STALLS
The Dress Circle overhangs the stalls at row N, the top of the stage is not
visible from row S back, and rows V to XX suffer from feeling very enclosed by
the low ceiling.The stalls are split into central and two side blocks by aisles. The rake
becomes noticeable in row F and is good enough to allow fine views from many
seats.
Rows A to C are restricted view for most children and shorter adults, as the
stage is high and they cannot see the back of it. The box office tries not to sell
these seats to young people for that reason, and warns all buyers - a laudable policy which avoids
problems, feels the monkey. The prices charged do not
always account for this problem, though.
For "The Sound Of Music" (November 2006 onwards), row A is sold very cheaply as "day seats" on the day of performance to personal
callers at the theatre box office. This policy applies for Monday to Thursday
performances only, and makes the seats great value in the monkey opinion, except
for those who are shorter... who may find the high main stage a problem, and
those who are taller who should note the first and last three seats in the row
have a little less legroom than you'd expect.
At performances where these seats are full price, monkey advice is perhaps to
sit further back unless your have a particular liking for front row seating. For
shorter visitors, further back is the way to go generally, of course.
Also note that due to the staging of this production, actors' backs may block
the view from some seats in this row for a few short "non-key" moments.
The orchestra conductor is in front of central seats in row A. Below stage
height and enclosed by a short extended stage between seats and main stage, but
some purists might wish to know and avoid if that kind of thing bothers them.
Reader Elaine comments,
"I was lucky enough to get A16 and 17,
which is slightly off centre (so the conductor was not
in our way) but not too far to the side for much
action to be obstructed by actors' backs. I would
thoroughly recommend this way of obtaining tickets for
the production, as they are only 20 pounds each (as "Day Seats" on Monday to
Thursdays) and
offer an excellent view of the casts faces, especially
the adorable children. These tickets are well worth
it, and I would recommend turning up early to get the
best ones."
Another readers says,
"We got front row seats A8, A9, A10 (as day seats). These were fabulous viewing
- the view was fine, can't see the people's feet but not that you would want
to!!!"
Reader Angela Xu opines,
"I noticed some comments on the site about the front row seats being too close
to the stage and hence problematic for shorter adults- would like to say that
there is really no real issue- I am 5'2 and enjoyed the show thoroughly from
Seat A8. there were a couple of kids sitting in the same row and I didn't notice
them sitting on bolster seats or craning their necks at all! for 20 pounds the
day seats are amazingly good value for money!"
Reader Val comments on the situation further back:
"Booked Row C 24 / 25 at top price. my companion felt unwell having to look up
at the stage. we couldn't see the dancers feet at "Sinatra."
At the interval we told the manager and he upgraded us to stalls row J 14 / 15
where we could everything."
The same would apply for "Sound of Music" feels the monkey.
The centre block offers clear views of the stage. Row J seats 16 to 31 are
rated the best seats in the house by theatremonkey. At top price pick rows J
then K or I then L, M , H, G, N or O, F or P, E or Q depending on whether you
are keener on seeing the whole stage, or being generally
closer to the action.
Reader Georgie Harris comments,
"we sat in the stalls Row G seats 25 to 28 which were perfect"
Reader Mandi agrees,
"Myself, my mum and my 6 year old son had seats Stalls G26-28. These seats were
great as we had a perfect view of the stage"
Reader Mila echoes this,
"Our seats in row G of the stalls (thanks to Theatremonkey and dogged
persistence at the box office) were excellent, a perfect view."
Another reader comments:
"We did enjoy the show but even row E, where we sat, was far too close (for
"Sinatra"). We couldn't see the dancers feet and had to crane our necks when the
movable screens were high. I would recommend anyone to sit dress circle or mid
to rear stalls rather than what is normally regarded as the best seats in near
to front stalls."
That isn't generally an issue for other musicals, but the monkey felt it
advice some may find helpful, especially as "The Sound of Music" has sequences
taking place on raised areas of the stage.
Reader Caryl says for "The Sound of Music,"
"We had perfect viewing seats in the stalls L16, 17 and 18."
Reader Tim Powell observes:
"Seats 32/33 in Row P in the Stalls which gave a perfectly good view (but I
would probably be aggrieved at having to pay the same top price as the front
rows if we weren't on a half price discount)."
A point well made, felt the monkey. Another reader notes perfect sightlines
from central row R, though one adds,
"We were seated right in the middle of row R in the stalls and found the view to
be very good, apart from at the end where the escapees on the mountain were lost
for a few seconds as the mountain turned. Leg room was excellent."
