An Independent Inside Guide to London Theatre and Concert Venues

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Seating Plan Diagram

For "Pygmalion" (May 2008) row A is the front row. From it, 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...

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."

On a later visit (March 2008) he reports,
"Sat one row back for "Speed The Plow," K21 and K22 - excellent view again."

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". 
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 £47 priced seats is a lot to pay to look at someone's head!"

The monkey hadn't noticed this previously, and would welcome further comments, contact us. For "Pygmalion" (May 2008), row R back is reduced in price due to anticipated minor sightline restrictions at the top of the set, making these fair value to the monkey mind. It will also report more information when available.

Pushing back to rows U and V, current pricing sees most of these rows at second 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 third 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.

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, 19and  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. C29 and D9 are now more expensive, and the monkey gives them an "avoid" rating as a result.

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 "Pygmalion" (May 2008) much of row E are at third price. Monkey advice is that row E is about fair choice in unrestricted seats between 10 to 28. It isn't a total "avoid" as the top price is lower than usual, 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. In this play, it didn't matter that much, because it is not "action based" play, and the set is extremely simple. So, 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""

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.

Theatremonkey likes to mooch (if the theatre is selling them to monkeys it's age) in Y seats 17 to 20. Sadly, row Z 16 to 21 are now the same price as Y, and are second choice. 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.

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.

A reader comments,
"had perfect seats - Baylis circle Row B seats 14 to 17."

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 are also available for the same money...

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.

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

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

This station has multiple exits, not clearly marked, so be careful! The best route is as follows:

From the platforms, follow signs for the "Waterloo Road" exit.

On leaving the glass doors, turn right. You can see the corner of the theatre - it is on the opposite corner of the next crossroads you come to. Just cross the road and walk to your right.

______________

If, in error, you left by the "South Bank" and / or "Shell Exit" and / or "York Road Exit" from the platform to the surface, you will be on York Road.

Cross the road and turn to your left. Walk to the corner and take the next turning, a grotty street called Morpeth Road. Walk up it. At the very end, turn right. Walk on and you will come to the station exit you wish you had taken!

You will now be able to see the corner of the theatre - ahead and on the opposite corner to the left of the next crossroads you come to. Just cross the road and walk straight on to reach it.

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.

Change side of the road and at the corner, turn right. Change side of the road. Keep walking until you come to a large roundabout with a circular building in the centre of it. Follow the pavement around and take the first turning on your left, Waterloo Road.

Walk straight down it, crossing a traffic access road in front of St John's Church, then crossing Exton Street, Alaska Street and Sandell Street. 

The theatre is on the opposite corner of the next crossroads you come to. If instead you come to the front of Waterloo Station, wrong way.