STALLS
The Dress Circle overhangs the stalls at row G. The view of the top of the
stage is slightly restricted from row O back.The stalls are divided into two by a central aisle. The first and last four
seats in rows A to K should be avoided as they are closest to the side wall of
the theatre and offer an inferior viewing angle and value for money compared
with other seats at the same price. Two seats on the highest number sides of
rows A and B also have a light in the way.
Reader Emma comments that,
"I recently bought front row tickets to Blood Brothers (October 2004). Row
A is far, far too close to the stage for comfort - your knees are touching it,
we had to move otherwise it would have been unbearable. I think you should consider
making all Row A seats at the Phoenix Theatre bad value for money and colour
them a nice shade of red."
Two rows back, a reader says,
"Stalls C2, I found excellent as row B only starts at "3" so I
could stretch my legs out (although the seat was a bit lumpy and I as usual
had to cheek shuffle!). OK, the view would have been detrimental if there had
been much going on stage right, but only an odd part was there so I could
see almost everything. There were a couple of close PA speakers but they
were not excessive."
All other seats in the stalls offer at least fair value for money, and a good
rake ensures clear sightlines from seats at the rear of the theatre. Only row Q
seats 6 to 14, row R seat 6 and row S seat 4 should be avoided as they are near
the sound control desk and will be subject to noise during the show.
Reader "Lizzie Loves the Theatre" reports,
"seats Row E 5 to 11 (on monkey recommendation) were excellent. Probably
couldn’t have been better. The Monkey comes up trumps again!"
Reader James says,
"Saw 'Blood Brothers' from Stalls F19 which is a fantastic seat. You certainly
don’t feel you’re craning your neck event though you are very close. Personally,
I prefer to sit in the 15+ numbers for this show. You definitely feel more
involved in the Stalls here, although I’ve seen the show from Dress Circle
central Row D and the view was also good… perhaps if you prefer to see more of
the stage rather than be closer to the action then the Dress Circle might be
preferable."
Reader Alison says of her group visit,
"We had seats in the stalls, rows E, F and G - sight lines lost of scenery if
sitting at outside extremities of rows, but not the action as most is centre
stage or areas which can be viewed by all. I found the leg room ample as I am
only 5' 3" - some of the 6' + complained of being cramped but they did not view
this as a big problem as they were so absorbed in the show!"
Still in row F, another reader reports,
"F11, got for £20 for on the day student ticket from the box office. Was
a fantastic view, no complaints."
In row G, reader Ian says,
"G17 (which I got for just £20 from the box office about an hour before
curtain-up in January 2010): Excellent seat, just the right distance
from the stage and height relative to the stage. For the second half I
moved a few rows further forward so I had some space on either side for
my lengthy legs, but that proved to be a mistake as the amplified parts
were a bit too loud that little bit nearer the speakers."
Another reader comments,
"I was in stalls J14. Legroom was very good and could have accommodated someone
quite a bit taller than me (I’m 5’ 6”). Sightlines were fine provided I leant
out a bit – the very tall and broad individual in front of me had quite a
blocking effect on the centre of the stage, but as the action takes place all
over the stage it really didn’t matter much."
From M, a reader comments,
"M20: I could see very well (the joys of being 6ft 2) but some of my
more averagely heighted friends struggled to see over peoples' heads
when tall people were in front of them. The way in which the stalls rake
makes it harder to see the stage as you go back."
another adds,
"M3 and 4: We could see everything, but would say that if you were any
smaller you might have struggled. Legroom was at a premium though and
would be uncomfortable for anyone taller."
In row N a reader says,
"the view was great, however my mum had a bad view as a very large and
tall lady sat in front of her."
Theatremonkey chooses centre aisle seats in rows E to H first in the front
stalls, and nominates rows Q to S as offering good value at lower prices in the
rear stalls.
Reader Paul says,
"Row R 19, 20 and 21. Got to say that even though this is almost the
back row these seats were absolutely fine, clear view of the stage and
we could clearly see the actors faces and expressions and hear all the
music and talking. Having said that I am not sure I would have been
amused if I had paid full price for them. "
Legroom is adequate in all seats except row A for all but the tallest over
5ft 10 or so. C 1 and 2 have nothing in front of them.
DRESS CIRCLE
The Upper Circle overhangs the Dress Circle at row A. The view of the top of
the stage is slightly restricted from row G back.
A metal bar runs across the front of this circle slightly intruding on the
view in row A. At the end of the centre aisle it annoys patrons sitting in rows A
and B seats 14 and 15 by becoming higher.
The Dress Circle is split into two blocks by the centre aisle.
Theatremonkey chooses rows B then C then D seats 6 to 22 (except B 14 and 15)
at top price. The stalls though, with extra legroom, are a better choice for the
taller jungle dweller. Row A seats 27 and 28 can be transferred into by
wheelchair users. Theatremonkey thinks box C preferable for comfort. See notes.
Reader Hazel confirms,
"We sat in the Dress Circle row C seats 13 and 14. There was not too
much legroom although the view was very good."
as does reader David, close to them,
"C9 and 10: We got £55 seats reduced to £23.50 using a
theatremonkey offer at the
time. During the first half of the show there was nobody sitting directly
in front of us in rows A and B, although a couple moved into row B at the
interval. This didn’t really matter as the way the seating is arranged – the
rows are staggered so no seat is directly behind the one in front – made
sure you still had a good view of the stage. I actually thought leg room was
quite good, although I am only 5’8" tall! I’ve sat in a lot worse Dress
Circle seats at other theatres!"
