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Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

NOVELLO THEATRE
(formerly the Strand Theatre)


 


CRAZY FOR YOU (musical)
Ends 17th March 2012.

Dancing debt collector arrives to repossess hicksville theatre. The dancer falls for a local girl, calls in a troupe of showgirl chums, and 'they do the show right here.' Great Gershwin numbers like "Embraceable You," "Someone To Watch Over Me" and "Nice Work If You Can Get It" are woven together in this show originally directed by the late great Mike Ockrent. This time Timothy Sheader does the honours, with Stephen Mear choreographing.

The 2011 musical hit from Regent's Park Open Air Theatre transfers to a drier environment.



 
Theatremonkey Opinion:
Update to review, from the performance on 10th October 2011.
The full cast (with 4 extra "swing" performers to cover injuries in a long run) arrive in the West End in outstanding form. A faster show, with a few extra dance moves added, this sits perfectly on an indoor stage. Obviously, there are differences - fewer cast members are needed to stretch across the whole stage and some entrances and exits had to be changed, plus the show can now have "flying" scenery rather than just birds flying into the set.

What remains unchanged, even enhanced by the smaller stage, is the intensity of the performance. Every joke now hits and rebounds off the walls, the big dance routines are even more effective on a smaller stage, and the cast's timing has become so refined they make two hard hours of singing and dancing look effortless.

Quibbles? The light bulbs on the set need changing, the "Les Mis" sequence from the original show is gone - Shrek now use it; the closing 'Follies' dance routine looks a little 'crowded,' and many of the cast look like they need feeding (the monkey is sure they've lost weight since Regent's Park - well, they do get a heck of a workout each performance - and could vanish at any time). Otherwise, this is the happiest show in the West End. Old fashioned, nothing offensive and a bag of charm. Go see.

Originally reviewed at the afternoon performance at the Regent's Park Open Air Theatre on 27th August 2011.

The first performance the monkey was to see got rained out before it started, alas. Second time lucky, theatrical gods extracted revenge on a late start to the show by opening the heavens the exact moment the show should have ended... and of course hadn't... Thus the monkey got to see just how focussed this cast are - and learned that even in Deadrock, Nevada, it can storm. On the plus side, the "girl finally kisses the boy in a Hollywood movie monsoon" added to the atmosphere; and it was a real pleasure to see cast and audience united in a laughing determination to beat the storm and delight in encouraging each other on to the finish.

So, water aside, how was the show? Last year's "Into The Woods" was an 'experience,' the Open Air team proving they had conceptual skills equal to the best in the industry. This time, they demonstrate equally impressive production skills to create an incredibly slick Broadway musical that, if not as original as "Woods" probably exceeded it in sheer polished spectacle, with solid presentation of classic songs with well conceived dance numbers and some impressive casting.

If sometimes the dialogue was played a little too slowly (with quicker cues, the corny old jokes would 'zing' not just 'pop'), and it felt a little like the cast were conserving energy so they could play a second performance that day, it detracted hardly a jot from one heck of a fun show.

A great comedic duo in Sean Palmer and David Burt, a loveably feisty lady lead in Clare Foster and one memorable moment from Phil Snowden are just a few of the nuggets in this goldmine of an evening. Having seen the 1993 original London production (from which, sadly, the best gag didn't survive here), the monkey wasn't looking forward to the show particularly - and it does become a little episodic in the "joke, song, extended dance, repeat" format beloved of traditional book musicals - but discovered itself forgetting everything to simply have a 'real fun time.'

Broadway shows were once designed for "tired businessmen" and this 90s attempt to bring back those days succeeds far better than that - redefining the concept to be a simple and undemanding, yet immensely rewarding afternoon out for both the traditional audience for the show and anyone interested in seeing a supreme example of all elements in the traditional craft of the musical put on vivid and near perfect display.

 

 

Your Reviews: Add your own by clicking here.
Important: Some reviews below can contain "spoilers" - please don't read if this bothers you!

The latest 4 reviews are below (note that some may be of previous casts). For earlier ones, click here.
________________________________________________

I took a coach load to 'Crazy for You' yesterday (25th November 2011) and for most it was a substitute for 'Betty Blue Eyes' being the date they had originally booked for - what a different show!

We very fortunately had seats from row J backwards so everyone had superb seats. The first four rows at least are on the flat and with the very high stage there is no chance of seeing dancers' feet, or even from the knees or waist down in the very front rows. They really should take those front rows out of action, particularly for a dancing show. There is a good rake from about row F but go further back than that.

I also suspect that all seats in the stalls apart from the front rows have the same problem, they tilt forward and it was only in the interval while eating an ice cream that I realised why. The seats were designed to be on a flat surface so putting them on a raked surface makes them all tip forward so you are constantly having to re-hitch yourself back and it gets quite uncomfortable...

...But, having said that, what a show! If you love musical theatre then you can hardly fail to just love this production. I had a lot of quite unhappy people on the coach going back from a hastily re-booked performance of 'Betty Blue Eyes' back in September just before it closed, but yesterday there was a buzz on the coach of sheer joy and everyone was ecstatic in their comments as they left the coach which is lovely for an organizer.

Go see it but make sure you have good seats.

Later: I took my second coach load on 1st December 2011 and again they all loved it. I was in the middle of row M, which was perfect - especially as there was no one in the four seats in front of us so completely unrestricted view, and this time the seat was not so tipped forward.
___________________________

I was fortunate that ‘Crazy For You’ is so good, otherwise I would have stormed out in a huff. The stage has been extended in a curved shape right out to almost row C (currently the front row), with the band sheltering underneath, and it has been raised at least a foot for no apparent reason I could detect except to allow some silly tubular ‘footlights’ to rise up from time to time. As this site indicates on its current seating plan, the net result is that the first four or five rows are now marked red and people in those rows see the performers’ feet only when they are right at the very front of the stage; anybody further upstage can be seen only from the waist up. This is not conducive to happy viewing of a dance show! And no sooner had the performance begun but a bank of some dozen or so fixed blue spot-lights high up towards the back of the stage immediately shone brightly into the eyes of us poor punters in the front stalls.

Still, I decided to wait a bit and see what happened, and I was soon won over by what I would say has to be a near perfect production of a very enjoyable show with a brilliant cast of multitalented performers who were all just wonderful. The sound of the orchestra was extremely good and the amplification of the stage singing was exactly right, at least for D row in the stalls. The orchestrations and arrangements were top class, the choreography exhilarating, the sets excellent and the costumes fabulous.

I keep going on about how talented and versatile performers are these days in British musical theatre: everyone in the show has to be able to tap, do classical ballet, execute the most exhausting dance routines and sing as well, not to mention act competently in small roles. And it’s useful too if you can swing a lasso, do a back summersault from a standing start and mime a fist-fight convincingly! Thank goodness we no longer encounter those pre-recorded singing tracks which enabled the chorus to mime their singing while they were dancing, but these days the dancers do actually sing, even when they are dancing, and nobody ever seems to be out of breath.

