STALLS
PLEASE NOTE: For copyright reasons, information on
this page should not be directly copied and reproduced on other websites /
noticeboards. Hyperlinks to this page are, of course, welcomed. The Dress Circle overhangs the stalls at row L. The top of the stage is not
visible from row R back.
The stalls are arranged in a graceful curve, like a good banana (Mmnn, 'narnas
- snack break. Back later - theatremonkey) in front of the stage. Aside from
avoiding the first and last few seats in rows CC to Q (because to see the edges
of the stage requires looking sideways) theatremonkey sits anywhere in these
stalls.
For "Ghost" the front row is A, at full price. The stage is quite low,
fortunately.
A reader says, when the front row is BB and cheap (not for "Ghost"
July 2011) though:
"These seats, I have to say, I think are the most amazing front row
seats I have sat in. They are so close to the stage, I love it! What's
also good is that the Piccadilly is quite a small theatre when compared
to others. When my brother came in he did not know what to expect of the
seats, and he couldn't stop laughing as we were so close! I must say
they are quite close together (and I heard someone behind me say that
this theatre was the most uncomfortable she has ever been to) but I
couldn't believe that one row behind they paid £55 whereas we paid £20 -
FANTASTIC VALUE FOR MONEY."
Another, Steve, says,
"BB seat 14 day seat (not for "Ghost" July 2011 . For £20 you cannot complain, but you are
extremely close to the stage and may experience slight neck ache from
moving your head from side to side. Other than that though pretty
amazing seats, you forget there are 1,200 people sat behind you as it
feels like a private performance!"
with which another reader agrees,
"The seats themselves were amazing, as another reviewer mentioned it was
almost like a private showing. Compared to the other £20 seats (not for
"Ghost" July 2011) -
allocated at the very back of the theatre - it's unthinkable that they'd
be in the same pricing category as ours. We had fears that the stage
would be too high or the likes but they were absolutely perfect; even
more so than the rows of people behind who paid an extortionate £55 per
person. We even got a personal thumbs up and wink from Frenchie and Riz
who clearly appreciated our enthusiastic applauding at the end, making
it all the more personal."
A row behind, another reader observes,
"My seats were CC21 and CC22, (not for "Ghost" July 2011) not as bad as I expected - certainly not
for the price. If you are a massive fan of Ray Quinn these are THE best
seats in the house as he spends practically the whole show in front of
these seats (my daughter was ecstatic!). As there are no seats directly
in front you have as much leg room as you need. I do agree that you are
looking sideways to the middle of the stage, however I would not avoid
these seats if you can get them cheap!"
Readers Brian and Lisa add,
"row CC seats: (not for "Ghost" July 2011) it really was a little bit too close to the stage as many
of the female actresses raise their chins whilst singing - so you
constantly get a rather good view of nostrils and upper teeth! The
funniest part of the show was had by those in the centre seating of the
first 4 or 5 rows when the smoke machine comes on - let's just say we
couldn't see each other let alone the stage! I would suggest that rows
several back would be better."
Rows BB back to B do offer neck ache inducing views of the stage -
especially with a two tier set (not for "Ghost" July 2011). One reader feels, though that:
"Seats B13 and 14 in the stalls. Fantastic seats... There were no problems with
the view and you really do feel that they are performing just for you".
Two readers also felt that B15 and 16 had a good view of the stage too,
commenting that they were really central too. Another reader is also a fan,
commenting:
"Second row, B20: excellent view, no neck pain (the stage is low), very
comfortable."
Reader Adele notes:
"We sat in B, C last 2 seats and row F last seat and the view was slightly
restricted to the left side of the stage at the previous show we saw"
For "Ghost" (July 2011) another reader adds, when able to get her
seat at "day seat" prices (seats at price are allocated at random for
this show),
"C14: For £25! I couldn't believe my luck, right bang in the middle! The
rake meant that I had a great view. My row seemed to be about level with
the stage, so I was able to see clearly with no annoying large heads in
the way."
Further to the end of the row, though, for the same show, another
reader says,
"C 3 and 4: Bought as £25 day seats. Slightly restricted. We moved to
empty seats seats 4 and 5 about 5 songs in as they were empty and it was
a lot better! Would avoid 3 and 4 at full price but for £25 as day seats
they would have been alright."
