STALLS
Layout:
The Dress Circle overhangs the stalls at row H; The overhang
progressively reduces the view in the rear stalls from row P back.
The stalls are divided into front and rear sections by an aisle in front
of row M.
The front section is split into two blocks by a central aisle.
The rear section is split into a small central and two side (one large,
one smaller) blocks by aisles.
The rake
(sloped floor to help see over rows in front)
starts to be noticeable around row F, but isn’t steep anywhere
in the stalls.
Legroom:
Rows CC to AA vary depending on which is the front row at a particular
production.
As a rule the very front row could either have a lot of legroom or
none at all. It just depends how close the supporting wall of the stage
/ orchestra pit wall is positioned to the front row.
Behind the front row, legroom is often cramped in rows back to E (often
very, in most of BB if it is the second row).
Space is generally acceptable for all but the tall (over about 5ft 10)
in rows F to X (excluding the very cramped U13 to 18),
Excellent legroom into the aisle in row M, though the seats are quite
low for the all. Reader Paul West confirms this:
"L 17 and 18 - at 6' 6", the legroom was absolutely non-existent... I
would suggest going for row M behind which has much more legroom."
There is extra space with nothing in front of CC9 and 27, C29 and L1 and
35 (no spectacular view from these L seats except of the wall, though).
CC26, B7, E6 and 30, K3 and 33, H31 and L34 have a bit more space for 1
leg too.
Choosing Seats in General:
Front Section:
When row AA is in use, the monkey's main concern is legroom. It varies. If
there’s plenty, the centre is a fine place to be, the ends less so, provided
the stage is low and you don’t mind missing dancing feet. With an orchestra
pit in use, other readers find there is a problem in row BB.
Normally, the first and last three seats in rows CC to E (first and last two
in BB) should be avoided as the viewing angle offers poor value for money.
Rows BB to E are also not raked and have less legroom than the rest of the
stalls. On the plus side, the cramped conditions here make for an audience
feeling very close and connected with the stage action.
If row BB is used for cheap front row as "Day Seats" the monkey is
also keen, taking the end two seats last, though for the best angle on the
action.
Row CC at top price, the monkey feels, tends towards expensive unless
you are a fan wishing to be as close to the stage as possible. On the
other hand, CC9 and 27 have nothing in front of them - though they don't
have a particularly great view either. CC 19 has a tiny bit of extra
room as well where the seat in front is off-set, though the conductor
may be in view from here.
Rows F to L offer the best views in the section. Take seats 11 to 26
first in these rows, centre aisle seats 18 and 19 maximise comfort and
view. Avoid the ends of these rows for the best viewing angles and the
possibility of boxes / electrical equipment intruding into sightlines.
Rear Section:
Row M seats 9 to 28 should be taken before the front block by those over
six feet tall. For everyone else, rows M to O seats 9 to 28 are on par
for value with the front stalls. The monkey never hesitates at the
Shaftesbury – it’s row M 9 to 28 or nothing.
Row P back decline in value at top price, just because these seats begin
to feel far from the stage and the low Dress Circle above affects the
view of the top of it. At a pinch, monkey feels them OK outside of the
extreme end, but top price rows S and T may feel a tad pricy. The upper
circle is cheaper, with reasonable comfort...
Rows U to X at third price are reasonable value. In these rows the trade
off is distance from the stage and view. Compare these with front Upper
Circle seats at lower prices, though, which are mostly as comfortable if
the row is chosen carefully.
Row U seats 13 to 18 should normally be avoided due to the sound desk
positioned directly behind them, creating noisy distraction for purists.
There is also almost no legroom here either.
One reader also noted that standing space here is worth knowing about,
“ We got two right sided standing tickets for £15 each (when they went
to a show – not always that price, editor). The only action I missed was
a tiny bit of front stage right and standing wasn’t a problem, so for
the money I would say they are really good value. However, this is
because I was at the end of the standing balcony furthest from the
stage, closest to the back of the auditorium. The further along you go
the worse the view gets, until at the end you miss quite a lot of the
action. The standing area is unallocated, so it pays to get there as
soon as the auditorium opens to bag the best spot. Having had a quick
look at the standing at the back this seems fine too, but the ceiling
comes down very low making your view feel a bit squashed."
General Hazard Notes:
At some musicals the conductor of the orchestra may be in view from
central aisle seats if the orchestra pit is in use (row BB 18 and 19 can
be removed to allow for this), also that high stages and being at the
front may mean footwork or flooring missed for choreography and carpet
fans respectively. For musicals the monkey felt the front four rows at
least will miss feet.
