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.
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.
Do note that for any musical 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 are
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.
A reader endorses this, saying,
"I took row BB seats 20 and 21 on the left of the stage. 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."
Regular reader Zena also complained of feeling squashed, without any
legroom, in the front row too, while another comments,
"Day seats are brilliant! O.K, it is very close to the stage - however
me 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!!"
On the other hand, another reports that at the centre of the row,
"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."
Reader Frances contributes,
"Front row 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."
Reader Phongpan P, a visitor from Thailand, says,
"£25 is great value: sitting in front role BB17 is a "plus plus" enjoy!"
Another reader gives further information,
"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 the contradiction between the two reports of BB20
and 21 and puts it down to leg-length as much as anything else.
Another reader agrees, with the comment that shows are often best enjoyed further back, and not
from row A or B. Reader Chris adds,
"The Stalls front row for "Daddy Cool" was Row A and the legroom for it is
abysmal and something should be done about it."
Row BB is the front row for "Hairspray" (October 2007). It is being sold as "Day Seats" at greatly reduced price... and the
monkey is keen if legroom isn't an issue, taking the end seats last, though.
Legroom lovers will want to skip these, though.
Behind it row CC at top price, the monkey feels, tending towards expensive unless
you are a fan wishing to be as close to the stage as possible (hello from the
monkey to all MB devotees - hope you enjoy the show!).
One Ball devotee writes,
"Row CC is 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."
A reader in row A says,
"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."
In row C, reader Carol reports,
"Rows C and D stage right, the legroom is fine in these rows and you do
get a wonderful close-up view of all the action."
Another row C reader says,
"Row C seats 11 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."
"Premium Seats:" Occasionally Stalls E 15 to 18 or other seats are
labelled thus; considered best in the theatre and costing a little more.
Your choice, feels the monkey.
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 the row.
Reader Avril says for "Hairspray" (October 2007),
"We had seats F25 and 26 in the stalls – excellent view and good legroom
once the person in front has sat down. "
Behind that, a reader says,
"seats G29 and G30, marked as red on theatremonkey plan but I would
disagree, very good seats with a good rake. Close enough to see actors
faces clearly but not too close as this show does tend to 'jump out' at
you."
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!
Another "Hairspray" fan reports,
"We had prime 'green' monkey seats - Row J, Stalls, off the centre aisle
but I wouldn't have minded being a way back. It does tend to 'come at
you'. You probably want to see this show from the Dress Circle - unless
you like being part of the 'business' (if you're serious get the first
row on the right of the auditorium, I'll say no more)."
In contrast, a reader says,
"J 10 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."
Brian McKinney
notes that:
"Paying top price for L1 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."
Further along, it is better, as a reader says,
"L seats 12, 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."
Reader Paul West writes of the same row,
"The seats we had were in the stalls, L 17 and 18. 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."
Reader Mila opines,
"L 23 and 24 are very much recommended as you get a great view of the
whole stage without being on top of everything."
Reader Sherrie writes,
"We sat in row G in seats 23 and 24, 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."
Monkey regular seat connoisseur James says,
"Sat in Stalls J17 and J18 for "Hairspray". 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!"
The rear section is split into a central and two side blocks by aisles. The
whole of row M offers extra legroom due to the aisle in front of it.
Reader Jamie Coniam endorses this:
"We sat in row M seats 9 and 10, we had a great view and loved the fact that row M is a walkway so our legs were outstretched throughout the show. Lovely."
Another row M lover says,
"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..."
Endorsed by someone else too,
"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."
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. Row P back is poor value.
A reader says of row M,
"We had really great seats in row M9 and 10 of the stalls, 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."
Behind that, reader Cullum comments,
"Brilliant Seats: N15 to 18,"
as does another reader,
"We had seats N26 and N27 in the Stalls and had no complaints at all. We had
perfect sightlines, though we were just on the edge of the proscenium."
In row O, a reader says,
"Row O 21 and 22 (quite rightly the Monkey has them marked as green!).
Great seats."
Row P back begins to feel far from the stage and the low Dress Circle above
affects the view of the top of it.
In row T for "Hairspray" a reader says,
"T 3 to 12. 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!"
Rows U to X are slightly overpriced in this monkey's
opinion at second price. In these
rows the trade off is distance from the stage and view, against extra legroom
when compared to cheaper Upper Circle seats. Theatremonkey likes his comfort
and chooses rear stalls, but grumbles about the extra expense.
