STALLS
The Dress Circle overhangs the stalls at row E. The top of the stage is not
visible from row P back and is a real annoyance from row T back. Row A seats 9 to 22 used to offer a way to be near the front at less than top
price. William Cooper, a regular theatremonkey reader, feels that: "Row A was by
no means perfect; the grandeur and spectacle of a production can be lost as a
result being tucked up against the orchestra pit and staring up at the stage.
Sound quality is good in this row, although the orchestra's sound can be
unbalanced by the proximity of seats to the stage."
Readers Messrs Colin and Asa McCarthy-Burton note of row A that:
"The seats were fine, but as the stage is a little high you do miss some of
the effects, but it is great to see the faces so close as you can see
expressions etc".
At top price for "Spamalot" the monkey isn't quite so keen, but feels for
those who do like the front row to "see faces" it'll prove the usual OK choice
for regular theatregoers. For those who go less often, further back may well be
more to their taste - though row A isn't seating to discard from thoughts.
Reader Zena reports for "Spamalot,"
"The front row is fab. A little bit of legroom and then a low wooden barrier
between you and the orchestral pit below. The stage looks like it slopes
downward so no neck ache except for during the scenes when characters appear
high up."
Readers Matthew and Samuel agree,
"We sat in stalls row A14 and 15 which is in the front row. It was a bit close
to the stage but the show was at eye level and there was good leg room. We had a
god view of stage but perhaps a few rows back would be better."
Rows B to D should be considered only if you want to be close to the actors
or if the alternative is sitting in row M or further back.
One reader found the middle of row B excellent, saying,
"I just revelled in sitting so close to the performers and being able to
hear their voices relatively naturally and not loudly amplified (because
the loudspeakers were projecting the sound way above and beyond where I
was sitting). Legroom was tight, though."
From row C, reader Alun Of Essex says,
"I was in the stalls, which I often find not as good as the Dress Circle
(I'm short at 5' '7'') and find the stalls often mean I can see a head
more than a stage. My seat was in row C which was the 3rd row (no AA, AB
rows etc in the Palace) seat 7 (row starts at C5 - so 3rd seat in) and
was a good view - the stage was set back due to the orchestra pit, and a
good view in general.
Point of warning from Row D back: be careful not to get tickets in the
last two or so seats as there are post/ pillars that will get in the
way, and after all, even at a lower price you want to see the show not
some post. be careful of Seat D1!"
Reader Mark Lane
rates row D seats 19 to 21 highly in this section, and prefers them to the Dress
Circle. Reader
Stuart Mulholland adds:
"We had seats D24 and 25 in the stalls , slightly to the left of centre, but not too close to the orchestra, I would recommend these seats, but at £50
(for the production we saw) quite pricey."
James F feels of the same row,
"Row D seats 26 to 28. Excellent leg room (I'm 6ft 1) and perfect sight lines"
Regular reader Martin sums up the row D argument with,
"I am not keen on row D as the whole thing, but on the other hand I consider
seats 14, 15, 16, 17 as the best seating in the house. To be on the safe side:
very close to the action, while seeing the whole stage including feet at the
behind and the top, but no neck aches after the performance, outstanding sound
balance and conductor in the view but not distractingly, very good rake."
Reader Cristopher rated D7 highly, as the cast and grail were so
near!
Reader Liza points out that those of 5ft 2 won't see the floor of the stage from row B
- taller people will, though.
Readers Marita and Michelle say of row C,
"Our seats were excellent...we had a good view of everything going on."
The rest of the stalls rows E to L offer clear views with a good rake. Row G
then H then F are prime seats, as reader Jamie Coniam notes:
"We sat in row G, seats 6 and 7. Excellent seats, great view and very close to the action."
To the left of him, a reader reports that at a discount,
"Row F seat 3 was a little bit to the side but still a really good view
of the stage! It's lovely to sit that close to the actors!"
Two rows back a reader says,
"H16 and H17 offered both a great view and plenty of legroom."
Reader James T. feels:
"I was sat in Row H of the stalls in seat 22. I can safely say that
this is an excellent seat, though if you are over 5'10 I would avoid
as the leg room is pretty poor."
another reader agrees,
"Our seats were perfect; we had H8 and 9 in the Stalls. The leg room was a bit
lacking for my 5'9" frame but the view and the proximity to the stage made a
little discomfort worth it."
reader GJ adds to the praise,
"We were sat in the stalls row H 24 and 25 and were in the perfect
position to see all the facial expressions and everything. We were both
very pleased with these seats that are rightly highlighted green on the
monkey, although I wouldn't have wanted to have sat any further to the
left and would of preferred a position a little more towards the centre.
