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Performance Times Ticket Prices Where to Buy Tickets Seating Plan Seat Opinions Getting Here

SAVOY THEATRE


 CLICK HERE to buy the 2006 Broadway Cast CD
ALSO AVAILABLE in "Official Merchandise" Store

Cuddly "Bruiser the Dog" in Handbag Soft Toy,
Key Ring, Silver Heart Necklace,
T Shirts and Sweatshirts

 Legally Blonde the Book,

Legally Blonde Vocal Selection

Legally Blonde Karaoke Disc Set

LEGALLY BLONDE - THE MUSICAL (musical, like Duh!)
Captioned performance: Saturday 10th April 2010 at 2.30pm

Elle Woods is Queen of the University Sorority House. Dumped by her Harvard Law School bound boyfriend, she sets out to prove that she is no dumb blonde - and sets her sights on joining him in his goal... and win him back...

Based on the film, this musical version stars Sheridan Smith and Duncan James.

Sheridan Smith will be on holiday from Wednesday 24th until Monday 29th March 2010, and also Wednesday 19th until Monday 24th May 2010. During those weeks the role of Elle Woods will be played by Amy Lennox.

Casting holiday information is given for interest only and theatremonkey.com take no responsibility for any changes that may occur, or any issue arising for any ticket holder.

View video clips about this production.

 

Theatremonkey Opinion:
Joyfully daffy, it's impossible not to surrender happily to this frivolously frothy pink production.

From Sheridan Smith's wonderfully threatening pre-curtain announcement that she will "come after anyone posting this on 'You Tube' - and I'm not kidding around here;" and an outrageously camp opening number, the show teeters on the edge of a Grand Canyon sized goofy precipice.

By the middle of act two it has taken a gigantic leap forward. Luckily, its 'set pieces'' provide firm anchors against an uncontrolled descent. Unexpected enough to require that they are not mentioned for fear of spoiling others' enjoyment, the monkey will pass no further comment except to say some moments are hilarious.

Sheridan Smith decides on an instantly loveable Elle, getting us firmly on side from the start even if occasionally she plays it a little too broadly British Slapstick. Making the most of some duff numbers, Alex Gaumond as Emmett is a suitable accomplice, while Duncan James finds the unpleasantness of his character more easily than Peter Davison, despite the latter having the more menacingly written role.

Jill Halfpenny brings the house down with the best number of the night, "Ireland," and proves herself a fine character actor, while Elle's friends (who function as a Greek chorus for much of the show) deserve mention for sheer talented energy (and amazing abs, Ms Wall). The production opts for larger cast over elaborate sets - a wise decision with the talent the ensemble display.

There's a whole litany of things any theatremonkey could pick holes in - "Chip On My Shoulder" badly needs new lyrics (and little of the music elsewhere is particularly memorable), a tad of unnecessary smuttiness here, ten minutes of cellulite for lipo' there, and a sound mix even in the centre stalls requiring attention - but while the show may not get into Harvard, it certainly has more than a chance of Yale. Fun is the key, and this musical effortlessly unlocks every moment it can.

 

Your Reviews: Add your own by clicking here.
Important: Some reviews below can contain "spoilers" - please don't read if this bothers you!

The latest four reviews are below. For earlier ones, click here.
__________________________________________________________________

Initially, this was a mothers and daughters night out to see a bit of froth. We didn't expect greatness but just wanted light hearted fun. We got it in abundance and had a fabulous time.

We went to the evening performance on Wednesday 10th February 2010. We had seats A16 to 21 of the dress circle - with a marvellous view of the stage and possibly the most legroom a west end theatre is able to offer. Certainly more than I have been used to in recent visits to theatres. Be warned, do not try to put your coats over the balcony you will get told to remove them as it is a fire hazard, we all did!!

Sheridan Smith needs praise for carrying the show. With perfect comic timing, a great voice and snappy dance moves she is onstage in almost every scene and indeed sings almost all the songs.

But the star of the show for us was Aoife Mulholland (as Brooke Wyndham - a fitness guru) who, whilst not on stage much, had the unenviable task of trying to sing and dance whilst almost continually skipping! A feat she managed to pull off with amazing dexterity. Not a quiver in her voice or a skip out of step. It certainly was a highlight of the show, and very impressive. It was a long song and had quite complex looking skipping moves which impressed everyone.

Jill Halfpenny was funny, and it actually took a while for us to realise who she was due to the styling, which was in keeping with the film - as was all of the show.

The UPS guy - Chris Ellis-Stanton - was possibly the funniest character on the stage; and we roared with laughter whilst transfixed by every move, certainly another highlight of the show.

Duncan James was also in it, but had a supporting role which didn't particularly stand out; but if you're a fan, it would be worth going.

A good evening in a quirky little theatre (most of which is built underground, and appears to have had an an overhaul in recent years). None of us remembered any songs to sing or hum on the way home, but it didn't matter... we had Fun, and froth, lots and lots of froth.