Another reader liked D17 - especially as it was obtained at a discount for
the previous show she saw!
At "Ghost" (July 2011) another reader adds,
"D17 and 18: Wxcellent – as you would
expect for £65 each plus a £5 booking fee. I’m 6 foot 1 and I must say
that the leg room was probably the best I’ve experienced in London this
side of a box or aisle seat. It is helped too by the seats in front
being staggered, meaning no interference with your view."
A row behind, another reader, Denise Schult, writes,
"This was a most enjoyable evening - we had seats in Row E 15 - 17 in the Stalls
and it was certainly an excellent view with enough legroom for most. (View would
have been even better had I not had a lady in front who insisted on moving her
head from side to side, stroking her hair, fidgeting, leaning forward and
turning around to look at the conductor on the cast screen - that is the only
downside of going to a theatre - you can't pick who sits in front or behind you
- shame)."
Couldn't agree more, feels the monkey.
Moving back, if he is picky he chooses rows E to K first, but isn't over
fussy, the rake is good for most, and the sightlines clear. The only ones to
avoid are the ends of rows.
AT THIS POINT, THE MONKEY MAKES AN EMBARRASSED ADMISSION... Usually,
it can rate centre stalls seats 'green' apart from those at 'premium price'
- which are about "fair" value, but no more than that... it would
always go so
far as to pick tickets close to these first and save £20 a seat for the same
view...
This time... it suspects the producers have been reading its pages,
as all the seats it usually rates 'green' are at the 'premium price' for
"Ghost" (July 2011). All it can say is to pick seats as near as you can
to them, and apologise to readers!
At "Grease" a young reader says,
"E 17 and 18 to my surprise were excellent. There was a very good rake and the seats were all
staggered - meaning that they weren't always directly behind each other
but
a bit off to the side - so you can see between the shoulders in front
of you. I would recommend these seats!!!"
Reader Frances says,
"Row E: seats 21 and 22 - nice and close and gave a good view of the whole
stage."
Reader Pip opines,
"E22 and 23: Personally, they feel central and have a good view. You
don't have to look up to see anything. HOWEVER, I wouldn't pay top price
for them because they are slightly side and legroom is poor, although
otherwise seats are comfortable. Sound can be too loud at times too."
A row back, a reader notes at another show:
"Row F 17 to 20: wonderful view, and enough leg room to get up and dance"
In the same seats for "Grease" reader Alison notes,
"F19 and 20: Had an excellent view, and plenty of legroom. However, they
are the most uncomfortable seats I can remember sitting in over many
years of attending the theatre and concerts. The seats seemed lumpy, and
it was just impossible to be comfortable. Not sure what can be done, but
the Monkey's viewers might want to be warned. We did get a good deal
directly from Ambassador Theatres (top price tickets half price)."
Further along, reader Pip says,
"F 27 and 28 (The ones at the end of the row). I got these on special
offer from Ticketmaster, so they cost £29 each at the time (not for
"Ghost" July 2011). The actual
price of £55 I think is a bit expensive anywhere in the stalls. I really
don't think it's worth the price. I disagree with seats 27 and 28 being
red, because I was surprised how close it was to the stage and how
actually amazing the view is. You don't miss anything, you can see
everything in the front and back of the stage."
Reader James F reports,
"(H 8 and 9) found that the armrest were too high and irritated me during the
performance (even though I'm 6 '1). I also found that the stalls are quite level
so if someone tall sits in front of you, your view might become obscure.
In the same row for "Ghost" (June 2011) another reader rated H20,
"perfect" using a discount.
Of row J, another reader says:
"We had good seats in J13 and 14 thanks to Theatremonkey (although the raise is
not that big and the man in front of us did have a very large head...)"
