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CHOIR
Layout:
These rows are behind the stage, facing the rest of the hall.
Legroom:
Just adequate, best in the front row.
Choosing Seats in General:
When sold, these offer a cheap and quality (if backward) view of the
stage. Choose rows 1 to 3 before 4 to 9.
General Hazard Notes:
When sold, these offer a cheap and quality (if backward) view of the
stage. Choose rows 1 to 3 before 4 to 9.
Changes for the current production:
None.
Reader Comments:
"Choir: I have nothing
further to add to what is already on the page, except that if booking for an
event in the round, book for the far end of the rows. Even higher up you'll
find a better view and sound, since you won't be quite so close to the
orchestra which will invariably be on the stage."
ARENA
Layout:
Variable, but usually 29
rows in the centre, flat part of the hall.
Seats are directly in front of the stage, facing it, split into two
blocks by a centre aisle.
There is no rake
(sloped floor to help see over rows in front)
in this area.
Layouts variations include having single seats added / removed at the
extreme edges of rows. More radical changes for events that require
central staging, like "Cirque du Soleil" each year, see seats reduced to
a small crescent in front of a large performing area. Legroom:
Good, as normal chairs are used.
Choosing Seats in General:
If a tall person is in front of you, tough. Rows 1 to 6 are excellent, 7
to 10 acceptable for those tall enough to see over heads, rows 11 back have
a poor value view, and from row 20 back sound suffers too.
For “non standard” layouts, anything more than 10 rows back should be
treated with suspicion for the same reasons.
When seats are removed for the annual promenade concert season, the arena
become the perfect place to be for a concert. A reader notes though to, “BE
AWARE OF THE PROMMERS (or season ticket holders). These are the extremely
dedicated group of concert goers who come to most, or in some cases, all of
the proms concerts. They can be quite abrasive and upfront with anyone who
isn't part of 'their group'. They will also call upon the stewards for the
slightest imperfection. Trust me, you don't want to know how they reacted
when the BBC took away 'their' fountain one year to create more space in the
arena for the average punters. If it helps, the section they always stick to
is from the front of the middle of the arena across to stage right. I would
personally suggest staying on the other side and remaining among less highly
strung audience members."
General Hazard Notes:
No rake means no view if a tall person is in front. New seats and
re-thought offsetting have improved things slightly, but not that much, and
if everybody stands up...
Sound quality diminishes from around 20 rows back at some performances.
A sound desk behind the last row may bother some purists.
Prommers, apparently - see above...
Changes for the current production:
None.
Reader Comments:
"Row 2 seat 23: Enjoyed a
fantastic view of the performers on stage, really close up. I would say that
I think you pay a price acoustically. The sound quality was nowhere near as
good as when sitting further away. This is often the case on theatres I find
but markedly so at the RAH I feel. I don't mean the sound quality was bad by
any stretch of the imagination, just not impressive."
"Row 6: Went to see 'The Who' on 31st March 2007. We had seats on the arena
floor, section F six rows back. Fantastic view and atmosphere until the
people in front stood up. The stewards were ineffective. When told by the
offenders that they did not want to sit down they were allowed to get on
with it. This meant that my wife who is five feet six had a guy of more than
six feet six standing in front of her. I was told that if I kept on
complaining to the stewards I risked being thrown out myself ! If this is to
be allowed it would have been better if no seating was there as at least
then you can move around. A similar situation occurred in 2006 at the Jeff
Beck concert."
"For the arena, in response to the reader who had the issue at 'The Who'
concert, I would definitely suggest buying a ticket for the stalls since the
seats are raked and the chairs swivel, so even if someone were to stand up
in front of you, you'd have a good view nonetheless and wouldn't lose
anything acoustically. Alternatively, the front of the circle (Circle T or
U) if you can get the tickets (they go quick) are a good and cheaper option
all round.
On another note, the arena seats have now changed to a much better quality
in both sightlines and leg room. For classical concerts they are now a
perfect buy, for rock concerts, choose the stalls or the front of the
circle."