Speakers or lights hung underneath the circle overhang may cut views
from the extreme end seats in row K. Even without speakers, you do have
the overhang of the boxes still intruding into your view. Monkey says
miss these seats at both ends of row L... oh, and they also face the
wall more or less too.
Changes for the current production:
Row BB is the front row, with plenty of legroom. A reader warns, though
SPOILER "before the show starts a sexy dancer (female) comes out and
picks on a few guys. So if you don't fancy being a victim, you might
want to choose a seat a bit further back." SPOILER ENDS. At a very low
price, they are a "must have" - choose from the centremost seats
outwards first.
"Premium Seats:" some central stalls from rows E to H are labelled thus;
considered best in the theatre and costing a little more. Your choice,
feels the monkey. It does note that there are plenty of seats around
them with equal view at a lower price. There seems little point taking
those one side of the aisle at "premium" price, when the equivalent
seats on the opposite side are cheaper... If you MUST, then take E last
- they are that bit too close, to the monkey mind.
Rows U to X are fairly priced for this production, but the upper
circle is cheaper, closer to the stage and from row D back has nearly as
much legroom for all but those over 5ft 10 or so too.
Reader Comments:
"Front Row: (Zena). Felt squashed, without any legroom”
“Front Row: Day seats are brilliant! O.K, it is very close to the stage -
however I and my parents are not particularly tall people so we were fine.
My dad was worried about getting leg cramps, but I was fine... the
advantages of being short!!"
"Front Row: (Frances). Certainly gets you up close and personal with
everyone! Terel Nugent was the almost on our laps at one point as was Adrian
(Seaweed)... It was great to do once, but next time (oh yes, there will be
another show soon, I’m sure!) we’ll sit further back again. It was one
friend’s first time seeing it so she lost some of the choreography etc."
"Row AA: This is where we sat, the front row, and I have to say it would
have provided comfortable leg room even if we were on stilts!! There is a
HUGE gap between the start of the stage and Row AA -- this is easily the row
with the most leg room in the entire theatre!! The view is very good too --
you can't see feet, but that doesn't really matter, and it was wonderful
being up so close, with nobody in front to block the view."
“Row AA: After having read the bad reviews about Row AA, I would say in a
show like this Row AA is perfect because you have tons of legroom!! Also you
are more likely to get Derren ask you to participate - so don't go for it if
you are shy!"...
"Row BB: "Burn The Floor" (March 2013). The band are on stage so no
orchestra pit. Also the dancers come down into the auditorium so they have
to have space for them. Loads of leg room in the front row of the stalls.
SPOILER However, before the show starts a sexy dancer (female) comes out and
picks on a few guys. So if you don't fancy being a victim, you might want to
choose a seat a bit further back. SPOILER ENDS"
"BB16 and 17: Amazing Seats. Only thing I would complain about would be that
the actors sometimes looked a bit too far into the audience and so all we
could see at certain points was the bottom of the face. Legroom was fine -
Don't see why people say it is all that bad. I'm 6ft 1 and was comfortable
enough."
“BB17: (Phongpan P, visitor from Thailand). £25 is great value: sitting in
front is a "plus plus" enjoy!"
"BB20 and 21: "Hairspray" (2007). I was surprised to see how close row BB is
to the stage and absolutely no legroom at all - and I am not a large person.
I don’t think I will be buying those seats too often. Think I would prefer
to save and buy a full price ticket with a better view. It is far too close
for this type of show."
“BB20 and 21: “Hairspray”. The first time I saw it I sat in M19 to 21 which
offered a great view and enough leg room to swing a cat as it has the aisle
in front. I paid £60 plus booking fee BUT the second time I paid £25 as I
went for a day seat. IF YOU ARE A HAIRSPRAY FAN SIT HERE, BUT IT DOES NOT
OFFER THE SAME VIEW AS THE EXPENSIVE SEATS BEHIND AS THE ACTORS FEET AND
SHINS ARE CUT OFF FROM THE VIEW. As a Hairspray fan (knowing all the words,
I sat there singing the whole score) these seats are amazing and a great
bargain. You are less than 1 metre from the stage and for about the first 10
minutes you worry about the cast falling on you. I sat in BB 20 and 21 which
offered adequate legroom (I’m 6”1 and had no problems). Choose stage left
(BB20 to 27) over stage right if leg room is a problem. (The monkey notes
contradictions between reports of BB20 and 21 and puts it down to leg-length
and production set up).”
