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 "Day Seat" price for "Singin' In The Rain" (February 2012) the monkey is keen,
and 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.
"Singin' In The Rain" (February 2012) has also designated rows A
to E "Splash Zone" seats - you could get wet. Hype or Truth? You
decide... but you have been warned...
Reader Zena reported for "Spamalot" (2006),
"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
good view of stage but perhaps a few rows back would be better."
If the stage is high, there can be a problem - "Pricilla" had an
issue - reader Suh says,
"A22: My seat did demand a crick in the neck to see the performers,
except for their feet."
While another reader comments,
"I thought smugly that my seat in B row would be fine. WRONG! The stage
is built up high to accommodate a revolve, with the result that people
sitting at the front of the stalls have to strain to look upwards all
night – and there were indeed a number of places where characters were
flown in that also strained the necks of us poor souls at the front --
and we could not see the feet of the cast who were at stage level,
especially when anybody went upstage. And the whole show is very ‘in-yer-face’,
which again was a bit overpowering for the audience in the front rows.
Another problem with the raised stage was that in the very funny scene,
we at the front could not really see something on the stage floor at
all!"
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. 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.
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."
Along the row, a reader says,
"Row B 31 and 32: A perfect view, and I had no problem sat here at all.
One of the seats are marked red on the monkey's website seating plan but
I don't see why it should be, but feel maybe some would feel at top
price it is not central enough. Comfortable with enough legroom for a
huge oaf like me."
Which is the reason indeed, notes the monkey.
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.
Reader HB says for "Pricilla" (March 2009),
"We sat in C17 and 18 and had to look up a great deal especially as the
there were people suspended frequently. Also the opera number was very
hard to see with Felicia on the top of the bus. I'd go for a few rows
back if you can get it or maybe front circle."
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 Linda rated D 8 and 9 well when heavily discounted, while Mark Lane
rates row D seats 19 to 21 highly in this section too, 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 sight lines"
another reader says, though,
"I purchased seats D27 and 28 for 'Pricilla' and unfortunately found
that D28 is behind a pole which restricts the view of the stage by at
least a quarter. Several times during the show I lost sight of
performers as they went in to the blind spot. I will just put it down to
experience but I thought I would let you know."
The monkey would welcome comment on this, as it hadn't noticed that.
A reader has done so, adding,
"I would like to add my two pennies worth to the D28 discussion.
I have to disagree with James F who includes seat D28 in the description
"Excellent leg room ... and sight lines". Although seating plans put
pillar in front of D27, the pillar is actually directly in front of D28.
Legroom: In theory you could put your legs on either side of the pillar
-
unless of course the occupant of D27 decides that the space on one side
of
the pillar would be an ideal place to put their bags and coats!!
Sightlines: The pillar causes about 25% of the stage area to be
permanently obscured. So as far as I could tell, only two of the three
drag queens made it to the top of Ayres Rock at the end of the show.
I think my diagram (below) gives a fair representation of the area of
the
stage that was used in this production and which can't be seen from D28
(the red area).
The stage does extend slightly further back than shown,
but this area wasn't used (thankfully). In my opinion, this should be
designated as a Restricted View seat (although that would make D29 an
"Even More Restricted View" seat - or perhaps "Audio only").
This all may sound like I'm complaining, but I'm not. I paid next to
nothing for the seat, so from that point of view I felt I got excellent
value for money and thoroughly enjoyed the show. But I certainly would
object to paying the standard price for that seat."
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!
Behind them, reader JB says,
"E18 and E19: Neither of us being overly tall, we were well pleased with
the seats and the clear view of the performance on stage."
another comments,
"I was very pleased that I had managed to get seats in the fifth row but
it was a tad too close and we couldn't always see the bottom of the
stage."
Reader Liza points out that those of 5ft 2 won't see the floor of the stage from row B
either
- 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!"
Further along the row, regular theatremonkey seat connoisseur James
says for "Pricilla" (March 2009),
"F14 and 15: A little close for my liking but you do see every
expression. Great sound here but perhaps sit a couple of rows further
back for a more comfortable viewing experience."