One reader notes that row D is close enough to see the facial expressions but
feels that sitting 2 rows back would have been better as, " the stage is
high so it blocks the view a bit and you can't see the dancers feet when they
are towards the back of the stage".
Reader Tamara comments:
"Sat stalls row L seats 20 and 21, perfect for me, centre stage, not too far forward or too far back. Just right to feel part of the action and see the actors faces, without having to crane the
neck".
Against this the Palladium is a vast
theatre and sitting far back yields only average value for money if seats are
top price. In this case, being nearer the front gets the monkey value for money
vote.
For "The Sound of Music" sensible pricing makes central row R the best of the second price
seats - and central row T worthwhile at £10 less than seats just three rows in
front, to Judge Monkey. Behind row T, aside from seats around
the sound desk, the value is just fair. If legroom is an issue, pay
more to take seats in the rest of
the rear stalls, otherwise the view from the Upper Circle make sitting there
a cheaper option well worth thinking about.
In row T, reader Paul Jones says,
"We were in the Stalls in row T and seats 15/16/17/18 on the end of the
central block. As these were the second tier prices, although the
operator discounted them even further... they were excellent value. With
a 5 and 7 year old in tow we were not sure how it would go, as they like
to be closer to the action, but no grumbles and with the eye glasses in
use, albeit sparingly, they did not move much, the kissing scenes being
the exception! We got there early to get the booster seats; but the rake
is quite good at Row T... The sound was fine where we were and, as
someone noted, you cannot see the top of the stage quite - but this does
not matter as all scenery is below it a little, so we did not miss
anything."
Row V 20 to 29 is in front of, and rows W to XX are beside, the sound desk. This is
annoying, so choose W 12 to 19 and W 30 to 45, and X and XX 1 to 5 and X 15 to
20 and XX 8 to 11 to avoid the worst of the problem. These seats offer very
fair value and theatremonkey prefers them to the Upper Circle on grounds of
legroom, though accepts they are a tad more expensive.
In row X, reader James says that his parents report,
"Seats 1 and 2... my dad is tall and likes an aisle so he can stretch
his legs. They have informed me that the view was brilliant, they
couldn't make out facial expressions, but and they didn't suffer from
being next to the sound desk."
The side block seats are almost all situated outside the proscenium. Most
readers feel that only the last 4 seats in each row should be avoided totally in
these blocks, though purists may want to make that 8 to be on the safe side.
Boxes overhang these seats back to row N, and the supporting pillars won't
enhance enjoyment of those in N1 much...and in N47 may be a minor irritant too.
Not blocking a view, just a heavy presence by the seat.
Note that those in the front four rows or so of the side blocks may find
actors backs blocking the view for a few short "non-key" sequences of "The Sound
of Music." Go for seats from G back to minimise the issue.
Even at top price, the feeling is that the rest give at least
moderate value for money - some are rather good...
...Luckily, there are a few decent seats, as reader Yvonne Coombes reports:
"Myself, my husband and daughter (4 and a half) sat in stalls seats G11 to13 and
these were fantastic. Great views throughout and close enough to really see the
expressions on the faces of the cast members. We got a booster cushion for my
daughter.
I would recommend these seats and those immediately round them to anyone."
Further to the sides is another story...
Reader Julie warns that, "Myself and 2 children were in stalls seats
H40-H42. While we enjoyed a lot of the show, our view was very restricted - apart from H40, we could not see the rear of the
stage at all, and missed some of the plot. Very disappointing".
For "The Sound Of Music" the first and last four seats in rows B to
E are designated
"restricted view" and priced more cheaply. The saving is only £5,
though, and the monkey feels that seats in central row T would be
slightly more
satisfying for the same money. If you
must choose these quite expensive restricted view seats, pick D36, then row E then D37 first
to ensure the least is missed. Row B and C lose most, with the extreme ends of
the rows having a view blocked by speakers - even top price B3 suffers a clip
from the speakers too - and those who dislike loud sound might be advised to sit
further back.
Reader Kan has made a very interesting discovery, "I saw CCBB in London
Palladium, it was a "full-house" and I was not able to obtain a ticket. Then I got a standing
ticket...
... Once inside I noticed there is a seat which is not recorded on any
seating plan or in their box office computer system seat Z1, just behind seat XX7.
I was the only one who bought a standing ticket that night, and so I took Z1
and had a seat during the whole show."
Maybe they will start to sell this ticket if anyone reads this, thinks the
monkey...but until then, it is worth knowing, isn't it?!