Jos Hockley
Romford
_____________________________

We sat in Row L seats 1and 2 in the Upper Circle. These seats cost us £20 each from TKTS on Leicester Square on the day. I thought they were fair value for the highest row in the theatre. The row is a short one and L1 and 2 are up to a wall. You have no problems with people needing to get past you. So this is good. My husband is 6 foot 4" and usually struggles for leg room, but he had plenty. I felt a little removed so high up from the action, and think the sound could need tweaking, but it was OK; and I was please we got to see the show.

Don't sit here if you have any fear of heights. It is very steep and you can touch the ceiling! However, if you want a cheaper night out or just want to see this show then go for it.

The cast were lovely after, signing, and genuine nice people.

Gilly,
Leeds.
Saw show: 10th February 2010
_______________________________

Sat in row F, seat 20 of the Dress Circle. This is in the last row of the front section of the Dress Circle. A reasonable rake provides a good unrestricted view from here and although the middle section would be even better, most of the action in this show takes place in the middle and front sections of the stage so you will not miss anything.

Behind is the aisle that separates the Dress Circle in two. I would avoid the back section if possible because the seats are the same price as the front but to me they seemed a lot further away. I also heard someone complain that the metal bar that runs in the front of the back section, restricted their view.
_______________________________

Illegally disappointing!

I saw the show last Thursday afternoon (25th February 2010). Amy Lennox took the lead role in the absence of Sheridan Smith and Duncan James was absent as well - no advanced notice left some theatregoers very disappointed. I half expected this would happen as it often does at midweek matinees.

The show is fun, frivolous, froth. Would I see it again? Not if I could help it. As has been pointed out, the theatre is small, but the staging is disappointing and I left with a distinct feeling that it should have been so much better - this show has a great story, but is crying out for some wonderful music and great lyrics. It gets its biggest laughs from dancing gays and a posing delivery man, and it's "ahhhs" from a Chihuahua and a bulldog - far too clichéd and cheap.

I sat in the middle of Row H in the dress circle. The view was great but was too far away and too high up from the stage and the performers all look out to the stalls, so it is difficult to feel involved or engaged with the show. At £60 for that seat, it is daylight robbery - fortunately I only paid £25, but still felt short-changed!

Having said that, the performances were good - I've seen much better choreography and heard much better singers elsewhere, but there was plenty of energy on display. Peter Davison is an 'interesting' casting - he 'sings' rather like Rex Harrison, but without the gravitas and class. Jill Halfpenny is great and deserved her ovation, as did Amy Lennox for the enormity of the role.

Kids will love this show - it's like an adult High School Musical .... only more pink.

Katie
London

 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Performance Schedule:
The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Monday, and Wednesday to Saturday at 7.30pm
Thursday and Saturday at 2.30pm and 7.30pm
Sunday at 3pm
NO TUESDAY PERFORMANCES.

Runs 2 hours 25 minutes approximately.

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

Monday to Friday until 22nd October 2009
Stalls
Rows BB to T: £60 except
"Premium Seats" rows G, J and K 11 to 20: £75
Rows U to W: £40

Dress Circle
Rows A to K: £60 except
"Premium Seats" row C 12 to 21 and D 8 to 17: £75
Rows L to O: £40

Upper Circle
Rows B to E: £30
Rows A and F to L: £20

Box
£60 per seat



Saturday and Sunday, plus all performances from 25th October 2009
Stalls
Rows BB to T: £62.50 except
"Premium Seats" rows G, J and K 11 to 20: £85
Rows U to W: £42.50

Dress Circle
Rows A to K: £62.50 except
"Premium Seats" row C 12 to 21 and D and E 8 to 17: £85
Rows L to O: £42.50

Upper Circle
Rows B to E: £32.50
Rows A and F to L: £22.50

Box
£62.50 per seat

Lottery Seats: Personal callers to the box office 2 hours before the show can obtain a lottery ticket for that performance IF the box office decide that there are enough tickets available to do this.

If the lottery is happening that evening, winners from the draw - taking place 30 minutes later (1 and a half hours before start time) - will be entitled to buy up to two top price tickets for £25 each - cash only is accepted.


 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Buying Tickets Online:

Other 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:
Ambassador Theatre Group, the theatre group's own website provide the service for this theatre.
This site allows you to choose your own tickets from those available.

Booking fees per transaction for online bookings:
£3 per transaction (not per ticket) fee is made - pays for the books, thinks the monkey.

Other Online Choices (with S.T.A.R. genuine ticket agencies):

www.ticketmaster.co.uk, provide another alternative with the same fee as via the box office, making a £3 per transaction (NOT per ticket) service charge - the same as by telephone. Note that the tickets offered (and the range of prices available) may differ between phone and online sources.