Still further over, another reader adds,
"F22: A great seat for the access (disabled) rate of £25.75, with plenty
of leg room for me. I would say do not sit much further to the left of
this seat because the restriction from the circle and boxes will spoil
your view of one of London's great shows."
In G, a reader reports,
"G8 and 9: perfectly good seats and the view was fantastic. I have to
say that the legroom is appalling for a theatre in this day and age, as
others have mentioned if you are any taller than 5'10" you are going to
find it tough going."
Another reader opines for "Pricilla" (March 2009),
"Stalls are the best for this show - the furthest back I've sat and been
fine is Row K, on the edge, and although I couldn't see the edge of one
of the Divas as she descended from the ceiling, that was the only thing
I missed (and it's not that important). Otherwise, Row G is fantastic."
A row 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."
another reader agrees,
"H24 and 25: These were good seats with an excellent view of the stage.
You could see the performers getting ready to come on and see them going
off at the back of the stage as the seats are off centre. If you can
handle this they were excellent seats, but if you prefer to be engrossed
and not being slightly distracted by the performers going on/off the
stage then maybe go more central."
"Singin' In The Rain" (February 2012) has central rows F to H at premium prices. Your call, feels
the monkey, who would probably avoid them. The view is great, but very
expensive, it feels.
In row J a reader comments,
"Row J of the Stalls, have to say that I disappointed with my view this
time as due to the poor cambering I wasn't able to see some parts of the
show as I had somebody of about 6 foot sat in front of me, and I'm 5
foot 10."
Reader 'Musical Lover' felt that for "Priscilla,"
"J16 and 17 which were fantastic. Lots of legroom and great view."
Reader Michael adds, for the same show,
"J16 (on the aisle) and J17: For the first act we had the bonus of 2
empty seats directly in front of us. But 2 people moved along for the
second act (he of the Very Large kind), meaning a switch of seats for
us. His large frame and head blocking my view. Still, very worthy of the
Green on the Monkey's plan under normal circumstances. Row G was clearly
the optimum row as the rake increased significantly there (judge by the
high change of the arm rests) but at over £100 quid (with booking fees)
for Premium Seats, you really do have to be serious making that choice.
"
Reader "Lizzie Loves the Theatre" speaks highly of row L too.
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.
Cheaply, a row behind has a fan,
"G11 - Got on the day for "Spamalot" (January 2009) for £25. Fantastic
seat could see everything very clearly."
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".
At "Pricilla" (March 2009) reader Adam comments,
"I 22: Had a perfect view (as well I should have for the ridiculous
amount of money they charged for it). I also note that acoustics in the
theatre were bad, the orchestra overpowered the singers; sometimes I
could hardly hear them."
Reader David Allen reports,
"Row K, seats 16 to 20: we couldn't really have
asked
for better seats - no restriction on the view at all, I'm 6ft and the
legroom was OK, not great, but I didn't especially feel cramped in.
This theatre is a lot smaller than you'd think and so it felt very
intimate."
Behind that, a reader says for "Pricilla" (March 2009),
"L7 and L8 in the stalls had a perfect view, although any further back
and you may miss some of the action."
Also in row L for "Pricilla," reader N Ansari says,
"We were sat in row L to the right hand side and the seats offered a
great view, especially when the actors were at the front of the stage.
The show is highly entertaining and just good fun!"
On a group trip to "Priscilla," theatremonkey regular seat
connoisseur James reports,
"M15 and M16, N8 to 17 and O14 to O22: Everyone said they could see
really well and the overhang didn't restrict any action except for one
very short section in the first act where taller people in row O missed
a tiny bit higher up. Sound is great from here too. I still prefer the
Dress Circle only because you are looking down on the action a bit
more."
Reader Jackie adds, again for "Priscilla" (March 2009),
"M18: Paid £47 (face value
£66). As the people who were due to sit in row L did not turn up I had
an absolutely brilliant view of the stage, didn't have to peer around
people's heads at all. There is not much room though and at 5ft 9 inches
and with my leg in a brace (torn ligament) it was rather a squash and a
little uncomfortable."