In older stagings of musicals the dance routines always followed the sung part of the numbers and neither principals nor chorus members were ever asked to sing again at the end of production numbers, at least that’s what all the vocal scores tell us. Not so these days. I was astonished at ‘Crazy for You’ to realise that Sean Palmer was singing the reprise of a slow ballad perfectly after a dazzling and physically exhausting dance routine – I think it might have been in ‘Nice Work if You Can Get It’ – and I realise now that the chorus girls were also singing as well as dancing in that same number. We should all be very grateful for the incredibly high standard of training at all our stage schools, and the fact that there is currently a great deal of work in the UK for musical performers, not just in the West End but in all the companies touring large-scale musicals around the entire country. And of course performers are stretched to the limit by the imaginative and brilliantly choreographed and directed productions that it is our privilege to see and enjoy these days in this country. I’m glad I got that off my chest!

I'd also add that the (female) chorus line in ‘Crazy for You’ is the best looking line-up of beautiful girls I have seen assembled anywhere since Busby Berkeley ran his camera through the legs of all those glamorous cuties in ‘42nd Street’. Wow!

Oh, and the show was very funny too – I take the monkey's point about the verbal jokes working better in a theatre than in the open air – and the physical jokes were great too, especially Zangler’s exhausted arrival at the end of the first act and the knockabout fake shoot-out brawls.

I am struck by the fact that with ‘Crazy for You’ and ‘Top Hat’ that is currently touring, we are blessed with two modern re-creations of shows originating from a 1930 stage musical (‘Girl Crazy’) and a 1935 musical film (‘Top Hat’) to give us stage shows that in 2011 are as enjoyable as anything newly written since. OK, they may not be ‘West Side Story’ or ‘Les Misérables’ but they certainly lift our spirits and give us a joyous theatrical experience, and in the words of some old song or other: ‘Who could ask for anything more?’.
_______________________________

26th November 2011: Just to say went to see this amazing musical (can there be any better dance number than 'I got Rhythm'? in musical theatre). We were sat in the Dress Circle row F11 to F15 and these were fantastic seats. Being higher up meant you got the full impact of the big dance numbers. We were right in the middle of the row in what felt like the best seats in the house. Highly recommend these seats for anyone looking to see this stoking show.
_______________________________

Took a group of 10 to the matinee on the 24th November 2011. When booking by phone, I intended to buy in the stalls but the Box Office suggested a much better choice were the Dress Circle Row C 3 to 12. They were absolutely right - an excellent view thanks to the steep rake and there's sufficient legroom. We used the Accelerator Group Rate (since expired, editor) and paid a bargain £29.50 (over 60s £25).

Review: A really wonderful show - great singing and dancing, fabulous music and lots of laughs. The talented cast's energy, flair and timing were superb. A real feel good factor to the performance and a show we'd all love to see again. An unexpected perk was the beauty of the theatre's interior. Highly recommended for all the family.

Loos: The usual tale of women queuing down the corridor in the Dress Circle. An usher gave me a tip. There's a narrow, unmarked door by the staircase as it turns up to the Bar on the next floor. Through it is an additional Ladies - with no queue!

Ashtead Outings


 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Performance Schedule:
The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Monday to Friday at 7.30pm
Thursday and Saturday at 3pm and 7.30pm

Runs 2 hours 35 minutes approximately.

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form


Monday to Thursday Performances:

Stalls:
Rows E to T: £59.50 except:
"Premium Seats" row G and H 9 to 18, J 9 to 19: £80
Rows U and V: £45
Rows D, W and X: £35


Dress Circle:
Rows A to J: £59.50 except:
"Premium Seats" rows A and B seats 7 to 20: £80
Row K: £45

Dress Circle Slips
Row AA
seats 6 to 13: £35
seats 1 to 5 and 14 to 18: £25
Row BB: £35

Upper Circle:
Rows A to D (except A 3, 4, 12, 13, 23 and 24; B 1 to 3 and 23 to 25; C 1 to 3 and 24 to 26; D 1 to 4 and 24 to 17): £45
Rows E to H (except E 1 to 4 and 23 to 26; F 1 to 4 and 24 to 27; G 3, 4, 23, 24): £35
Row A 3, 4, 12, 13, 23 and 24; B 1 to 3 and 23 to 25; C 1 to 3 and 24 to 26; D 1 to 4 and 24 to 17;E 1 to 4 and 23 to 26; F 1 to 4 and 24 to 27; G 3, 4, 23, 24: £25

Upper Circle Slips
Row AA
seats 11 to 14: £35
seats 1 to 10 and 15 to 24: £25

Balcony:
Rows A and B 5 to 20 and C 5 to 19 : £25
All other seats: £20

Boxes are not currently on sale.

"Premium" price seat locations sometimes change at short notice. Please be aware of this when booking.
 



Friday and Saturday Performances:
Stalls:
Rows E to T: £62.50 except:
"Premium Seats" rows G, H and K 9 to 18, J 11 to 19; (plus F 9 to 18 on Saturday Evenings): £85
Rows U and V: £47.50
Rows D, W and X: £37.50


Dress Circle:
Rows A to J: £62.50 except:
"Premium Seats" rows A and B seats 7 to 20: £85
Row K: £47.50

Dress Circle Slips
Row AA
seats 6 to 13: £37.50
seats 1 to 5 and 14 to 18: £27.50
Row BB: £37.50

Upper Circle:
Rows A to D (except A 3, 4, 12, 13, 23 and 24; B 1 to 3 and 23 to 25; C 1 to 3 and 24 to 26; D 1 to 4 and 24 to 17): £47.50
Rows E to H (except E 1 to 4 and 23 to 26; F 1 to 4 and 24 to 27; G 3, 4, 23, 24): £37.50
Row A 3, 4, 12, 13, 23 and 24; B 1 to 3 and 23 to 25; C 1 to 3 and 24 to 26; D 1 to 4 and 24 to 17;E 1 to 4 and 23 to 26; F 1 to 4 and 24 to 27; G 3, 4, 23, 24: £27.50

Upper Circle Slips
Row AA
seats 11 to 14: £37.50
seats 1 to 10 and 15 to 24: £27.50

Balcony:
Rows A and B 5 to 20 and C 5 to 19 : £27.50
All other seats: £20

Boxes are not currently on sale.

"Premium" price seat locations sometimes change at short notice. Please be aware of this when booking.

"Day Seats": Front row C seats (restricted view) may be available to personal callers at the box office before the performance, and sometimes online and by telephone if unsold, priced £25 (£27.50 Friday and Saturday) each. The monkey always advises taking both cards and cash in case one is preferred over the other. Check with the box office before travelling if this policy is still in operation.

 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Buying Tickets Online:

Other Box Office Information

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
www.delfontmackintosh.co.uk provide their own service for this theatre.
This system allows you to select your own seat numbers.

Booking fees per ticket for online bookings:
£2 per ticket. Towards the psychiatric bill, thinks the monkey.
 

Other Online Choices (with S.T.A.R. genuine ticket agencies):

For performances until 4th February 2012, Theatremonkey readers can buy some best available top non-premium price £59.50 (£62.50 Friday and Saturday) tickets (from agency / offer allocation) reduced to £29.75 (£35 Friday) each (plus £2 per ticket booking fee) at all Monday to Friday performances ONLY.

Not available for any performance on or between 13th and 17th February 2012 inclusive.

