The Dress Circle overhangs the stalls at row G. The top of the stage is not
visible from row Q back.The stalls are divided into two blocks by a central aisle.
The first and last six seats in rows B to T should be avoided since the
viewing angle to the stage make them poor value for money. Rows C and D
seats 1 to 5 and 26 to 30, row E 1 to 4 and 29 to 32, F 1 to 5 and 30 to 34, G 1
to 4 and 33 to 36, H and J 1, 2, 35 and 36 are designated
"restricted view" for "Billy Elliot" - the set cuts off some
of the stage. The box office feel they are quite reasonably priced, though the monkey would be very cautious about taking
these if you are not prepared to accept the true meaning of "restricted
view" - that you MAY miss small parts of the performance - even at the small discount
available. A reader felt the first three seats in each row, particularly,
were least worthwhile.
Reader Jon B gives some highly informative detail on this:
" I've sat in two seats with restricted views,
on the right in C1 and on the left in F32. You miss quite a bit in both of
these but given the choice I'd sit on the right as more happens over to the
left on the stage. Sitting on the left with a restricted view you'll miss
Billy's first words as he started singing he was out of view and everyone
around me was trying to lean across and see what was going on.
Another reader goes further about row B,
"I sat in stalls seats B31 and B32 and yes you do miss a lot of the action
happening at the back of the stage and miss out on some of the footwork, but
wonderful position to see the actor's faces and of course loads of legroom too!"
Reader B comments from row B,
"We queued at 9:15 AM for the "same day seats" (week of 9th July 2008).
We did get seats at £25. I believe they were seats B 4 and 5. I loved
the show, but the first row seats are lower than the stage and I found
because you can't see the feet of the dancers I do feel like I missed
out a little bit. However, being so close you are right in the emotions
of the character and for £25 I was happy. These seats are good value for
the price."
Some seats in rows C and D, previously sold at top price are discounted to
second price now - C 1 to 9 and 22 to 30. The
monkey likes the saving on C 9 and 22 particularly. A fairly central view for a
few pounds less than the person next to you...
The first few
rows in the stalls are too low to see the feet but you are really close to
the performers. The front stalls are the cheapest tickets though, so if you are after a
bargain that's the best option if you are prepared to put up with either a
restricted view at both ends and an angle that hides the performer's feet
all the way along the row. I'd still get one as the show's worth seeing even
with a less than perfect view. But book ahead as well and see it again from
further back in the stalls or near the front of the Dress Circle."
Another reader confirms this:
"Stalls D16 and 17 are third row centre and I was very happy with the location. The only thing is, a
shorter person would have more trouble seeing the upstage portion at foot level, so a few rows back would probably be more
ideal"
seconded by somebody else:
"Sat in seats D21 and 22 in the stalls. Excellent view, no neck ache but you
cant see the performers feet."
Though reader Celia felt:
"Seat B22 in the stalls, still good value at £25 but a little too much of a side
on view for my liking".
Wise words, felt the monkey.
Reader Emma Thompson says,
"We were sat in E17 and E18 and had the most perfect view."
A reader seated in F4 felt that,
"I had a 'wicked' view - didn't miss anything much that mattered"
At the other end of row F, a reader says,
"I was fine in F30.. I could see the floor of the stage and the set did not cut
off Billy at the beginning so I was happy."
Readers George and Natalie say,
"we booked Stalls F17 and 18.
I would not hesitate to book F17 to 21, or even row E17 to 21, also great view.
Our seats were GREAT, close enough to see well and feel all the energy from the
performers!We are both tall and the legroom was
surprisingly ample, more so than in some other London theatres. We were
close enough to feel as if they were performing just for us!"
Of J13 (at £50.00) reader David says:
"very good with adequate legroom...a clear view of the whole stage, although
this depends on the size of the person sitting in front of you, and much better
leg room than the front row of the Dress Circle. This seat is in the "green"
recommended area of the theatre and I'm sure that other seats in its immediate
vicinity are just as good.
The closest I've been to the stage has been stalls E17. Here, you are right
up there in the thick of the action and are that close to be able to take in
the banter between the performers, study their facial expressions and be
part of their act, feeling breathless one minute and wiping the sweat from
your eyes another. However, in this row, I could not see the actors' feet
all the time. But, again, even though you are looking up at the stage, your
view could be obstructed by people in front of you."
He goes on to comment:
"An interesting point comparing seats in the Dress Circle to the Stalls: I found
the overall sound slightly better in the Dress Circle. The music seemed more
dramatic and had greater impact. The difference was small, but quite noticeable
to me. It could be due to the fact that you are physically sitting in the middle
of the theatre in the Dress Circle (three dimensionally speaking) where the
sound is not absorbed as much as if you are sitting at the bottom of the theatre
in the stalls."
Half of row A is has been removed for "Billy Elliot".
Both
it, and rows B
and C can induce neck ache, according to some people. You look straight forward
over the orchestra pit to a black wall, and have to tilt your head back to see
the stage properly. To avoid this, sit further back seems to
be the message - these row are best suited to those who enjoy the front
rows as a matter of preference. On the other hand, rows A and B are sold cheap on
the day - the central seats may well be worth the pain for many when at a low
price, feels the monkey - who would pick seats 9 to 20 first, but remembers that
there is a conductor likely to stand at the end of the aisle...a purist might
want to miss 14 and 15.