In row N for "Pricilla" a reader says,
"N 2 and 3: This was ideal for me because I'm a 6ft 7" tall lad and my
seat was at the end of the aisle, which meant I could dangle my legs out
slightly. Leg room (in row N at least, but it seemed to be the case for
all the stalls) was painfully cramped, more so than any other musical
I've been to. Tall people like myself need to seriously consider this,
as even my 5ft 7" mate found this to be a problem for his legs.
In terms of viewing the stage, we were up close enough and could
easily see what was happening. However, the top right of the stage
is blocked by the overhanging royal circle and some of the
performances which are brought out of the stage (you'll understand
what I mean when you watch it!) eventually disappear from view, no
matter how far you stretch your neck! The theatre have displayed
television screens to combat this problem - but the blurry quality
of them was almost insulting. Surely a production this expensive can
do better?"
Another reader says of the same show,
"Row N seats 16 to 19: what an amazing view you get from these seats! No
action is missed at all. I know a lot of people have complained about
the views in this theatre but this is a very very old theatre and there
is not a lot the management company can do about this so they have
installed screens to let you see some of the action that happens above
and that is about as much as they can do, so try if you can to book
seats in the stalls or in the dress circle."
Reader Linda O'Reilly agrees,
"N 18, 19, 20 and 21: Theatremonkey is correct
in
saying these are great seats!... The seats ramp slightly at this
level
so we had perfect view of the stage. Leg room was OK too, even for
the
men."
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."
Row P at top price is only average as they feel a little distant from
the stage for some. Edges of rows from row O back may
miss action - avoid these, feels the monkey.
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."
another adds, for "Priscilla,"
"P20: Had seen it twice before from the upper circle and whilst I like this seat
more I wouldn't of liked to be any further back. The only thing I missed was
when the shoe comes forward in the opera section. I would rate these RED for
value (that is if they cost you ;) ). I'd still say for a 99.9% unrestricted
view to go for E10 / 11 in the upper circle for £25 over these seats in the
stalls."
A reader in R for "Priscilla" reports,
"R 8 and 9 were top price seats, but much of the top of the stage was out of
sight due to the circle overhang - and this show has quite a bit of the action
at high level. There were several top price rows behind us and their view must
have been even worse. Whilst we are on a negative note, we must mention the
legroom or lack of it! It must be one of the worst we've encountered and several
of our neighbours mentioned it too. And it was so hot!"
In row S for "Priscilla" a reader verdict is,
"We paid £62.50 to sit in Stalls row S. I am so glad it is marked "Red" on the
Monkey's plan! The seats were cramped and I could not put my knees together and
I am only 5'11" tall! I ended up with my leg jammed up against the lady sitting
next to me. The overhang of the circle means you miss a lot of the action. The
TV screens at the side at next to useless when you sit in the middle."
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.
Another reader adds for "Priscilla" (March 2009),
"Initially we were given T28 and 29 which were almost at the back and
right on the side. As there is as much action at mid height and at the
top of the stage as there is at floor level those seats were awful, as
we could only see the bottom of the stage as the Circle is very low and
cuts out the view of most of the stage - and for this show it must apply
to seats much further forward than we were. It would have been
impossible to see the Divas singing who were high up and had great
voices, and for me were the best part of the show. We only saw them
because for some unaccountable reason after about five minutes we were
asked to show our tickets and were told we were in the wrong seats and
they moved us to row H or I which were much better, but still very tight
on the knees."
Reader Luke saw the show in April 2010, after some elements had been
re-staged. He comments,
"I sat in row T. I was extremely hesitant about these seats as from what
I had heard the view would be atrocious, however in the end the view was
fine, except every now and then the diva's couldn't be seen... but we
just looked at the screens. The whole "Restricted view" stuff is over
exaggerated. I would easily recommend it."
The monkey would welcome other comments on this.
Contact Us.
Rows V 20 and W 21 are usually beside the sound control desk and should be
avoided. Purists may also want to skip T 16 to 23 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 to "not great." 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 seats in rows 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". At top price, the monkey would miss it.
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 a reduced price only. 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 X 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."