The seats cost £60 each and I think well worth it."
Reader "Lizzie Loves the Theatre" speaks highly of row L too.
Then pick rows I then J to M alphabetically. The
first and last four seats in all rows are now struggling to maintain average
value at top price - price does not really reflect the lack of being central,
though the view is acceptable to many.
Theatremonkey feels though that the Dress Circle rows B to D seats 11 to 26 are
better than the top priced stalls.
Reader Chris May felt that stalls row I seat 27 was good:
"no problems with the view and seats had O.K. legroom."
contrasted with another reader who said,
"splendid seat in I5 in the stalls. By splendid, I mean the view and not the
extremely cramped legroom"
A reader notes that F26 and 27 were worthwhile tickets at the sides, provided
actors are not positioned to mask the view of other performers.
Another reader says,
"I was in seat H22 or 23 - all seats around here are fantastic - near enough so that you can enjoy the spectacle of the show yet far enough away so that
you can absorb fully appreciate the set".
Further back, another reader adds,
"Seat O 6 in the stalls offers a good full view of the stage. A
tiny
upper corner of the stage gets blocked out but there's not much action going on high up there anyway. Leg room is limited but not cramped."
Rows P to S at top price are only average as they feel a little distant from
the stage for some.
One person comments:
"I was sat in Row P, Seat 8 and I had no problem with leg room or the view -
apart from the mirrors that line the side of the theatre and occasionally had
reflections of the action. A minor distraction."
Reader Richard Bradbury further comments: "stalls seats T 25, 26, 27
gave a decent view of the lower half of the stage but the entire top half is
blocked by the circle". Reader Heath concurs with this.
Rows V 20 and W 21 are beside the sound
control desk and should be avoided. Purists may also want to skip V 21 and T 16 to 21 in
front of the desk too.
Sound in these rear stalls is good, the view
is clear but distant (and the top of the set is missing) but under the new
price regime, seats 8 to 15 in both rows look distinctly average. Row W offers a
wheelchair space replacing seat 27. See notes.
Reader Shona notes,
"Our seats were right at the back and left hand side of the stalls (V26 and
27)...I was impressed with the legroom and the view was fine."
On the other side of that aisle, reader Jonathan Bridges reports:
"We were sitting in the Stalls Rows W, Seats 9 and 10, both of which had
excellent viewing. You couldn't see the top right corner of the stage." (This
wasn't a problem for the production he saw, as nothing happened there anyway!).
Though further along, in W23, theatremonkey friend Brian McKinney
(former Goodshow.com owner) wasn't impressed with his view of "Spamalot."
The first seat and last three seats in row B, the first and last two in rowC
and first and last 2 in D to
G are restricted view. The seats are among pillars, outside the proscenium and
offer a view of about two thirds of the stage; the rear and side closest to the
seat are not visible. At low prices theatremonkey likes these for being close to
the stage and offering more legroom than the same priced balcony. At the new
high prices, though, the monkey feels them worth avoiding - get an Upper Circle
box instead for less money. Reader Chris Parker disagrees, though,
"I notice you have B26 in the Stalls as poor value but the next seat B25
are fair, well I have sat in B26 and for £32.50 (as priced then) it is much better value than
B25 which is £50".
On the other hand, Mark and Nicola Dunsford say,
"On advice from the box office we went for E28 and E29 which were supposed to be
"Pretty good but off to the side a bit". However, no mention was made of the
pillar which blocks visibility of about 1/3 of the stage for E29"
Another reader comments,
"I'd be happy to pay for D4 at the reduced price. You miss the corner of
the stage, but nothing much seems to happen there so it does not matter. Yes, it
is a restricted view and £32.50 (as it was then) is pricey by any standards, but as restricted
view seats go, this is one of the better ones, I think, though others may
disagree."
D2 is the seat with easiest access to the stage, via a staircase.
Legroom is acceptable in all seats for those up to around 5ft 10 or so, best
in row A and in seats 15 and 16 on the central aisle of all rows.
