CHOIR
These rows are behind the stage, facing the rest of the hall. When sold they
offer a cheap and quality (if backward) view of the stage. Choose rows 1 to 3
before 4 to 9.Legroom is just adequate, best in the front row.
ARENA
29 rows in the centre, flat part of the hall. These are directly in front of
the stage facing it. There is no rake (slope) to this floor. 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.
A reader illustrates the problem of a tall person in front with this report,
"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."
The monkey is not impressed...
Seating plans vary by event - the latest has sixteen seats in a central block,
with extra ones either side of an aisle. The view from each row is the same
though i.e. poor from 11 rows back!!!
Legroom is good.
Only when seats are removed for the annual promenade concert season does the
arena become the perfect place to be for a concert.
STALLS
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.
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. See notes.
Legroom is good in all seats.
BOXES
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.
As a general rule (there are exceptions to prove it!) Loggia Level boxes seat
eight, Grand Tier twelve, and 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
seater, as reader Rex Holder noticed, 1 to 4 are front, 5 to 8 are behind, with
9 to 12 in the rear. In all cases the 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,
though, due to the curve of the front wall.
At the lowest level, Loggia, 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 the Loggia level boxes.
Loggia level boxes 1 to 4 and 31 to 35 are closest to the
stage. Boxes 1 and 35 can have metalwork in the way, obstructing the view from
the corner of the box. Boxes 1 and 2 can be combined to form a larger space if
needed.
Boxes 5 and 35 accommodate wheelchairs and command a fine view. Users
should take these over block K. See notes.
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.
One reader did note, though,
"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..."
The monkey thinks they were, and has never noticed the issue before - it
would welcome reader comments to the usual address,
though, if this is indeed an ongoing problem.
A larger reader says,
"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."
CIRCLE
Seven rows of seats above and behind the boxes, high above the arena.
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.
One reader says,
"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 cant 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 53 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."
Worth knowing, feels the monkey.
For the "Cirque du Soleil" production "Alegria" in January 2005, the
production was staged in the central arena. Reader Roberto Trotta sat in block
P, and reports of the view:
"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."
Roberto goes on to remark:
" 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.
At another event, reader Jim reports,
"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."
Done, and the monkey hopes other readers will note just how variable
the situation in block P can be.
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.
Legroom is just about acceptable in almost all 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. Some of these seats
may have a restricted view for some events - stairway bars that form the
handrail, mostly. A reader agrees with this and
cautions:
"Leg room was appalling. None of the five of us were very tall but we were very
uncomfortably squashed. At 53 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."
It is also worth considering a few seats that 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. Watch for
metalwork, though.
Finally aisle seats provide some stretching space for one leg!
PROMENADE
(Also occasionally known as
the balcony)
Mostly sold during the promenade concert season, these are standing places in a
gallery that encircles the hall high above and behind the balcony. The
atmosphere her is terrific, the sound average and the view vertigo inducing.
Again, a unique RAH experience to try just once.
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. 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.
Bars at all levels
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.
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