Another reader, who moved here from the upper circle due to the lack
of legroom up there, reports, for "Priscilla Queen Of The Desert,"
"Box X offers an impressively obstructed view with two thirds of the top
of the stage missing. All the main action can be seen, and it feels
close to the stage. They've installed two monitors - left and right the
auditorium - to catch the stuff that it missing... a shame that the
image quality is worse than youtube videos though. Okay seats, comfy
with lots of room but not worth their usual price. It's a joke they sell
them for £45."
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. "Singin'
In The Rain" (February 2012) has most of these at "Premium" price - your
call, feels the monkey, who would go for the seats next to them, plus the two
pairs in row D that are not "Premium" first.
Row A legroom is tight, with sightlines affected by lights hanging
from the front of the circle. The monkey really, really hates this row,
but others feel:
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."
another reader agrees,
"A 13 to 16: I took advantage of an offer which saw me paying £35 for
£60 seats. I didn't find it too bad, we were in 13 to 16, and I wasn't
uncomfortable.. but as some people mention you cannot stretch out as
much as in the other rows. The seats were fairly central and had a great
view of all the action."
Reader K. Favelle counters,
"The legroom in A25 and A26 was so tight that I was finding it
uncomfortable at just 5 foot 6 inches in height. My husband, who is 6
foot 6 inches tall with much of that height in his extra long legs, was
absolutely crammed in and was forced to spread his legs so wide he was
intruding into the space of his neighbours.
A25 also had the added disadvantage of a metal strut (for the
lights, attached to the front of the dress circle balcony) reaching up
and over the balcony which meant it was not possible to lean forward and
rest ones arms on the velvet balustrade. Which is a shame as the seats
were so tight they gave me backache and I had to keep changing position
in order to avoid cramp. I absolutely second theatremonkey's comment
about dress circle row A seats being "outstandingly awful."
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 K. Braithwaite and family go further. For "Priscilla" they
say,
"Chose B 19, 20, 21 and 22 as recommended by "Theatremonkey." Would
sit here again. We had an excellent view of all the action."
Reader Jayne expands on this for the same show,
"B19 and 20: We booked these after reading the Theatre Monkey
reviews. The seats in my opinion are the best in the house, you feel
so close to the stage even though you are upstairs. You can see
everything and are central to the stage - better seats than row A in
front of you. Without Theatremonkey I would have booked tickets in
the stalls, but I'm so glad I read the monkey reviews first. I paid
£64 each for the seats, plus the usual booking fee, but for me it
was well worth it. I understand how costly this can be and there are
cheaper tickets available - but all I will say is, 'just go the once
and splash out.'"
At the other end of the row Theatremonkey regular seat connoisseur
James says at "Pricilla" (March 2009),
"B7 and B8: It would have been nicer to be a little more central but
at a discount this seats were fantastic!"
A row back, 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!"
On a second visit, he adds,
"C 23, 24
and 25: just about the best seats you can get."
Another reader rated C19 highly for "Priscilla," (March 2009). Beside
him, regular theatremonkey seat opinion contributor James noted,
"Sat in Dress Circle C17 and C18 for Priscilla. The seats were perfect
for the view and the sound. I went during the preview period and was
lucky enough to get them for £50 by booking early. However, I’ve since
discovered that these seats are in the designated premium zone which
means they now sell for £82.50 and a staggering £92.50 at the weekends,
excluding booking fees! It seems that there a large amount of seats like
this for this production so it’s definitely worth checking out the
ticket price seating plan on this website and then searching for seats
just outside these areas."
On another visit he opines,
"C15 and 16: Amongst the best seats in the house."
Further round, on another visit, he reports,
"C33 and 34: A little far to the side at top price as you start to lose
a little bit of the action but take them at a bit of a discount."
A row back, he says,
"On another trip to "Priscilla" I sat a row back and slightly off centre
(Dress Circle, D18 and 19). I managed to get them at regular top price,
which was fair, but these seats are usually in the premium allocation
and would then be very over-priced."
Reader Jess B adds for "Priscilla" (March 2009),
"row D of the Dress Circle (brilliant seats) and had a perfect view of
what was going on."