"CC16: Much better than BB - still don’t think they are worth £60 though -
think £45 would be a fair price. I sat in CC16: good central view, although
you cannot see the feet. You have to look up, but not at as bad an angle as
row BB, so enjoyed the show a lot more than when I sat in that row. I would
choose these seats above seats further back than row F as I personally do
not like to be too far back."
“Row A: “Daddy Cool” (Chris). Legroom abysmal and something should be done
about it."
"Row A: The legroom wasn't as bad as we feared it might have been and if
you're fans of any particular cast member then seats this close to the stage
certainly provides a good close-up view - you almost feel like you're on the
stage with them."
"A15 and 16: "Derren Brown - Svengali" (June 2011). I was not disappointed.
The legroom was fine for my friend who was 5'10," and I had plenty of room
at 5'7" tall. Not sure why the rows E to H were priced at £75 and AA to D at
just £50, as they didn't seem that steeply raked to afford a much better
view (not worth the extra money to be further back in my opinion). The
theatre itself was beautifully ornate, and felt very intimate considering it
had a capacity of 1,499 people (or so Derren told us)."
"Rows C and D: (Carol). Stage right, the legroom is fine in these rows and
you do get a wonderful close-up view of all the action."
"C11 and 12: Were in the middle of the half-row our side of the gangway, and
they were excellent. I'm 6'1" and my girlfriend is 5'10" and we didn't
struggle for legroom (although we had to swap seats with each other because
seat 11 had too little legroom for me but ample for her). Sitting so close
to the stage was a real bonus, the angle wasn't as extreme as it is for some
shows, and our necks didn't hurt at all afterwards as sometimes happens. It
got pretty hot in the auditorium during the second act, but all in all, very
good seats (worth full price but I'm sure there are better ones) and at half
price (as we paid) it's a no-brainer of a decision."
"C21 and 22: "Rock Of Ages" (September 2011), (Michael). An excellent view
and could see the stage floor from here, over the heads of those in row B."
"E 19 and 20: "Flashdance" (October 2010), (Chris). Avoid at all costs
unless you are about 4ft 9 with little legs. Vantage point is above stage
level but you will be jumping around with the dancers with cramp."
"F 21 and 22: "Rock of Ages" (September 2011). Amazing view! Front stalls
are definitely the place to sit for this show! Second time got student
standby and was in H28 - Another fab view. Went back for a third time and
got one of the £10 theatrefix (student only offer) tickets row J13 - Fab
view!"
"F25 and 26: "Hairspray" (October 2007), (Avril). Excellent view and good
legroom once the person in front has sat down. "
"G23 and 24: (Sherrie). We had a very good view of the stage from these
seats, leg room was OK for me as I'm only 5ft 4 but my husband who is 6ft
was a little lacking in leg room."
"G29 and 30: Marked as red on Theatremonkey plan but I would disagree, very
good seats with a good rake. Close enough to see actors faces clearly. (The
monkey wasn't keen on these as it preferred something more central, but the
reader makes a good point indeed about the closeness to the stage!).”
"H15: (Mark). At student standby price amazing, great seat, but legroom is
very poor, was quite uncomfortable. This has always been a problem for me at
the Shaftesbury, as I find the curve of the seat in front very intrusive."
"H22 and 23: "Flashdance" (October 2010), (Michael). Green on the Monkey
plan, and rightly so. Seat was a little uncomfortable (some you win, some
you lose), but there was ample leg room and the view excellent. We could see
all the floor of the stage, important for the time dancers were performing.
I'm sure those in the first couple of rows could not see the stage floor,
but were compensated by the performers frequently using the front edge of
the orchestra pit to within inches of those sitting there."
“Row J: “Hairspray”. We had prime 'green' monkey seats - Row J, Stalls, off
the centre aisle but I wouldn't have minded being a way back."
"J10 to 12: Had a very good view of the stage, very close to the action but
far enough away to see everything without neck ache. Leg room is so so and
by the end of the show I was starting to get backache."
"J17 and 18: "Hairspray", (James – regular reader). Excellent seats -
fantastic view, close enough to see facial expressions and the sound was
great too. Plus there was no-one directly in front which always helps a
shorter person!"
