STALLS
The Dress Circle does not overhang the stalls in this theatre.The theatre has a fan shaped auditorium with the stalls laid out as a central
block of seats, and two side blocks in self contained slightly elevated wings at
the edges of the auditorium. An aisle bisects Rows D to R in the centre stalls. There is no proscenium arch; the stage is open and
vast.
Rows A to C in the front centre block stalls are narrower than other seats, and do not
have armrests. Normally, these are the best value in the theatre considering
proximity to the stage and lower price.
For productions outside the Travelex £12 season:
Rows A to C at the front of the theatre are £10. Feel free to look elsewhere first. Both rows B and C are O.K., with C slightly better, being a
little further back (less neck ache) - and it is also the last row in front of
the most expensive seats in the theatre, so has a similar view for less cash.
Decide if you wish to be close to the stage but a trifle uncomfortable, or
comfortable but a long way away in the last row of the circle for the same
money...
A reader notes,
"B25: Great view on a student's £5 entry pass ticket. VERY
uncomfortable. I was squirming in my seat, and the play seemed to drag
because all I could think about was my comfort. The only reason I will
be sitting here again is because even at £10 (which is what my mum paid)
it is a steal of a price."
Reader Mark adds, for "FELA!" (December 2010),
"B27: Perfect seat for this show, all the energy was just oozing right
at the audience, and being surrounded by the platform made us feel like
we were really part of the action."
at "Frankenstein" (February 2011) he adds,
"B16: Perfect view! Have booked the same area for when I see the other
pairing."
Also at "Frankenstein" (February 2011) a reader says,
"C11 and 12: £12 each. What a bargain! They are some of the "narrow
seats" but thanks to theatremonkey advice we got row C. We are of
average height and build I guess, and didn't find them uncomfortable at
all - and it runs for 2 hours without an interval. There isn't a huge
amount of room left to right in the seat, but legroom is considerably
better than some upper circles I've sat in! We thought Frankenstein was
great seen from up close - there are moments when a character is low on
stage and you have heads in the way, but otherwise we felt right in the
action."
In the central blocks at top price, the price reflects the view, for those
wanting prime seats, pick rows G and H first - an opinion endorsed by a reader. For the rest of rows D to R,
all seats in these rows offer at least fair value
for money.
Reader HB reports,
"E 43 and 44: They were good value and we could see brilliantly."
Reader Clive says at "Beauty Manifesto + Gargantua (NT Connections -
June 2011)" :
"F25 and 26:Comfortable seats with an excellent view (as always with the
rake in the Olivier), this feels very close to the action."
while another adds, further along the row at another production,
"F40 in the stalls. As ever the seat was perfect, very comfortable and I felt
very much part of the action."
Reader Bas notes,
"Row H 41and 42. The seats were good value, the view was excellent. I
can't complain."
Away from G and H, either choose rows J to R in alphabetical order at top price
with a central view but further from the stage or explore circle seats rows A
and B seats 33 to 51 - though be aware of the sound problems that occasionally
emerge there.
From J, a reader says,
"J17:
I managed to get the seat as a student standby
for £10 about 45 minutes before the performance. I thought the seat
was perfect, a good distance to be able to see all the facial
expressions whilst still being able to see the production as a
whole."
Another reader says,
"K43: had to keep twisting and turning to get a little relief from the
pain I was feeling in my sitting-down region."
In row L, regular Theatremonkey seat opinion contributor James says,
"Sat in L35 and L36. Excellent rake ensured a great view."
another reader adds, at "The Comedy of Errors" (December 2011),
"L5 and 6: I paid £25 for my ticket through the 2012 'Get Into London
Theatre' promotion. I'm 6ft tall and felt I had pretty decent leg room
in L6 (though the person next to me in L5 and about 6' 4" tall was
struggling). The stagnation of seats between row L and row K was good
and the rake excellent. Even though my seat was to the side of the
stage, given that the stage itself is rounded, I had a clear and
unobstructed view of the entire performance and missed nothing. Overall,
an excellent seat and I'd happily sit here again."
A reader says,
"M27. View is very clear (I think no matter where you sit in the National you
will have very clear view). And you are close to the stage. Legroom is very
good. Very good seat.”