At "Ghost" (June 2011) a reader reports,
"J20 and 21: Very good seats with one reservation especially if these
are bought at 'Premium' price (we didn’t pay this, luckily). Generally
this or a row or two back are my ideal position because I like to take
in as much of the stage as possible, but in this case, as I have said,
one gets drawn into the story so much and you focus on the main
characters so much that I felt it might be good to be a little further
forward. One tip – in some scenes there is a sofa stage right / centre
right that blocks one’s view of part of the back of the stage if you’re
sitting left of centre in the stalls. A small amount of action happens
there and given a choice perhaps sit right of centre rather than left. I
am being picky here but if someone is going to pay premium price why
not?"
A row back, reader Mila reports,
"K14 to16 perfect view (wouldn’t have wanted to be much closer!)
Reader KJ Hailes reports:
"Seat 8 in row D of the stalls was fine with good legroom and a high enough
stage to see over peoples heads."
Reader Sam feels similarly:
"Seat K20. Excellent seat. Everything is great. If I am very picky though, I
would want a little bit higher rake. I actually got this seat for only £30 for
the show I saw (not "Grease" - ed), so it was Super Green lol! Agreement with
the theatremonkey's assessment."
Monkey regular seat connoisseur James concurs,
"Sat in Stalls K11 to K20 for “Grease” – good rake and far enough from the stage
to ensure a pretty clear view without straining your neck."
Reader Jos feels,
"half way back in the stalls has a fine view of the stage; there
shouldn't be a problem with views from many seats."
Reader Lorna at "Ghost" (July 2011) feels,
"L30 : You get a fairly good view from this seat, even though it's end
of row (and it has a nice space on the floor for all your London
shopping bags). It's on the left hand side facing the stage which is a
good place to be for the special effects and the sofa scenes. I wouldn't
want to sit any further back and I think a couple of rows in front at J
or K would be a great view."
Rows M to O are second best at top price, being further from the stage for the
same money. If you can accept a little less legroom, pick Dress Circle rows B or
C before these seats at the same price.
Reader Gill Gill at "Ghost" (July 11) adds helpfully, from her group visit,
"Rows L, M, N, O, P seats 4 to 11 on each row: Everyone said they had a good
view of the stage and saw all the special effects. All had enough leg room and
no one's view was restricted by someone tall impeding their view. The only
criticism was that the theatre is very warm as no air-con and the seats were
under padded and therefore quite uncomfortable."
At another production, another reader comments:
"Our seats were in M row, numbers 28 and 29. The theatre floor is sloped. The
seats are staggered to give good view of the stage. A large person sitting in
the seat in front should not restrict your vision."
A little far over for the monkey's taste, but it knows what the person means.
Reader Lizzie comments,
"Sat in the stalls – Row N and had a good view; however the seats, that’s
another matter. The theatre has obviously been recently refurbished because the
seats appeared newly upholstered but the floor is quite steeply sloping and you
have this feeling that you are slipping forward on your seat all the time –
noticed a lot of people wriggling to get comfortable - impossible. Makes you
wonder if whoever designs these seats ever sits through a performance in them. "
In row O at "Ghost" (July 2011) a reader reports:
"O14 to 16: The seats were £65 each
and the view was amazing. I felt as if the view I got was faultless and,
from where we sat, we could see everything. This is the only theatre
that I've been into that I can say the sound is 100% perfect and
completely loud enough to fill the theatre. We were central in the
stalls and I would say just behind mid way back and everything was
perfect."
Row P seats 7 to 23 offered value at second price, feels the monkey, but are
tending towards expensive at top price. It would certainly skip R and S at top
price for "Ghost" (July 2011). Rather than these rear stalls, it might pick rows F and G Dress Circle first for the same
money if legroom is not a problem - though the view is not much of an
improvement.
A reader at "Ghost" (July 2011) reiterates this, stating,
"P 21 and 22: Left of centre. Plenty of leg room but the seat tilted
forward and could have been more comfortable and you are conscious of
the circle overhanging although it did not obscure any action on stage.
I did think that at times the orchestra was playing too loudly and even
though Caissie Levy as Molly was belting out the songs I couldn't
actually hear the words much of the time. The illusions are very well
done and I agree that sitting nearer to the stage would be good for this
show to study them more closely."