One reader
comments, that at 6ft 1 tall he had to sit bolt upright in both rows B
and J, and had his knees jammed against the seat in front. He attributes
this to the new seats with straighter backs that are also not so well staggered
to leave kneehole gaps. Reader James T. says of H 22, "excellent seat, though if you are over 5'10
I would avoid
as the leg room is pretty poor". Taller persons
may find either side seats without anything in front, or box seats, might be
preferable.
Another reader feels that:
"All the seats here are very cramped! Those over 6ft will not only feel
uncomfortable but will also not be able to sit down. The only way to avoid this
is to sit in the first row of the stalls or any central aisle seat. Never buy
tickets which are inside the rows - only the aisles.
My experience in this was that I told my little problem to one of the staff
members who promptly asked one person from row A to move to row G (my former
seat was G22) and I got £5 back - what a deal. The show was amazing but this
little problem can destroy the whole performance. Nobody gave me as many
apologies as in this theatre. Think of this when buying tickets!"
A row back, a reader comments,
"H23 and H24 in the stalls – I think I can safely say these were the two best
seats I have had in the West End – a perfect view."
Reader Jay Hunt relates this cautionary tale:
"I had booked two top price stall tickets (Row R, seats 8 and 9)...the leg and
knee room was so tight that I could barely sit down. I am 6ft 5 so never expect
much room, but I have never sat in any theatre seat this tight After
realising that there was no way I would last the first Act, let alone the whole
show sitting with my legs jammed against my neighbour and seat in front, I spoke
to an usher, who moved us to a box at the left rear hand side of the stalls. The
view from here was terrible- as other reviewers have pointed out, the back third
of the stalls, including the rear boxes, are distant from the stage. From this
particular box the top two thirds of the stage was obscured, as was a good third
of the lower part of the stage! So we insisted on moving yet again, this time to
Box A, at the front of the theatre and accessible from the Dress Circle. Here we
enjoyed a fantastic view. If I go to see this show again, I'd be tempted to book
the same box or the front few rows of the dress circle. By the way, the Usher
did admit there are several rows of seats in the stalls that do have
particularly tight legroom- I can certainly vouch for Row 'R'!".
The monkey would point out that central aisle seats only give stretching for
one leg, while only centrally located stalls row A have maximum legroom.
Stalls Boxes
At stalls level box Y is in an alcove halfway along the sidewall of the
theatre. The view is poor with a third of the stage missing, but sitting in the
far right side of the box improves it slightly. Choose these only if box Z and
the restricted view stalls are not available.
Reader Jay Hunt says,
"The view from here was terrible- as other reviewers have pointed out, the back
third of the stalls, including the rear boxes, are distant from the stage. From
this particular box the top two thirds of the stage was obscured, as was a good
third of the lower part of the stage"
Box Z is at the back of the stalls behind row W. The view is restricted to
the lower two thirds or the stage, but it is clear. Choose box Z as a comfy
cheaper alternative to a seat in the Upper Circle, IF you are not
worried about missing the top sections of some scenes. A reader notes that box
Z had an "odour problem" ("hint of drain" is the scent
again) pointed out at time of booking! Hopefully the building work since then
has cured it permanently!
DRESS CIRCLE
The Upper Circle overhangs the Dress Circle at row C, cutting the view of
the top of the stage from row H back. A safety bar at the front corners of the
circle might worry those in the end two seats, but prices allow a VERY little
for the interference.
The Dress Circle is split into left and right blocks by an aisle. In all rows
except J seats 18 and 19 are next to the centre aisle offering extra comfort and
a good view.
Theatremonkey rates the Dress Circle rows B to D seats 11 to 26 the finest in
the house. Accept that the seats feel oddly upright, but the view of the stage is great.
Reader Celia Robinson comments,
"I sat in row B of the Dress Circle and had an excellent view of the action."
Reader Siobhan agrees:
Dress circle being the best seats"
Reader Paul Nicholls opines,
"I had seat C25 in the Dress Circle. Excellent view, plenty
of leg room. If you were to take your own seat into the Palace Theatre, this is
where you would probably put it!"
Around these seats, next pick row E then choose stalls.
Reader Freddy agrees,
"Row E 18 and 19. The most perfect seats ever. Clear view, comfy, lots of
legroom and an aisle to lean into. Well worth the 55 quidies we paid!"