Regular seat connoisseur James reports,
"O21 and 22 for “War Horse” (December 2008). An excellent rake and an
expansive stage ensured a fantastic view."
In row P for "Frankenstein" (February 2011), reader Clive reports,
"P47and 48: Right at the back of the stalls immediately in front of the
sound desk, but no noise from there at all. Good seats with plenty of
leg room and an excellent view of the whole stage."
A new price structure sees most of the side stalls cheaper.
The innermost two - those near the wall and drop to the centre stalls (see
below) now become top price. The only exception is for previews, when you should try for
central block seats as all seats in the side sections are the same price as
those in the middle of the auditorium... which may also even have better
sightlines as these are established and confirmed during that tryout period.
Of the rest of the side stalls, these seats all offer a clear view of the
stage. Be aware that there is a wall at the edge of the sections next to the
centre block. Some people may find this (and the bar set into it) annoying, most
don't though. Best value seats are those mentioned above, the others are acceptable, but
theatremonkey rules that the Dress Circle seats mentioned are better since the
viewing angle is more comfortable for the same money. It is worth avoiding seats
1, 2, 58 and 59 in all rows if possible, as they are, comparatively, the worst
value. If you must take these numbers, choose row M then L, K and J to provide
the best overview of the stage possible.
If considering sitting here for full price performances, try row D and E
4, 5, 55 and 56, rows F and G 5, 6, 54 and 55, H 6, 7, 53 and 54, J 5, 6, 53 and 54, K and L 6,
7, 52 to 54 and M 7, 8, 51 to 53 first. Closeness to the stage compensates for not having a central view. Also
consider the Dress Circle row A 11 to 22 and 62 to 73, and B and C 12 to 23 and
61 to 72. Of the rest of the side stalls, these seats all offer a clear view of the
stage.
A reader notes for "Frankenstein" (January 2011) though,
"G 7 and 8: Good seats, but no left leg room due to a great wadge of
cables pooled in front of the seat, right leg was fine, but 2 hours is a
long show with no break and a folded up left leg!"
Another reader comments for "The Comedy of Errors" (December 2011),
"Side stalls, row J: Given my advanced age (over 50, but
not far over), I no longer see quite as well in the dark as I used to,
and this new 'fashion' of delivering lines with your back to the stage,
can make things very awkward. My vision is not that poor, I do not need
to wear glasses, but I did struggle a bit in the subdued lighting."
another reader in the same row at "She Stoops To Conquer" (January
2012) says,
"J6: I paid £15 for my ticket through the Get Into London Theatre
promotion. I'm 6ft tall and felt I had very good room in J6. The
stagnation of seats between row I and row J was good and the rake
excellent. Even though my seat was to the side of the stage, given that
the stage itself is rounded, I had a clear and unobstructed view of the
entire performance and missed nothing. Having also sat a couple rows
back in this section too, I'm pretty sure that the entire block gives a
very good view. Overall, an excellent seat and I'd happily sit here
again."
Be aware that there is a wall at the edge of the sections next to the
centre block and the most expensive seats in this section of the theatre. Some people may find this
wall (and the bar set into it) annoying, most
don't though. Best value seats are those mentioned above, the others are acceptable, but
theatremonkey rules that the Dress Circle seats mentioned are better since the
viewing angle is more comfortable for the same money. It is worth avoiding seats
1, 2, 58 and 59 in all rows if possible, as they are, comparatively, the worst
value. If you must take these numbers, choose row M then L, K and J to provide
the best overview of the stage possible.
Theatremonkey regular seat connoisseur James reports,
"Sat in Stalls J51 and J52 for “Every Good Boy Deserves Favour” (January
2009). Tickets were only £15 as it was a preview and at this price they
were very favour – especially as the performance is only 65 minutes. The
view is good from here, particularly as the performance makes use of the
revolve which often makes the performers closer to the sides of the
theatre."
For the "Travelex £12
season" each Spring / Summer:
Rows A to C in the centre block are £12. Feel free to look elsewhere first. Both rows B and C are O.K., with C slightly better, being a
little further back (less neck ache), but unless you like sitting close in, try
exploring the side stalls blocks first - they may well offer a good alternative.