"I was not at the concert mentioned above, but I do go to a lot of rock
shows, and would have been surprised if people had not stood up early on in
the show. This is common practice. The unfortunate couple’s mistake was of
course to go for seats in the Arena and not the Stalls.
Your comment that The Arena is only sensible when this is a standing area
only is most pertinent. Maybe it should be more prominent."
"I think that it is worth noting that row 7 of the outer blocks is adjacent
to row 4 in the centre block and similarly other rows in the outer blocks
are not adjacent to the row of the same number in the centre block. Have a
look at the photo previews on the RAH website when you are selecting a seat
for a performance."
STALLS
Layout:
Eleven tiered rows of
seats, encircling the arena and slightly above it.
Seats in blocks G, H, J, L, M and O (except those seats in blocks J2
and L1 which already face the stage) swivel to allow a better view of
the stage.
Legroom:
Good in all seats.
Choosing Seats in General:
Blocks H2 and M1 are prime, then H1, M2, O1 and G1. Next come L2 and J1
then K1 and 2. L, J and K are towards the rear of the arena, further from
the stage. Sound can suffer for orchestral concerts in these blocks.
The stage often juts out in front of the first six seats in block G1
/ last six in block O1, placing you level with the performers. The rear
corners of O1 and G1 are often sold as restricted view and are a bargain
In block J1 the best seats are: row 1 seats 32 to 42, row 2 33 - 43, 3:
36 - 45, 4: 37 - 47, 5: 38 - 49, 6 and 7: 40 - 51, 8: 42 - 54, 9: 43 -
56, 10: 45 - 58 and 11: 45 to 58.
In block L2 the best seats are: row 1 seats 79 - 69, 2: 82 - 72, 3:88
- 78, 4: 93 - 82, 5: 96 - 86, 6: 103 - 92, 7: 107 - 96, 8: 111 - 99, 9:
117 - 105, 10: 122 - 109, 11: 115 - 28.
Wheelchair space is available in blocks G, H, J, L, M and O. Users
should choose this last after a box.
General Hazard Notes:
Corner seats nearest the stage have a restricted view.
Rows 1 and 2 may not see over heads if arena users are standing.
Sound is variable in the blocks facing the stage.
Row and aisle ends have metal posts / rails. These don’t affect
sightlines, but may upset purists.
Changes for the current production:
None.
Reader Comments:
"Stalls. The stalls boast
some of the best seats in the whole building in my opinion. Anywhere in K
stalls at all practically guarantees the best seat for quality of sound and
comfort. However, many of the seats are hard to come by for most of the year
as most of the section is predominately owned by members (of which for about
80 percent of the concerts, they get priority on). The rest of the stalls
are fine. For a slightly different experience, I would recommend near the
front of G or O stalls as you will incredibly close to the performers."
"Stalls. (James). Have sat in various seats in Stalls blocks J2, K1, K2 and
L1 for the Proms – great sound and a good view from every seat I’ve had.
Although for the I would recommend sitting from row 3 backwards if you want
a clear view of the stage as your view can be obscured by the heads of those
standing in the Arena! (The monkey notes that the arena is used for standing
space for the annual "Proms" season and a few pop concerts each year).
"Block H , Row 10 seat 30: This was a great seat to see the conductor and
the orchestra and somewhere I would recommend for concerts.
L2, Row 11 seats 120 – 123: "Kooza" (January 2013). A great view of
the stage, legroom OK. Being on the back row we were well raised up –
perfect for this show. Sadly with the current stage set up there were
cables and pulleys in our direct eyeline but you could see through them,
and all my party said at the interval that they stopped noticing them
very quickly. I particularly liked the fact that the row behind were the
boxes, meaning that they were well raised above us, therefore no hassle
from people complaining about their sight line!!! They were priced in
the second price bracket – I think this is fair as it was a side on view
for a couple of acts, but still well worth the money." (Note that
"Kooza" used about half the arena space, so has a very different layout
to the usual - editor).
