STALLS
The Dress Circle overhangs the stalls at row M but is high enough above to
avoid affecting the view from any seat. Those in the front rows may find
the stage a little high - sit further back if shorter and wishing to avoid neck
ache. Reader Andy found the seats themselves uncomfortable, too.For "La
Cage Aux Folles" (October 2008), tables are installed in
front of row A, between stage and seats. Over 18's only are permitted to
sit here.
Reader HB reports from these,
"We sat in one of the cabaret tables in front of the stalls next to the
stairs. It was amazing as you felt like you were in the show and
occasionally you were! If the cast were at the front of the stage you
had to look up a lot but for the most part it was fine. If you like
something a bit special and want to be in the thick of the action then
the cabaret tables are a good choice."
Another reader says,
"During the “La Cage” scene if you are sitting at Table A (and I guess
Table D would be the same) means it is hard to see the stage as they put
two table on the stage right in front of you. We have also sat on Table
C (fantastic views all the through) which was great as Aubin (Douglas
Hodge) held my hand when he sang “The best of times”."
Which also happens when the cast changes,
"One Thursday night we saw "La Cage" again with Graham Norton (sitting
at Cabaret Table C - seat 1) and he held my had as he sang "The best of
times". Ahhh!"
Reader Jos adds later comment,
"I have to say of the 4 cabaret tables I seemed to get the seat closest
to the stage (table A4) and, whilst I won't spoil it for you, you do get
rather close to the characters (so close I can tell you they even shave
their legs under those tights, how dedicated to their roles is that?).
The seating was fun, but I have to say you may be better sitting a
little further back so that you don't have to turn around in your seats
to see some of the action. Also, they are padded high backed dining
chairs so if, like me, you have a bad back they are not the most
comfortable of chairs - though in keeping for the show. Someone
mentioned the stage being obscured when a table is placed on stage in
one scene, but it did not obscure the view for us so they may have
adjusted things slightly."
Prime seats the monkey feels are in the centre from around rows
F to K. The monkey rates as 'fair' the extra £2.50 required to sit in row J
seats 5 to 18 - seats around it are just as good, really.
A good rake results in clear views from almost all seats in the stalls. It is
worth avoiding the first and last four seats from row E to P as these are
outside the proscenium and suffer an awkward viewing angle.
Reader Rob Mumford endorses this:
"A word of warning before you book - as the monkey says, when the front rows have
been removed from the stalls. We were in row C (2nd from the
front) and while we got a good close up view of the action you might want to
consider sitting a few rows back so you can see everything which is going on."
Reader Stu also makes a similar point,
"I was seated in row B seats 13 and 14 which I would recommend ( row AA and BB
were too close to the stage in my opinion)"
another reader comments,
"B 12 and 13 were really good seats, very close to the action. As
someone else has commented on, maybe sitting further back would be
better for those wanting to take it all in."
Another reader from E reports,
"E22 - Great seat no complaints when got for £20 on a discount. Although
right on the end of the row I didn't miss any of the action."
In the same area, another reader says,
"We sat in Stalls D18 and E15 respectively. We’d booked at slightly different
times using the same special offer of £10 a seat for the production we saw. View
was excellent and plenty of legroom, although the seats were certainly on the
shabby side."
From E another reader adds,
"E10 to 12 I would definitely recommend - close enough not to have to
crane upwards and far enough away to be able to take in the sometimes
very energetic action spread about the stage."
From H another opines,
"H7 and 8. Excellent seats (and such a beautiful theatre!)."
At the end of H, another reader comments,
"H 23 and 24: didn't realise they were 'red' as bought from a half price
booth. Didn't have too much of a problem with the seats (did have a
problem with the fidgety man sitting next to me who made the whole row
wobble every time he moved). You are to the side a bit and for La Cage
this meant we couldn't see the DSR door on stage but you didn't miss any
of the action. Still close to the stage and at half price who can
grumble!"