From the front rows:
Regular contributor Sam opines,
"Stalls A30. (Galileo, June 2006). For £10 only this seat is always value for
money, unless they put a wall in front of you, lol. But, I will try to review it
in "absolute terms". The seat is obviously very close to the stage, and you get
to see the facial expressions remarkably well. The actors are SO close to you,
which is really, really great. The opportunity to see Simon Russell Beale from
such close proximity alone is worth more than that £10. You will have however
some ache. In my case it was back ache, but it wasn't that horrible. Legroom is
also adequate. Not great, but not cramped either (I am about 5' 10.) In balance,
I would say front of Dress Circle for the £10 season is better, but I would take
this front seat before the very back of the theatre, unless your neck and/or
back are very sensitive. And even though I never sat there, but I think the
monkey is spot on to make row C green."
The only monkey comment is that sound can be an issue in the front of the
Dress Circle at times.
another adds,
"B25: Great view on a student's £5 entry pass ticket. VERY
uncomfortable. I was squirming in my seat, and the play seemed to drag
because all I could think about was my comfort. The only reason I will
be sitting here again is because even at £10 (which is what my mum paid)
it is a steal of a price."
"C11 and 12: £12 each. What a bargain! They are some of the "narrow
seats" but thanks to Theatremonkey advice we got row C. We are of
average height and build I guess, and didn't find them uncomfortable at
all - even for 2 hours without an interval. There isn't a huge amount of
room left to right in the seat, but legroom is considerably better than
some upper circles I've sat in! If a character is low on stage you have
heads in the way, but otherwise we felt right in the action."
Side block seats follow the same pattern as "regular
priced" productions, with the innermost two seats more expensive than the rest. If you choose side block seats,
the wall at the edge of the sections is still there to annoy a few people even
at a low price.
At a lower price, the rest of these side stalls offer fair value for
money, with closeness to the stage compensating for not having a central
view. The monkey notes they are now a little more expensive than
previously, though, making the "average" rating a tad lower in its
mind... Also consider the Dress Circle row A 15 to 69, and B and C 16 to
68, though the Dress Circle has been known to have a sound problem on
occasion, when microphones are not used. Sadly, one reader reports a
problem with the sound in the side stalls too.
Theatremonkey rules that central Dress Circle seats in rows A to C are better since the
viewing angle is more comfortable for the same money - even if sound is
sometimes a problem up there. It is worth avoiding side stalls seats
1, 2, 58 and 59 in all rows if possible, as they are, comparatively, the worst
value. If you must take these numbers, choose row M then L, K and J to provide
the best overview of the stage possible.
If considering sitting here for Travelex Season performances, try row D and E
4, 5, 55 and 56, rows F and G 5, 6, 54 and 55, H 6, 7, 53 and 54, J 5, 6, 53 and 54,
K and L 6, 7, 52 to 54 and M 7, 8, 51 to 53 first. Closeness to the stage compensates for not having a central view. Also
consider the Dress Circle row A 11 to 22 and 62 to 73, and B and C 12 to 23 and
61 to 72. Of the rest of the side stalls, these seats all offer a clear view of the
stage.
Reader Bas notes,
"Major Barbara:" Row H 41and 42. The seats were good value,
the view was excellent. I can't complain."
A reader says,
"K43: had to keep twisting and turning to get a little relief from the
pain I was feeling in my sitting-down region."
In row L, regular Theatremonkey seat opinion contributor James says,
"Sat in L35 and L36. Excellent rake ensured a great view."
A reader says,
"M27. View is very clear (I think no matter where you sit in the National you
will have very clear view). And you are close to the stage. Legroom is very
good. Very good seat.”
In the side block, Theatremonkey regular seat connoisseur James
reports,
"Sat in Stalls J51 and J52: The view is good from here, particularly if
the performance makes use of the revolve which often makes the
performers closer to the sides of the theatre."
Another reader comments for "The Comedy of Errors" (December 2011),
"Side stalls, row J: Given my advanced age (over 50, but
not far over), I no longer see quite as well in the dark as I used to,
and this new 'fashion' of delivering lines with your back to the stage,
can make things very awkward. My vision is not that poor, I do not need
to wear glasses, but I did struggle a bit in the subdued lighting."
Returning to the rest of the central block, these seats are the only ones priced at more than
£12...£32, to be exact. If you want a prime view and are willing to pay, feel
free says the monkey. It would, though, note that the central block front rows
of the circle are much cheaper, so for a central view they are an alternative to
the back few rows of the stalls...your call!