"Block M2, 92 and 93: “Opera In The Round" production (Carmen in March
2009), (Cristopher H). The view was great! We had one eye on the amazing
bullfight and other in the arena where Carmen was being killed; I recommend
these seats to anyone. The Royal Albert was not in its full splendour, as
the organ was hidden; but as always it's awe striking to see the auditorium
itself. Drinks are very expensive and the toilets aren't very accessible but
this was overshadowed by the performance."
"Block O, Row 1: This was an OK seat, it was great being close to the
front... but you are behind the performer (as I was for the show I saw -
Katherine Jenkins in December 2009) so I'm not sure I'd like to sit there
again; and for people paying full price I would advise them to sit one block
further round."
BOXES
Layout:
Three tiers of boxes encircle the arena above and behind the
stalls. Most are privately owned (originally sold to raise money to
build the venue) and not open to the public unless the owner allows the
box office to sell on their behalf.
The lowest level is the “Loggia Level.” Above this is the “Grand Tier”
level. Above that are the “Second Tier” level boxes.
At the Loggia level, doorways and aisles between boxes 6 and 7, 12 and
13, 18 and 19, 24 and 25 and 31 and 32 lead down into the stalls area;
which is directly in front of all Loggia level boxes.
As a general rule (there are exceptions to prove it!) the lowest level
Loggia Level boxes seat eight, middle level Grand Tier twelve, and
highest level Second Tier five or eight.
When sold, seat numbers apply to allow a single ticket to be sold. In a
five person box, 1 and 2 are at the front, 3 and 4 behind, and 5 is a
tall chair behind that.
In an eight person box 1 to 4 are front, 6 to 8 behind.
In a twelve seat box, as reader Rex Holder noticed, 1 to 4 are front, 5
to 8 are behind, with 9 to 12 in the rear.
Boxes 1 and 2 (2 and 3 on Grand Tier Level) can be combined to form a
larger space if needed.
Legroom:
Front rows have variable legroom - improved at Grand Tier
level, less at Second Tier level.
As a rule, boxes to the sides of the arena have more than the ones
facing the stage, due to the curve of the front wall.
Seat 5 in the smallest boxes is a tall chair, with maximum legroom – but
will leave shorter persons hanging a little...
Choosing Seats in General:
Loggia level boxes 1 to 4 and 31 to 35 are closest to the
stage.
Loggia level boxes 5 and 35 accommodate wheelchairs and command a fine
view. Users should take these over block K.
The box office notes that in the 8 person boxes closest to the stage (
Loggia Level 1,2,3,4,5,6,31,32,33,34,35,36; Grand Tier level
2,3,4,5,6,7,36,37,38,39,40,41,42; 2nd Tier level 7,8,9,10,81,82,83,84)
the viewing angle means that the seats closest to the stage i.e. 1, 2, 5
and 6 actually have an awkward viewing angle of the stage. The other
seats offer a slightly better one!
In the grand tier 1 to 10 and 35 to 42 are closest; boxes 1 and 42 can
have metalwork in the way, obstructing the view from the corner of the
box. Boxes 2 and 3 can be combined to form a larger space if needed. In
the second tier it is 7 to 24 and 84 to 67, with 7 and 84 prone to
suffering metal rail problems. Boxes 81 and 82 and also boxes 83 and 84
can be combined to form a larger space if needed.
Other boxes offer good but slightly distant views. The sound is good in
all and Theatremonkey likes these as a slightly more expensive, but
comfortable, alternative to the balcony. Put another way, a box at the
RAH is an experience not to be missed.
General Hazard Notes:
Boxes 1 and 35 can have metalwork in the way, obstructing the
view from the corner of the box.
All boxes that don't face directly down the hall have side views, and
within each box, some seats are better than others.
Changes for the current production:
None.
Reader Comments:
"Put simply, unless you are booking as a full group of 8 for a loggia
box, DO NOT book the back row. Your sightline will be obscured by any number
of things, from the people in the front row, people in the stalls seats in
front of you, and the pillars that adorn certain boxes around the hall. For
the same price, and for sometimes even less, the stalls and arena seats can
bought for a better view and experience.