Reader Randy Grauerholz (who has seen the production 14 times) comments:
"This is a "brilliant" show which must be viewed in the front of the Dress
Circle. Luckily, I am persistent with my booking, and wind up in the first 5
rows."
Reader Simon opines,
"Dress Circle A19 and 20; the view was spot on - wouldn't have wanted to
be anywhere else."
Reader Kevin discovered one problem, though:
"We was in the dress circle - row B seats19 and 20, which the Monkey rates as
better than the same seats in row A. However, I would have preferred row A first
and I'd suggest that these are better seats for short people like me - not
bothered by minimal leg room. Total row B satisfaction is dependent on whether
or not the person in A has 'big hair'. I was unlucky enough to have someone
whose perm paled Leo Sayers into insignificance and therefore had the front
third of the stage obscured for most of the show."
Another reader comments,
"Got D17 in the Dress Circle for half price and I thought the seats were
excellent. Only complaint here was that there was too little leg room and I felt
somewhat cramped. Other than that the seats were excellent."
Another says,
"We were sitting in rows G 6 to 9 in the Dress Circle and the view of the stage
was very good indeed."
In the rear circle row G is best if the higher view of the stage is wanted,
but again, for the same money, theatremonkey prefers the stalls for comfort
and value for monkey, sorry, money.
Reader Rob says,
"row H: Good view, but very little leg room."
Seats 1 to 4 and 25 to 28 in all rows should be accepted as a last resort as
they have the least central view of the stage.
Row K is particularly affected by the overhang of the circle above and should
be avoided.
Legroom is cramped in all seats and very poor in row A.
Dress Circle Boxes
To the side of the stage, box C can accommodate a wheelchair. It offers a
side view of the stage with a tenth of the nearside edge not visible. Preferable
for comfort for transfer users to Dress Circle row A. See notes.
Readers Ali and Andrew opine,
"We sat in Box B in the Dress Circle. It had a good view of the stage, and we
agree with Monkey’s opinion you lose about 1/10th stage. We were lucky to keep
the side of the stage where a lot of the doorstep action took place, so I would
recommend booking the right side of the theatre over the left. The boxes
themselves were strange in how open they were with a low edge, and it was
somewhat exposed as opposed to other boxes we had been in. That said, for
comfort, it was lovely."
UPPER CIRCLE
A metal bar runs along the front of this circle, slightly intruding on the
view in row A. At the end of the centre aisle, it annoys patrons sitting in row A
seats 15 and 16 and Row B seats 14 and 15 by doubling in height. Patrons in all rows also have metal
posts on the centre aisle to contend with. Avoid seats 14 and 15 to combat
interference from these.
The front rows feel pleasantly close to the stage. Rows B to D (excluding
seats 14 and 15) offer excellent viewing and value at the price, lack of legroom
being the only snag. Row A misses inclusion for value because it has almost no
legroom available. The other rows at lower price offer fair value, pick B to
D first.
At bottom price rows G to H also offer good value. Even if these so feel a
little far from the stage, a good rake ensures a clear view.
A reader says,
"Row H seats 1 and 2: Our seats weren't the best - one row from the back
of the upper circle at the very right hand side - but with half the
theatre being unoccupied we asked an usher if we could move nearer the
front to which she agreed so we ended up on the superior row D, nearer
the centre."
The only truly poor seats are row A numbers 1 to 3 and 28 to 30. These have a
restricted view of the corners of the stage due to their position on the ends of
the curve of the circle.
The curve of the circle also make it worthwhile to choose seats 4 to 24 ( but
not 14 and 15) first in all other rows, just to ensure the best view possible.
Legroom is cramped in all seats, very poor in row A. If prepared to accept
the metal posts or a side view, rows B to J seats 1, 14, 15 and 28 are on the
aisle allowing one leg to stretch. Pick 14 or 15 first for the central view - it
is worth overlooking the post problem for comfort.
Notes
Total 1000 seats.
No air-conditioning. Newspaper reports in summer 1991 recorded temperatures
of 88 degrees in the rear Dress Circle one July night. Pick the front stalls or
front Upper Circle as the coolest places - they catch any breeze going. Rear
seats in all parts of the theatre will trap heat as it rises, and as a full
theatre of 1000 people give off as much heat as a large radiator, things rapidly
get sticky.
Guide dog sitter available. Occasional signed performances. Wheelchair access
via a side door to the Dress Circle. Adapted toilet nearby Box C. Not single sex
but private as only one wheelchair user is permitted to see at each
performance. Hearing loop available. Fuller details from the theatre helpline on
0844 8717 677, www.theatre-access.co.uk
or Artsline 020 7388 2227, email artsline@dircon.co.uk.
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.
No food except Ice cream and confectionery.
5 bars; foyer, 2 Stalls, Dress Circle and Upper Circle.
7 toilets. Stalls 1 gents 1 cubicle, 2 ladies 3 and 2 cubicles respectively;
Dress Circle 1 gents 1 cubicle, 1 ladies 2 cubicles; Upper Circle 1 gents 1
cubicle, 1 ladies 2 cubicles.
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