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 - as for "Tap Dogs" (June 2010) - is cheaper, the monkey quite likes centre seats 10 to 17
in both 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 reader comments, that when row B is the front row,
"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,
"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!!"
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 ."
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.
A reader says,
"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."
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.
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."
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."
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."
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). It might also skip row U as it is a longish way back for
a top priced ticket - nothing wrong with the view, though. In fact, for "Tap
Dogs" (June 2010) it really is - read on...
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.
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"
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.
For "Tap Dogs" (June 2010), rows S back are NOT cheaper. Usually, at lower prices
S and W are worth a try, perhaps at second and third prices, though remember
front rows can also be 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 normally. For this one, though, it'd forget
anything past row S as there are better seats for the same price further
forward.
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 to 20 are
worth considering in the monkey view. 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!).
Avoid for "Tap Dogs" with its single stalls pricing, though.
A sound desk often replaces seats in rows W and X. Purists may wish
to know to avoid it. Unlikely to bother many others, though. For "Tap
Dogs" (June 2010) purists might skip W and X 11, W18, X19 and V 9 to 18
perhaps.
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.
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 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"
Another says,
"row G of the dress circle. Great view, and we had a surprisingly large amount
of leg room."
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.
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.
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. 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.
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.
For "Tap Dogs" (June 2010) row F 5 to 23 is cheaper than D and E -
worth a glance if only E is available.
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."
End seats in A to C are often cheaper - Monkey thinks them worth skipping, though, unless aisle seats are
preferred for comfort rather than view.
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!"
"Tap Dogs" (June 2010) has side seats a little cheaper - monkey
feels fair value in C to F 4 and C23, D24, E 23 and F24 if on a tight
budget and not requiring a central view of the full stage.
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 pairs in A to D
are often cheaper - not for "Tap Dogs" (June 2010) though - and
always probably not worth
it. Take D or C if you must.
Outside these, row C back
is monkey advice. In fact, it would take row D first then C, then pick E or B if
"leaning potential" isn't an issue.
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.
"Tap Dogs" (June 2010) has all seats at one price. Avoid A and row ends,
is the monkey advice.
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 for "Eurobeat" 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."
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.
The monkey gratefully acknowledges the help received in the compilation of
this information.
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