Row U seats 13 to 18 should normally be avoided due to the sound desk positioned directly
behind them, creating noisy distraction for purists.
Reader Teresa, in row V says,
"Row V Seats 30 to 33 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."
Another reader says, of her 9th January 2009 experience,
"Row X seats 22 and 21 are 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."
A reader says of the standing spaces at this theatre,
"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."
Legroom is cramped in rows BB to E (very, in most of BB), acceptable for all but the tall (over
about 5ft 10) in rows F to X, excellent in
row M. 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."
DRESS CIRCLE
Called the ROYAL CIRCLE in this theatre.
The Upper Circle overhangs the Dress Circle at row C. It restricts the view
of the top of the stage from row H back.
A bar runs across the front of the circle affecting 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. Safety
bars at the edges of the circle restrict the view in rows A and B seats 4, 5, 32
and 33. 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. See notes.
The circle is split into two blocks by a central aisle. It has a shallow rake
which makes seats in row F back feel a long way from the stage.
A reader comments of row A for "Hairspray" (October 2007),
"We sat row A of the Royal Circle 21, 22, 23 and 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."
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.
A reader says, of his discounted ticket for "Hairspray,"
"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 - D6 of the Dress
Circle. 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."
"Premium Seats" usually row D 13 to 18 and E 15 to18, are considered
best in the theatre and cost a little more. Your choice, feels the
monkey...
Reader Frances reports,
"We had good seats, not much leg room but that was to be expected
really - Row E, seats 19 to 22, great view of the
whole stage."
Reader David, in the same row, adds,
"E is a great view (£62.50 seats). Did take my own small binoculars to
get head and shoulders views."
Reader Ali P says,
"Royal Circle H7 and H8:
Our seats provided a good view of the whole stage and the over hang 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."
Row M and the alcove bound row N should also be shunned in favour of boxes or
for the same price, central Upper Circle seats.
A reader says for "Hairspray,"
"got offered row M of Royal Circle (usually £60) for £25 each at a preview in
October 2007. Great seats, perfect view, O.K. 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 never the less you see everything."
another reader on the extreme end of the row agrees, and warns,
"We sat in row M seats 3 and 4 and 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."
The monkey wouldn't mind those seats re-priced a bit
either.
Legroom is poor in row A (one reader felt it less of a problem, though), and cramped in all other rows. Best comfort with a
view is in rows B to M seats 18 and 19 either side of the centre aisle, allowing
one leg some stretching.
Dress Circle Boxes
A, B, E and F are between the stage and Dress Circle at Dress Circle
level. A and E can take a wheelchair each. See notes. 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.
Boxes A and E are not sold for "Hairspray." A and B have 3 seats each, E and F
have two.
UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.
This is moderately high above the stage.
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 may notice things a bit too
- purists beware. C 13, 14, 24 and 25 were least affected, the monkey felt.
These four are also cheaper, making them a fair bargain indeed.
The circle is divided into central and side blocks by aisles.
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.
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.
Reader Steph Nicholls comments,
"A21 to 24: 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."
At third price row B is fairest value, though you could save £10
and sit two rows behind, still getting a similar view. At bottom price
consider taking the front row(s) of the stalls first at a slightly higher price if
neck-ache isn't a worry to you. Alternatively, take the sides of Upper Circle
row G if lighting is replacing central seats (see below); otherwise take central
seats in this row.
From row B, a reader reports,
"Using an offer, we got seats B26 to 31 in the upper circle and 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."
In row D, a reader says for "Hairspray" (November 2007),
"Sat in seats D22 and D23. 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!"
Reader James also agrees,
"D18: As the monkey says, this is a great seat for the money, great view
of the stage."
as does another reader,
"Row D seats 31 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!"
While another muses,
"Row D 30 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."
Reader David comments of row J:
"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 J6 - fourth seat 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."
Row D back does feel a way from the stage, and the shallow rake enhances this
feeling. Currently, row D and E's price policy compensates well for this.
Note that rows H and J seats 14 to 24 are often replaced by lighting
positions, monkey advice is to skip row F 14 to 24 if that kind of issue bothers
you!
Legroom is poor in all seats for the taller person, worst in row A. Rows B to J seats 13 and 14,
and rows A to G seats 24
and 25 are on the centre aisles, offering better views and leg space for one leg
to stretch into - though with a bar to look through, so take your pick!
Upper Circle Boxes
C, D, H and G 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. C
and D have 3 seats each, G and H have two.
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.
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."