Row F back are very
overpriced at top price, says judge theatremonkey, and row A has a terrible lack
of legroom, but a great view. Reader Edward, notes that row F25 was "stunning"
when available at a discount. The monkey agrees, and would cheerfully sit there
- or in row G behind - at a lower than top price. One reader even felt H23 fine
at a discount, with a clear view, good sound and not too much intrusion by the
circle overhang.
A reader comments:
"We were in the front row of the dress circle. The leg room is not as bad as that described by Theatremonkey. The view is superb but certain seats have lighting units affixed to the front of the balcony that project forward. At £50 a ticket you don't expect that. Watch out for A13, which was one of ours."
Strange architecture and ornate metalwork at the ends of row E back make the
first and last four seats in rows D to I worth avoiding.
Two readers note, though, that when discounted...
"We had Seats 11 to 13, Row G in the Dress Circle at the Palace Theatre.
Excellent view of the stage and the booster seat provided for my ten year old
helped a lot. Only criticism was that it was very hot and stuffy in the Dress
Circle. Had it been a serious play I would have been in danger of nodding off!!"
"Sat in the Dress Circle G30 and 31. Seat were really good. View wasn't at all
obstructed by the wrought iron metal work as commented by one of your readers.
Upper circle was over hanging us which meant you couldn't quite see the top of
the pros arch, but only just and for this show you didn't miss out on much of
the action. My partner is 6ft and found he had adequate legroom, aided by the
aisle to stretch into. On the whole really good seats, although I did get a
discount through the GILT promotion (January 2007) so didn't pay the full
whack."
Helpful to know, comments the monkey, who would also sit here if there was a
substantial reduction.
Row J is tucked on its own shelf at the edges of the circle. The roof feels
low and the value is poor. These are the last resort at top price.
Row J seats 18 and 19 are the theatre secret, rarely appearing on seating
plans. Tucked against the back wall at the end of the central aisle the view
from them is like looking down a tunnel to the stage. Only the centre of the
stage is visible and the seats in front muffle the sound. If you MUST see the
show, take these if EVERYTHING else is gone (and the box office won't sell them
until then anyway - if at all). Useful to know about, but to sit in?
The first and last few seats in rows A to C are restricted view. At reduced
price those in rows B and C may be worthwhile if no better cheap box seats - or
only Dress Circle row J - is left. For "Spamalot" (September 2006) though, they
are not reduced - avoid them, and the two next to them, is the monkey view.
Legroom is adequate in rows B to J (though may be tight for those over 5ft 10
or so), outstandingly awful in row A.
Another reader feels that:
"All the seats here are very cramped! Those over 6ft will not only feel
uncomfortable but will also not be able to sit down. The only way to avoid this
is to sit in the first row of the stalls or any central aisle seat. Never buy
tickets which are inside the rows - only the aisles."
While another (in G31) advises "My partner is 6ft and found he had adequate
legroom, aided by the aisle to stretch into."
Dress Circle Boxes
Boxes A, B, C and D are beside the stage. B and D are closest to the
stage and lose a quarter of it, A and C lose around an eighth. All offer
moderate value and should be chosen if more legroom is wanted than seats in the
rest of the theatre, at the same price, are offering
A reader advises the following:
Ask the box office what seats they have in Dress Circle Box A or box C. Seats
1, 2 and 3 in both these boxes are sold as restricted view but the view from
them is really excellent so they are great value for money (for "Spamalot" they
are top price, though, so perhaps less value). If they only have
seat 4 available in these boxes then don't take them as they are at the
back of the box and you don't get to see much. The box office also warns
that these seats are not for those who dislike loud noise, as speakers are
situated among them.
Reader Jay Hunt endorses this:
"Here we enjoyed a fantastic view. If I go to see this show again, I'd be
tempted to book the same box or the front few rows of the dress circle."
All the seats in the other 2 Dress Circle boxes (B and D) are very restricted
so if that's all they have then you'd be much better off elsewhere, unless
legroom is a factor.
The second time we bought tickets from TKTS and got tickets for the
stalls, full price £60 but we got them for £30. Row F seat 3, a little
bit to the side but still a really good view of the stage! It's lovely
to sit that close to the actors!
UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.
The balcony overhangs the Upper Circle at row C, affecting the view of seats
from row E back. The Upper Circle is high above the stalls.
Metal bars guard the aisles at the ends of row A and are intertwined around the extreme ends of rows B and C too,
prices and restricted view warnings reflect this, though the fact legroom is
also restricted is a far greater worry, thinks the monkey. Some reports are also
of muffled sound too, at some performances - though this is being addressed.