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 7907 7000.

At other times, when the theatre does not have the tickets you desire available, the Theatremonkey Ticketshop offers tickets with a £5.95 per ticket booking fee on £59.50 seats (£8.50 on £85, £8 on £80, £6.25 on £62.50 tickets) - 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.

www.seetickets.com / telephone 0870 830 0200 (FREE call if using BT.com Calling Plan at your chosen times) offers seats with a booking fee of £5.95 on £59.50 (£6.25 on £62.50, £4.75 on £47.50, £4.50 on £45 seats). A £2 per booking, not per ticket, transaction charge applies on all purchases.

Alternatively, through Ticketmaster.co.uk with a £3.90 per ticket booking fee on £59.50 seats (£5.50 on £85, £5.20 on £80, £4 on £62.50, £3 on £47.50, £2.90 on £45, £2.40 on £37.50, £2.30 on £35, £1.30 on £20 seats), plus a £2.75 handling fee for your booking on top of that. 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 £59.50 seats with a £15.50 booking fee per ticket (£23 on £85, £21 on £80, £16.50 on £62.50, £10.50 on £37.50, £10 on £35, £7.50 on £27.50, £7 on £25 seats) - plus optional UK postage of £1.50 per booking, not per ticket, available if time allows. The "Flexiticket" Exchange Service, allowing FREE transfer / cancellation (credit note up to 12 months) of your booking up to 3 days before the performance is also available for £2.50 per ticket. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

Lastminute.com offer £59.50 seats with a £3.57 booking fee per ticket (£2.70 on £45, £2.10 on £35, £1.20 on £20 seats) Monday to Thursday / £62.50 seats with a £3.75 booking fee per ticket (£2.85 on £47.50, £2.25 on £37.50, £1.20 on £20 seats) Friday and Saturday. NOTE: Seat numbers are NOT available in advance from this company. All seats booked in the same price group will, of course, be together or at the very least be in front or behind each other in the theatre. In the very unlikely event of this not being possible this company will call you and give you the option of cancelling your booking. However if booking in two or more price bands, you will not be sat together. Please DO NOT purchase if this is unacceptable to you, as all tickets are sold subject to this condition. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

Londontheatredirect.com offer £59.50 seats with a £7 booking fee per ticket (£6 on £62.50 seats). Discounts and Meal and Show Packages may also be available.

ALSO SEE Tickettree.com for great value "hotel and theatre ticket" packages.

Other Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.



 

Box Office Information:
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
Telephone: 0844 482 5170
(020 7812 7498 if you cannot use the 0844 number)
Operated by Delfont-Mackintosh Theatres. At busy times / outside working hours - 9am to 8pm, See Tickets may answer on behalf of the venue.

Booking fees per ticket for telephone bookings:
£2 per ticket. Towards the psychiatric bill, thinks the monkey.


For personal callers or by post: Aldwych, London. WC2B 4LD
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 0844 482 5137 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the Delfont-Mackintosh Theatre Group Helpline in London. See Notes.

www.delfontmackintosh.co.uk is the official theatre website.

 

 
 
Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

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

If you want to know what theatregoing was like in a more glamorous time, the restoration of this venue will give you an idea. Right back to the early 1900's, marble wall panels and brass handrails, thick red plush covered seats and gold leaf plaster features transport you to another time. Rooms have been knocked through and offices converted to provide spectacular new bars and retiring rooms, and the monkey is impressed with the changes - another amazing transformation by Sir Cameron Mackintosh and a talented building team.

NOTE: This is a newer venue, and opinions are based on "first impressions." It takes time for any theatre to settle in, and the monkey very much welcomes guests' views to build up a broader picture: contact us.

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Balcony Notes
STALLS 
The Dress Circle overhangs the stalls at row H. The top of the stage is not visible from row T back in the centre and row O from seats to the sides of the theatre. 

Seating is in one large block in front of the stage. Every seat is within the proscenium arch, and there are no official "restricted view" tickets. As "Day Seats," the front row is always worth a go if not too short, feels the monkey.

If row A or B is cheaper - not in use for "Crazy For You" (October 2011) - the monkey quite likes. In B, if cheap, it would go for most of the row - 6 to 20 (centre seats first of course). Behind, at a little more it particularly likes 9 to 17 - in both cases if looking up isn't a problem. Certainly it's a way to be closer to the stage than any other seats at the same price for those tall enough to accept the issue...

...The stage is high, and those in rows A to C will have to look upwards - mildly neck ache inducing perhaps, and the shorter person may well prefer to be further back in the stalls. For the rest, the view is probably more than acceptable and the back of the stage is visible without a problem..

A "Crazy For You" visitor says,
"Bought a £10 ticket off lastminute.com and got moved to front row of the stalls. Wasn't happy, stage was far too high and it's not what I'd booked so I got moved to upper circle A4 (obviously they couldn't move me to one of the 100 or so empties in the stalls unless I paid £10 extra). If you sit within the front couple of rows, even if you are tall, I can guarantee you won't see the tap, as the stage is VERY high!"


As a restricted view seat it was brilliant. It actually wasn't restricted, but the seat to my right would have been due to the bar, maybe thats why they sell them together as restricted -

A reader comments, that when row B is the front row at full price,
"the stage is MASSIVELY HIGH! I would RED it out... I complained to the house manager and she looked for another seat for me - I took a complimentary programme instead and moved to an empty middle seat which was a bit better as there was more space between the stage and seat there."

Reader John agrees, saying, again at a previous production,
"We sat in front row B in the stalls - not recommended as the stage is high for younger fans - moved to row G stalls at interval and it was much better but I dare say even further back in the stalls would be excellent in this lovely theatre."

A reader says
"B22. Very good seat on discount, being off to the side didn't matter at all for the play I saw. Missed tiny little things when some of the set blocked me due to being so close to the front but honestly, I'm not fussy when it comes to stuff like that."

In row C for "Cat On A Hot Tin Roof" (December 2009), with row A as the front row, a reader says,
"C15 to 17: was a bit nervous that my friends would find it uncomfortable given your comments about it being 'mildly neck ache inducing'. However, none of us even noticed that we were looking upwards, probably because we were so enthralled by the acting. All I would say is that the seats are on the narrow side, and not a lot of legroom either - Adrian Lester might have coped with the seats but I think James Earl Jones would have struggled!!"

"Crazy For You" (October 2011) has a particularly high stage, with stairs leading up to it directly in front of row C 11 to 16. The rest of the row are "Day Seats" and will see the show from the knees upwards - less as the performers go to the back of the stage. Since the show's strength is it's dance element, this is a real issue. Monkey rates the ends of these rows just about "fair" if you an accept the problem.

Then, at "Crazy For You" (October 2011) the high stage really becomes a problem for those paying full price in rows C to E, and for shorter people in F. Again, you won't see feet - losing an element of the show for dance fans. In particular, row F is not worth "premium" price on a Saturday night, the monkey feels. If you have to sit in these rows, sitting "off centre" - avoiding the middle 8 seats, will provide most view as these are beyond the built up "curved" part of the stage, which is the highest point. Row G is the first row with a full view of the stage, it notes.