At the end of the row, theatremonkey regular seat correspondent James
says,
"Sat in Dress Circle seats B30 and B31 for "Priscilla". Despite being
quite a way off on the side, the view was perfect from here and you
don't miss any of the action, although you do have to turn slightly
towards the stage."
On the other end, 'Priscilla' fan CC Queen N.Ansari reports,
"D6 to 9: We were not disappointed (apart from one bit in the show where
we wished we had sat in the stalls!). Previous reviewers commented on
the lack of visibility on these seats but the view was great. Not
obscured at all, and sitting in the front few rows offers a really good
view of the stage whichever end you sit."
Another reader adds,
"D12 to 14: The Dress Circle is my fave place in this venue. D12 to 14
were perfect in every respect, so I'll say no more... apart from we were
told by the guy on the door that Bette Midler had sat in these seats /
or one of them anyway!"
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!"
A few seats over, another reader comments,
"E24: I paid £35 per ticket through the GILT ticket offer (runs January
to March each year). I'm 6ft tall and felt that I had plenty of legroom.
I was able to see the entire stage, except for a couple of occasions
when the person in front of me lent forward, but that wasn't really an
issue. Overall, great seats!"
Further along the row, still another reader opines,
"E29 and E30: The best we could get at short notice. Excellent seats
albeit with a slightly sideways view and a very tiny amount of stage not
visible from E30."
Row F back the monkey had felt overpriced at top price, 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. With reader feedback, the monkey
was convinced to raise those in F and G to "white" in the end... but it would
still miss A...
Another reader adds,
"F 23 and 24: We found the view excellent, with a full view of the stage
including the very top (which is important for this show). Your plan
shows these seats as red which we don’t understand. We thought they were
good with adequate (for West End) legroom."
To which another reader contributes,
"F23
and F24: These were fantastic seats, more leg room than I thought, and
we could see everything that was going on, no problem seeing the Divas
descending. I think they would have been worth their full price
(£66.00), but we got them on a special offer for 47.99 for "Priscilla"
in June2011."
One reader even felt H23 fine
at a discount, with a clear view, good sound and not too much intrusion by the
circle overhang.
In row H for Pricilla, a reader reports,
"H 15 to 18: have to say they were great seats especially on a discount, we paid
£40 rather that the top price of £60.
There was only one row behind us, and they would have been affected
by sightline issues, but only when the divas descend from above; we just
managed to see them all. There were no sightline issues from where we
were situated. Leg room was adequate, bearing in mind I am 6'+, and
found them to be pretty comfortable too. I think I preferred being up in
the dress circle to being in the stalls from where I saw' Spamalot'. I
would agree with the monkey's opinion that some of the best seats in the
house would be up here. I wouldn't hesitate to buy seats in the dress
circle again."
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."
Another row behind, another reader comments of his discounted
tickets,
"H 19 to 22. Although these seats are
classed red in your opinion I can say that they were great seats which
had good leg room and a superb view of the stage. Although the Grand
Circle does intrude into the sight-line, only the very upper part of the
set is lost - but in 'Spamalot' this is only clouds."
Helpful to know, comments the monkey, who would also sit here if there was a
substantial reduction - even consider at top price as a final choice.
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.
Reader Vicki elaborates for "Priscilla, Queen Of The Desert" (March
2009),
"We sat in the Dress Circle in row I, seats 5, 6 and 7. Legroom was
acceptable but it's worth noting that seat 5 is more tucked in behind H6
than the seating plan suggests, so if you're choosing that one to
stretch out in, it's really no better than any other end-of-row seat.
With regards to this particular show, I think I would actually
categorise these seats as having a restricted view, as the over-hang of
Upper Circle really does obscure some fantastic bits of the performance.
I think the view improves towards the middle of these rows as seats are
definitely higher at the sides. Avoid row J at the back as these seats
sit a lot higher than row I, so their view must have been very
disappointing. Selling these seats at top price is pretty scandalous if
I'm honest.