If you use this method, be aware that the computer offers tickets at random. If you are unhappy with its choice, keep re-selecting using the "Back" button on your browser, NOT the "reselect button" on the page, until you get tickets you consider worthwhile. 

When you require a wider selection of seats than the theatre can offer, the Theatremonkey Ticketshop is a good option. Run by LoveTheatre, this reputable agency offers a selection of seats with a modest booking fee per ticket - £6 per seat on £60 tickets (£6.25 on £62.50 seats). Modest by agency standards, and only a little higher than box office prices, so worthwhile trying! Simply select the show from the "drop down" menu in the centre of the page. Note that this system will confirm exact seat numbers prior to purchase.

Another alternative is www.seetickets.com / telephone 0870 830 0200 which offers £60 seats with a £6 per ticket booking fee (£8.50 on £85, £7.50 on £75, £6.25 on £62.50, £2.25 on £32.50, £2.25 on £22.50, £4 on £40, £3 on £30, £2 on £20 and £1.60 per booking (not per ticket) postal charge. (FREE call if using BT.com Calling Plan at your chosen times).

Encore Tickets offer £60 seats with a £15 booking fee per ticket (£15.50 on £62.50, £8 on £32.50, £7.50 on £30 seats) - plus optional UK postage of £1.50 per booking, not per ticket, available if time allows. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

Other 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: 0870 164 8787
( 020 8544 7424 if you cannot use the 0870 number)
Operated by the Ambassador Theatre group's own phoneroom from 9am until 10pm (Sundays 10am until 8pm). Outside these hours the Ticketmaster agency answer calls on their behalf.

Booking fees per transaction for telephone bookings:
£3 per transaction (not per ticket) fee is made - towards books, thinks the monkey.

For personal callers or by post: The Strand, London. WC2R 0ET
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 0871 297 5477 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the theatre chain central phoneroom in London during working hours. See Notes.

 

 
 
Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

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.

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Notes
STALLS 
The Dress Circle overhangs the stalls at row J, the view from row O back is slightly affected - the top of the stage not visible.

The front row for "Legally Blonde" (December 2009) is row BB.

It is worth avoiding the first and last four seats in rows BB to P. In rows BB to C the viewing angle from these seats is uncomfortable for the price. From row D to P the angle of the walls as they narrow towards the stage is the problem.

Remember that the stage may be high - as for "Legally Blonde" (December 2009) and that the conductor may be in view from some seats in the first rows (which can annoy the odd purist, the monkey finds). To date, nobody has complained, though.

For "Legally Blonde" a reader says,
"Entered the preview performances lottery and was put in row BB 10 for £10!!!! WOW! (£25 for performances from January 2010 - Editor). What a view. You miss the tiniest little bits of the show, but for £10 it was the bargain of the century. On a second visit we won BB7 stalls! PERFECT!"

Another reader was less encouraging,
"I went down and looked at the front few rows where I normally sit by choice, and (as others have commented) for this particular production the whole of the front couple of rows look awful and may merit red, not just the sides. The problem is the substantial height of the stage but also they’ve got a very shallow orchestra pit between the front seats and the stage, literally three feet max. I’m amazed that they’re selling these front rows at full price as your diagram suggests."

The monkey felt it one for fans more than anything, really, as another reader opines,
"My seat, BB14, was won in the lottery system and £25 could be considered extortion given the incredibly poor view of the stage. My neck was craned back so far that it hurt; the stage was so near and so high that I couldn't see any of the dogs when they were on the stage floor, nor could I see the performers from their waists down when they walked toward the back of the stage. A stack of speakers are right in front of this seat and make such a noise that the man next to me was almost in my lap at times. Given that offers were available in which a top-price ticket could be purchased for £20, I find it inconceivable that the producers should dare charge £25 for lottery tickets when the view is so appalling."

though a UK "Legally Blonde" fan records,
"I AM ADDICTED. Saw the show 3 times last month. Have sat in BB13, BB8 and L3, all of which I got from the ticket lottery wins. Personally for me, BB8 was the best seat a fan of the show could ever want. I felt like I was at a private viewing, the amount of eye contact and connection I had with the actors. Just amazing. Sitting in Row L was great too for a different reason in that I got to see the show on a more production level than when sitting right up close and was able to enjoy the choreography for Whipped into Shape a lot more."

The monkey was surprised about the "not seeing from the waist down" comment, but not about the speakers. One for fans more than anyone else, it thinks.

A a previous production, reader Danielle took advantage of a discount on these seats and says,
"When sold cheap, I thought this was amazingly good value as I have seen other shows in the West End on the front row at top price. Once I got to my seat I was surprised there was so much room between me and the stage! You do have to look up a bit, and can only see the cast from the knee upwards when they are towards the back of the stage, but this isn't often. You do get a few drops of water on you during one scene but nothing major. The seats were great value for money!"

