|
| |
|
ROYAL COURT THEATRE
DOWNSTAIRS |
|
|
|
NOT I (play)
22nd until 24th May 2013
Eight feet above the stage, a woman's mouth delivers text at the speed
of thought.
Samuel Beckett play, over in 9 minutes, is followed by a video and
question and answer session - to pad things out to one hour.
|
|
Theatremonkey Opinion: |
|
Not available.
|
Important: Some reviews below can contain "spoilers" - please don't read if this
bothers you!
.
|
|
The monkey advises checking performance times on your tickets and
that performances are happening as scheduled, before travelling.
Tuesday to Saturday at 7.30pm
Runs 1 hour approximately.
|
|
View this information in
diagram form
All tickets £20 except:
All Upper Circle seats and the Dress Circle slips: £12
|
Theatre Box Office:
www.royalcourttheatre.com
provide their own service for this theatre.
This system allows you to select your actual seat from all
those available. Site not available between 02.30 hrs and 05.00 hrs
UK time.
Booking fees per ticket for
online bookings:
75p booking fee is charged to post out tickets by
the Royal Court Box Office. No other fee is charged. Other Online Choices (with
S.T.A.R. genuine ticket
agencies):
Independent S.T.A.R. ticket agencies
may also offer an alternative choice of seats.
|
|
Box Office Information: |
|
Tickets offered differ between outlets. Outlets also may offer
different seats via their phone and online systems. Offers may be
available click here. |
Theatre Box Office:
Telephone:
020 7565 5000
Operated by the Royal Court Theatre itself.
At busy times / outside working hours - 10am to 6pm Monday to
Saturday (excluding Saturdays where there is no performance), See Tickets may
answer on behalf of the venue. A £2.75 per booking service charge is
made if See answer your call.
Discounts cannot be booked by the agency, nor can they
give disabled access advice. Call if possible weekdays 11 am to 4 pm
for the best chance of speaking to the box office itself. Booking fees per ticket for telephone bookings:
75p booking fee is charged to post out tickets by
the Royal Court Box Office. No other fee is charged.
For personal callers or by post: Sloane Square, London. SW1W 8AS
No booking fee for personal callers.
Special Access Needs Customers:
Wheelchair users and other registered disabled
theatregoers can book their seats on 020 7565 5000 and enquire about
concessionary prices that may be available to them.
The wheelchair users line connects
directly to the theatre box office in London during working hours. If for some
reason See Tickets answer, ask to be connected to the theatre / arrange to be
called back.
See Notes.
|
|
Theatre Seat Opinions: |
|
Please remember that cheaper seats often do not offer the same view /
location quality as top price ones, and that ticket prices are designed to
reflect this difference. 
Royal Court Theatre
Photographer and Copyright holder: Stephen Cummiskey.
Used by permission. This photograph is owned by the above named person, and MUST
NOT be reproduced on any website without his express authority.
Note: At normal Monday Evening performances,
with all tickets at a single price, Dress Circle row D 2 to15
becomes "Green" for value, row E 8 to 15 "white" and the Upper
Circle is all rated "red" for value. If you have to sit there, aim
for the 'green' seats first, though.
|
STALLS
Layout:
The Dress Circle overhangs the stalls at row E. The top of the
stage is not visible from row K back.
Seats are a single block, with an access aisle to centre row K and L
wheelchair viewing positions.
Legroom:
Adequate in all seats.
Arm-rests can be raised to provide wider seating - though two tickets
must be bought if doing so.
Choosing Seats in General:
Rows AA and BB an be inserted in front of row A if a stage
extension is not required.
Normally, the pricing policy puts the front three rows (five when AA
and BB are in use), and the last two rows at a lower price. The rest are
all top price.
The front row - A, B, AA or BB is confirmed during previews, and the
monkey posts details when available. All these are always very cheap,
even if you do have to look up. Worth thinking about, feels the monkey.
Of the cheap front 2 or 4 rows, the monkey would go for the furthest
row back possible, if trying to avoid any potential neck ache. Anything
further forward is an excellent second choice, though, it feels – and
don’t worry about taking the front row. The box office will warn / not
sell seats that are too uncomfortable.
The two first and last seats from row C back are outside the
proscenium with the edges of the stage not visible. At top price, avoid.
Prime seats are in the centre of rows from E back.
Wheelchair spaces behind row J seats 11 and 12 offer a perfect view.
Two more spaces at the ends of K. Take J first, then K but both are
fine.
At second price, the back two rows are excellent value if the
similarly priced front ones don’t appeal. The rake is good enough to
provide clear views (accepting the top of the stage is not visible), and
the theatre is intimate enough to feel close to the stage. A meaner ape
than Theatremonkey would quibble with the prices for these seats in the
rear of the theatre.
General Hazard Notes:
The stage can be high and have a strange configuration that
affects sightlines in front rows.
Changes for the current production:
Row A is the front row.
With all seats a single price, monkey advice is central seats first,
taking the end two or three in each row last unless you are keen on an
aisle seat. Basically, you can't go wrong down here, it thinks, and it
is all "personal preference" at those prices.
Reader Comments:
“Row AA: "Love, Love, Love" (May 2012), (Iain). Excellent.”
"Row BB: "The Heretic" (February 2011), (Iain Campbell). At £10 each we had
a great view - AA is even better. Seats are leather, and very comfortable."
"Row BB: (James). We had cheaper seats - front row - and had a great view.
Not too bad on the neck strain and comfortable leather-look seating with arm
rests. Fantastic for £12."