Another in the same row for the same show comments,
"P 21 to 24: Although the overhang from the dress circle is there, it
does not spoil any of the show and you see everything. The leg room is
amazing in this row as well. It also looks like they have sorted the
sound level out that other reviewers have commented on, as you can now
here the singing over the music."
The other rear stalls it would really avoid are those near the sound desk. Advice for purists is that seats
10 to 20 in row S,
and rows T and U seats 10, 11, 19 and 20 are probably be worth a miss - those in
row S most definitely so, according to reader Eric. Other seats in rows T and U
though are well worth a thought before taking Dress Circle rows J, K and L. In
both stalls and Dress Circle you have an overhang cutting the top of the stage
to contend with, but it is less a problem in the stalls - which are also cheaper
too, feels the monkey. Legroom in the stalls is also better.
With rows
T and U at third price the Monkey likes both; and
suggests them over the Upper Circle for the comfort of those who are
taller and don't mind being at the back. For children, the Upper Circle
at a lower price may be a better bet, though, it feels.
From row U, a reader says at "Ghost" (July 2011),
"Row U: "Day Seats" price. When first sitting down, I was quite
disappointed because of the overhanging circles, which means that you
see only the lower half of the stage. As it turned out, that wasn't a
problem, since everything happens on the 'ground floor' and I felt
sitting level with the stage due to the rake. However, I was way too far
away for my taste."
For some reason the whole theatre is fitted with seats that have three
sections to the back. The effect is to make you sit up straight and tip you back
to centre if you slouch. This is how audiences survived 'Which Witch' that the
theatre was cursed with housing in the 1990's. If you have a back problem, get
an aisle seat to allow a quick exit if required.
Legroom is fine in all seats for most, best in the front row and row P,
tighter in row O for the taller.
DRESS CIRCLE
Called the ROYAL CIRCLE in this theatre.
The Upper Circle overhangs the Dress Circle at row D, affecting the view from
row F back.
A bar runs across the front of the Dress Circle. It becomes double height at
the centre aisle, and a reader notes it affects the view from row A seats 14 and
15, with row B and C 14 and 15 worth avoiding too.
The Dress Circle is split into two by a centre aisle. Rows B and C are best,
then D and E. Row A is worth considering if legroom is unimportant to you.
Transfer from a wheelchair to seat A 28 is possible. See notes.
Most seats in each row follow a curve inward towards the centre, but the
first and last four in rows B to D actually curve away from the front of the
circle slightly. This means a tiny bit of extra legroom in seats 1 and 28, and
2, 3, 26 and 27. Allowing for the slightly sideways and side on view from these
seats, they are worth considering for those over five foot five or so...though
for anyone much taller than 5 foot 9, the stalls is preferable. Pick row C or D
first to allow distance to improve the viewing angle.
In row A at "Ghost" (July 2011) a reader says,
"A 1 and 2: We’re surprised they aren’t rated as ‘obstructed view’ for
this show. We couldn’t see the top of the fridge, where action takes
place, and also couldn’t see clearly the flat door where an important
illusion occurs. For this reason we think you should consider rating
them red on your website."
Done, notes the monkey. Reader Celia notes things are no better a row
back,
"B1: Rather than sitting at the rear
of the stalls I opted for this. Not a great seat, as the view was
restricted and I couldn't see the action towards the back of the stage
in some scenes. There were also some stunning effects, again I wasn't
able to appreciate these fully because I was sitting too far to the
side."
Moving on, AT THIS POINT, THE MONKEY MAKES ANOTHER EMBARRASSED ADMISSION...
Usually, it can rate centre dress circle seats apart from row A as
'green' apart from those at 'premium price' - which are about "fair" value, but no more than that... it would
always go so
far as to pick tickets close to these first and save £20 a seat for the same
view...
This time... it suspects the producers have again been reading its
pages, as all the seats it usually rates 'green' are at the 'premium
price' for "Ghost" (July 2011). All it can say is to pick seats as near
as you can to them, and apologise to readers!
Premium seats in rows B and C are about "fair" value, D tending
towards over-priced, feels the monkey, but no more than that... it would
pick tickets around these in rows B to D and behind them in E for
the same view and an inch more
legroom than row A... oh, and for those wondering why 13 to 16 are not premium priced - the
aisle safety rail intrudes into their view!