A reader reports on this issue at the show,
"Went to 'Crazy for You' - paid £64.50 for centre front stalls (second row - row D). Huge revolve built on stage: couldn't see anything below the knees from people on stage, nothing from the waist down if they were upstage. Not on for a tap show, and NO WARNING when purchasing tickets. It must have been even worse for those in the front row. Walked out at the interval - very disappointing evening."

At the same show, in the same row, another reader adds,
"Row D: The stage has been extended in a curved shape right out to almost row C (currently the front row), with the band sheltering underneath, and it has been raised at least a foot for no apparent reason I could detect except to allow some silly tubular ‘footlights’ to rise up from time to time. As this site indicates on its current seating plan, the net result is that the first four or five rows are now marked red and people in those rows see the performers’ feet only when they are right at the very front of the stage; anybody further upstage can be seen only from the waist up. This is not conducive to happy viewing of a dance show! And no sooner had the performance begun but a bank of some dozen or so fixed blue spot-lights high up towards the back of the stage immediately shone brightly into the eyes of us poor punters in the front stalls. Still, the sound of the orchestra was extremely good and the amplification of the stage singing was exactly right, at least for D row in the stalls."


Reader John, another "Crazy For You" fan underlines the issue again,
"Row D: In the centre. We missed all the footwork in the dance routines. If it hadn't been such a perfect performance we would have walked out at half time. In fact most people near us moved before the show started to unoccupied seats further back."

Luckily, the producer has listened to these people, and row D has been reduced to third price. About fair if you avoid the worst affected seats in the centre, feels the monkey.
 

Readers Sharon and Derek commented for an earlier production "Footloose", which used row C as the front row,
"sat in row 'D' which was actually the 2nd row for this show. Fantastic seats - fantastic view."

Reader Andie King agrees for the Shakespeare season of March 2007,
"My seat was in row D of the stalls which provided an excellent view of the entire stage and was close enough to feel the actors’ spit, the theatre itself is beautiful and the intimate."

Reader HB comments, with B as the front row,
"D14 and 15 offered a good view. However you did have to look up due to a high stage so I would suggest a couple of rows further back would be better."

Regular contributor Lizzie adds,
"Our seats were stalls row E (which is really only the third row back as there is no A or B for earlier production "Footloose" - ed) – seats 4 to 8 not bad – good view of the stage but not great when you have big people sitting in front of you – and yes you guessed it, we did. Seats were a bit cramped too. Would recommend you go for Row F and get the end seat as it protrudes out further and you should get an unobstructed view ."

In the same row for "Betty Blue Eyes" (March 2011) reader Mark L says,
"E5 and 6: Our seats were excellent and the view was fantastic. The stage is high and there's no orchestra pit as they are at the rear of the stage, but the view here was great - no problems at all, and I'm only 5'7. Could see clearly from toes to top of heads without any neck ache and at £77 for 2 seats a real bargain as well. At this proximity to the actors you really do get to lock eye contact with them and this was fantastic. There was plenty of legroom, and good air conditioning could be felt."
 

Moving back, the rake becomes noticeable from row F, and decidedly pronounced from row G back. Combined with well thought out "offsetting" of seats so that no seat is directly behind the one in front, the mid to rear stalls instantly appeal to the monkey. When choosing, it would pick row G first - reader Fiona rated G 13 to 15 "excellent", then K or F (if slightly taller than 5ft 7), then move back from row L to R, then E or S, depending on your preference for close up views or distance. Rows D and C can also be considered, if neck ache isn't an issue - the view itself is fine from these rows.

At "Crazy For You" (October 2011) a reader says,
"F 3 to 6: As other monkeys have mentioned, the seating is an issue. We had the first four seats of row F (leg room superb for the end seat – nothing in front of it, sight lines slightly compromised but you get to enjoy the wonderful physicality of the musical director and you’re right in the action at times). We got a deal on the tickets but I think I’d be livid if I’d paid sixty odd quid and couldn’t see the dancers feet! Having paid £35 we weren’t overly delighted either and our small 11 year old dancer daughter was decidedly miffed, not sure whether she saw anything below their knees. So, suggest you sit (well) back and enjoy the show!"

Another reader says, at another show,
"We sat in stalls row F 20 and 21, excellent view but 21 was an uncomfortable seat as it tilted forward so I was constantly having to hitch myself back up."

Another reader says of F16,
"F15 and F16: I wanted to tell you that I was very uncomfortable for the whole performance as my seat F16 seemed to be tipping me both forward and to my left. To save my back, I had to prop up my left leg by wedging my coat under my left thigh, in order to feel like I wasn't going to slide off. My husband felt that he was also being tipped out forwards, but was otherwise level. The view was very good, very central and close. Almost too close, I felt, as I could see all the sweat on the dancers."

The monkey researched this in 2011, and found that readers under around 5ft 3 did indeed seem to "slide" off stalls seats (even if sober) if they were not careful! Strange... Even stranger, since posting this, other readers of 5'5 and 5'9 report exactly the same issue. One reader of 5'8 thinks that it is caused by the rake of the floor making an otherwise horizontal seat into a forward slanting seat. If not, then optional seatbelts may be the answer, feels the monkey.
 

Regular theatremonkey seat reporting reader Mark says of this row,
"F22: Got as a cheap student standby. Very good clear view of the stage, could see every expression."
 

Reader Lisa felt row G, Seats 13 and 14 had an excellent view.

One reader also felt that for musicals, G1 and 25, despite the extra legroom, lost a little 'something' in the view department - though the monkey hasn't noticed this. A reader at "Crazy For You" (October 2011) did, though,
"G23 to 25: We could just see the dancers' feet (pretty essential for the tap routines) and, because of the high stage, views were mercifully unimpeded. However, what G25 gains in legroom (no seat in front) it does lose in sight of the left hand side of the stage, which was occasionally an issue. The left side of the stage has restricted visibility at the upper level of the set too, because of the box. Not that Theatremonkey's book / website hadn't pointed out this possibility. "

A row behind, another says,
"H19 in the stalls was a really good seat, though there was very little leg room and I felt very squashed indeed."

Theatremonkey regular seat connoisseur James almost totally agrees,
"H17 to H19 feel really close to the stage.  Staggered seats help with the view and the sound is great from here."

At the end of row H another reader says,
"H24 and 25, very comfortable, no seat in front of H25 so endless legroom and a splendid view."

"Crazy For You" (October 2011) has central rows G to J (plus K at weekends) at "Premium" prices. Your call, feels the monkey, who would sit in nearby seats for the same view at a lower price. On Saturday Evenings, stalls row F 5 to 19 are also at "Premium" prices. These are "red" for value at all performances due to the high stage. "Premium" price seat locations sometimes change at short notice. Please be aware of this when booking.

A reader who took a coach party to "Crazy For You" sums up things,
"It was lucky we had row J backwards so everyone had superb seats. The first four rows at least are on the flat and with the very high stage there is no chance of seeing dancers' feet, or even from the knees or waist down in the very front rows. They really should take those front rows out of action, particularly for a dancing show. There is a good rake from about row F but go further back than that.

I also suspect that all seats in the stalls apart from the front rows have the same problem, they tilt forward and it was only in the interval while eating an ice cream that I realised why. The seats were designed to be on a flat surface so putting them on a raked surface makes them all tip forward so you are constantly having to re-hitch yourself back and it gets quite uncomfortable..."
 

