STALLS
The Dress Circle overhangs the stalls at row T. The supporting pillars
interfere with the view in rows V back, as well as some seats at the sides of
the theatre.For "Noises Off" (December 2011) The front row is
A.
This is "Green" for value if under 26 and able to buy for £12. At top price,
perhaps consider a few rows back.
From row A, when in use, one reader says,
"These seats are an amazing bargain, with absolutely no sightline
problems. In fact they offer a significantly better view than any of the
boxes, slips, side circles or even the rear stalls."
Readers note
that stalls rows D to H slope down from the stage (see notes below) and may not
be suitable for shorter people. Rows J back to M arguably have the best views in the front stalls, considering the
rake and height of the stage. The monkey normally likes central row H back to K, though,
for viewing comfort. It could even go further
back too, with A in use, to rows J to N to avoid the dip...
"Noises Off" (December 2011) has most central seats from row
J to M at
"premium" prices. Your call, says the monkey, who would sit in seats
around them - less money, same view.
In row G21 in November 2009, a reader notes,
"Fine seat, good view, but could be problematic if someone tall sits in
front of you. I never knew that the Old Vic had such a deep stage - it
almost stretches as far as Elephant and Castle."
Regular reader Clive adds, for "Design For Living" (September 2010),
"G23 and 24: Perfect view of the whole stage and very good legroom."
On a visit to "A Flea in Her Ear" (December 2010) he adds,
G26 to 28: Comfortable seating with good legroom and a good view of all
the stage."
Monkey regular seat assessment contributor James says, for "All about My
Mother" (September 2007)
"Sat in Stalls J19 and J20. I felt like I had the best seats in the house -
close enough to see all the actors'
expressions. A good rake and stage height also meant that I didn't have to look
up at all. Legroom was also more than adequate compared to some other
theatres."
For another production, he adds,
"Sat in Stalls J19 and 20 for “Six Degrees of Separation” (January
2010). Good view from here, but without the first few rows in use, I
would have preferred to sit a couple of rows further back."
Another reader agrees at "Empire State of Mind" 2011, saying,
"J17 to 21. Perfect view of the whole stage and good legroom."
On a later visit (March 2008) he reports,
"Sat one row back for "Speed The Plow," K21 and K22 - excellent view
again."
In row L for "Six Degrees of Separation," a reader notes,
"L 4, 5, 6 and 7: seats should be red, possibly also equivalent seats at
the other end of the row. The sound in these seats is variable: if the
actors turn to the centre or to the other side of the stage they become
inaudible."
Not something the monkey has noticed for other productions, but it
strongly advises readers to bear it in mind.
A row behind, for "The Real Thing" (March 2010), theatremonkey
regular seat commentating reader James notices no such sound problems,
"M8 and 9: As always, a good rake and staggered seating ensures an
excellent view, even if a little bit to the side."
For "A Flea In Her Ear" (December 2010) a reader a row behind that
opines,
"N30: Had a perfect view of the stage."
Another reader, in the same row for "Cause Celebre" (March 2011)
adds,
"N26 and 27: These were very good seats. I'd like to have been a couple
of rows closer ideally, but then you're at more of a mercy if taller
folk are in front of you; so row N limits the damage from such - but
it's marginal."
At "Noises Off" (December 2011) a reader says,
"Eow Q14 to 16: Provided a pretty good view with the offsetting, and we
were far enough back to take in the whole panorama without feeling too
remote. For this production, where the cast run up and down and the
action is rarely central but occupies the whole width and height of the
stage, I wouldn't have wanted to be too close."
At another production a reader comments that,
"Sitting in Q row, it looked as if (when used) Rows A, B and C were slightly raised, then dipped down from D to about H, then rose again. If you have someone in front of you either very tall, or trying to avoid someone very tall in front, constant head bobbing will spoil your own
view".
To which reader James adds,
"Q6: Fine view as (for the first time in my theatre-going life) had
someone really short in front of me. As the seat off-setting is
optimised for the middle of the rows, heads in front could be a problem
for all side seats here."
The monkey hadn't noticed this, but thought it might interest some readers.
Rows P to V offer only
fair value, being the same price but further from the stage. Row N has an OK
value wheelchair space. See notes.
A reader notes,
"We sat is the stalls row R and had problems seeing. The theatre is
poorly raked and £45 priced seats is a lot to pay to look at someone's
head!"