Theatremonkey regular seat connoisseur James comments for "Ghost"
(July 2011),
"B 20 and 21: excellent! Gift, so didn't pay premium price, though."
At a later visit to the same show, in the "premium" seats he adds,
"C7 to 12 and D7 to 12: Sat as part of
a group in these. Excellent, particularly at the £45 group rate."
But perhaps not at £85 or more, feels the monkey...
Reader Jon says, at a previous production,
"I was safely within one of Theatremonkey's 'Green Zones' in seat B22 in the
Dress Circle. Above average leg room and a clear view of the stage meant I
was happy."
reader Karen is also a row B fan,
"fabulous seats Dress Circle B25 and 26"
reader Wayne from Lincoln had the same seats for "Grease" (August 2007) and
agrees,
"seats B 25 and 26: excellent seats, excellent view and plenty of room, well
worth full price."
Reader Adam brought up an issue with the row, though,
"I sat in the Dress Circle row B seat 10. Legroom was above average and the view
of the stage was fantastic. There was a big problem with this seat however, that
seemed to be caused by the angle of the backrest. When I relaxed into it I found
myself looking at a point on the ceiling just above the stage. The only solution
for this was for me to lean forward which was fine to start with but left me
very uncomfortable for the last half hour or so."
Not something others reported before, but worth knowing for the tall (Adam is
6ft 2), felt the monkey.
Two rows back from Karen and Wayne, reader James reports,
"Sat in D5 and D6 in the Dress Circle – a great view and could hear everything
very well."
A row back for "Ghost" (July 2011) he says,
"E11 and E12: Excellent."
Further back, one reader, Alun, notes that the legroom isn't much -
"My seat, although only two in from the edge (F27), was not bad except
almost no legroom ( and I'm only short at 5'7''). Could see the sides of the
stage quiet well" .
Rows F and G are only worthwhile if all seats in the stalls as far back as
row O at the same price have gone.. Rows H to K are pretty expensive for the view, in
the monkey's opinion, while it feels that rows J to L should not normally be
considered unless you REALLY want to see the show and all the seats in the
stalls at the same price and lower have gone. The low front of the Upper Circle above cuts
the view of the top of the stage, and a peculiarity with the rake of the theatre
make these seats seem remote.
Reader and regular seat reporter James says at "Ghost" (July 2011),
"F6 and 7: The view of the stage and sound is great from here. I didn’t
have any problem with the overhang, but I’m only 5’7” so can imagine
that it might start to be a problem for taller people. It’s of course
better to be central but apart from missing a bit of the set in the
corners, no action was missed here. Oddly though, having seen the
production 3 times now, I think the effects and illusions used in the
show work better sitting in higher number seats!"
"Ghost" (July 2011) puts row L at second
price. For those who don't mind the legroom and
overhang and wish to be lower than Upper Circle level, it's an option
perhaps. It still
wouldn't bother with it, as the overhang really is fairly savage and the
view from either the rear stalls (for the tall) or the upper circle (for
the shorter or anyone wishing to skip the overhang totally) is better
value at the same or lower price, in its opinion.
Legroom is cramped in all seats - even 5ft 7 readers have complained - and
very poor in row A. Centre aisle seats in rows B to L, numbered 14 and 15, offer
a little more space for one leg to stretch into as well as a central view.
Dress Circle Boxes
Either side of the stage offering a view with about an eighth of the edges
not visible. Rarely sold to the public. Accept only after all other seats at around the
same price have been sold or cheap seating with extra legroom at Dress Circle level is required.
Seat four, with two wheelchair spaces in box C if required instead of
seats.
Wheelchair users get priority for use of this box, and tickets will only be
released on the day of performance to other members of the public if a
wheelchair user does not require the box. See notes.
UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.
A very steep rake means that while rows A to E feel close to the stage, rows
F back suddenly start to induce vertigo in the most susceptible hearts. A bar
runs across the front of the circle, and there are upright bars on the aisles at
the end of each row. Like the Dress Circle the first and last seats in rows B to M gain a little
extra legroom from curving away from the wall.