Reader "Barfly" notes:
"Sat in stalls seat M12 at the end of the stalls and I love the rake! Nice
and steep, so it doesn't really matter if you get a tall guy in front of you - I
only had to move because his head was in the way once. Also, because of the way
the theatre's angled, there was nobody sitting directly behind me. If I moved it
didn't obscure anyone else, hurrah!"
__________________________
Legroom is about adequate for most in all seats, some taller people find it cramped, though.
DRESS CIRCLE
Called the CIRCLE in this theatre.
There is only one circle in this auditorium, so nothing overhangs it.
The Circle is split into a centre and two side blocks by aisles. A quirk of
architecture means the circle has more seats than the stalls below.
The rake is very steep from row D back, and from the ends of rows F and G the
feeling is of being at the back of a Roman theatre. You are looking into rather
than onto the stage as the curved shape feels like you are peering down a cone.
The side blocks particularly suffer the Roman amphitheatre cone effect
- noticeable in row G seats 1 to 10 and 73 to 83 especially. Some vertigo
sufferers in particular will feel they should take stalls rows A to C first.
From row C, reader Mark says,
"C19: Very good as far as the circle seats go, and definitely worth it
for the £10 season."
On the other side of the venue, he adds,
"C77: Very good seat, no complaints."
A reader says,
"D10. View is very clear. No complaints whatsoever. However, it felt just little
bit far. Legroom is very good. For £10 only, a bargain”
Further along, someone else agrees,
"D20. Very good clear view of the stage. In a longer show, seats are
comfortable and spacey enough not to get too distracted."
Reader Alun comments,
"Circle E15 16 Seating: was O.K. except you feel very high up and the stage
looks like you are hovering above it."
At "She Stoops To Conquer" (January 2012) reader Taljaard says,
"F24: The Olivier is just too big, so much is lost on the vast stage.
What you need, as the story unfolds, is a sense of claustrophobia and to
be able to see the actors facial expressions. This was quite difficult
from F24."
Reader Mark adds,
"G66: Definitely worth considering for the normal shows, but would
definitely go for something closer in the £10 Travelex season."
For productions outside the Travelex £12 season:
The centre block offers fair value in the top priced rows A to D. Choose
your row in alphabetical order. Be aware that there are posts at the ends of
rows - some may wish to avoid aisle seats, though the monkey didn't really find
a problem.
At second price, pick side block row A 11 to 22 and 62 to 73, and B and C 12 to 23 and
61 to 72. before choosing centre
block row E. Next, take the rest of rows B and C in the side blocks before
resorting to Rows F and G centre, which are a very long way from the stage for
the money.
From row C in the £10 season, reader Mark says,
"C19: Very good as far as the circle seats go, and definitely worth it
for the £10 season."
On the other side of the venue, he adds,
"C77: Very good seat, no complaints."
Centre block rows F and G in particular are poor value at second price,
considering the distance from the stage. Save up to £21 by picking the seat
numbers noted below for fourth price side block circle row G (roughly similar views for less
cash); or the front stalls if you don't object to a lack of armrests.
The National Theatre have realised just how
good those seats just over the aisle from the centre block really are... and raised row A
seats 19 to 24 and 60 to 65; B and C 20 to 25 and 59 to 64 and D 21 to
26 and 58 to 63 to top price. Still seats the monkey likes, and would
happily pay for (the two near the aisle safety rails less so, but
otherwise, fine). Then, at second price take A 11 to 22 and 62 to 73, and B and C 12 to 23 and
61 to 72, then centre block row E, then the edges of
rows A to C in alphabetical order or row D 12 to 23 and 60 to 71, before settling for
the rest of side block row D. Make sure, if taking rows A to D, that you try for
the seats as near the top price ones as possible, to maximise your value
for money.
Ignore third price seats in the side block. They are not especially poor
value, but to save money row G seats 17 to 25 and 59 to 70, sold at bottom
price, offer a similar view for less cash.
Reader Mark adds,
"G66: Definitely worth considering for the normal shows, but would
definitely go for something closer in the £10 Travelex season."