Regular theatremonkey seat connoisseur James reports,
"K11 and 12 for “La Cage Aux Folles” (October 2008). The rake felt a
little shallow but staggered seats really helped - good view and great
sound from here."
Further along, a reader reports a problem,
"I accidentally booked seat K25. I must have been looking at the wrong
seating plan on this website at the time, otherwise I would never have
accepted a RED seat - even if it was discounted.
On the night, I found that the space immediately in front of K25 is used
for wheelchair users, and on this particular evening an electric
wheelchair was in this space. The wheelchair was so large that there was
no legroom left for K25 and so high that the person occupying the
wheelchair completely blocked my view. Fortunately, the theatre had
anticipated such a problem and had a couple of seats had been held back
from sale. I was offered F24, which technically is an even worse seat
than K25 as the viewing angle is more awkward."
In L, another reader reports,
"L11 through 14 were comfortable and a perfect view of the stage. I
don't think anywhere in the Stalls would be a problem as this is a
fairly small theatre."
backed up by another reader,
"L12 and 13 were perfect seats with a perfect view of the stage."
Another comments,
"L3 to 5 were perfect even if slightly off centre, we still had a
wonderful view and wouldn't have a problem recommending these on a
discount."
Sound desk avoiders might like to miss P1 to 18 and Q11
and 18 too.
G1 and 24 are
wheelchair places. The view could be much better. Transfer is possible to any
aisle seat. See notes.
Other seats offer at least fair value for money.
Legroom is good in all seats, for all but the tallest.
Stalls Boxes
The Gladys Cooper and Prince of Wales boxes are at stalls level either
side of the stage. The view from all boxes is reasonable, if sideways
on, with just the nearside rear corner invisible. Fair value at second
price, expensive at top. The monkey would take rear stalls first. Both
boxes have four seats.
DRESS CIRCLE
The Upper Circle overhangs the Dress Circle at row C; it cuts the view
of the top of the stage from row G back.
The Dress Circle is split into a central and two small side blocks by
aisles.
The central block offers fine views of the stage in rows A to E. Pick B
first, then C, D, then E or A depending if legroom / looking over the
balustrade is an issue. Choose stalls before accepting row G.
Theatremonkey regular seat commentator James expounds,
"Sat in Dress Circle A7 to 10 for “La Cage Aux Folles”. The view is
adequate, but these tickets should not be full price as the balustrade
cuts off part of the stage, especially when the performers walk out to
the extended stage. However, for the most part it’s okay and the sound
is good from here."
Reader Lizzie agrees,
"We were in the Dress Circle, second row from the front. The centre
section (avoid front row – as there is a rail) is the best - or if
you have to get the side sections take a few rows back as there are
banisters either side which restrict the view. It is
a small theatre but perfect for a show as it had a friendly
atmosphere."
Note that for "La Cage Aux Folles" (October 2008) row A 1 to 6 and
24 to 29 are cheaper and bookable in advance... the monkey likes 4 to 7
and 24 to 26 particularly at lower price - but strongly advises those
shorter folk who would have trouble seeing over a balustrade to avoid
these seats.
In the side blocks Row D seats 1 to 4 and 18 to 20 have walls of bars in
front of them making these seats unsuitable for those under five foot
tall - everyone else may well like them, though - row E in particular.
In rows F to K the first and last four seats are situated in the far
corners of the theatre, with a restricted view -again through bars. Sold
at a very large discount they make a fair budget choice if other seats
are too expensive, though be aware that you do get exactly what you pay
for with this option. Consider row C of the Upper Circle instead of side
block ends of rows F to K at the same price.
Legroom is just adequate in all seats, the balustrade effect front of
the circle provides toe-space in row A. Aisle seats in rows B to K offer
stretching space for one leg!