The Upper Circle is split into left and right blocks by an aisle. In all rows
except H seats 22 and 23 are next to the centre aisle offering extra comfort for
one leg, and the most central view. One reader also liked C8 for extra legroom
too.
The best seats in the Upper Circle are in rows B to D in that order. It is
worth avoiding the first and last four seats in these rows for best value.
Reader Jan comments,
"We sat in the Grand Circle in seats B34/B35 and the view wasn't bad, - except
the usual problem of the people in front of us peering over the top of the
ledge, caused us all to follow suit! It seems that the trend to bring the set
out into the auditorium, which looks good, also cause the audience in any of the
front circle seats to have to lean over to see any action going on down the
front near the Orchestra pit causing the wave of 'peerers' and 'leaners!' I hope
they realise this and start raising the stages higher!
But, even though the Grand Circle is the third level up, it is on top of the
Dress Circle (some would say the best seats in the house) so the general view is
OK. "
Reader Jaime Coniam says,
"We sat in the Upper Circle in seats D29, 30 and 31 which gave a clear view of the
stage, however the "looking down" on the stage is a problem if the view of a vast black stage floor detracts from the
scenery."
Row E back feels high up and combined with the low ceiling above cutting the
view, the value for money is dubious at best. If you must, pick row F or G seats
15 to 30, but they are the same price as E
for similar views... Row H has similar problems to row J in the
Dress Circle, being on a shelf at the back of the circle, again a last resort at
the price - take an Upper Circle box instead.
A reader says,
"Sat in Upper Circle Row E seats 10 and 11. The strange thing about these seats
is they are on a very noticeable slope, but for £20 they would have been
absolutely fine."
Row A seats 3 to 8 and 37 to 42, and row B seats 1 to 10 and 35 to 43 are
restricted view. Pick row B over A, but also consider the balcony for other
bottom price seats.
Reader Gem says,
"The seats in the front rows are cramped but the sightlines are superb and
completely unrestricted, and at the reduced price I
think they are very good value for money".
Reader June says,
"I would not recommend the seats 15 and 16 in row A of the Grand Circle. The
ticket did alert us to the restricted leg room although at 5ft tall this is not
an issue for me. The lack of restricted view warning was much more of an issue
for me. I lost about one third of the stage if I was sitting back in my seat as
one should. The only way for me to have full view of all the action was to lean
on the cushioned area in front of me. Hence I had a really sore back next
morning."
A reader comments:
"I saw "The Woman in White" on 22nd December 2004 from B35 in the grand circle and the
view was perfect really - especially when it is only £15"
One box office staff member's opinion is that the single restricted view
seats at the ends of rows F and G are worth considering as they are next to
"full price" seats and have little viewing problem.
Legroom is poor in all seats and worst in row A. Some seats in rows A and B
are sold at lower prices to compensate for this. Unless you are genuinely
willing to put up with the pain for three hours, these tickets are best left
alone in the monkey's opinion.
Another reader feels that:
"All the seats here are very cramped! Those over 6ft will not only feel
uncomfortable but will also not be able to sit down. The only way to avoid this
is to sit in the first row of the stalls or any central aisle seat. Never buy
tickets which are inside the rows - only the aisles."
Upper Circle Boxes
Boxes E, G and H are beside the stage. Boxes E and H lose about a
quarter of the stage view, Box G about an eighth. Choose box G first, but all
three offer fair value at low prices and are preferable to the stalls boxes for
view and to balcony seats for comfort. For "Spamalot" E and G are open, with 3
seats in each.
A reader agrees about box G:
"I booked all 3 seats in Box G as I wanted something a bit private / special for
a birthday treat, and, after reading Theatre Monkey’s review about losing 1/8th
stage, I was happy to pay £20 per seat, so £60 for both of us … I think this
price was very fair for the view we had, and would happily book again."
as does reader Yvonne
"I booked Box G (after reading a review on Theatremonkey) and was really pleased
with it. Great value for money. Although a slightly restricted view it was well
worth the £60 for three of us. I always prefer the privacy and extra leg room of
a box and this one is a bargain."