"J27 to 32: "Rock Of Ages" (September 2011), (Clive). A good view at a nice
distance from the stage while rather more to one side than ideal. Legroom is
poor in this row."
“L1: (Brian McKinney). Paying top price for this with its restricted view of
the stage is a crime. Huge speaker obscured vision from that seat for the
show I saw in 2004. You're so far to the right, you don't have to stand to
let others pass by on their way into the row."
"L10 and 11: Good view but nothing in the way of leg room. I’m a big lass
and it is a good job there was no one in the seat beside me. My knees were
firmly pressed against the seat in front, not one I would recommend."
"L12, 13 and 14: Excellent seats. Great view of the stage. The rake here is
fine and you really feel part of it without being so close you are looking
up. I would highly recommend these seats."
"L15 and L16: "Rock Of Ages" (September 2011). Saw everything!"
"L17 and 18: (Paul West). Great view, the rake of the theatre is quite steep
for stalls, and an aisle seat which is good for me. However, at 6' 6", the
legroom was absolutely non-existent. It's a good job that one side of me was
an aisle and the other side was my wife because we had to get very close!!!!
I would recommend these seats wholeheartedly if you are average size, but if
not I would suggest going for row M behind which has much more legroom. The
main advantage for me in L is there is no one sat behind, and I didn't
notice too much because the show was such fun."
"L17 and 18: (Beth). Very comfortable seats, but nowhere near enough leg
room. However excellent views of the stage and you feel very close to the
action."
"L 23 and 24: (Mila). Very much recommended as you get a great view of the
whole stage without being on top of everything."
"M9 and 10: (James Coniam). We had a great view and loved the fact that row
M is a walkway so our legs were outstretched throughout the show. Lovely."
"M9 and 10: Really great seats, lots of leg room as this is the aisle
between the front and back of stalls and a good clear view of the whole
stage."
"M19 to 21: Offered a great view and enough leg room to swing a cat as it
has the aisle in front."
"M 21 to 26 – great seats as there is an aisle in front of the entire row so
plenty of leg room and a great view too – get these if you can..."
"N11 and 12: "Rock of Ages". We had a great view of the stage."
“N15 to 18: (Cullum). Brilliant seats.”
"N21: Great view, although I found the curve of the seat in front very
intrusive and I felt extremely cramped (I'm 6ft 2). Not much legroom at
all."
"N26 and 27: No complaints at all. We had perfect sightlines, though we were
just on the edge of the proscenium."
"O21 and 22: (quite rightly the Monkey has them marked as green!). Great
seats."
"T3 to 12: “Hairspray”. Great rake means visibility was good. One of the
lights hanging from the Dress Circle obscured a tiny bit of the stage but
not a problem!"
"V30 to 33: (Teresa). These were great. Second price stalls tickets, but a
full view of the stage with the rake of the stalls meaning we could see past
the occupants of the rows in front - even the small girl perched on top of a
pile of coats so that she could see. Plenty of leg room even for both
husband's who are 6', right by the bar and the toilets too - first in the
queues for everything."
"X22 and 21: (January 2009). NOT worth £50, honestly. Either wait and pay
the extra £12 to sit in the front part of the stalls or try and get in the
Grand Circle. The overhang really bugged me and affected the atmosphere.
When we all stood up at the end we couldn't see that cast on the stage. The
actual performance was not too badly affected by the overhang, because
Hairspray doesn't require a lot of scenery, but I think £50 is far too much
money for the seats you are sat in - they should be at a restricted view
price."
“Standing space: We got two right sided standing tickets for £15 each. The
only action I missed was a tiny bit of front stage right and standing wasn’t
a problem, so for the money I would say they are really good value. However,
this is because I was at the end of the standing balcony furthest from the
stage, closest to the back of the auditorium. The further along you go the
worse the view gets, until at the end you miss quite a lot of the action.
The standing area is unallocated, so it pays to get there as soon as the
auditorium opens to bag the best spot. Having had a quick look at the
standing at the back this seems fine too, but the ceiling comes down very
low making your view feel a bit squashed."
DRESS CIRCLE
Called the ROYAL CIRCLE in this theatre.
Layout:
The Upper Circle overhangs the Dress Circle at row C. It restricts the
view of the top of the stage from row H back.
The circle is split into two blocks by a central aisle.
Behind the main blocks are two alcoves set into the back wall, each
containing a short row of seats.
This circle is stepped, with a shallow rake that makes it feel deep.
