the walls at the edges of
the circle between seating and stage. They offer just below fair value with the
same drawbacks as mentioned above. They are benches, so arrive early to stake
your place. Take these only when other seats are unavailable.
Legroom is acceptable for those up to around 5ft 11 or so, and probably only
slightly cramped for those taller - except in row A where it is cramped for
anyone over 5ft 6 or so. The very tallest may still find lack of room a problem
and require the stalls instead.
Notes
Total 886 seats and 21 standing in rear stalls.
Air-conditioned.
No food except Ice cream and confectionery. Bar snacks also available.
Three bars. Two in the Stalls - one at the back, one on the stairs leading
down to stalls, One in the Dress Circle.
Infrared headset system for the deaf. Occasional signed performances. Guide
dog sitter available. Wheelchair access to box M in Dress Circle (2 spaces or 1
plus 1 non-chair escort). A steep portable ramp is needed to gain access via St
Martin's Court. An adapted toilet is available next to the cloakroom just past
the Royal Circle entrance - with flat access to it. The "registered disabled" concessionary price policy
here is generally (though can be subject to change) for a quota of accessible
best seats to be made available at the lowest regular price charged. This quota
is increased for designated performances such as signed / audio interpreted.
Check with the box office helpline at time of booking. Fuller access details
0844 482 5137, www.theatre-access.co.uk.
or Artsline on 020 7388 2227, 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.
8 toilets; Stalls 2 gents 1 cubicle in each, 1 ladies 3 cubicles: Foyer 1 ladies
4 cubicles; Upper Circle 1 gents 1 cubicle, 1
ladies 4 cubicles; Balcony 1 gents 1 cubicle.
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