In the grand tier, it doesn't matter as much since the seats are on raised
steps as they go up. However, for events in the round, avoid anything other
than the front row as the people in front will definitely lean forward at
certain sections and block your vision.
In the second tier, the same rule applies to the loggias, don't book for
anything other than the front row unless you're booking out the whole box.
AVOID SEAT 5 AT ALL COSTS! Seat 5 is incredibly awkward to manoeuvre in
every box and you certainly won't get a decent view of the stage, no matter
where the box is placed. There are boxes at the sides which have 8 seats per
box and these ones have a good view on either row. If you want to book a
second tier box as a couple or three, book one of these to avoid
disappointment.
One more note on the boxes, at almost every event at the hall there will be
corporate parties in the boxes, it's how the building makes it's money.
These people can invariably be obnoxious, uninterested and loud. If you want
to enjoy your concert and have a nice experience as well, I would highly
suggest avoiding the boxes as you can find yourself in amongst less
like-minded people who won't take kindly to being told off by you or a
member of staff. The stewards won't be able to provide much jurisdiction
either as these corporate boxes will be providing a lot of cash for the
venue and the 'powers that be' will claim there hands are tied. Proceed with
caution!"
"We were in a box on the 2nd floor. A very good seat in fact. But the people
in the box next to us were....well, how can I put it politely? They seemed
to be there mainly to eat and talk and get drunk. My wife was astonished
that during quite an emotive piece (Faure) one of the women suddenly leapt
up and started passing sandwiches round! Without wanting to be offensive, I
would have described them as people with money but no taste - typically
boorish hooray-henries (do people still use that term?). I would certainly
think twice about getting tickets for a box again if this experience is
common. Perhaps we were just unlucky..."
" (Marcus Watney, Oxford). To add balance to the comment about the
'Hooray-Henries' in one of the boxes passing around sandwiches at the RAH
... I had the opposite experience. I bought a single front-seat ticket in a
box, and found that the slightly select nature of being in a box encouraged
conviviality: we all shook hands and introduced ourselves, and before the
concert started we talked about previous occasions we had heard the artiste,
anecdotes, etc. Everyone was very considerate, shifting chairs to give those
behind a better view, etc. It proved to be a very relaxed and pleasant way
to enjoy a favourite performer."
“(Larger reader): We were in box number 25 with an amazing view. All the
boxes appear to have the same chairs however... These are free standing
metal chairs. As a larger person I often find seats in the theatre "snug"
but this was the first time that I have ever found a theatre seat that I
absolutely could not fit in. This was mortifyingly embarrassing... the seats
were very narrow.. even my husband who is tall but not fat, found them to be
extremely snug. I decided to ask our box host (member of staff) whether
there was a chair without arms - he was not sure but very quickly came back
with a chair without arms. As the chairs were free standing it was possible
to swap the chair and I was able to enjoy the show in comfort. I wanted to
let you know that these seats may not be suitable for larger people."
Box 77 seat 5: "I have to disagree with what has been said about the 2nd
Tier boxes at the Royal Albert Hall. I was in Box 77, Seat 5, and found out
that it was actually a tiny 5-person box with 2 seats in front (the only two
with unobstructed views), two seats behind them on a step, and Seat 5, which
was actually a chair on a platform that was placed behind the line of the
box's curtain and which had a view of only 1/3 of the stage when I was
seated. The best I could do was stand up for the first half of the concert
so I could see about 1/2 of the stage, before I went out to complain at the
interval and was moved to a lower seat where I could actually see the entire
stage.
I found myself in a group of people complaining to a member of staff that
we'd paid top price for tickets a concert, only to end up with highly
obstructed-view tickets, and eventually they did admit that the small boxes
are mostly owned and populated by family groups who squash together at the
front of the box so they can see. Not possible when you have five strangers
in a box and the only unobstructed view is from the front row of two seats.
Please note on your site that people need to be careful what seat they have
in the 2nd Tier, and I suggest they use the RAH site to buy tickets as you
can see which seat is where, unlike buying them blind through See, which
stated I was in "Row 1". Anything other than Seats 1 and 2 in the tiny
5-person boxes is a highly obstructed view unless the people in the front
row will let you sit on their laps."