Dress Circle Boxes
The George Bernard Shaw and Marie Tempest boxes are either side of the
stage at Dress Circle level. The view from all boxes is reasonable, if
sideways on, with the nearside rear corner invisible. Fair value at
second price, expensive at top, but worth considering for Dress Circle
views with added legroom. Both boxes have four seats.
UPPER CIRCLE
This is fairly high above the stage, and the rake makes the seats from
row F back seem a long way away.
The circle is split into centre and two side blocks by aisles. Metal
posts and safety bars at the ends of aisles affects the view from some
seats. If sold very cheap, some may find them a bargain - but remember
the view is a problem. If you are picky, all aisle seats in rows B to H
of the centre block are the ones to avoid, as are the three outermost
end seats in the side blocks.
All seats (except on the aisle ends) offer officially "clear" views of
the stage. From row F back the rake makes the view uncomfortably steep
for the vertigo prone - and the architecture also makes these seats feel
embedded in the roof. Reader Catherine Jones actually notes: "Don’t sit
in the Upper Circle if you suffer from vertigo – lean forward too far
and you could end up on the stage yourself!" another opines, "Avoid
the Upper Circle if possible. Most seats do not have a clear view of the
stage and some, when people in front lean forward, have none. Not that
the theatre is going to tell you that!"
Rows A to D offer a fair view at lower prices. The monkey would choose
rows B, C or D - or even E 9 to 15 first; vertigo and legroom are less
of a problem than in Row A.
One reader says, for "La Cage Aux Folles," despite an extended stage:
"C8: actually the view was fine, apart from when they used the extended
bit of stage."
Another comments,
"Booked D 5, 6, 7 and 8 for "La Cage Aux Folles" (March 2009). Hated
these seats; the bar was right in the way and people were leaning over
before the show had even started, completely blocking the view. We
therefore moved to seats H 12, 13, 14 and 15 just before the show
started and had a much more clear view of the stage. I must say though,
having seen it before from Row E of the stalls, this show is just not as
effective from the Upper Circle."
Another says,
"H13 - Got for £17.25 from TKTS. Was a good seat but a little distant.
Wouldn't want to pay the regular £30 for it."
Nostalgics will remember that Row K was a bench at the top of the
theatre. When in use, if it is the same price as other seats...last
choice...and arrive early to stake your claim on a bit of seat - never
know if it will be invaded! Not often sold - it isn't at the moment
(October 2005), but still there.
The side blocks are tucked snugly behind the extra high Dress Circle box
walls. Avoid the first and last unreduced price seats in rows A to E,
and also the restricted view ones (usually priced cheaper) unless you
can't get other seats at the same price further back and more central.
Accept other seats here only if the centre block is totally full. The
corners of the Upper Circle rows H and J are often the cheapest in the
house - and expensive. Luckily they are sometimes removed for lighting.
For "La Cage Aux Folles" spotlights are in the centre section, making
G10 to 13, H 9 and 12 and J 7 and 12 avoidable for many.
Legroom is cramped in all seats, the balustrade effect front of the
circle provides toe-space for those in row A, but even those 5 foot tall
will suffer!
Notes
Total 790 seats.
Air-conditioned auditorium.
Infra-red system covering the whole theatre. Guide dogs allowed in auditorium or dogsat. Large
print information available. Wheelchair access is via foyer (cheers) Adapted unisex
toilet in foyer. Fuller
details from the theatre helpline on 0844 8717 677, www.theatre-access.co.uk
or Artsline on 020 7388 2227 e-mail artsline@dircon.co.uk
No food except Ice cream and confectionery.
Four bars; basement, Stalls, Dress Circle and Upper Circle.
7 toilets; basement 1 gents 2 cubicles, 1 ladies 3 cubicles; Foyer 1 unisex
disabled; Dress Circle 1 gents 2 cubicles 1 ladies 5 cubicles; Upper Circle 1
gents 1 cubicle, 1 ladies 2 cubicles. Readers note the poor condition of those
in the stalls and the long lines in February 2008.
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