Another reader agrees,
"When cheap, these were good; on the tickets it did say about the stage so high, and when I sat down I was worried about this as it was high... however it was fine -. you can see everything. What a great view, to be sooo close to the four good-looking leads."

Reader FB comments for a previous production, when row AA was not in use:
"We bought seats 1 to 4 in row BB as the price was reduced for this row and one at the back circle at the show we attended. We were told this row was second from the front, but was, in fact the front row. We watched the orchestra rehearse, and did have to stand up several times to let orchestra latecomers gain access through a gate! We were concerned that the noise level might be excessive, particularly when we saw lots of speakers, but we needn't have worried. The acoustics were perfect, and we had a good view of the stage. This is at eye level so we were looking up, but this didn't give us neck ache. I wouldn't have selected these seats at full price, but at a discounted £20 they represented very good value for money."

A row back, when an orchestra pit is in use, a readers says,
"I also would not recommend seats in row A. (For "Fiddler On The Roof" in 2007) The stage is very high and I felt I was missing some of the action particularly during the wedding scenes. I was surprised to see so many empty seats but it did mean that I was able to move back a couple of rows at the interval and the view was excellent from row D."

For "Legally Blonde" (December 2009) a reader adds,
"A16 and 17: Far too close to a fairly high stage, and right next to a very big speaker, but I have sat in worse places. I don't feel that I missed anything, and I didn't suffer too much with neck ache so it can't have been that bad."

From row C, readers Jayne, Loz, Caileigh, Leanne and Natalie report,
"We were in row C seats 10 to 14 and had a brilliant view of the stage, we age from 12 to 50 and all 5 of us thoroughly enjoyed it. The theatre is small (similar to the Aldwych) but there is a fair amount of legroom in the stalls, though the seats could do with a bit more padding."

Reader Sophie, in the same row for "Legally Blonde" (December 2009) reports,
"I sat in C3, and was worried beforehand that it might be too far to one side - I was completely wrong! I had a perfect view, and didn't miss one thing. It was definitely worth £40 preview price for a ticket."

Another reader at the same show says,
"We sat in the centre of row C. Ideally three or four rows back would have been a little better as you can't see the feet of the performers in row C even though I am 6'2," but who is complaining as this time I wasn't paying!"

In row D, reader Cathy says,
" D1and 2: Were very worried, being at the end of a row, but the Savoy is such a cute, architecturally-beautiful and compact theatre it didn't matter. We still felt the whole experience and sound wasn't too bad."

In row E a reader says,
"brilliant seats."

Best seats in the stalls are rows G and H 7 to 20 and J 7 to 23. Then take seats around this - rows K, L, M, N, O, E, D in that order.

From F, a reader says,
"We sat in Row F14 and 15. Good seats with a full view of the stage."

to which another adds for "Legally Blonde" (December 2009),
"F17 and 18: Great seats, very close to the action without missing any of the stage, which was about eye-level with us. Probably best not to be further forward if paying top-whack."

Theatremonkey regular reporting reader James says,
"Sat in Stalls G16 for "Fiddler On The Roof" - what a fantastic seat.  There is a good rake so my view wasn't obscured at all by anyone and due to the high stage I certainly wouldn't want to be any closer.  The sound was great from here and I could see everyone's faces very clearly.  Definitely worth the top price."

For "Legally Blonde" (December 2009), some seats in J and K are "premium priced." Monkey advice is try for seats nearby unless you really don't mind paying the extra.

At a later performance, he opines,
"Sat in J22 and J23 for “Fiddler On The Roof”.  Having previously sat further forward, I preferred sitting here as the stage is quite high.  Again, a good rake and staggered seating ensures that people in front do not ordinarily cause any viewing problems."

Reader Lizzie reports,
"Row H - great view and not bad on the leg room either."

Readers Brian and Margaret say,
"H 19 and 20, excellent seats. Other comment: the Savoy is a small theatre, and I would say the view in the stalls is good from any row, remembering that the stage is raised, so you will be looking up if you sit in the first five rows."

A couple of rows back another reader adds,
"We had superb seats in rows J and K central stalls and with the seats angled so you are looking between the two seats in front it wouldn't matter if there was a tall person in front. If only all theatres did that and not just in the best seats."

Another reader endorses row J 7 to 11 as excellent too.

A reader says,
"We were in seats L 5 and 6 which were excellent. The front four rows are on the level and from the fifth row back the rake is quite pronounced so the row in front of you is considerably lower than most other theatres. It is also the first theatre I can recall that has a raised foot-rest level to counteract the slope. I had two quite tall men sitting in front of me but had no problem at all in seeing all of the stage (mind you I am 6' 2" myself). The seats are firm but quite comfortable although it was good to stand in the interval."

The opinion on L6 is seconded by another reader,
"Seat L6 had a great view and plenty of legroom"

while another reader rates M19 excellent too.