Reader James F says,
"The seats I had - J8 and 9 in the stalls - were really comfortable and you can easily put your legs under the chair in front. The seats had an excellent view of the stage and my view was never obscured by the person in front."

A row behind, a reader comments,
"K7 to K10 were fantastic seats – being staggered from the row in front and a good rake ensure an excellent view."

At "Betty Blue Eyes" (May 2011) a reader says,
"K19: Excellent seat with good views and sound. Leg room was very cramped being 6ft 3” however. Perhaps a little too close to the stage for my liking but that’s a personal thing. This is a lovely classy theatre. Very ornate and camp!"
 

Reader Daniella C comments,
"We were sitting in the stalls Row L Seat 16 and 17 (10 rows from the front), but knew from Theatre Monkey that the seats were slightly raised, which meant that we could see really well."

In the same row at 'Betty Blue Eyes' (March 2011) a reader says,
"L20: I had an excellent seat – at a reduced price – but the sound there was ear-splitting and that rather put me off to begin with."
 

Reader Cristopher H adds,
"M (in the stalls) seats 1 to 3, these were good; although I do not recommend seating in the aisle-seats, but if you must... go for it if cheap (we only paid £10 for the show we saw in Autumn 2008). The rake is quite visible from row D back, but all seats behind row R are over hanged by the circle. I would say that the best seats are in row K to M seats 4 to 12."

The only seats some may wish to avoid usually are the first and last three seats in row O back, as the overhang of the circle above restricts the view of the top of the stage (though this is irrelevant for many productions that do not have staging at high level).

Another reader comments,
"sat in the middle of row M for "Drowsy Chaperone" (May 2007) and found that the seats at this theatre are now extremely uncomfortable, with an unpadded straight wooden back and little legroom for a person of my height around 6 foot tall. I found myself feeling pain in my legs after perhaps 10 minutes and by the middle of the show my legs were embarrassingly shaking of their own accord. If I could have walked round in an interval I could have shaken some of this off but there isn't one. The seats are not very wide either so it is difficult to find a position you can get into where you are uncomfortable. Really affected my enjoyment of a very fun show"

At 'Betty Blue Eyes' (April 2011) in the same row, two readers say,
"M 13 and 14: Dead centre, seemed to be just about the best seats in this beautifully restored theatre."

at the same show, reader Celia adds,
"M15 and 16: were great."

another reader comments at "Crazy For You" (October 2011),
"Middle of row M: Perfect - especially as there was no one in the four seats in front of us so completely unrestricted view, and the seat was not so tipped forward you slid out of it, like other seats here."

From row O at "Onassis" (September 2010), reader Mark says,
"O26: Not a bad seat, could see everything; but if I was paying full price I'd have wanted to be more central and a tad further forward."


In row Q, a reader comments,
"Row Q seats 6 to 9: Initially, given that they are quite far back I was expecting them to offer worse view than those further forward but was pleasantly surprised. Plenty of leg room, a perfect view and slight rake meaning no problem from the heads in front. I would recommend sitting this far back in this theatre in the future!"

From row R, one reader finds R 1 and 2 fine, while another opines,
"Got tickets for Row R seats 11 and 12: I could see everything and could even stretch my legs. Would get these seats whatever the show was."

In row S, another reader found the seats uncomfortable, and felt a bit far back from the stage.

The monkey might also skip row T as it is a longish way back for a top priced ticket - nothing wrong with the view, though.

Other productions though may put front rows at second price and may suit those willing to look up too. The monkey likes to see faces, so would pick A, but wouldn't moan about central T either really at the same price.

"Crazy For You" (October 2011) has row U cheaper - try for 7 to 20 first, over row T.

Theatremonkey regular seat connoisseur James says,
"Sat in Stalls U20 and U21 for “Spring Awakening” (March 2009). The view was obstructed by a tall person in front but they left in the interval and after that the view was great although it did feel a little too far back for top price. You don’t lose anything important to the overhang though. The only other problem was that I felt it was a bit too quiet back there but I saw it early in the run and it might need time to fully settle technical wise."

Another reader says,
"U2: Got them for standby price on the day for £20, for the production I saw ("Spring Awakening" in May 2009) which I thought was good. Wouldn't have liked to pay full price though. Overhand didn't affect the view at all! Not a bad seat if you can get it at a discount."

At third price row W is cheaper than row V, with similar view; 7, 8, 18, 19 and 20 are worth considering in the monkey view. Usually, the monkey would compare rows V to X with rear Dress Circle or central row B Upper Circle at the same or slightly lower price, feels the monkey, unless legroom is a factor (stalls are preferable for that!).

For "Crazy For You" (October 2011) there are decent Upper Circle seats at the same price as row W back (it doesn't fancy the second priced rear Dress Circle ones or third price slips as much for view).

A sound desk replaces seats in rows W and X for "Crazy For You" in 2011. Purists may wish to know to avoid it. Unlikely to bother many others, though. Row W17 has a bit of extra gap between it and the desk.

 

Legroom throughout the stalls is fine for all but the tallest over 5ft 11 or so - as a 6ft tall reader notes above. The original seats have been retained, meaning that they are high and have space to slide legs under the seat in front. Of particular interest to the tall are the front row (B particularly, if A is removed), plus row F seats 3 and 24 and G 1 and 25. as there is nothing in front of these seats. Those who dislike bobbing heads in front may also wish to seek out the row F and G seat numbers in particular, as they combine legroom, nobody in front and a good view of the stage overall.

 

 

Stalls Boxes
Boxes A and C, above the stalls, between Stalls and Dress Circle height. Only half the stage is visible, and then only by leaning forward. The seats are low and space is limited, possibly making them less than ideal for the tallest - though the seats can be moved around, which may help. Additionally, lighting or speakers can be placed at the sides of the boxes, sticking out and causing another view obstruction...and potential loud noise if speakers are in use. Take other seats instead for a far superior view in the monkey opinion.

 

 

DRESS CIRCLE 
The Upper Circle overhangs the Dress Circle at row C, cutting the view of the top of the stage from row G back.

The Dress Circle is divided into a main central block, plus two "slip" blocks. The slips are positioned at the edges of the circle, running along the theatre's side walls from the front of the circle towards the boxes and stage.

In the centre block, the projection of the boxes very slightly clip a few centimetres off the extreme edges of the stage for those in the very first and last seats of all rows. Only purists will mind, but the monkey notes it for information purposes.

For the rest of the central circle, there is no noticeable issue with the view from any seat. The monkey would take row C first, then D, then B or E before F. Rather than H, it would take J at second price for the same view for less money - or even central seats in Upper Circle row B. It would also consider stalls rows G to R before circle rows E to H at the same money - and pick stalls every time if taller than 5ft 9 or so.

From row A, a reader says,
"A 13: Very limited leg room, but great to have no one in front of you."

"Crazy For You" (October 2011) has the centre of this row, and B, at "premium" price. The monkey would avoid A if shorter, take B if less than 5ft 7 and wealthy. If tall and wealthy, stalls have more legroom - everybody else will find cheaper row C as good as those rows in front.