Please warn people that if they are paying this top price for the Dress
Circle (and who on earth can afford those premium priced seats??!) that
they should choose seats towards the middle of the rows and as far
forward as they can find. 'Priscilla' is a gorgeously visual show and so
it's worth picking your seat carefully so you don't miss an inch of the
sparkle."
Another reader adds to the information,
"Since you asked about sight line issues at Priscilla, I thought I would
mention that most of the Dress Circle should be fine except for the back
three rows. We sat in I29 and I30 almost at the back and to one side and
could see most of the show although we did have to lean forward to see a
few things like the faces of the performers when they are on top of
Uluhru in the climax. A couple of rows in front no one was leaning
forward so I believe they had no issues."
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 "Singin' In The Rain" (February
2012) 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, and a reader agrees.
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."
A 6ft tall reader reported no issue in E24 however, and 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 "Priscilla Queen of the Desert - The Musical" 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."
In box A reader Annie Gross comments,
"We had tickets for Box G and were upgraded to Box A, which was fine.
Sideways view, but you don't miss too much, and you are almost close
enough to touch some of the performers."
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. At
top price, though, the monkey would skip the lot unless desperate to see the
show. Far too much to pay for little legroom and
distance from the stage, if nothing else.
From row B a reader on heavily discounted tickets says,
"We were sat slightly to the side in row B 30 to 34 so a small corner of
the stage couldn't be seen without leaning forward, but not enough for
it to be a problem. Any further round and it may have been."
another reader, paying full price, says,
"B31 and 32: Good value tickets, and the comments about the seating plan
where spot on. We had to lean forward slightly to see the front LHS
corner of the stage once or twice but otherwise the seats where fine."
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. "
From row C, a reader does note,
"Although I could see everything that was happening high up, I was not
happy about what was going on near the front of the stage! These old
theatres like the Palace were designed in the expectation that the front
of the stage would end at the proscenium arch, but when the stage is
extended out six feet or more beyond that into the auditorium and any
action takes place right at the edge of the apron, then there are
problems for people sitting in the higher levels, especially when the
people in the front row lean forward and further obstruct the view of
the people sitting behind them!"
Theatremonkey regular seat conniseur James reports,
"D23 to 26: You do feel very high up but as long as people don’t lean
forward in front of you, it’s a fantastic view and the sound is great
from here too. I only paid £1 per ticket which was a bargain ("Spamalot"
December 2008 promotion price - editor) but at regular price (£42.50) it
seems a bit on the pricey side. Also, it was quite hot and legroom was
not great here.
Another reader adds, for "Priscilla" (March 2009),
"D20: Great seat and great view!"
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."
Another says, for "Priscilla" (March 2009),
"We had the "Restricted View" seats in the upper circle, E10 and 11.
These were NOT restricted view in the slightest. Could see everything
apart from a tiny corner in the bottom of the stage, which really didn't
matter at all. Considering we paid half the amount of the people sitting
next to us, I would make these seats GREEN for value for money. You can
see everything extremely well. Would rather have sat here than the back
of the stalls where I have heard there is so much restriction from the
overhang. Probably the best value seats I have had in quite a while."
More centrally, another says for the same show,
"E16: Good seat, and I only paid £20 for it off a woman who had double
booked and was selling outside of the box office (bad practice but she
was obviously genuine, and I got a £45 ticket for £20). Was just about
to book a restricted view one for £5 more so was very handy! I don't
think these are worth £45, I'd rather pay £20 less to sit 4 more seats
to the side, but hey I was happy getting it at a bargain price."
A risky gamble indeed, feels the monkey.
In row G for "Pricilla" (March 2009) a reader says,
"G30: Bad value at £45, much better seats to be had in the upper
circle."
another reader agrees, feeling of the same show,
"ended up with two £45 in row G of the grand circle seats 29 to 30. The
view from here was ok, there was no restriction apart from the very
front left corner of the stage, and the legroom was fine. However, it
did feel like a long way from the stage. I would think it worth it to
pay the extra £15 for top price seats for a closer view if available -
£45 seems very steep for this position, although as so much of the
action takes place high on the stage, I would think it is better to sit
here than the restricted view seats lower down."