"Ghost" (July 2011) puts rows
A to F at a lower price than rear Stalls and Dress Circle seats. For
those who are taller, don't mind the overhang or slightly more expensive
cost, and wish to be lower than
Upper Circle level, the rear Stalls may be worth a glance. For the
shorter or anyone wishing to skip the overhang totally, these are worth considering.
A reader comments about row A for "Grease":
"We have recently been to the Piccadilly Theatre. The seats we had were in
the Grand Circle front row A numbers 19 and 20, unfortunately a safety/hand rail
along the top of the balcony restricts the view of the front half of the stage
and means that you have to sit forward in order to get a good view. The
people sitting in the seats alongside us also complained about this."
Another reader adds,
"B19 to 21 for Act 1 and then A19 to 21 in Act 2: We were able to move
forward as at this matinee show, It was a pretty empty upper circle. We
got these seats for £15 each from the GILT offer and we nabbed £45 seats
at a very cheap price. These seats were great and provided a full view
of the stage, But I wouldn't have wanted to sit any further up the Upper
Circle as I cant help but guess that the view would probably be quite
bad."
In the same row for "Ghost" (July 2011) another reader observes,
"B24: Got at a discount, proved to be an excellent seat with unhindered
sight lines, even when one of people directly in front of me started
leaning forward towards the end of the show. The upper circle is
vertiginous, though."
All seats in the Upper Circle usually offer a clear view of the stage, though
a reader has found in the past that:
"Row C 14 and 15 were a bit obstructed, as the show came to the front of
the stage, by the 'bar' in front of Row A. Also the bars in the aisle caused
some obstruction too, so if you were going to the Grand Circle, I would suggest
a couple of rows higher and a few seats in from the aisle if most of the show is
performed central to the stage".
Theatremonkey picks rows D and E first at third price due to the stage, row F
at fourth price and row L at fifth price. Seats from row K back particularly
feel very far from the action, and prices charged only allow for this in the
final two rows, making value for money harder to get in rows J and K.
A reader rated row D seats 4 and 5 as better than row L (though more expensive
of course!)
Reader Paul says, for "Ghost" (July 2011),
"D8 and had a fantastic view of the
stage, the rake enables you to see over the heads of those in front –
and Row D and E are probably the best of the bunch in the Upper Circle.
They actually feel close to the stage, but you are obviously looking
down on the stage. The brilliant illusions lose none of their effect
from this view and facial expressions can be made out from here. I do
feel, however, that £45.00 is rather a little greedy in the pricing."
A row behind, in row E for "Ghost" (July 2011) a reader says,
"E 15: I was a little bit huffy, because nobody told me that there is a
safety railing next beside me! The railing was in my view but didn't
bother me during the show. The sound was crystal clear and really loud.
Sometimes quiet a bit to loud for my taste (and I love it loud). You
won't miss any of those wonderful special effects they created for the
show. It's a fair price for a very good show, no one should miss."
Sound advice, felt the monkey.
Theatremonkey regular Chris May says:
"Upper Circle F 17 and 18 for £30: I say
good value, great view of the whole stage nothing missed at all and leg room
is decent. Only drawback is its bloomin' warm up there!"
Behind it, row G gives the same view for a few pounds less, notes the
monkey.
In row H for "Ghost" (July 2011) a reader says,
"H8: A great view overall, though I had to lean to the side as the
person in front directly of me blocked the action during the pottery
wheel scene (yes, that one, the one everyone knows even if they haven't
seen the movie). No trouble with anything not on the VERY front of the
stage, though, and none of the special effects are ruined due to the
angle. The sound during previews was clear during the dialogue but had
some mix issues leading to some indecipherable lyrics during ensemble
numbers and the cast sounded overamped in general during the songs.
Absolutely worth it if you get a discount (I paid £15 using a preview
offer), not sure if I'd be as pleased if I'd paid the full £35."
Another reader comments,
"J22 Upper Circle - Good seat, could see everything clearly, height
didn't really have an impact on the show."