In row C, reader Vince Hanratty feels,
"Seats I had seemed to be the best view I've ever had in a London Theatre (Dress Circle C11and 12)."

A group organiser from Ashtead Outings at "Crazy For You" (October 2011) adds,
"C 3 to 12: Took a group of 10. When booking by phone, I intended to buy in the stalls but the Box Office suggested a much better choice were the Dress Circle Row C 3 to 12. They were absolutely right - an excellent view thanks to the steep rake and there's sufficient legroom. We used the Accelerator Group Rate (since expired, editor) and paid a bargain £29.50 (over 60s £25)."
 

A reader says,
"Got good half price seats from TKTS. Dress Circle F 4 and 5, perfect view. Minimal leg room did get uncomfortable without an interval"

At "Crazy For You" (October 2011) another agrees about this row,
"F11 to F15: These were fantastic seats. Being higher up meant you got the full impact of the big dance numbers. We were right in the middle of the row in what felt like the best seats in the house. Highly recommend these seats for anyone looking to see this stoking show."

Further along, for "Betty Blue Eyes" (March 2011) a reader comments,
"F19: very good, great clear view!"
 

Another says,
"row G of the dress circle. Great view, and we had a surprisingly large amount of leg room."

Theatremonkey regular seat correspondent James says for "Betty  Blue Eyes" (March 2011),
"H11: No problems with sound or sightlines from here, although if you're paying top price it's worth seeing if you can be a few rows further forward."

In the same row at the same show, reader Graham adds,
"H15 and 16: Great seats if a little tight on legroom but comfy enough. Good view of the stage and only spoilt if someone leant forward which they seemed to be doing in the next seat along, why I don't know because no-one else was, and the view is good. I did feel that the overhang seemed very close overhead which might make some feel slightly enclosed, something I've not noticed in other theatres but certainly noticed at the Novello. It is probably noticed more if sat towards the back of the Dress Circle. For the £32.50 paid (offer price) it was very good value."
 

Rows J and K at second price also offer about fair value, and the monkey would consider these equally with stalls and Upper Circle at the same price, taking stalls if legroom is preferred, circles for the "overall" view of the stage if less intrusion from any overhang is a factor. "Crazy For You" (October 2011) only has K cheaper - the monkey would try stalls row U first, or the upper circle (including the cheaper seats) as the views are a little better.

Reader Sam says:
"I sat in seat K6 Dress Circle. More or less, I agree with your assessment. Whether I would give it 'green' or not depends on the price. The overhang is very visible and take some chunk from the top of the stage. However, it is annoying more than anything else. The view of the rest of the stage is very clear, but I felt a little bit far back. At £30 I wouldn't give 'green' to any seat in that row. But, if you can get it in the region of £20 it will probably merit a 'green' colour. Leg room is reasonable."

The monkey rated K2 to 6 as 'green' because it felt they were superior or equal to other seats at the same price in either the Stalls or Dress Circle - in this case they offered a small shade more legroom than other Dress Circle seats at the same price. It would agree that £30 is the absolute maximum price that could justify a "green" rating, though. When they are more expensive than usual, they rate lower accordingly.

Another reader comments, for "Antony and Cleopatra" (February 2007) that "Some of the action for this play takes place in balconies at the side of the stage and the scene covering the death of Antony takes place on a raised platform. All this activity is invisible from row K of the Dress Circle. The latter is a particularly significant loss."

No guarantee that other productions will have the same issues of course, but the monkey felt it worth readers knowing there have been problems in the past.

Wheelchair users have two spaces available by the removal of seats A 23 and 24, AA 10 and 11 or BB 4 and 5. The view isn't bad at all from here, and access is simple from the side street via a side door. See notes for more information.

The view from the slip seats, row AA and BB is poor from almost all seats. Without leaning forward the view is around a third of the stage...but if you do lean forward the person next to you is likely to do so too - and affect your view! Row BB seats 3 and 4 are the only seats the monkey would consider...and then only if the best Upper Circle and rear stalls seats at the same price have gone. They are just about acceptable for view and comfort, perhaps worth knowing about when seeking an elusive ticket for a "sold out" performance more than anything else. "Crazy For You" (October 2011) has row AA 10 to 12 removed and BB 4 to 6 crushed against the wall, out of use.

Legroom is likely to be uncomfortable for anyone over 5ft 5 or so in rows A, AA and BB (with the exception of row BB seats 3 and 4, which have a little more and will suit those up to around 5ft 9). For the rest of the rows, the central 6 seats in rows A to F have the most legroom. Those up to 5ft 9 should be O.K. here - the monkey would welcome opinions from those of this height in confirmation! Other seats in rows A to J are likely to be acceptable to anyone up to around 5ft 7 or so - the ends of row B have an inch or two more space in particular. Row K is more of a curiosity. For some reason, seats 1 to 6 are quite comfy for the 5ft 7 monkey brigade (and one person of 5ft 10 feels K6 as "reasonable" for them too)...then as you move along the row, legroom decreases until seats 19 to 24 get tight for those 5ft 4 or above.

 

Dress Circle Boxes
Boxes B and D are above the stalls boxes, between Dress and Upper Circle height. Only half the stage is visible, and then only by leaning forward. The seats are low and space is limited, possibly making them less than ideal for the tallest - though the seats can be moved around, which may help. Additionally, lighting or speakers can be placed at the sides of the boxes, sticking out and causing another view obstruction...and potential loud noise if speakers are in use. Behind Box B a retiring room and separate entrance from the street are available.

 

 

UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.
The balcony overhangs the Upper Circle at row D, affecting the view of seats from row E back.

A low metal rail runs along the front of this circle, with double height bars guarding the aisles at the ends of row A. This badly intrudes into the view of row AA seats 12 and 13, and A 3 and 24. Those in A 4 and 23 and in the first two seats of rows B to D may also find these double bars a nuisance too. Shorter people in row A may also have a problem seeing over the lighting affixed to the front of this circle.

The Upper Circle has a main central block, plus two "slips." These slips are positioned at the edges of the circle, running along the theatre's side walls from the front of the circle towards the boxes and stage.

In the main central block, the circle has a pronounced curve from edge to centre. The result is that the first and last seven seats in rows D to F, plus the first and last five in A to C and first and last three in row G all lose the front corner (around a tenth) of the stage - more is lost the further to the ends of the row that you go, and the further back in the circle - row D onwards having the most noticeable reduction.

Irritatingly, when an extended stage is used, those in row C back miss a good few centimetres off the very front of the stage too - though this shouldn't be much of an issue, be aware of it. The monkey guesses that some leaning forward may occur in rows B and C...be prepared and try to resist doing it yourself, is the monkey advice.

Reader Lynn confirms this for previous production "Footloose", where the stage extended further than usual:
"Sat in the Grand Circle seat numbers B12 and 13, not a bad view although lost the view of the very front of the stage so had to lean forward on the kitchen scenes."

Another reader comments for "Hamlet" (December 2008),
"I had B3. Good value for £10 + £1.50 booking fee, I feel.  The view is slightly restricted, but it wasn't much of a problem.  I am 5' 9", which helps. A1 to at least A5 are for the very short only. I tried to move into A3, which was free, but couldn't get my legs in comfortably.  The good thing is that if you lean forward from B3, the rack is so steep you don't get in the way of the person in row C behind (I'm a good wee theatre-goer - I checked with the lady behind before the production started.)"