In T, another says, for "Six Degrees of Separation" (January 2010),
"T16: Seemed quite distant, and at top price I would recommend going for
something further forward. Was a steal at what I got it for though :P"
The monkey hadn't noticed this previously, and would welcome further
comments, contact us.
For ‘As You Like It’ (July 2010) reader Clive comments,
"T 30 and 31: The legroom was good and the view also good, if slightly
obstructed by a tall theatregoer in one of the seats directly in front.
However as this was only one seat it was easy to adjust the view
slightly to one side."
Another reader opines for "The Tempest" (July 2010),
"T26 and 27: The rake this far back is good, the view was fine and I did
not find it at all distant. The legroom in this particular row is
excellent."
Pushing back to rows U and V, current pricing sees most of these rows at
top price. Monkey advice is to skip U
6 to 11 and 26 to 31, and V 6 to 10 and 28 to 31, but take these over Dress
Circle row A for comfort if long legged...
The rest of the rear stalls, rows W and X are also distant from the stage -
but the prices have been dropped to reflect this. Skip W 9 and 10 and X 7 to 9,
and be aware that you still look through pillars, but otherwise value for money hovers
at fair for second price. Comfort and personal choice in views - overhang and
distance against long downwards look - should determines whether to sit here or
pay the same for seats in row A of the Upper Circle instead, or E of the Dress
Circle.
In the rear stalls pillars affect the view in row P seats 4, 5, and 35, row Q
seat 3 and 34, row T 5, 6, 32 and 33, row U 5 and 32, row V 11, 27,
row W 11, 12 and 27, and row X 10, 11, 12, 27 and 28. In rows P to T, none of these seats
usually offer
any added value even at a low price, as annoyingly, producers have realised how
good these seats are and re-priced them accordingly... T5 at top price is worth
skipping in particular.
If in use - not for "Noises Off" (December 2011) - purists may wish
to avoid V15 to 22 and W and X 15 and 22, with a sound desk nearby. Most
won't notice, though.
The pillar to the right of
seat P35 caused one person an issue as it clips the edge of the stage, obscuring
action happening in the boxes...prior to that, there has never been a recorded
complaint about the seat, apparently.
All these "restricted view" seats may be worth considering for the
slightly superior legroom however, when compared to the same priced seats in the circles.
Sit here for comfort, not views. The box office particularly likes row T
restricted view seats for a little extra space!
For restricted view seats in row U back, the very low price make them about
average value in the monkey opinion, again based more on comparable comfort with
other seats at the same price elsewhere in the theatre.
Legroom is acceptable in rows D to U for all but the tallest, less but still acceptable in rows V to X.
Stalls Boxes
Two large boxes either side of the stage at stalls level. The view from all
is angled with the rear quarter of the stage not visible. Value is poor at Top Price,
not much better at second price, better if
at bottom price. Choose the
centre stalls first.
A reader provides the following warning:
"I was sold four tickets for "The
Philadelphia Story" (summer 2005) in the Olivier Box. I was told it seated five so was
pretty sure we wouldn't have anyone with us. We were sold seats 4 to 8.
When we arrived we were surprised to find another couple with us in the
box who had been shown to the only two seats with any decent view at
all by the usher. I went to find her and it was all sorted out OK and
they were moved to the front of the box with a very sideways view of
the stage.
We then found that only one of us got any sort of decent
view (seat 8). One of us had to sit on a very uncomfortable ledge
behind and the friend in seat 7 had a very restricted view. My poor
boyfriend couldn't see a thing as there was a pole in front of him - he
ended up sitting behind the other couple and we wished we had kept
quiet and taken the (supposedly worse) seats ourselves.
My point is
that there is no way this should be sold as a box for six people. Four
at the maximum. At a price of £40 per seat I would rather have had the
discomfort of the rest of the theatre. I only took the box because it
was a sell-out. When I rang the box office to complain I was told that
they normally don't sell the boxes and only opened them up because it
was a sell-out. However I wasn't told this on booking. Just warn your
readers to steer clear of the box if they possibly can".
Normally, it is reported that boxes will not
be sold. Should they be available it will only be to personal callers at the box
office, where any drawbacks can be explained to them.
DRESS CIRCLE
The Upper Circle overhangs the Dress Circle at row C. Supporting pillars
affect the view from some seats in row C back and row E cannot see the top of
the stage. Double height bars at the ends of the aisles obstruct the view of the
first three seats in each row of the centre block.