"D11 and 12: "Clynbourne Park" (August 2010), (That Fulham Couple – regular
readers). Comfortable; however, for this production we recommend sitting a
few rows further back."
"F5 and 6: "Clybourne Park," (September 2010). No problems, close enough to
see facial expressions but far enough back to see the whole stage easily."
"H12 and H13: “Now or Later” (October 2008), (James – regular reader).
Staggered seats and a fair rake ensured a good view."
DRESS CIRCLE
Layout:
The Upper Circle overhangs the Dress Circle at row C, but does not affect
the view.
The circle curves sharply towards the stage.
Two slips extend from the front of the circle, down the sides of the
theatre towards the stage.
Legroom:
Poor in all seats, worst in row A, particularly if tall.
Arm-rests can be raised to provide wider seating - though two tickets
must be bought if doing so.
Choosing Seats in General:
Like the Stalls, seats are fairly priced for view.
Seats A 3, 4, 19 and 20 are discounted to account for the high rails in
front. The front stalls are preferable for view at the same price.
Elsewhere, central seats in rows A to C have a decent view. Go as
central as possible, is the monkey advice.
Outer seats, even at second price, are less of a bargain – again, there
are decent stalls for the same price.
Central row E is cheaper than row D in front of it (Tuesday to
Saturday), for similar views... the monkey would take central row E
first and save a few pounds.
Wheelchair space at row D2. Make your choice according to personal
preference. Theatremonkey likes the stalls better, but the view is
probably equal.
A row of seats runs from the front of the circle down either side of the
theatre to form slips. Seats here offer a sideways view of the stage.
The restricted view is fairly priced.
Behind them are eight restricted view standing positions. At just ten
pence each these are a total bargain – and don’t forget your arrows...
viewing is through “archer slits.”
General Hazard Notes:
The ends of each row have an angled view of the stage.
Metal bar runs across the front of the circle, and is double height
in front of seats A 3, 4, 19 and 20.
Slip seats and standing places have a severely restricted view of the
stage.
Changes for the current production:
With all seats a single price, monkey advice is central seats first,
taking the end two in row A or three in the other rows last unless you
are keen on an aisle seat. Basically, you can't go wrong down here, it
thinks, and it is all "personal preference" at those prices. Do remember
that row A has the least legroom and that stalls are more comfortable
generally than other seats down here, though...
Slip seats are the same price as upper circle seats. The monkey would
take upper circle seats first for view at the same price.
Reader Comments:
"C18 to 21: "Get Santa!" (December 2010), (Clive).
Generally a good view with definitely no feeling of remoteness. However the
very left of the stage is obscured in C20 and especially in C21. Legroom is
adequate but no better."
UPPER CIRCLE
Layout:
This is high above the stage.
Seats curve sharply in a single block, towards the stage.
Legroom:
Poor in all seats, worst in row A.
Arm-rests can be raised to provide wider seating - two tickets must
be bought if doing so.
Choosing Seats in General:
The view from central seats is clear, poor for the
first and last four in each row - which are sadly no longer priced to
allow for this.
Choose central row B first, then C. Go a row back rather than outwards.
Row A can be a bargain (to those willing to risk their circulation)
when sold at restricted view prices - otherwise avoid.
The worst restricted views normally occur when either the front of
the stage is extended forward or, more commonly, if staging doesn’t
account for the double height bars which run across the front of the
circle.
The monkey would honestly advise finding the extra £5 if possible to
sit in the stalls, especially if taller.
General Hazard Notes:
Double bars run across the front of the circle.
Outermost seats lose views of the stage front to the curve of the
circle.
Some people find the centres of the long rows claustrophobic.
Changes for the current production:
With all seats a single price, monkey advice is central seats in row B
first, then C (unless you prefer an aisle seat - which at least will
have legroom of course!). Again, you can't go wrong here, it thinks, and
it is all "personal preference" at those prices. Do remember that like
the circle below it, row A has the least legroom and that the more
expensive stalls are far more comfortable...
Reader Comments:
"C13: "Birthday"
(July 2012), (Taljaard – regular reader). A very good view and was not very
distant from the stage at all."
Notes
Total 395 seats.
Air-conditioned auditorium.
Occasional signed and audio described performances. Scripts available free to
deaf patrons attending sign-interpreted performances. Texture mapped stairs and
floor number announcer in lift. Guide dogs welcome in auditorium or dog sat.
Hearing loop at box office and in auditorium, also infra red headsets in
auditorium. Many wheelchair space in
auditorium in central row J and ends of row K of stalls. Access via lifts and easy slopes. Adapted unisex toilets at Stalls
and Circle level. Fuller details www.royalcourttheatre.com
or call the box office. 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.
Café in basement, Ice cream and confectionery in auditorium.
Two bars, Stalls and Dress Circle.
6 Toilets. Stalls 1 gents 1 cubicle, 1 ladies 2 cubicles; Dress Circle 1
ladies 1 cubicle; Upper Circle 1 gents 1 cubicle; Upper Circle staircase 1 gents
1 cubicle, 1 ladies 2 cubicles.
|
Nearest Underground Station:
Sloane Square - Circle Line (yellow) and District Line (green).The theatre is next to the station.
|
Buses:
11, 19, 22, 219, C1 to Sloane Square.
Taxi:
Hail one in the street outside.
|
Car Park:
Cadogan Place. From the car park, exit onto Cadogan Place. Turn to
your right and walk to the junction with Sloane Street. Turn left into
Sloane Street and walk up it, crossing Pont Street, to the theatre,
which is ahead of you on the far side of Sloane Square. |
.
| |
|