Maybe this and B23 are also worth a shot at £20 or less for those who find the balcony too high, feels the monkey. Nearby, "Crazy For You" (October 2011) has B 4, 5, 21 and 22 a shade cheaper than the seats next to them... again a possible, feels the monkey, if central rows C and D are busy.

Notwithstanding the leaning potential, the monkey likes row B and C seats 8 to 20 first, followed by the same numbers in D and E then E and F and the other seats in A to D. Compared to rear stalls, the view of the stage is about the same in distance but the restriction of view is perhaps less noticeable in the stalls - missing the top of the stage is preferable to missing the sides, the monkey personally feels, though others may disagree.

"Crazy For You" (October 2011) has row E cheaper than D... the monkey would take E for a similar view for less cash... Also be aware you can have stalls row D for the same money. If you don't mind missing the dancing feet (or indeed any of the cast from the waist down) then go for stalls to see faces, but upper circle for overall view. The monkey would probably go upper circle first time, stalls second visit, itself.

One readers spotted a problem when the stage was extended for "Spring Awakening" (March 2009),
"E10 and E11: The front of the stage was not visible from these seats, and there is frequent use of that area of the stage. This unfortunately means that many people were leaning forwards (and with the production being aimed at younger people, the seats were full of many inexperienced theatre goers who don't realise how leaning forwards completely ruins the production for anyone sat behind).  As many of those people leaning forwards for the view of the front of the stage realised that by leaning forwards they got a better view of everything on the stage, they spent most of the production leaning forwards.  This meant that about 50% of the people around and in front of us were leaning forwards for a large proportion of the show, and so for this particular performance, I would not recommend these seats."

This carries on for "Betty Blue Eyes" in March 2011,
"D7 and 8: Tickets purchased at the preview price of £30 with no mention on the Delfont Mackintosh website on any restrictions. I know the Theatremonkey site mentions issues with leaning etc but with the forestage being used for Betty about a quarter of sage left is obscured due to the curve of the circle and the subsequent leaning of the front 3 rows from D7 and D8.
Raised it with Theatre Manager in interval (as did several others in the same area) but was told not the theatre's problem as producers had decided these seats aren't restricted. May be worth paying slightly more and go for rear stalls for an unobstructed view unless price is dropped."
 

End seats in A to G for "Crazy For You" (October 2011) are cheaper - Monkey thinks them worth skipping, though, unless aisle seats are preferred for comfort rather than view.

A reader says, at "Crazy For You" (October 2011),
"A4: As a restricted view seat it was brilliant. It actually wasn't restricted, but the seat to my right would have been due to the bar, maybe that's why they sell them together as restricted..."

Probably, thinks the monkey...

Reader Rich comments,
"D25 is really poor.  So much of the stage is cut off by the edge of the circle.  If you combine this with everyone who leans forward I think I could only see about half of the stage. Thankfully 'Hamlet' (December 2008) had a backdrop of mirrors; I found myself watching some of the show via those mirrors!"

Moving further back, rows G and H are not bad at second to bottom price, but the monkey would prefer Balcony central rows C and D for view, given the choice at the same price. The view may be further away, but there is no overhang to contend with in the balcony.

Row AA, as the slips have been designated, had the monkey scratching its head. From seat AA 1 to 7, and AA 18 to 24 you see nothing of the stage without leaning forwards. If everyone leans forwards, aside from chronic cramp / indigestion, you'll block the view of those beside you, so everyone sees even less! The rest of the seats in row AA are not much better. At a pinch 10, 11, 14 and 15 provide some view (about a third of the stage) and may be a way to see a production if you HAVE to see that performance. Otherwise for the same money, judge theatremonkey says "get thee to the balcony, rows C and D for preference, but any balcony seat has to be better than these!"

A reader comments,
"Sat in the Upper Circle, seats AA11 and 12 (slips).  Bought them online and the theatre plan wasn't as good as yours so showed the seats being more central.  They also weren't advertised as restricted view.  The metal safety bars did obstruct when sitting back in your seat properly, but leaning forward you had a good view.  For "Antony & Cleopatra" (February 2007) with minimal set this wasn't really an issue, but I can see it being a problem.  If you can't afford anything better these seats were ok, though depending on the show and the set they could give a worse view. On the plus side there was a handy storage space for bags behind the seat!"

The monkey would note that it isn't a good idea to store anything valuable (or coats with anything important like wallets or credit cards in the pockets) behind the seats, just in case someone sneaks off with the items while you are watching the show... it has been known to happen...

Legroom in this circle is a variable minefield. Tight for anyone over 5ft 6 in rows AA and A, the true horror is row A seats 12 and 13 - seat 13 in particular. A fuse box for the lighting fixed to the front of this circle protrudes into the already limited legroom. While some adjustment has been made to the price (making it worth thinking about for those under 4ft 5 or so), the monkey cannot stress enough how much this pair should be missed, and would also warn ladies to watch their hosiery as they pass along the row...

Moving on, other seats in this circle should feel acceptable for anyone 5ft 8 or shorter. An extra inch or three of legroom can be had in the centre of row B, from seat 7 to 20 where the circle curves. In rows C and D there is also an extra inch or so in the central six seats too, the monkey feels. Legroom lovers may also like C1 and 26 which have a little extra space for one leg to stretch into. Indeed, the ends of rows B to F all curve a tiny bit backwards, providing that extra inch or so.

 

 

BALCONY
This balcony has a most interesting perspective on the stage. For some reason the positioning made the monkey feel it was hovering almost directly above the stage, with a "birds eye" view of it. The effect was disconcerting for a moment (those with vertigo will want to avoid the front two rows), but then the monkey suddenly realised that it was rather a good thing...and it started to get interested in all the seats up here.

Double height bars run across the front of this circle, badly intruding into the view of those in row A, and slipping into the bottom of the view of those in row B too, while the extended stage is in use - and gets worse, the further the stage is extended.

Seats in row A are also taller, with an "S-shaped" curve to the back that may annoy a few. The monkey suspects those in row A may be tempted to lean forward to avoid the bars too - so those in row B may wish to be prepared.

In all rows it would avoid the first and last three seats as the curve of the circle causes the front edge of the stage to be lost. The end seats  in A to D are often cheaper - as for "Crazy For You" (October 2011) and probably not worth it. Take C or D if you must.

Outside these, row C back is monkey advice. In fact, for "Crazy For You" (October 2011) where central row C is more expensive, it would take row D first over C, then pick E or B if "leaning potential" isn't an issue. It prefers E (in the purely non-narcotic sense of the letter in that statement of course!). Central row C is also the same price as the front row of the stalls... the monkey would take stalls first if tall enough to cope with the high stage, if it is honest. Closer to the action, quite simply.

Readers Maureen, Jackie, Frances and Lou (on a ladies' night out) felt the same, they say:
"Bought balcony tickets directly from theatre Row D - quite high up - looking down on stage. Once you are used to the height there is no problem."