Wheelchairs can replace seats L46, O48, Q48 and S49. The view is poor
from all these seats. O 48 is the best of a bad bunch with distance offsetting
the poor viewing angle. Transfer is possible to any aisle seat. See notes.
In general the usual rule of the jungle applies to the stalls. Insist on
centre block seats as they are the same price as the sides. You are paying the same money
so why settle for an inferior seat.
Legroom is good throughout the stalls, best from row F back. Slightly limited
in row A 1 to 3 and 23 to 25, and Z1. F40, N1 and N16 have extra space for one
extra leg, while B 1, 2, 3, 32 and 33 and D 37 have nothing in front of them.
DRESS CIRCLE
Called the ROYAL CIRCLE in this theatre.
The Upper Circle overhangs the Dress Circle at row C. The top of the stage is
not visible from row J back.
A reader notes this isn't a problem for "The Sound of Music." The Dress Circle is split into three blocks, centre and two sides by aisles.
The view from all seats is fine, except that the first and last six seats in the side blocks
from row G back sometimes suffered a bit in the past from bad set design /
lighting positions / overhang. For "The Sound of Music" it is actually
much better than usual
even in these last seats, as the set normally uses the whole stage width.
Theatremonkey regular seat connoisseur James says,
"B20 and B21 for “The Sound of Music”… for the view, best seats in the house!"
One person in B41 commented that the view was excellent for this show
(November 2006). For a few short scenes there nothing happens directly in front
as the sequences are played centre stage inside a framed area, but the height
and distance of the circle naturally provides a perfect view of these.
Seats in the centre block rows A to F particularly offer
good views of the stage. Oddly, the opera glasses have gone missing from the
backs of seats in the Dress Circle though. If anyone else finds this as
irritating as the monkey does, contact us! Those in the side blocks in these rows also have little
to complain of, though choose the centre block first.
Reader James from Finchley says of "The Sound of Music,"
"Sat in Dress Circle B27 and 28. The view was excellent. Having previously sat
in row I of the Stalls, I much preferred the Dress Circle as I could see the
whole stage without moving my head from side to side. The absence of any safety
rail at the front also contributes towards a great view. Having read various
comments and seen the whole section “in red” I was very concerned that I might
be very uncomfortable. However, I am 5’7” and found I had plenty of legroom –
I’ve sat in theatres that are far worse. "
Some readers confirm this for "Sinatra" (too February 2006):
"We were in Row D of the dress circle and could see everything."
Reader Tim Powell says of "The Sound of Music":
"We had seats 16-19 in Row D of the Dress Circle which were a little tight
leg-room wise but the view was excellent and at least, being the tallest, I had
an aisle seat to stick my leg down!
Reader K Fried says,
"Our seats (royal circle, C 31 & 32) were very good and the view was perfect.
Leg room is cramped, but not dire. Just check your bags and coat and unless
you've got unusually long legs, you'll do just fine."
Another reader feels:
"row E20 - 24 must have been the best seats in the house perfect view at all
times"
Regular seat connoisseur James says,
"Sat in Dress Circle seat F20 and it was a fantastic view. It didn’t seem
distant which it can do from the 6th row of some Dress Circles. A very clear
view and excellent sound."
Another reader adds,
"Row F 24 to 27 – almost centre stage so good view of all the action and
adequate leg room."
Rows G to J offer only moderate value if sold at top price, since they are a
long way from the stage for the money. Rows K and L at top price have the
same fault - but L has an inch of extra legroom...
Reader LJF felt the seats in row G had a fine view, but were expensive
through the agency they bought them from.
A reader says,
"I did feel a little distant from the stage (in row J) and think the Upper
Circle rows C to G (in the centre block of course) may well give a similar view,
and £20 saving on top price."
A reader reports,
"We sat in the Dress Circle (I 48 and 49) for a production and unfortunately, the view of the
stage and a small amount of the action was slightly obscured due to the angle,
and it must have been worse for people in seats 50+"
Though this wasn't for "The Sound of Music" monkey advice is still be careful
in the back rows at the ends of this wide Circle.
BIG BUT IN ALL SEATS. Legroom may well prove a real problem for anyone over
5ft 5 tall who will be seated for more than 30 minutes or so - though one 5ft 8
person reported no real issue. Row A is worst,
row L has an inch or so more space, but theatremonkey would not
willingly sit here even if given free tickets (though many readers would!.) New seating has improved things
to this state, which is better than it was... but...! Inner aisle seats at the
ends of rows B, D, F, H, J and L have a little more space for one
leg to stretch into, while seats two seats off the outermost aisles in rows B to
D seem to have a tiny bit less. If below five foot five tall, try the circle; all others use the
stalls.