Legroom:
Poor in row A (one reader felt it less of a problem, another a
considerable one). The outermost 4 or 5 seats have about an inch more space.
All other rows are cramped for those over 5ft 8 or so.
Row M has a bit more, but greatest comfort is in rows B to M seats 18
and 19 either side of the centre aisle, allowing one leg some
stretching.
Row J1, 2 and 35 have nothing in front, but boxes intrude into your
view.
Row N legroom is about adequate for all but the tallest (6ft plus or
so), with the paradox that only the taller will comfortably see over the
wall.
Choosing Seats in General:
A bar running across the front of the circle affects the view in row A -
especially for the shorter monkey, who has to sit "bolt upright" to see over
it. One reader didn't report a problem, though.
The ends of this row are affected by further rails and lighting
hanging from the circle. A 4 and 5, and B seats 4, 5, 32 and 33 look
almost directly at boxes.
Row A 4 can be transferred into from a wheelchair. The monkey vote is
to use a box instead if your chair can get into it.
Other seats in rows B to E offer fair value and good views of the
stage.
Row F back should be avoided unless the same priced stalls are
unavailable. Complaints have been made in the past about missing parts
of the set from here, due partly to the shallow stepped rake.
Seats in row F back feel a long way from the stage. You'll get away
with it as far back as G perhaps, but by H looks become deceptive...
it's fine, until somebody of average height sits in front of you. Not
seats to pay top price for, feels the monkey. The monkey has sat in K at
a discount and been happy... at £65 or more, it wouldn’t have been...
The alcove bound row N should be shunned in favour of, for fewer
bananas, central Upper Circle seats. They are 4 standard seats
surrounded by a wall. Those who are shorter may have difficulty seeing
over this.
General Hazard Notes:
Lighting equipment in view if strapped to the front of the circle
(equipment, not theatregoer).
The bar across the front of the circle affecting the view for shorter folk
in row A
Row A 4 and 5 and B seats 4, 5, 32 and 33 facing boxes. The extreme ends of
row J also have boxes in view.
The rake makes seats from row F back feel further from the stage than
average.
Row N legroom for the very tall, not being able to see over the wall in
front for the shorter.
Changes for the current production:
Rows back to M are top price. The monkey would skip anything from row H
back, taking stalls at the same price, then rear stalls row U or any cheaper upper circle
seats, instead.
Reader Comments:
"A17 and 18: "Rock of Ages" (September 2011),
(Chris B).
Outstanding,
completely clear view. There is a great atmosphere for this show and the
front of the circle does feel very involved. The legroom is sufficient at
best; however there is a padded section at the top of the safety barrier you
can rest your knees against."
“A21, 22 and 23: "Hairspray" (October 2007). The seats were fine. With two
children it was better to have the small bar in front rather than a large
tall adult. Legroom was a bit tight but again worth it for an uninterrupted
view. Didn't feel a million miles from the stage, very intimate."
"C4 and 5: "Rock Of Ages" (September 2011), (Clive). An excellent view of
the whole stage but it would have been nice to have been slightly nearer the
action. You also miss out in the circle on some of the audience interaction.
A good rake and adequate legroom."
"C10: "Burn the Floor" (March 2013). There's a pretty good view from
here as you're far enough back to avoid the rail, but still close enough
to have a good view. Decent leg room. As the seat number would suggest,
it's a bit to the side, but not a problem. Although I wouldn't want to
be at the end of the row. It was a particularly good seat with this show
being all dance as the elevated position allows a perfect view of the
formations. As I recall, the rake of the stalls is nothing exceptional
at this theatre so the higher position was perfect."
"D6: Have now seen this show from front row Stalls, 4th row upper circle and
this time I managed to get a £22.50 student ticket. I think this provides
the best view. You can see all facial expressions but still get the good
overview of the stage, although normally they would be double the price of
the other seats. Depends what you want to get out of the show if you don't
have the luxury of student standbys."
"D12 and 13: (Clive). About as good a view of the whole stage as it is
possible to get with a good rake and adequate legroom. The atmosphere for
this show is better in the stalls, however."
“Row E: (David). E is a great view (£62.50 seats). Did take my own small
binoculars to get head and shoulders views."
“E19 to 22: (Frances). We had good seats, not much leg room but that was to
be expected really - great view of the whole stage."
“H7 and 8: (Ali P). Our seats provided a good view of the whole stage and
the overhang from the next tier of seating did not obstruct any of our view
for the show we saw. The rake is not particularly steep so vertically
challenged souls of whatever age, might struggle (we are both over 5'10").