Another reader feels differently, though,
"We were given E7 and E8 in the balcony - if you have vertigo then beware!! I am sure I could just about touch the ceiling if I tried!! Wow it was high , a sort of overhead view , for me it spoilt the enjoyment of the show.

We moved to C3 and 4 when the show started as they were empty, but this turned out worse as I had someone in front who was tall and large and I had to lean forward to see. I then get a tap on my shoulder "could you sit back please as I cannot see!!" It was a very hot night and with poor legroom, the first half was terrible for me.

In the second half I changed seats with my wife and it was a lot better, although still looking down on the performance rather than at it.

I for one would not sit it the balcony again , although I will probably go and see the show again, but in a better seat of my choice."

Be aware of the vertigo, is the monkey comment.

One other reader also warns,
"I was in row C of the Balcony for 'Midsummer Night's Dream' on Saturday night 24th January 2009, and have never been so cold in a theatre. A draft swept along this row as it leads onto the exit and it felt as if the doors weren't closed. I could also hear every car that drove by - it was like an open air performance; I fetched my coat and put up my hood, but gave up the struggle and went home during Act 2."

At the back, the monkey fell instantly for row E seats 7 to 17. Cheap, with a decent view for the price and some legroom too, the monkey felt these a gem worth knowing about. Behind it, row F also has a surprisingly good view, but less legroom alas. With all seats the same price, you may wish to sit further forward for the same bananas, but the monkey still just likes these few seats anyway if you can't get the ones in front.

In row F for "Eurobeat," one reader comments,
"We sat in F5 and 6. Although up high we didn't think the seats were too bad - until the show started. It opens with a little bit of a chat shown on a large screen at the back of the stage - to which we could only see the bottom half. It was also displayed on 2 smaller screens, presumably for us in the Gods to see, but we thought the screens were too small."

F 10 to 15 are replaced by a lighting position, which won't bother many except "purists" feels the monkey.

On the subject of legroom, rows C and D have the most, with seats 7 to 17 having maximum available. Those up to around 5ft 9 should feel reasonably comfortable here, with those of 5ft 7 or less satisfied with other seats in these rows, and also row B and E. Row F has less legroom, and a 5ft 7 person may find it tight, while those of 5ft 5 or more should certainly skip row A. Seat D1 has a little more legroom too, and B1 has extra space for one leg to spread into as well.

 

Notes
Total 1015 seats.

Air-conditioned.

Infrared loop with headsets available from cloakroom to the right of the main entrance doors in the main foyer. Occasional audio described and signed performances. Guide dogs can be dogsat by staff in the cloakroom. Wheelchair users have access via a side entrance, to seats at the edge of the Dress Circle. Access to an adapted toilet through the corridor is also available - walls slightly curved, so be prepared to manoeuvre a little in larger chairs. Theatre helpline 0844 482 5137. 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 bar snacks, Ice cream and confectionery.

Four bars; 2 Stalls, 1 Dress Circle and 1 Upper Circle. Private rooms for hospitality / functions are available leading from some bars - contact box office for details.

7 toilets; Stalls 1 gents 2 cubicles, 1 ladies 5 cubicles, Dress Circle 1 ladies 4 cubicles, 1 gents 1 cubicle, 1 unisex disabled; Upper Circle 1 ladies 5 cubicles, Balcony 1 gents 1 cubicle. Note that the layout of this theatre means that facilities on each level are accessible to more than one level of seating. The "ladies' facilities" in particular are exceptionally well appointed with considerately placed hanging hooks and other small attentions to detail not generally found in West End theatre restrooms. Gents will also find their restrooms a pleasure to use too.

A reader notes in November 2011: "The usual tale of women queuing down the corridor in the Dress Circle. An usher gave me a tip. There's a narrow, unmarked door by the staircase as it turns up to the Bar on the next floor. Through it is an additional Ladies - with no queue!"
 

The monkey gratefully acknowledges the help received in the compilation of all information about this venue.

 

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Getting to this Theatre
Find this theatre on a Street Map. The theatre is to the left of the arrow.
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Covent Garden - Piccadilly Line (dark blue).

Plan your tube journey to this station using the button below:
 

An ILLUSTRATED PHOTOGRAPHIC version of this route is available by clicking here.

For mobility impaired audience members, the Society of London Theatre provide a "photo map" - illustrated walking route to this venue from a near landmark and also Waterloo Station (the nearest fully accessible station) on their website www.officiallondontheatre.co.uk, via the theatre's listing page on that site.


On leaving the station, turn right and walk into the large pedestrian plaza that is Covent Garden. If you see a long road with cars in front of you, wrong way.

On entering the plaza space, turn to your left and walk along the collonaded area. If you see Tesco Metro Supermarket or a bank, Wrong way.

Keep walking ahead as far as the collonaded area will allow (it forms the outer part of the market Square). Follow it to the right. At the end of the building is Russell Street.

Walk along Russell Street, crossing one road, until you reach a street corner with the Fortune Theatre to the left and the Drury Lane theatre ahead of you on the opposite side of the road. Take the road to your right, Catherine Street and walk on past the entrance of the Drury Lane theatre. If you do not pass the entrance doors, or pass the Fortune theatre, wrong way.

Walk on past the Duchess Theatre, change to the other side of the road from it and the Novello Theatre is at the end of the street on the left. 
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An alternative route is from Temple Station - Circle Line (yellow) and District Line (green). This is closed on Sundays and some other times, so check before using.

Plan your tube journey to this station using the button below:
 

A photographic illustrated version of this route is available by clicking here.

If it is open, then leave the station turning left. If you see the river, wrong way!

Go up the steps and cross the road ahead of you. Keep walking straight on up Arundel Street (the road sloping upwards ahead of you).  Make sure you are on the left hand side pavement.

At the top of Arundel Street is "The Strand" and The Aldwych", a busy road intersection and cluster of buildings. You should not cross the road. Just turn to your left and walk down the Strand. 

Keep going until you come to another busy junction at the end of the buildings. Look to your right and the Novello Theatre is on the corner across some busy roads. Use the pedestrian crossings to get to it!

 

Buses:
6, 11, 13, 15, all stop on the Aldwych almost in front of the theatre.

 

Car Park:
Parker Street, under the New London Theatre. Exit the Car Park and stand with your back to the main foyer of the theatre. Cross the road ahead of you and turn to your right. The street corner is there ahead of you. If not, wrong way. At the corner of the street, Turn left into Drury Lane and walk along it. If you pass the New London Theatre, wrong way.

Walk straight on, crossing Great Queen Street. Continue down Drury Lane. Please cross to the other side of the street and continue, crossing over Broad Court and Martlett Court until you come to a four way crossroads.

Turn to your right at these crossroads. Do not cross any street. Just walk ahead down Russell Street. Cross Crown Court and continue straight on, changing to the other side of the street. 

The end of this street has the Drury Lane Theatre as its corner. Turn to your left at this corner to walk past the Drury Lane Theatre entrance. This is Catherine Street and walking downhill, the Duchess Theatre is halfway along on the other side of the road. If you come to Covent Garden pedestrian piazza, wrong way. 

The Novello Theatre is at the end of the street on the left. 

 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

 

 

 

 

 

 

 

 

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