"Loggia Box 12: we had seats 1 and 2 in loggia box 12 at a concert in 2010.
My sister sat in seat 2 and had a great view, but I sat in seat 1, which had
a supporting post right in front of me, so my whole view of the stage was
obstructed, I had to lean either to the right or left to see, which resulted
in an aching back and neck! I complained during the interval and was
re-seated, however, I feel that when I booked my tickets I should have been
advised of the obstructed view and that the ticket price for that seat
should have been reduced in price to reflect that obstruction - I paid full
price £75! (The monkey has sat in seat 5 in other boxes and not had a
problem, so it would very much welcome other comments on this).”
CIRCLE
Layout:
Seven rows of seats above
and behind the boxes, high above the arena.
Aisles split the seats into blocks, and separate parts of the front
row from rows behind in some sections.
Legroom:
Cramped in almost all
seats. Any with legroom will have rails in front and thus a restricted
view.
A reader cautions:
"Leg room was appalling. None of the five of us were very tall but we
were very uncomfortably squashed. At 5’3” I was just able to sit square
- taller members our party had to sit sideways. Luckily we had an aisle
seat for my eldest son who is 5’ 10” ( ie not exceptionally tall) but he
found it almost impossible to sit in the other seats."
The best relief is in the few seats with aisles in front of them.
These are Row 7 numbers 8, 9, 37, 38, 67, 68, 96, 97, 126, 127, 156,
187, 215, 216, 245, 246, 274 and 275.
A few seats have stairwells in front and allow a little extra space.
These are Row 3 seats 8 to 12, 13 to 17, 46 to 52, 53 to 59, 88 to 93,
94 to 99, 128 to 134, 170 to 174, 175 to 179.
All aisle seats provide some stretching space for one leg!
Choosing Seats in General:
All seats are subject to thin metal bars in front of them, and down
aisles. These do not interfere with the view very much, but if such things
really bother you, try row A - though there is still a low bar here - or
choose the Stalls or boxes instead. The monkey mentions this though, just so
readers know!
Best views are from blocks Q1 and X2, then P2 and Y1, or you could try
restricted view seats behind the stage in P1 and Y2, which can be a bargain.
With full view, though, next choice for the monkey are blocks Q2 and X1.
Blocks W2 and R1 are over halfway around the arena and are next choice
before blocks S, T, V, and lastly U at the farthest end of the hall from the
stage.
The sound is surprisingly good in the side blocks nearest the stage,
but grows progressively quieter towards the back of the arena, and there
have been complaints about the sound during arena based productions in
the past.
General Hazard Notes:
Rails and bars in front of and / or beside each block and row affect
views from almost all seats.
Sightlines vary depending on stage layout and height for all
productions.
Sound issues are common for those in the rear of the arena.
The circle can get hot or cold on a block-by-block basis. No reason,
just that it has its own micro-climate, the monkey thinks.
Changes for the current production:
None.
Reader Comments:
"Row C: I would like to
add a comment re the Albert Hall Circle. We have sat in this once or twice
and found it OK but on our last visit we were allocated 5 seats in row C –
can’t remember the numbers but they were close to an entrance with a walkway
in front. The seats were raised above the walkway so vision was fine but
there was of course a barrier in front. Leg room was appalling. None of the
five of us were very tall but we were very uncomfortably squashed. At 5’3” I
was just able to sit square - taller members our party had to sit sideways.
Luckily we had an aisle seat for my eldest son who is 5’ 10” ( ie not
exceptionally tall) but he found it almost impossible to sit in the other
seats. Definitely to be avoided."
"Block P, row 3, seats 11 and 12: (Paul). First the pluses... These seats
are above a stairwell therefore nobody immediately in front. Also the
acoustics from that position were fantastic. On the other hand... the seats
were sold to us as 'restricted view,' however it was 'severely restricted'
for this show ("George Michael In Concert, October 2011). We could see the
far half of the stage, and the bottom quarter of the backdrop. Half the
orchestra were visible. Thankfully George spent 80% of the time sat or stood
and the front centre which meant we could see him so long as the people on
row 1 didn't lean forward too much!