Reader James F comments, though,
"M15 and 16. View excellent but the floor curls up so you can’t put your feet under the seat of the person in front, despite the step (lots of knee room though). The seats looked good but became uncomfortable after 45 minutes as the arm rests and the backs of the seat in front are just wood with no cloth on for comfort."

Slightly along the row, another James, regular theatremonkey reading seat connoisseur notes for "Legally Blonde" (December 2009),
"M23 and M24: Although they're a bit off to the side, the view was excellent and a great rake certainly helps. One problem though is the sound. Row M is not exactly the back of the theatre, but it all sounded very distant from here."

That was in preview - so hopefully things will improve as the run continues, feels the monkey.

At the end of the same row, for the same show, a reader says,
"M1: Discounted £35 Get Into London Theatre ticket: I had expected it to be a pretty bad view due to the odd layout of the front of the Savoy Theatre; but for this show at least it was great. Can’t see the right hand side of the stage at all, but for LB most of the action is on the front of the stage so it didn’t matter; in fact the show takes place inside a large moving frame that quite often created a false proscenium over on the left two-thirds (from the audience point of view) of the stage anyway. Great legroom in all these mid stalls rows, and M was at a nice elevation above all the other rows to see without any obstructions."

Note, as the monkey does, that the reader was on a cheap ticket and didn't mind missing part of the show... at full price there are still better seats, it feels...


For "Legally Blonde" (December 2009), a reader says,
"I was in N17 and had a fantastic view. I would not recommend 'premium price' seats if central seats in other rows as far back as R were available, as I cannot think how the view could be any better. This is a fairly intimate theatre anyway."

Reader Jill Dalton adds,
"We sat in row Q in the stalls - too far back to see expressions and so on, but the 3 rows in front of us were empty, so we had a great overall view."

Reader Lorna comments,
"Row R seats 2 to 5: a good view from seat 3 with OK legroom, a hard seat though (I can be fussy)."

In row T, a reader says,
"Seats 17 and 18. For the second row at the back, the view is still amazing, as the theatre is quite small and it seems in the middle of the action. The sound too is perfect. The seats are comfortable, though they look hideous, and the legroom seems very little, but I actually didn't have a problem at 5ft 7 (maybe I've got use to little legroom on my many theatre trips). Recommend these seats for anyone. The overhang of the Circle above affects nothing, but it depends on the show you're seeing."

In the rear stalls, the overhang affects the view. Reader Cath says for "Legally Blonde" (December 2009),
"We got given T 1, 2 and 3 in the stalls. These weren't as far back as they sound and being off to the side wasn't a problem at all; during the interval we went to have a look at some seats in the middle of row T that didn't have anyone sitting in them but then we moved back to our original seats (still in the interval, we didn't disturb anyone!) because when you sit in the middle you have people's heads directly in front of you whereas if you're sitting at the side you're looking a bit diagonally so their heads don't get in the way (I don't think I've explained this very well but I know what I mean).

The only problem with these seats is that you're very much under the overhang of the dress circle. It only actually gets in the way during the first couple of songs when people stand on the top of the stairs: the top of their heads get chopped off a bit and there are speakers stuck on the ceiling which get in the way a bit. This wasn't really a huge problem, but I've never sat under the dress circle before and it just made the whole stage feel a bit smaller, but if you're used to this it's no problem. I guess in a very round about way what I'd say that these seats are good, but if you're paying top price then obviously get some seats further forward if you can."

For "Legally Blonde" (December 2009) top price indeed goes back as far as row T. As Cath says, try for the furthest forward you can - there is a short sequence at the beginning that takes place in an area cut off by the circle overhang, making rows S and T seem a bit greedy at top price (take S before T if that is all that is going, though).

Purists might want to avoid T6 to 16, plus U to W3 and 11 as a sound desk wall might bother them. Most won't mind, though. Rows here have better legroom than the equivalent Dress Circle seats, worth considering. At second price, these rows again offer a cheaper choice with more legroom - avoid seats next to the sound desk if sensitive, though.  The rake in the rear stalls is good but the theatre is large and the last three rows feel far from the stage. 

Legroom is acceptable in all seats for all but the tallest.

 

DRESS CIRCLE
The Upper Circle overhangs the Dress Circle at row G and blocks the view of the top of the stage from row K back. A metal bar runs across the front of the Dress Circle, slightly affecting the view in row A.

The Dress Circle is split into front and rear sections by an aisle across the front of row G. A high metal bar runs across the front of row G, badly affecting the view in rows G, H and J. Further back, the overhang of the Upper Circle doesn't do much for sightlines from row L onwards...

In the front section it is worth especially avoiding rows A to C seats 1 to 3 and 28 to 30 as they are towards the edges of the theatre and offer the least value for money. A 1 and 30 also have a rail in view.

A reader comments,
"A30: On the ticket it says, not very clearly, 'rail in view'. WELL...I'd say quite clearly 'restricted view'. The seat has a great big safety rail blocking a third of the stage."