Theatremonkey regular writer Jake Brunger reports that,
"view not great at all - had to stand to see a lot of things, but I saw all
their facial expressions and heard it perfectly thanks to a speaker next to me -
not bad for £20"
another reader agrees,
"A reader says,
"At 'Spamalot' we sat in a box to the left of the stage and even though
we sat pretty close to the stage we couldn't see half of it. We also
sat just next to the confetti-blowing-cannon wich came as a shock in the
end, but they did warn us about loud bangs, the just didn't tell us when
:)"
which about sums it up, feels the monkey. Note that speakers are fairly near
these boxes too.
BALCONY
The front this circle is over sixty feet from the stage - straight down. Row
P, 104 feet away, has warning lights to deflect aircraft that have achieved
cruising altitude. Oxygen tanks and snowshoes may be hired in the foyer.
Joking apart, those prone to even mild vertigo should sit elsewhere, and
everyone should know that from row J back the steep rake and height take some
getting used to. If vertigo does strike, walk upwards in this theatre away from
the drop. There are enclosed back stairs here leading down safely.
The circle is split into a wide central and two narrow side blocks by aisles.
Every aisle seat has a metal post at the end of it.
The public is safely caged in behind thick bars that run across the width of
the circle, affecting the view drastically in rows A to C. More metal pops up at
the outer ends of many rows, notably B, C, E and G. A reader reports that
those in row D have been annoyed by people in the rows in front leaning forward,
making this one to avoid too.
One reader goes so far as to say don't even consider sitting in the Balcony
as the view is so poor.
Theatremonkey regular seat opinion contributor James
agrees,
"I originally sat in the middle of row L - I didn't
find the distance any worse than the back of many
other theatres, but the view was absolutely appalling.
The rake, whilst being steep, wasn't steep enough,
and if you have anyone above midget-height in front of
you, you will be struggling to see the stage.
As it was only two-thirds full, I tried a few other seats,
with the same problems. Bars block the stage view
from all side block seats.
I usually don't mind cheap seats far away, but I would
not sit in these seats again as view was so bad.
Whole block should be red..."
Sadly, in the centre block, prices do not make much allowance for the effect
of bars on the view!
A reader says,
"We had seats 9 to 14 in Row D of the Balcony for £22.50 each. Once we had
acclimatised to the altitude and made sure our parachutes were correctly packed,
we settled down for a good afternoon out!
Seriously though, the stage is a long way down and it's a bit off-putting to be
looking at the top of the heads of the cast, but we soon get used to it! None of
us are terribly tall, so there was a bit of neck-craning going on as well. We
couldn't see the top of the stage, so we missed some of the cartoons and imagery
and the far downstage left front corner was out of sight as well, but as there
wasn't much action there, it didn't matter too much!"
In the central block consider rows F to H were worth considering first, as they offered a clear view
and the best value for money - relatively speaking of course...£20 is not
cheap, but the monkey has to judge on what it is given. Just don't expect TOO
much for the price.
For "Spamalot" one reader notes,
"Seats H 19 and 20 in the balcony, I thought that describing them as
unrestricted was a bit off which I am going to raise with the theatre. Quite a
bit of the action takes place towards the front of the stage and is totally
obscured by the safety bars etc at the front of the balcony.
It doesn't help that if the people in front of you are both tall and chose to
lean forward - you may as well sit back, close your eyes and imagine what is
going on!
I remembered this theatre from Jesus Christ Superstar donkey's years ago I went
quite a few times and didn't ever have a problem seeing from up there... I don't
think I would bother booking in the balcony again unless I could get A or B -
from H the top of the set is obscured by the lighting rig and as I said you may
as well give up on anything that happens at the front of the stage..."
On the other hand, another reader in row H reports for "Spamalot,"
"I booked H10 in the balcony on Ticketmaster before looking at theatremonkey's
opinion, but actually it wasn't that bad. Yeah I could've done with a little
more room and seeing some things a little better, but I was anticipating being
up with airplanes and it actually wasn't that bad. I could see some facial
expressions and they were made PERFECTLY clear with the binoculars that I only
had to use occasionally. So for an American student saving up for a 5 week trip
around Europe, 20 pounds was an amazing price for a pretty good seat to an
incredible show!"
That is pretty much how the monkey feels about the row too... for someone
needing to see the show on a budget, worth a look indeed.
another reader says of row F,
"We were in the balcony and from what I could see all the seats were bad. I
would avoid the balcony at all costs if you want to see the show or if (as
someone else has commented) you're over 5' 10". Row F was VERY cramped. Row E
and Row G seemed to have better views as the rows in front were lower. Row E was
not a lot lower than F, and the drop almost vertical, so ANYONE sitting in front
of you will obstruct views.