Legroom - non existent. I was wedged in and not going anywhere. A wall
between the seats and the stairwell with a metal bar under the lip meant
that I could barely move! Much has been written about how slow paced this
current GM show is - it's a good job, as these seats were designed for
sitting and listening, not getting up and dancing!
Overall, these seats would be fine (although still restricted) if the event
you are going to is in the central arena or you are happy not seeing what is
on the main stage - if priced accordingly they would be OK. But for anything
with a spectacle on the end stage, avoid unless you have no choice, and then
only if you are desperate to go. In the scramble for tickets this was all we
could get. A great place to watch the audience though!"
“Block P: "Cirque du Soleil" production "Alegria" (January 2005), the
production was staged in the central arena. (Roberto Trotta). "We had seats
in the P-section of the Circle, marked "restricted view" and sold at £22.50.
I would like to point out that the view is really bad, for two main reasons:
the first is a bulky metallic structure mounted over the back of the stage,
which hinders the view to the performance. The second is that some parts of
the show are carried out in front of a curtain which actually is seen from
behind when one is seated in the "restricted view" places. As a consequence,
large chunks of the show are completely invisible.
Also, pretty much the same situation applies even to the fully priced seats
in sections Q and R (and similarly to the corresponding sections on the
other side of the hall, X and W), and would strongly advice NOT to buy any
tickets in those sections, since the view is severely impaired and for this
show they are really bad value for money. The same is true even for more
highly priced seats in the boxes below. Quite apart from those
considerations, the show is highly entertaining and enjoyable. I suspect
that the standing places sold at £16 are not a good bargain, either.
Although they are fully in front of the stage, I reckon that another
metallic structure supporting some lights might be just on the line of
sight, effectively cutting the view to a large chunk of the stage and to
some of the most spectacular parts... (Haven't checked this for myself,
though). (Note that his comments apply only to this particular production,
staged in this particular way on this particular set. Readers may, though,
find it helpful to ask for more details when purchasing tickets for similar
"in the round" productions at another time – editor).
"P1, restricted view: (Jim). I noted this site's comments about Circle Block
P1 restricted view seats. I thought they might still be OK for a concert,
especially as it was difficult to buy any seat at all for REM (March 2008).
However I had a problem no-one predicted. The height above the stage was ok,
the angle was ok but somebody had suspended a lighting gantry directly in
the line of view. I saw virtually nothing of Michael Stipes REM's singer
when he stood at the front of the stage. Please add a comment about this to
your site as it might prevent somebody else from having a frustrating
evening. ( the monkey hopes other readers will note just how variable the
situation in block P can be).”
“Block Q: "Attended the 'Echo & the Bunnymen' concert last night (16th
September 2008) and was disappointed to find that our view was obscured by
some safety railings. This certainly wasn't made clear on the RAH website at
the time of booking. Our seats were: Circle, Block Q, Row 4, Seats 30/31.
Apart from that, the view was a bit "steep" and somewhat distant but the
railings were the main issue. Happy to send an explanatory photo, if you
wish. Still thoroughly enjoyed the concert but think that the RAH could be a
bit more up-front about these issues. Leg room pretty good for a 6'4" bloke,
by the way."
“Block R: We went to the Albert Hall on Saturday evening July 3rd 2010 to
see the Crosby, Stills and Nash concert. They were ok, not helped by the
poor acoustics. Our seats were in the top layer door R, Row 7 (back row),
leg room was better than other seats we’ve had at that level.
Everything else was the usual Albert Hall low standard, huge queues for the
totally inadequate toilet facilities, out of order lifts and worst of all;
the temperature. It was far, far too hot in the auditorium, the air cooling
system is useless, quite a few people left at the interval and we had to
leave early as my wife was starting to feel faint."
"Circle T and U: My favourite seats in the entire venue are in the front row
of Circle T and Circle U. These are a steal for 'Cirque Du Soleil' events as
the whole extravaganza will be visible from these seats, and not so much
from down below.