Other seats except Row A offer a clear view and fair value, but theatremonkey prefers the front stalls for being closer to the stage. A reader strongly disagrees, though,
"A16 to 21: a marvellous view of the stage and possibly the most legroom a west end theatre is able to offer. Certainly more than I have been used to in recent visits to theatres.
Be warned, do not try to put your coats over the balcony you will get told to remove them as it is a fire hazard, we all did!!"

In row D, a reader says for the preview of "Legally Blonde" (December 2009),
"D5 of the Dress Circle - £40 being the most expensive West End ticket I've ever bought. I loved it! Worth everything just for the atmosphere of being first preview."

Two seats along, reader Kirsty reports for the same show,
"D7 in the dress circle. it was kind of central, but I could see everything and I heard everything too."

A reader says,
"We sat in the dress circle, row D, which was perfect. The sight lines were excellent even for very small children with no boosters seats."

For "Legally Blonde" (December 2009), central seats in C, D and E are "premium priced." Totally your call if you choose to pay more, feels the monkey. Great view... but other seats around them are pretty similar - and cheaper.

Two wheelchair positions at F1 offer a poor value view of the stage. See notes.

Of row F, reader Hannah M comments, for "Legally Blonde" (December 2009),
"F 1 to 5: The view was brilliant because of the steep rake, and leg room was fine. Due to being a student monkey I wouldn't pay the normal £55 price for them, but if my bank balance allowed I would say the view is worth the money."

Further along, at another show, reader Lorna says,
"F7 and 8: a fine view and quite comfortable."

Further along the row, theatremonkey regular seat aficionado James says,
"Sat in F14 and F15 for “Fiddler On The Roof”.  The seats may be a bit uncomfortable (particularly as Act One is almost two hours) and you do feel a tiny bit distant from the stage, but the view is very clear and the sound is great from here too."

another reader adds for "Legally Blonde" (December 2009),
"F20: This is in the last row of the front section of the Dress Circle. A reasonable rake provides a good unrestricted view from here and although the middle section would be even better, most of the action in this show takes place in the middle and front sections of the stage so you will not miss anything.
Behind is the aisle that separates the Dress Circle in two. I would avoid the back section if possible because the seats are the same price as the front but to me they seemed a lot further away. I also heard someone complain that the metal bar that runs in the front of the back section, restricted their view."

The rear section is divided into two uneven halves by an aisle.

In row H, a reader says,
"H12: Got this in the "Legally Blonde" (December 2009) Lottery for £25, good value for that price. Nice clear view, However at full price definitely go for something closer to the stage."

Reader Katie agrees,
"Centre H in the dress circle: The view was great but was too far away and too high up from the stage and the performers all look out to the stalls, so it is difficult to feel involved or engaged with the show. At £60 for that seat, it is daylight robbery - fortunately I only paid £25, but still felt short-changed!"

Row G seats 1 to 5 and 24 to 26, rows H to L 1 to 6 and 25 to 27, row M 1 to 6 and 21 to 23, N 1 to 7 and 23 to 25 and O 7 to 9 are all very much in the corners of the theatre and offer worst value - especially remembering those prime central seats in the front section are the same price as rows G to J here... The very first and last 4 seats in particular are worth skipping in the monkey view.

Furthermore, reader Will Cooper notes that: 
"I sat in Dress Circle seat N7. Theatremonkey readers will be interested to know that the rear row of this circle is not so much a collection of seats, as a long line of unnecessarily compact instruments of torture. 

The seats are right up against the wall, so the seat backs are flat rather than curved. This meant that the only way I (5'10") could find comfort was to sit perpendicular to the seat in a most unorthodox manner, this meant I had to strain my neck in order to see the stage and went home with quite bad neck pains. 

Normally, I am prepared to put up with discomfort if I really want to see a show or the seats are particularly cheap but I found that, not seeing the show would be preferable if these were the only seats available. I also think that these seats were fairly expensively priced considering the view they gave and the discomfort suffered, even with a 33% under 16's discount."



Rows L to O in the larger block offer slightly better value, as they are slightly discounted. The rear stalls have a slightly better view and legroom in the monkey's opinion. At second price, the monkey might particularly consider row L 7 to 24 and M 8 to 20 - same view as top price row K, but slightly cheaper for "Legally Blonde" (December 2009). Your choice if you feel missing a little of the top set is worthwhile - it is only a couple of moments at the very start of the show, and nothing of importance happens. Alternatively, the Upper Circle is cheaper still, and way more comfortable and with better views than row O in particular.

Reader Nigel Sitwell comments,
"We were in the back row of the dress circle, which was a bit too high up and far back, so we were glad we brought our binoculars. We are planning a return visit later in the autumn, when we shall aim for near the front of the Dress Circle or midway back in the stalls. Hang the expense!"

another reader agrees,
"They are very high and a long way from the stage and inevitably the actors are looking at the Stalls audience not right up above their heads where we were."
 