In the same row for "Danton's Death" (November 2010) he adds,
"G81: Clear view if a little bit of an odd angle, good value for normal
productions but when so many Travelex seats are cheaper being further
forward would be better."
At bottom price be prepared for the Roman amphitheatre cone effect
particularly noticeable in row G seats 1 to 10 and 73 to 83. Before paying
bottom price for the back of the Dress Circle though, consider stalls row C too.
They are closer to the stage for the same money, but less comfortable and
potentially neck ache inducing. A choice worth pondering if you want a close-up
of the performers though, feels the monkey.
Reader Hannah M comments,
"G68 in the circle. I booked last minute and it was one of the few seats
available. I generally don’t like sitting in the circle but for £10 the seat was
excellent. The rake is really steep, meaning you can see perfectly over
everyone. Even from this distance, I still felt very caught up in the action and
didn’t miss a thing. Definitely worth going with these seats if only £27.50 ones
are left in the stalls."
For previews, all seats in the centre block, plus all seats in rows A to D of
the side blocks are the same top price. Choose the usual seat numbers in centre
block rows A to E first , then side blocks A to D as close to centre as possible
(considering aisle bars, of course).
Some comment that sound in the Circle can be a problem if there are no
microphones in use. The monkey has not noticed this personally, but if you are
sensitive, the stalls may be a better choice.
For the "Travelex £12
season" each Spring / Summer:
Some comment that sound in the Circle can be a problem if there are no
microphones in use. One reader reports that for the 2005 season things were
inaudible in row B at the extreme ends. The monkey has not noticed this personally, but if you are
sensitive, the centre stalls may be a better choice.
Seats are sold at two prices, with central block rows A, B and C at a little
more than all the rest. With the increased price and potential sound issues, the
monkey rates these as average. Bearing in mind potential problem with sound, you
may wish to be closer to the sides than the central seat in the block if your
hearing isn't the greatest... and save money into the bargain.
Reader Mark comments for "Hamlet" (October 2010),
D26 : Great value at Travelex prices, very good view of the whole stage
and plenty legroom!"
Reader Clive says,
"E46 to 51 for 'Welcome To Thebes' (July 2010); (also previously E47 to
50 for 'Women Beware Women' in the same season). Have sat in these seats
or nearby on several occasions and the view has always been good. The
rake is pronounced and the seats are comfortable with good legroom.
Excellent value for £10 as always."
A later visit in the same season, to "Danton's Death" elicits,
"E45 to 48: (As before) the view was good with a pronounced rake,
comfortable seats and good legroom."
Of the rest of the seats, all at the lowest price, it would pick
EITHER row D 30 to 55 OR row A 15 to 24 and 60 to 69, B and C 16 to 25
and 59 to 68 first. It would follow that with row E centre, then
the remainder of A to E at the sides, then rows F and G. In all cases
your choice is either centre or sides first, depending on your hearing and the National's
amplification policy. All seats in rows E to G though are a very long way from the stage for the
same money. Some may feel that the front stalls rows A to C may be
preferable if only circle E to G are left.
At the back of the circle, the side blocks particularly suffer the Roman amphitheatre cone effect
- noticeable in row G seats 1 to 10 and 73 to 83 especially. Some vertigo
sufferers in particular will feel they should take stalls rows A to C first.
________________
Theatremonkey became addicted to the Royal National Theatre in seat B4 so say
hi to the hairy guy when he is in residence.
Legroom is adequate in all seats for all but the tallest.
Notes
Total 1160 seats.
Air-conditioned auditorium.
Audio described and signed performances regularly. Headset system available.
Guide dog sitter available. All printed information available in large print, on
tape and in Braille. Minicom at the box office. Access to Olivier is level from
the lift. Free car parking in centre car park for orange badge holders (get
endorsement stamp at information desk). Lifts from car parks to all levels.
Adapted toilets (unisex, sadly) throughout
theatre. Fuller details from www.nationaltheatre.org.uk,
the theatre on 020 7452 3000 (Minicom 020 7452 3009) or Artsline 020 7388 2227.
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.
Food buffet restaurant at stalls level, coffee shop and formal restaurant in
complex. Ice cream and confectionery from vendors just outside auditorium.
Bars at Stalls and Circle level.
Toilets in Stalls and Circle, two gents and two ladies. Unisex disabled
toilet at stalls level.
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