Reader Gordon says,
"We had seats B37, 38 and 39 in the Royal Circle - there was very little legroom
between the rows of seats."
Another reader adds,
"We were in row C of the Royal Circle. Super unrestricted view but as has been
said so many times about The Palladium 'don't go in the Royal Circle if you have
long legs'. I'm 6' 2" and not only was there a mountain on stage I had one
sitting next to me. About 20 stone covered in a pink pullover. His legs were so
fat he couldn't put them together so mine were wedged against the seat in front
and with the elevation of the circle it meant the sharp edge of the top of the
seat was wedged against the bone just below my knee. It is still painful to the
touch now 2 days later."
By contrast another reader reports,
"Our seats were in the Dress Circle Row H numbers 25 to 28 and have to say there
seemed to be plenty of leg-room even for my husband who is 6 feet tall - however
the bloke behind me seemed to find it hard not to keep kicking my seat
especially during Do-Re-Mi which rather had me on edge for that number - a few
choice stares seemed to make him realise he wasn't at home on the sofa able to
lounge about regardless."
Dress Circle Boxes
Boxes B, C, BB and CC are at the sides of the theatre at Dress Circle level.
Boxes E, F, FF and EE are above them at Upper Circle level. All boxes usually offer a
fair, sideways view of the stage with only a minimal portion of the edges not
visible. Sold at third price they offer average value for money and decent legroom
at higher than stalls level. At top price, they are tending towards expensive,
though. Choose front stalls for the same price first.
One reader writes,
"I was quite impressed by the view even though you can't see the right hand side
of the stage."
Another reader was less keen for "The Sound of Music,"
Avoid Box BB for this show. Totally restricted view. We were in Box CC which was
just okay (slightly restricted view), but the people next to us in BB had to be
moved half way through - couldn't see a thing thanks to large speakers in the
way!!"
UPPER CIRCLE
The Upper Circle overhangs the Dress Circle at row C. It is high above the
ground but is does not feel particularly distant from the stage or vertigo
inducing.
It is split into three blocks, centre and two sides by aisles.
A thick metal bar runs across the front of the circle. Row A and B are designated
restricted view because of it. Row A suffers most, the bar being directly in
your eye line. Rows B to D suffer from it to the extent of
being a mild annoyance neatly bisecting the actors at the waist. Metal
posts at the ends of all rows do not intrude into the view.
The views from rows E to M is fairly clear in both centre and side blocks.
Reader Stephen compares row E with the Dress Circle,
"I mentioned that sitting in the middle of row E of the Upper Circle may be just
as good as the middle of row J in the Dress Circle which was where I was seated
last time. At £20 cheaper it is tempting and may just be worth it - but don't go
further back than row F, and certainly don't bother with rows A to D unless at a
last resort.
Row E in the Upper Circle is quite a good view. You are able to avoid the
leaners in row A and those in row B who are trying to look over the top of the
leaners. You are aware of the metal bar at the front of the Upper Circle , but
it appears in your eyeline at the front of the stage and is just out of the way.
However, the leg room is dire, worse than the Dress Circle and I am only 5ft 8." It is worth avoiding the first and last six seats in all rows since the
viewing angle is not great due to the curve of the circle and intrusion of the
boxes. One reader went further, saying:
"Sat in Upper Circle Row C 10 and 11. Yes there is a metal rail which cuts the
actors in half, but this is always there. The main grievance is that even from
seat 10 you could not see Stage Left (right hand side of stage as they looked).
If C10 / 11 had problems then the poor souls who sat in seat numbers 1 to 9
would have been far worse. If you go to a theatre and have seat numbers 1-4, you
expect some lack of visibility down one side, but from Seat 10?
From the first scene onwards when the Nuns came on, as soon as they walked onto
the Apron which had been specially constructed you could not see them. There was
one scene with Maria and the children which was mainly stage left you could not
see and other parts of scenes where the extremes of stage left were used were
also not visible from Seat 10.
Additionally the audience in Row A when the action was at the front of the stage
had to lean forward, which meant that the rows behind also had to lean forwards
as well, a concertina effect."
In the second act, the person sat in C12 who is a bigger lad had no room to sit,
with knees which wouldn't fit into the space provided and ended up standing at
the back. This unfortunate situation at least meant the person in C10 could move
across one seat which was a slightly better view"
The monkey notes both the view and poor manners of the "leaning" people...