Legroom is poor in row G, acceptable to many in A, better in B to D, barely adequate in rows K to O - except H6, M7 and N8 on the aisle where the seating is staggered, with nothing ahead. The last two are averagely priced too, though N8 suffers the upright seat problem mentioned above!

 

Dress Circle Box
Between the stage and front of the Dress Circle. Two seats, with a view of about a third of the stage without leaning, as it is in a wall which slopes back from the stage towards the side of the theatre. Avoid - easy to do as they are often not sold to the public - lighting etc is positioned here instead. Very expensive at top price, for little view.

 

 

UPPER CIRCLE
Called the "Grand Circle" in this theatre.

This is high above the stage, and the rear section feels distant from it.

A metal bar runs across the front of the circle affecting the view in row A.

The Upper Circle is divided into front and rear sections by an aisle in front of row F. More metal bars running across the theatre affect the view in the rear section.

In the front section rows A to E seats 1 to 6 and 20 to 26 offer least value for money being at the edges of the auditorium. You pay the same for rows B to E, so pick these first. Value for money is fair in the centre seats of these rows. Row A is normally cheaper to account for the sightline problems, as for "Legally Blonde" (December 2009) - and is probably worth missing for this production unless you can tolerate the legroom and accept the obstructed view. For those who can, you do get much closer to the stage for the same money as those at the back are paying.

Reader Jon reports,
"A25: Minimal "rail" intrusion to vision, a slight lean forward to see total front of stage and the orchestra entombed below. Whilst direct front legroom is tight, as this is the end seat it gave the opportunity to swing legs to the left with no problem.

One reader says,
"I was sitting in the centre of D row and found the height above the stage made me feel quite vertiginous, although the actual view of the stage and all the action was fine."

In the rear section rows F to H seats 1 to 5 and 24 to 28 are at the edges of the circle, and rows J to L are isolated blocks either side of walls. Row F's bar may well annoy some people in row G too.

Rows F to J offer poor value in terms of both view and remoteness from the action - especially considering the seats in the front section are the same price. When better seats are unavailable, accept the sides of row H then G (unless bars bother you) before J for at least being closer to the front. 

One reader underlines this at "Legally Blonde" (December 2009),
"After sitting in row G I would say that this row should be a last resort row - and any row in the upper circle is better than G. There are 2 bars in the way, and I did not appreciate that it is the bar behind row F which is about 2 metres away that is the huge problem. Loved 'Legally Blonde' but the seats couldn’t have had a much worse impediment and the theatre ought to offer them free to under 18s."

Reader James reports,
"The difference between rows E and F of the Upper Circle is huge - the theatre design seems to emphasise the distance from the stage. Rows K and L seem a long long way away. However, would recommend row E heartily."

Reader Jon says,
"J11: This is just to the side of the spotlights booth, but wasn't "tight" ( I'm 20 stone and xxl 5'11"), there was enough room by the right hand side of this seat next to the booth for not only my coat but also the couple sat next to me, rather than stuff under the seat. Leg room O.K. (feet room tighter!). The view is good, but I would question seats 11 in rows behind and 12 through 15 as you go back, and the front of the stage is unseen."

For "Legally Blonde" (December 2009), the whole rear section, plus row A are the same price. For the legroom and bar tolerant there's A. For the rest, rows H and J avoid the worst of the bars at the price.

Usually, rows K and L have only a little wrong with the value for money, feels the monkey but don't expect any miracles. These are often the cheapest seats in the theatre, and there is a good reason - distance and view. On the other hand, if offered only row J, you may as well save an extra few bananas as the view is fairly similar. For "Legally Blonde" (December 2009), at the same price as the rows in front, they are a last choice.

A reader comments,
" L2. I would warn that you need oxygen at this level and vertigo sufferers should stay clear. Otherwise the seat was a good buy - high enough to give a clear view above the horizontal bars that affect some lower rows. In addition the sound system is heard to wonderful effect with one's head against the back wall."

to which another adds, for "Legally Blonde" (December 2009),
"L 1and 2: These seats cost us £20 each from TKTS on Leicester Square on the day. I thought they were fair value for the highest row in the theatre. The row is a short one and L1 and 2 are up to a wall. You have no problems with people needing to get past you. So this is good. My husband is 6 foot 4" and usually struggles for leg room, but he had plenty. I felt a little removed so high up from the action, and think the sound could need tweaking, but it was OK; and I was please we got to see the show. Don't sit here if you have any fear of heights. It is very steep and you can touch the ceiling! However, if you want a cheaper night out or just want to see this show then go for it."

another reader says,
"I bought seats K16 and K17 and the view seemed quite good. My friend got a bit dizzy but we were able to move forward to row G which was fine although the bar was a minor nuisance."