Leg room was adequate, better than some West End Theatres."
“J29: "Rock Of Ages" (September 2011). A sharp point in the armrest of this
seat. (Kept him awake for the show, anyway... notes the monkey).”
“Row M: “Hairspray”. Got offered these (usually £60) for £25 each at a
preview in October 2007. Great seats, perfect view, OK. leg room. If I`d
have paid £60 I would have felt short changed, these are more £50 in my
opinion - in fact the last 2 or 3 rows of Circle should be £50 - but
nevertheless you see everything."
“M3 and 4: "Hairspray”. These were OK seats, as you could see the stage and
there was a clear view of the whole thing. Unfortunately we had two giants
sitting in front of us - and these guys were like 6’4 and about 22 stone -
so it was hard to see around them. Luckily we had a free seat next to us so
managed to stagger our seating for the second half and then had a much
better view. We were lucky as we had discounts on these seats so we didn’t
pay the £60 face value... the disgruntled couple sitting next to us really
felt cheated sitting so far back for £60 and it seems unfair when really you
can sit down in the front rows for the same price. These seats really should
be £50 max."
Dress Circle Boxes
Layout:
A, B, E and F are between the stage and Dress Circle at Dress Circle
level.
Boxes A and B have 3 seats each, E and F have two.
A and E can take a wheelchair each.
Legroom:
Acceptable, as movable chairs are used.
Choosing Seats in General:
All boxes offer a sideways on view of the stage with the nearest edges
not visible.
All offer just fair value at second price, though are expensive at top
price.
General Hazard Notes:
Side view, missing the nearside stage.
Boxes may be blasted by the noise if speakers are nearby.
Changes for the current production:
Boxes A and E are not used.
Reader Comments:
None.
UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.
Layout:
This is moderately high above the stage.
The circle is divided into central and side blocks by aisles.
It has a fairly shallow stepped rake.
Legroom:
Poor in row A, for everybody.
Rows B and C have a little more than row A.
Rows D to H are adequate for all but the taller over 5ft 11 or so.
Row J has very generous legroom for all.
Choosing Seats in General:
End of aisle rails affect the view from rows A, B and C seats 13, 14, 24
and 25. Seats B and C 4 and 34 may notice things a bit too - purists beware.
C 13, 14, 24 and 25 were least affected, the monkey felt, yet are often
discounted in the same way as those in front... making them a fair bargain
indeed.
Other aisle end rails won't be noticed by most, and the centre rail
is just "there" and not particularly intrusive for them too.
Officially, row A has "restricted views" - the monkey didn't notice a
particular problem, though. A reader felt annoyed about the rails, but
agreed they didn't affect her enjoyment at all. This row is also
cheaper, so worth a punt except where the rails are double height on the
aisle, perhaps.
In all rows seats 10 to 28 provide acceptable views of the stage and
are preferable to other seats at the ends of the row - except where bars
are mentioned above.
At third price row B is fairest value.
Row D back does feel a way from the stage, and the shallow rake
enhances this feeling. Usually, both it and row E's price policy
compensates well for this. If they are the same price as seats further
forward... either go further forward, feels the monkey or save cash and
sit two rows behind, still getting a similar view.
If taking that second option, take row G first – the centre seats if
lighting isn’t placed there, the sides if it is.
Note that rows H and J seats 14 to 24 are often replaced by lighting
positions, monkey advice is to skip row G 14 to 24 if that kind of issue
bothers you as G 14 to 24 are affected. The monkey would skip seats
directly nearby, but feels most won't notice much.
Back row J may be a long way back, but is a comfortable budget option
even for the tall – and you can sit as upright as you like without
having anybody behind you to moan, either.
General Hazard Notes:
Metal safety bars at the ends of the central aisle affect the views in
rows A, B and C seats 13, 14, 24 and 25, plus B and C 4 and 34. C 13, 14, 24
and 25 were least affected, the monkey felt.
Other aisle end rails won't be noticed by most, and the centre rail
is just "there" and not particularly intrusive for them too.
Rows H and J seats 14 to 24 are often replaced by lighting positions.
Changes for the current production:
End aisle seats are not discounted for having rails in view. Skip aisle
seats in rows A and B to avoid this.
Rows A to C are third price. The view is better than more expensive rear
stalls, comfort about the same.