For me, the best seats would be in Row E 3-7 and 22-26 as there is no-one
sitting in front of you and you can dangle your legs over the barrier in front.
Cannot comment on the views from these seats but it cannot be any worst than F12
and F13."
The monkey comment is that A and B have bar problems too, and that things in
the balcony seem to have got worse since "Superstar" - it would welcome comments
from other readers on this.
Rows N and O are
short rows at the rear of the theatre. The view is clear but the height is
noticeably vertigo inducing and £15 seems a lot...
Decide between a clear, but very distant, view of the stage in this block;
and restricted view seats for the same price in other parts of the theatre.
Theatremonkey chooses Upper Circle boxes ( or rear / front row-ends Upper Circle if the legroom
isn't an issue), then stalls boxes, then the balcony.
This is mostly based on legroom and proximity to the stage, not clarity of view.
There isn't a lot of choice in the £30 or less range, so it is a real case
of making do as you can.
In the side blocks the metal posts at the end of the row disrupt the view.
Seats 7 and 22 in all rows suffer this problem worst and should be avoided. Row
E has a wall / bars in front of it restricting legroom and intruding on the view
of anyone five foot three or shorter. Row M seats 24 and 25 have a pillar in
front - avoid them!
Take rows F to K - as near too
the central aisle as you can, but NOT actual aisle seat numbers 7 and 22 if
possible...unless legroom is a factor and you accept the compromised view. Also
remember that the first and last 2 seats in rows F to K are perhaps not as great
as seats further towards the centre aisle.
Use these seats to see the show if on the tightest of budgets. Enjoy the music and what you can see of the rest. These
seats are no bargain but if taken this way is at least an honest attempt at
theatregoing on a shoestring.
Rows N to P do feel like private colonies at the back of the side blocks. The
view downwards is heartstopping and the performers look like ants. Sit here if
your Sherpa allows you a rest period and plant a national flag. You can say you
saw the show, you got a seat! And you lived to tell the tale.
Legroom is very poor in all seats, worst by far in row A, a bit better in row
M seats 8 to 21 and in the aisle seats where one leg can get a bit of space -
compromised view or not!
Another reader feels that:
"All the seats here are very cramped! Those over 6ft will not only feel
uncomfortable but will also not be able to sit down. The only way to avoid this
is to sit in the first row of the stalls or any central aisle seat. Never buy
tickets which are inside the rows - only the aisles."
Notes
Total 1480 seats.
Air-cooled auditorium. A reader reports in 2003 that this is temperamental
and the theatre gets stuffy as a result - something those in April 2005 concur
with. Refurbishment has not really helped - rented portable units still sometimes substitute for the permanent fittings!
Infrared loop with headsets available. Occasional audio described and signed
performances, only once a year or so. Guide dog sitter available. Adapted WC in
Stalls. Access for wheelchairs via side door, up a shallow step and down a
gentle slope to seat W27 in the Stalls. Users may also transfer to any other
stalls aisle seat. Large print programme available. This
theatre tries. Specific information from
www.seetickets.com
or 0870 895 5505 or e-mail customer.relations@seetickets.com.
Café in basement. Ice cream and confectionery in auditorium. Also bookable in advance (redeem
voucher on day of performance to collect) is a food container called a "Royal
Box" (nothing to do with sitting in a box in the theatre!) containing a
selection of canapés for consumption in the
bar or at your seat. A half bottle of champagne is also available as an optional
extra with the box too - for those over 18 only, subject to usual licensing
laws. Click here for more
information.
Four Bars; Stalls, Dress Circle, Upper Circle and Balcony.
11 toilets; Stalls 1 gents, 1 ladies - both accessed via front of stalls,
rear stairs. 1 unisex disabled at rear of stalls, next to wheelchair entrance;
Dress Circle 1 gents (beyond the bar), 1 ladies (on main foyer stairs, through
first set of doors); Upper Circle 1 gents, 1 ladies - in the same positions on
Upper Circle level as the Dress Circle ones are; Balcony 1 gents, 1 ladies -
both at the very top of the stairs, plus 1 gents on the left hand side of row C,
1 ladies on the right hand side of row C.
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