The view in the rear section, as mentioned by the readers, is interrupted by the bars, and some may well feel that the price (despite being lower than elsewhere) does not compensate sufficiently.

Legroom is cramped in all seats, worst in row A.

 

Notes
Total 1157 seats.

Air-conditioned auditorium.

An infrared loop with headsets available. Guide dogs are allowed in auditorium or dogsat by arrangement. Two wheelchair spaces in the Dress Circle. Only problem is steep hill outside to push a chair up. The adapted toilet is nearby. For fuller details, call the box office on 0844 8717 677. 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.

Four bars; Stalls, Lounge, Dress Circle and Upper Circle.

The adjacent Savoy Hotel offers the famous Grill and other restaurants. Ice cream and confectionery only in the auditorium.

7 Toilets; Stalls 1 gents 3 cubicles, 1 ladies 9 cubicles; Dress Circle 1 gents 2 cubicles, 1 ladies 9 cubicles, 1 unisex disabled; Upper Circle 1 gents 5 cubicles 1 ladies 6 cubicles.

 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Getting to this Theatre
Find this theatre on a Street Map
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Charing Cross - Bakerloo (brown) and Northern (black) lines. Also Main rail network terminus.

For mobility impaired audience members, the Society of London Theatre provide a "photo map" - illustrated walking route to this venue from a near landmark and also Waterloo Station (the nearest fully accessible station) on their website www.officiallondontheatre.co.uk, via the theatre's listing page on that site.

 

Plan your tube journey to this station using the button below:

Leave the station by following signs from the platforms to the STRAND street exits. Walk straight ahead into the underground shopping arcade and keep going straight on into the light. If, underground, you pass Davenports Magic shop, turn around and walk the other way.

Take the left-hand staircase up to street level. In front of you is a very busy road, the Strand. Brook Street Employment Agency must be on your right as you face the road.

If you see a sidestreet, with Brook Street Employment Agency on your left, turn around and walk towards the busy road instead - you took the wrong stairs.

Turn to your right and walk past Brook Street Employment Agency, keep walking. The theatre is on this side of the road, past Australia House, and beyond the Vaudeville theatre (visible on the other side of the road). It is a longer walk than expected. Do not worry, you will get there.

Cross Adam Street and ignore the stairs down to Carting Lane. The next turning is the one you want. Savoy Court is the driveway of the hotel. Looking down it you see the green Savoy Hotel sign ahead of you. The theatre entrance is to the left of this sign.

Note: Savoy Court is the only street in London with traffic flow in the opposite direction. This helps taxis set passengers down near the Savoy door, makes American and most European tourists feel at home, and allows everyone else to get mown down. Look both ways when entering or crossing this street.

If you pass the main station and see a large space full of taxis, you are going the wrong way. Turn around and head for Brook Street Employment Agency.

 

Buses:
6, 9, 11, 13, 15, 30, 77A, 176. All stop almost outside the theatre.

 

Car Park:
Trafalgar Square Spring Gardens.

From the car park, turn up the road on the left to bring you on to Trafalgar Square. Face Nelson's Column and turn to your right. Cross Whitehall and Northumberland Avenue (you'll pass a branch of Tesco and a bookshop), and walk on towards Charing Cross Station, passing more shops on the way.

Once past Charing Cross station forecourt, keep going. The theatre is on this side of the road, past Australia House, and beyond the Vaudeville theatre (visible on the other side of the road). It is a longer walk than expected. Do not worry, you will get there.

Cross Adam Street and ignore the stairs down to Carting Lane. The next turning is the one you want. Savoy Court is the driveway of the hotel. Looking down it you see the green Savoy Hotel sign ahead of you. The theatre entrance is to the left of this sign.

Note: Savoy Court is the only street in London with traffic flow in the opposite direction. This helps taxis set passengers down near the Savoy door, makes American and most European tourists feel at home, and allows everyone else to get mown down. Look both ways when entering or crossing this street.

The "Theatreland Parking Scheme" may be available. Call Westminster City Council car parks on 0800 243 348 or see www.westminster.gov.uk/carparks for details. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost. Spaces CANNOT be reserved at these prices, so choose whether you would prefer to book and pay more, or use this scheme.

If you choose the "Theatreland Parking Scheme", you must get your car park ticket validated at the theatre's box office counter (the theatre attendant will insert the car parking ticket into a small machine which updates the information held on the magnetic strip on the reverse, thus enabling the discount). When you pay using the machines at the car park, 50% will be deducted from the full tariff. You may park for up to 72 hours using this scheme and it is endorsed by the Society of London Theatre.

For a full list of car parks that participate in the 50% off theatreland scheme here see www.westminster.gov.uk/carparks/theatreland.cfm, and for a full list of theatres that participate in the scheme see www.westminster.gov.uk/carparks/theatres.cfm.


 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

 

 

 

 

 

 

 

 

 

 

 

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