It does get very hot up there, the hall can't build a traditional air
conditioning system there on account of it being an 'English Heritage'
venue. In all honesty, they would have to close the building for a period of
time to put one in. So don't expect one to appear any time soon, bring a
fan.
The only other thing I'll mention about the circle is if your ticket says
'restricted view' it will be definitely be just that. If you can spare an
extra 10 or 20 pounds I would advise upgrading the middle of the circle or
even to drop down in price and get a gallery standing ticket, if you can
hack it."
"W1, row 1, seats 162, 163: "Christmas carol singalong" (December
2012). Perfect view of the stage, legroom very tight. The sound was
crystal clear – would happily go for these seats again if the price was
right. I think finding any seat in the circle with adequate legroom is
virtually impossible but it was so much better than the seats in block P
we had last time! On an aside though, I felt sorry for the stewards in
this area. How hard is it to understand why you shouldn't put your coats
and bags on the barrier overhanging the main auditorium? He must have
leant over to the people near us at least 6 times during the
performance."
“Block W, Row 6 seats 188 and 189: “Aida,” (Chris B). This is such a
huge, magnificent building that is almost worth getting seats this high
up just to fully appreciate the splendour of the place. As for the show,
you are obviously far too far up to make out any details of the actors
etc, but as we saw an opera, it’s such an honour to sit and listen to
the wonderful music. The stage is enormous and took up pretty much the
whole of the stalls area. The seats themselves are comfortable, with
ample legroom, but if you want to see the show in any detail I’d suggest
much lower down. However at a discounted price, these seats allow you to
feel part of the show and soak up the atmosphere.”
PROMENADE
(Also occasionally known as
the balcony)
Layout:
A gallery that encircles the hall high above and behind the
balcony.
Legroom:
Standing area, so not a case of legroom more a test of leg
strength...
Choosing Seats in General:
Mostly sold during the promenade concert season, the atmosphere
her is terrific, the sound average and the view vertigo inducing.
Arrive early to
nab a bit of balustrade to lean on / wall to lean against.
A unique RAH experience to try just once.
General Hazard Notes:
Vertigo.
Leg fatigue.
A long climb to this level using the stairs.
Changes for the current production:
None.
Reader Comments:
None.
Notes
Seats 5222 maximum depending on production
Air conditioned - but remains notorious for variable heat distribution. The
Arena and boxes are generally coolest, Circle and Promenade warmest (complaints
are numerous in the Circle particularly). Layered clothing
advised in all seasons. How very British is the climate in here.
A reader notes the system is "Air Cooling" rather than air-conditioning.
In July 2010, one visitor noted,
"Worst of all; the temperature. It was far, far too hot in the
auditorium, the air cooling system is useless, quite a few people left
at the interval and we had to leave early as my wife was starting to
feel faint." Hearing loop available with headsets obtainable from a desk at door 6. Occasional signed performances. Lifts and ramps allow
access to all levels, entry at doors 2 and 8. Wheelchair users get boxes and space in
stalls blocks - 28 of them. Guide
dogs are either allowed to remain with owners if the owner is seated in a box.
Otherwise they can be dogsat by staff. Two unisex adapted toilets available.
Allocated parking spaces. A good effort. Call the hall on 020 7589 3853
for full details Monday to Friday 10 am to 5 pm. 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.
Restaurant in building, call 020 7589 8900 for reservations in the Elgar Room
restaurant. Box owners can call 020 7589 5666 to arrange catering in their box
on the night. Confectionery and ice cream in auditorium. You are
not supposed to picnic in the boxes unless you pay for in-house catering.
Disguise your goodies in long wigs and dark glasses before entering. Or take out
a mortgage to pay hall food prices.
Toilets have been added to the Hall since it opened without any - Victorians
thought them too rude to include at first. Insufficient number at all levels for
ladies according to theatremonkey reports. Just adequate for gentlemen.
In July 2010 a visitor noted,
"Everything was the usual Albert Hall low standard, huge queues for the totally
inadequate toilet facilities." |