Rows L and M are £10 cheaper than the row in front, for pretty much
the same view. Worth a look, feels the monkey. A reader notes that L 15
to 17 and M 15 to 17 are replaced by a lighting position for "Ghost"
(June 2011). The box office note that M18 has a restricted view because
of this. Purists may want to avoid K 15 to 18, L 18 and M 18 due to
this.
At "Ghost" (June 2011) a reader says,
"L14: I was really pleased with this seat (apart from it not having much
padding and made my posterior numb!). A good view (you can just about
pick out the actors’ facial expressions without a telescope!); obviously
looking down greatly - with only very slight obscurities where the
safety bars (which are split) infringe into the line of vision to the
left - but this really does not cause much of a problem. Average leg
room, being 6ft 3,” but much better being end of aisle."
Another reader says, of a previous show before the spotlight was behind it:
"Seat L15: End of row, cheap seat, OK but had some younger person
with gelled spiky hair in front, otherwise passable."
Another reader says of row L, again at a previous production:
"Row L seat 17: You're right about the rake inducing a bit of vertigo. The stage
seemed distant and I didn't catch all the words but the music was loud and
clear, and I felt a little smug thinking I had paid £10 less than those sat in
the next row down. I'm 5ft 8 and was just about ok with the leg room, which was
minimal, can't see how those 6ft and over cope and would advise them to avoid
this area."
Further along the row a reader at "Ghost" (June 2011) notes,
"L22: For this production, which is filled with projections, this offers
a really great view of the stage action. None of the illusions (except
some in the subway sequences) were obstructed or lacklustre on this
level, and the strength in the physical movement of the actors and
scenery is all clearly viewable. Plenty of legroom for the 6-ft tall
fellow. I find that there is zero reason for anyone to be leaning on the
Grand Circle for a better view (which always hurts the view of those
behind), so do not be afraid to tell someone to sit back, as they'll
actually get a better view if they sit up straight! The rake is
perfect!"
At "Ghost" (June 2011) a reader reports,
"Row M: Clear view but you lose so much from that back row with regards
to the emotional connection."
Legroom is cramped in all seats felt the monkey - though Chris May feels it
isn't that bad for shorter persons - except rows B to M seats 1 to 3 and 26 to 28,
and very poor in row A. Another reader says,
"I'm 5ft 8 and was just about OK with the leg room, which was minimal, can't see
how those 6ft and over cope and would advise them to avoid this area."
Centre aisle seats in rows B to L, numbered 14 and 15,
offer a little more space for one leg to stretch into as well as a central view.
Notes
Total 1200 seats.
Air-conditioned auditorium. Not always
working!
Hearing loop available. A guide dog sitting service is offered. The wheelchair spaces
in box C are accessed from a fire exit via an 8-cm step and slope. Transfer to
seat Dress Circle A 28 also possible. Disabled toilet available nearby both. Fuller details from
www.atgtickets.com
or 0844 8717 677,
Artsline on 020 7388 2227 e-mail 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.
A reader says of facilities here in June 2005:
"The Piccadilly states wheelchair access and seating in it’s programme. The access is through a side exit door in Sherwood Street. Space is available for people to transfer to a seat in A28 in the Royal Circle
or box C is available for two wheelchairs."
Food: Ice cream and confectionery. For £15 a "theatrebox" containing 12
canapés can be purchased at the bar before the performance or at the interval.
More details from www.theatrebox.net.
Four bars. Two Stalls, Dress Circle and Upper Circle.
8 Toilets. Stalls 1 gents 1 cubicle, 3 ladies 3, 2, 2 cubicles respectively;
Dress Circle 1 gents 2 cubicles, 1 ladies 3 cubicles; Upper Circle 1 gents 1
cubicle, 1 ladies 1 cubicle.
A reader in September 2011 notes,
"The bars and toilets in the stalls area of the Piccadilly Theatre are
very congested. Unusually, the queue for the gents was much longer than
the ladies, prompted I suspect by the fact that the gents is both tiny
and awkwardly laid out. The bar, even by West End standards, was
expensive – over £11 for an alcoholic ginger beer and a G&T. It also
took us over 20 minutes to leave the theatre because everyone in the
stalls was inexplicably made to file out through a narrow and poorly lit
alleyway – not a nice end to a night at the theatre."
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