Prices drop further at row D, and legroom increases a bit. The monkey
likes D 15 to 23 in particular.
The sides of row G back are cheap. Well worth it, feels the monkey, who
would take side block row G seats off the centre aisle first, then row J for legroom
comfort at the same price.
Reader Comments:
"A21 to 24: (Steph Nicholls). As expected the view was sometimes
obscured by the safety bar, however this was easily solved by the recently
invented technique known as ‘leaning forward’ and it didn’t bother me at
all. Ideally I would have preferred to be in the Dress Circle as I sometimes
felt a bit detached from the action, but overall a good view."
"B26 to 31: “Hairspray”. We got an offer on these including dinner for
£28.50, a really great deal. The seats were really good, a really clear view
of the stage, and felt pretty close even though we were in the upper circle,
and I think for Hairspray which has lots of dancing and big numbers it’s
quite good to be high up."
"D18: (James). As the monkey says, this is a great seat for the money, great
view of the stage."
“D22 and 23: "Hairspray" (November 2007). Would definitely rate green for
value. Fantastic seats for £30 considering the row in front of us paid £40!
Felt a lot closer to the stage in this theatre than upper circles in other
theatres. Am going again next year and we are going to try and get the same
seats!"
"D30 and 31: I'm 5ft 8 and found them great seats, but wondering is £22.50
ones would be the same kind of view for cheaper."
"D31 and 32: No problem with the view at all. Saw everything from facial
expressions to the tiniest foot movement. And also very comfortable, lots of
leg room available. As the seats in front are £10 more expensive, why go for
them? Stick to row D it's closer to the action and doesn't bankrupt your
wallets. Also the person in front of me was about 6ft (and I am 5ft 7), and
I could still see over the top of his head! Was amazed, because that never
happens!"
"G3: I think the upper circle at this theatre is one of the better ones. You
don't feel disengaged from the performance and the view is very good!"
“J6: (David). Comfortable seats, lots of leg-room and perfect vision. I
can't think of a more comfortable top tier. Not having previously visited
the Shaftsbury. My seat was fourth from the end but with a perfect view.
Because of the theatre's moderate size I did not feel at all detached from
the action."
Upper Circle Boxes
Layout:
Boxes C, D, H and G are above boxes A, B, E and F, between the stage and
Upper Circle at Upper Circle level.
Boxes C and D have 3 seats each, G and H have two.
Legroom:
Acceptable, as movable chairs are used.
Choosing Seats in General:
C, D, H and G all offer a sideways on view of the stage with the nearest
edges not visible.
All offer just fair value at second price if sold, expensive at top price.
General Hazard Notes:
Side view, losing the nearest edge.
Boxes may be noisy if huge speakers are sited directly underneath (and the
monkey doesn't mean a fat politician...)
Changes for the current production:
Boxes C and G are not in use.
Reader Comments:
None.
Notes
Total 1404 seats plus 28 standing in the rear stalls.
Air-cooled auditorium. One reader found it very hot, even on a cool September
evening, though. Another adds,
"The only downside I found to the theatre, is because it seems to have been
built in a big underground pit, was it got very hot in the auditorium, and the
exits were very narrow and channelled everyone through the same walkways so it
took a long time to get out."
Infrared headsets available, signed and audio described performances
occasionally. Guide dogs welcome in auditorium or dog sat. Braille and taped
information available. Wheelchair points in Boxes A and B if chairs can get
down three steps. Transfer to seat in Dress Circle row A also possible. Adapted
toilet available - but the door opens inwards! Fuller details www.artslineonline.com,
or Artsline 020 7388 2227, email artsline@dircon.co.uk.
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.
A translation unit, providing live caption translations in 8
languages is available for hire at the venue, priced £6.
No food except Ice cream and confectionery.
Five bars; Foyer, Stalls, 2 in the Dress Circle and one in the Upper Circle.
8 Toilets; Foyer 1 ladies 3 cubicles; Stalls 1 gents 2 cubicles, 1 ladies 5
cubicles; Dress Circle 2 gents 2 cubicles each, 1 ladies 3 cubicles; Upper
Circle 1 gents 2 cubicles, 1 ladies 3 cubicles.
A reader adds,
"Stage Dooring – The young people crowed the stage door while the older
generation stand on the other side of the road waiting for “THE BALL”.
All the cast are really friendly and willing to sign autographs and pose
for pictures. Most of them also like a bit of a chat as well."
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