Beside them, another reader reports,
"G31 and 32. They were not restricted view, and we could see everything
up to the top of the stage very clearly, apart from only the edge of
stage right that was slightly obscured by the curve of the front of the
Grand Circle itself."
In the same seats for the same show, another reader reports,
"G31 and 32: Booked via the get into London Theatre Promotion - January
to March each year - so I only paid £35 pounds for each seat). Seats
were okay, a bit distant from the stage but not really obstructed.
However it was pretty tight, which is why we were moved to Box X
in the stalls."
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."
Reader Jos Hockley adds, for "Priscilla" (March 2009),
"row A seats 23, 24 and 25: make a note because these are probably the
best seats to get. Once we made the climb down stairs that rivalled the
Himalayas (most people went sideways), we wedged ourselves into the
seats (my friend is 5' 0" and she struggled to find legroom), petite
comes to mind when describing the space around us, but the simply there
wasn't any. Despite descending mountains and being shoehorned into our
allotted space, we had the perfect view. Sitting back I could still see
the edge of the stage (I'm 5'3"), and were perfectly situated for the
aerial views and the 'shoe' where, at 15 foot away from the performer,
we had direct eye contact! Simply, we missed nothing.
However, I would advise caution in buying tickets as this
performance involves a slightly higher stage apparently - and lots
of aerial and performances on top of the bus. People lower down will
miss the fantastically funny shoe by being underneath it, and have
to crane their necks to see up. Those sitting too far back will be
obscured by the overhangs from the balconies above."
Regular theatremonkey seat reporting reader Mark adds,
"For 'Priscilla Queen of the Desert' Upper Circle B 41 was
quite restricted, but when I leant forward could see most of the
stage, missing about 25% at the front (You only see 1 of the people
when the phone calls happen etc). The good thing with these is when
you lean forward there is nobody behind you so you aren't
obstructing their views."
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. "Singin' In
The Rain" (February 2012) don't reduce any "end" seats at all - so try
these first if you have to, feels the monkey.
A reader opines, for "Priscilla" (March 2009),
"Upper Circle Restricted seats at the edge aren't actually too bad -
though I would advise sitting on the left side rather than the right
(D8-9) as quite a lot of action takes place on the right hand corner but
not much on the left. They also cost £25, £20 less than the
seats directly next to them. Bargain."
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 "Priscilla" 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' (2006) 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. Another regular theatregoer says (for "Priscilla, Queen
of the Desert" - opened March 2009),
"My friend booked this show for a Saturday evening in March 2010, but could only
get £25 tickets mid-way back in the Balcony (top tier in theatre). I have only
one comment to make - CLOSE THE BALCONY FOR ANY FUTURE SHOWS!"
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!
Another reader agrees,
"I saw "Pricilla" with 10 friends in the balcony row G22 to 26 and F22
to 27; we paid £26.24 each. All I can say is, "avoid these seats at all
costs!!" About a third of the stage cannot be seen simply because the
balcony and bars are in the way!
We all suffered neck and back ache because the only way to see the
show was to lean as far forward as we could manage. Normally, I
would be conscious of not getting in the way of the views of the
people behind, but sadly on this occasion leaning forward was the
only way we could see any of the action on stage.
A lot of the performance took place towards the very front the stage
so we had to sit back and just listen to what was going on and watch
the people back-stage set-up the props!! I will be writing to the
theatre to express my concerns, I have been to many theatres and I
feel these are the worst seats I've sat in."
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" (2006) 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,"(2006)
"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.
Reader Jenny comments, for "Priscilla,"
"A 24 and 25: I took a gamble and bought two seats for a tenner from a
certain online organisation that specialises in things of a lastminute
nature. I did think that it would be a bit of a waste, and when we
picked up the tickets we saw they had "partially restricted view" on
them. Well, this wasn't the case at all. e had a fabulous experience! We
felt every bit of the atmosphere, had no-one in front of us blocking our
view (ha!) and all in all had a brilliant time. I would say to anyone on
a budget - go for it!"
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 0844 412 4648 or e-mail customer.relations@seetickets.com. 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.
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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