A row back, reader James F says,
"D 10 and 11... The seats offer a full view of the stage as the railings
appear just below the stage. If I were to sit here again I would chose
the centre block in rows D to F only!"
Another reader also asks about the extended stage too, saying,
"At the start of "The Sound of Music" all the nuns made a bee line for the
walkway around the outside of the orchestra pit and so completely disappeared
from the sight of just about everybody in the Upper Circle. Don't directors give
a toss for the people in the cheaper seats?"
Commendably (or maybe to make up for this) for "The Sound Of Music" (November 2006), a friendly price
policy has been applied, with tickets slightly cheaper than usual in this
circle, notes the monkey.
At the fifth price pick row E first, then D, F, G, H. Choose centre over side blocks for the usual
reason of if all blocks are the same price, centre is best value, no? Also,
decide if the rear stalls are more to your liking for legroom, and worth the
extra bananas.
A reader comments,
"Upper Circle seat F30 the view was very good and unobstructed apart from the nuns vanishing out of view at the start
as they moved towards the front of the stage and the mountain looking like
a UFO! The leg room however, wasn't good... I am 5'5 and felt very cramped."
Reader Steph Nicholls comments from J12 and J13,
"The Upper Circle should maybe be renamed the ‘incredibly high circle
with no leg room’. My wife (5ft 11) had to wedge her knees into the
space provided and has the bruises to prove it. I’m shorter, but found
there little room to move when I needed a change of position. The view
was generally good, we couldn’t see the nuns when they came in front of
the pit and lost some of the action when it was downstage left."
Rows L and M seem very high above the stage and isolated due to an intruding
wall at the back of the circle. The view is OK but the position does induce
vertigo in some non-treetop dwellers. On the other hand, at a mere £25
(relatively expensive but still better than most musicals) they are worth a
thought.
A reader reports,
"We were seated in Row M of the upper circle seats 43 to 46. Provided a fab view for only £25 and
I don't think it would be worth paying an extra £10 for seats 4 rows in front,
especially if those seats were towards the far sides of the theatre."
Of M41 another reader says,
"So this seat is right at the back but for me was fine, end of row. View OK.
You miss some of the higher stage elements (perhaps the opening scene) but
it doesn't distract too much (you use your imagination!) and some of the top
stairs."
BIG BUT …Legroom here is dire. Row A is especially bad, too awful to make
it, even at restricted view price, value for money. A quirk of architecture
though means row K 19 to 36 gets a little more than the rest. No recommendation,
but if price is all and the best of a bad situation must be made, pick these. At
second to lowest price, little is lost.
A reader agrees,
"We were in the Upper Circle, K19 and K20. Excellent view, and just about enough
legroom to accommodate a 5’6” person without undue discomfort."
Another comments,
"As a six-footer I struggled for leg room in our Upper Circle seats (J 7-8) but
the view of the stage was mostly unrestricted, although if you don’t like
heights – and it all became a bit too much for one heavily pregnant lady in the
row in front of us – sit lower down."
One more feels it dire for those of 5ft 8'' too.
Another feels that row M offered some relief,
"My dad and I are both around 6ft tall and found the legroom to be very good.
Also, sitting here means you can lean forward for a completely head-free view
without disrupting other people."
Not something the monkey had noticed...
Notes
Total 2298 seats.
Air-conditioned auditorium.
Infrared headsets available. Occasional signed and audio described
performances. Dog sitter available. Adapted
toilet in Stalls, add a second for equality people. Wheelchairs can replace stalls seats L46, O48, Q48 and S49. Access is via a fire exit and is level. The auditorium
rake is steep, good for the view but chair users should check their brakes.
Specific information from www.seetickets.com
or 0870 895 5505 or e-mail customer.relations@rutheatres.com.
Booster cushions for small children can be obtained from ushers. These are
limited, and are available on a first come, first served basis - early arrival
is recommended.
Food: Ice Cream and confectionery available. 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.
Three bars; Stalls, Dress Circle and Upper Circle.
Nine Toilets; Stalls 1 gents 2 cubicles, 1 ladies 15 cubicles; Dress Circle 1
gents 2 cubicles, 1 ladies 10 and 4 cubicles respectively; Upper Circle 2 gents
2 cubicles, 1 cubicle respectively, 2 ladies 2 cubicles and 6 cubicles
respectively
In the corridor leading to the advance box office is a wonderful display of
all the famous names who have played on this illustrious stage - worth a few
minutes to look at a piece of theatrical history, feels the monkey.
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