Reader David Bone describes the situation thus:
"We sat in seat numbers C30 and C31 in the Dress Circle. As well as the
pillars in the circle, at the front of the access aisles there are metal
crash barriers, I guess put there as a safety measure to prevent the late
comer who is running down the steps to get to his seat at the front of the
circle from slipping and ending up in the stalls (!). Anyway, from our seats one
of these crash barriers was right in front of us, breaking up our view of the
stage. It wasn't a prohibitive problem but I wouldn't have accepted these
seats at the price had I known."
The Dress Circle has a central block and three rows of seats extend along the
sides of the theatre between the circle and stage.
In the central block row B seats 12 to 25 offer the best view, followed by
row A 9 to 27, and C 13 to 17 and 21 to 24. It is worth choosing prime stalls
over the Dress Circle however for comfort, view and proximity to the stage.
Reader Julian Taylor feels,
"Dress Circle, centre of row B, plenty of leg room and an excellent view of the
stage."
Central block seats designated restricted view are row A 7, 8, 28, and 29; Row
B 7 to 9 and 28 to 30; row C 5 to 8, 11, 19, 26 and 29 to 32; row D 4 to 8, 9, 10, 17, 18
and 25 to 32; row E 4 to 11,
18, 19 and 26 to 34. Of these, row B seats are least affected and are worth
considering if the Dress Circle is a must and you need more than one seat on a
budget. C 19 and 29 and E 4 and 26 are now more expensive, and the monkey gives them an "avoid"
rating as a result. D9 has fallen in price, so is now average - at least, unlike
the others, you don't have to pay AND lean in this one.
Some seats in row C back are affected by pillars. They can often be worth
considering at a low price - provided the legroom is acceptable to you!
For "Noises Off" (December 2011) much of row E is at second
price. Monkey advice is that row E is about fair choice in unrestricted
seats between 10 to 28. It isn't a total
"avoid," but it isn't great value.
E 13 to 16 and 21 to 24 are pretty much the pick here. Consider rear
stalls for comfort or front Upper Circle for closer view (with bar,
though) at the same cost.
A reader says,
"Dress Circle: D17. At second price. It is rather
interesting place. The Pillar is in the view, but not in front of you (It would
be if you sit in D18). To avoid it, you have to lean to your left little bit. if
the play is not "action based" and the set is extremely simple I thought I got a good deal. Not sure
though if there was some action to your right how you would feel. Anyway, to sum
it up. Annoying rather than fatal. So, don't dismiss it, and give it a good
thought. The legroom is good/very good. I am 5' 10""
Further down the row, behind one of
the pillars, regular reader Taljaard says at "Noises Off" (December
2011),
"D9: At £15 it was a real bargain. About 2% of the right hand side of
the stage was blocked but very little of the action takes place there so
it was not a problem."
The side blocks are called rows X, Y and Z and are designated restricted view
due to a combination of pillars and a viewing angle that makes between a fifth
and a half of the stage invisible. Y, Z and parts of X don't have arm rests.
Theatremonkey likes to mooch (if the theatre is selling them to monkeys its
age) in Y seats 17 to 20. Sadly, row Z 16 to 21 are now the same price as Y, and
are both second price and second choice as these are fair rather than bargain
value alas. On the other hand, there's a pair of cheap seats right next to them
in row Y - fair or just about, for view if not comfort. The short legged will also find row X 15 to 22 good value
after Y and Z. The view in these seats, and comfort is not great, but the value
is good enough to justify the choice.
A reader says,
"Y16, £20 plus £2.50 booking fees. I wanted to buy a better seat, but
this was the best available. I have to say that I was very pleasantly
surprised with the seat. I am not sure how things might be for other
plays with too many actors and/or bigger set, but for my one, the view
is very clear. It is true that you sit little bit sideways, but not
really a big deal. However, a word of caution. I think the lower you
get, the worse will be, because the angle gets smaller. The worst will
be those near the pillar. Legroom is O.K. (I am 5ft 10/11). Overall,
taking the price into account, very good seat."
Other slip seats are held for students, though, so are hard to obtain
for others.
A reader notes that in seats Y 1 to 3, "the view from the
seats is ok, but a little moving about was needed. I wouldn't suggest those seats
(we actually had Y2/3) for a play etc as about half the stage is 'missing' but for
cabaret happening centre stage, they are great value." This goes for all
seats in the circles at the edges of this theatre, as the monkey says above!
Legroom is poor in all seats for the tallest (over 6ft), worst in rows A and X
for everyone. A touch more at the outer ends of rows A and B, though.
Dress Circle Boxes
Two large boxes either side of the stage. The view from all is angled with
the rear quarter of the stage not visible. Choose seats 4 to 7 in all boxes as
these minimise the problem. Not on sale usually, but when they are, value is poor at
top price - avoid totally, much better at a heavy discount (bottom price). Choose the stalls first.
Normally, it is reported that boxes will not
be sold. Should they be available it will only be to personal callers at the box
office, where any drawbacks can be explained to them.
UPPER CIRCLE
Called the LILIAN BAYLIS CIRCLE in this theatre.
This circle is high above the ground. Like the Dress Circle it has a central
block and three rows of seats extending along the sides of the theatre between
the circle and stage. A bar runs across the front of the circle, affecting the
view slightly in row A. It is double height at the aisles, so pedants might want
to avoid the aisle seat here. Less comfortable seating is used here too.
Row A seats 14 to 26 are now at second price. If the bar, legroom and
height don't bother you, worth thinking about as the alternatives at the
same price are at the back of the stalls and Dress Circle. Behind
that, in the centre block, Row B seats 10 to 28 offer the best view here, followed by
row C 10 to 28. At third price though, consider paying a little more for the
rear stalls first if legroom is a priority. The monkey picks the stalls on this
one. Row B seats 2, 3, 35 and 36
offer a bit more legroom, a bit less view but much lower prices. Consider these
if not reserved for students. Row A seats 3 and 33
are next restricted view choice only if legroom is not an issue, otherwise
avoid.
Rows F and G feel a long way from the stage in the monkey opinion.
For some productions - including "Noises Off" (December 2011) - purists might
like to avoid G 20 and 24 and F 20 to 24, with a lighting position
nearby. Most won't notice, though.
A reader comments,
"had perfect seats - Baylis circle Row B seats 14 to 17."
In the same row at 'Cause Celebre' (April 2011) another reader adds,
"B19: Right in the middle, I was quite happy with the seat. Leg room was
adequate, and the seat comfortable. You get an excellent view of the
stage --- of course, one is a bit far away from the stage, but I didn't
feel that distracted from my enjoyment in any way. I would choose that
seat again. I certainly don't think the front row of the upper circle is
worth the extra £10 GBP charged! In short, Theatremonkey's coding of B19
as a green seat was spot on."
The side blocks are designated restricted view with between a fifth and half of the stage not
visible - and the bars don't help; and are labelled rows S, P and X (X is the front row, P the central and
S the back - standing positions). Seats 15 to 22 in all rows are a bargain bin choice - choose row P
-
or S for a tiny bit more comfort if you don't mind standing. Also remember that
central block seats A 3 and 33 and B 2, 3, 35 and 36 may also be available for the
same money if not nabbed by youngsters on the discount scheme...
Those on tight budgets should look at side blocks if the
purse is not stretching further. Note, the side seats are "bench
style" - so arrive early to stake out your portion! Double height metal
bars are present at the ends of the row, too, making the last few seats
distinctly average value.
Legroom is poor in all seats, worst in rows A and X. A little more is offered
in row B seats 2, 35 and 36.
This circle is named in honour of the dynamic Old Vic manager, a lady who
believed in bringing quality theatre to the masses at affordable prices.
Theatremonkey salutes her.
Notes
Total 1067 seats.
Air-conditioned Auditorium.
Guide dogs can be dogsat by staff. Wheelchair users have
access via a portable ramp over a step at a firedoor, to a decent seat in the stalls. Access to an adapted toilet through
the corridor leading into the stalls boxes.
More information from the stage door on 020 7928 2651. A "venue access guide"
from the team who created book "Theatremonkey,
A Guide to London's West End," is available to download in PDF format
by clicking here.
No food except Ice cream and confectionery.
Three bars; Stalls, Dress Circle and Upper Circle.
4 toilets; Stalls 1 gents 2 cubicles, 1 ladies 5 cubicles, 1 unisex disabled;
Upper Circle 1 gents 2 cubicles, 1 ladies 7 cubicles
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