Reader Rich offers these well researched words of advice on the front stalls:
"I queued up for the 'day seats' last Wednesday (13th July 2005) and was
giving the option of the ends of Stalls Row B, or Row A. I bought Row
A Seats 9 and 10 which were nearest the aisle to the right looking at
the stage. It is worth noting that not the whole of Row A is available. It is
only one side (Seats 1-10). This is probably due to the fact that
members of the cast climb up / down the stage on the other side, most
notably the small boy at the beginning and Billy at the end.
These seats were front row centre and the view was amazing, really
amazing. I am tall at 6ft 3in and only rarely experienced moments
when the performers feet weren't visible. Due to my height, it
certainly wasn't a problem when the performers were at the front of
the stage, but I do remember Billy rolling across the stage during a
dance and mostly disappearing. One reader commented that feet are
fully visible Row G back and I would go with this as at the end of
the day, Row A and B are designated restricted for a reason. The view
is by no means 100%, in case anyone is mislead.
It really felt as if the
cast were performing to just us being so close and I felt so immersed
in the action. It was a joy as we could pick up on little comments /
gestures and banter between the performers, particularly in the
stunning finale, which when sat further back or upstairs could have
easily been lost. We could really tell that the cast were enjoying
themselves and James Lomas was so relaxed and natural when leading
the whole finale which was a brilliant conclusion to a fantastic show!
Saying this however, I can imagine that day seats slightly off centre
would have poor views and I can understand that it may be worth
seeking seats elsewhere. Particularly picky theatregoers may also
feel that being able to see the movement in the wings, and also parts
of the set that would not be visible to other members of the
audience, distracting and unprofessional. I was often confused
location wise as I could constantly see the retracted walls of the
boxing hall yet I don't think these would have been visible to others
sat further back".
Another reader feels that "feet are visible if you are sitting in row F, but
only if (for shorter people like myself) you sit 'bolt upright' in your seat."
Reader Barfly's opinion is:
"Stalls C14 (with my friend in 15) loved the seats, the stage wasn't that
high so I didn't get neck ache and could see everything, really thought I was
part of the action."
Another reader comments:
"We sat in stalls seats C16, C17,C18 and C21. The people in C19 and C20 kindly
changed with C21 so we could sit together. Most if not all of the action did
take part on our side of the auditorium. So lucky us! The view of the stage was
not too neck craning. In fact, I was pleasantly surprised.
Even though they were tall 11 and 13 year olds, the children still wanted
and needed an extra cushion, as the front row filled with rather large
people. Anyone taking children to see this show, should ask for a
cushion for them."
On the other hand, someone else remarks:
"I did the day seats (row B of stalls at £25 - this row is now available to
pre-book, editor). I must say though that next time I go (and there
will be many more times) I would pay the same money to sit in the front of
the Upper Circle. You can't see the footwork of the dancers until you are in
row G of the stalls or further back. I could, at most times, only see from
their knees up because the stage is ridiculously high - so avoid the front 5 rows of the stalls. Besides, the theatre is very
intimate so you wouldn't
feel completely out of it in the Upper Circle".
and another:
"Excellent seats C14 and 15 adjacent to the centre aisle, superb views"
against this someone else says,
"Had seats in Row C 7 and 8 of stalls. Not bad but ideally you would want to be
a few rows back. Not overly generous with the leg room either.
Reader Celia notes:
"Given that I only paid £25 for the seat - B17, I thought it was absolutely
brilliant value for money. I previously paid top price for the dress circle, and
whilst being further back does give you a better overall view of the action and
you can see feet! the benefits of being in the front row (row A is removed on
this side) are that in addition to fabulous leg room, the actors are right in
front of you and you pick up on all the emotion and fun".
While Brian Cantwell feels,
"B20 & B21 (the front row on the stage left) is, in our opinion, the best side
for where a lot of the main 'action' takes place and is ideal when the 'shadow
dance' is performed in the second act, as you have a good alignment between the
two performers."
Another reader comments,
"From B6 I was able to see virtually all of the action. Only at the very rear of
the stage did I miss footwork at ground level. However, much of this took place
on chairs or risers. In addition, seats in this area benefited from Billy's solo
dance and scenes with his mother taking place on this side of the stage. Good
leg room here as well.
The only distractions in B6 were the periodic rumbling of the floor from the
Underground, and the falling of fake snowflakes on the audience. This was
well-worth the price to be in the 2nd row at a £30 discount over the 3rd, while
really feeling a part of the action and seeing every facial expression of the
actors."
A real cross section of opinion, feels the monkey.
Best seats in the front stalls are rows G to L seats 10 to 28. Then choose
rows E to F before M to P or D to B (depending on preference). Wheelchair spaces are available at P36 and M36.
Users should take M first, but both have a fairly poor view. See notes. Rows Q
and R at top price are hovering at about average - though given the
high stage being further back can make them still reasonably attractive.
A reader comments,
"K11-14. We were very fortunate as the people in front of us didn't turn up so
we had an uninterrupted view of the stage - although I think the view would have
been ok anyway as the stage is raked and the seats are slightly offset in each
row. Leg room was adequate. Could feel the rumble of the tube trains below but
it wasn't off putting."
Reader Alan feels of row P seats 17 and 18,
"Our seats were good...No real over hang, and back far enough that
we could see the whole stage".
Another reader adds a surreal note:
"loved row F...at times you could feel the Tubes (underground trains) under your
feet heheeheheheeh"
seconded by another,
"J33 and J34. I read some of the views expressed on this site and by other reviewers, and turned up for the show on
23rd December 2006 with some apprehension. I should not have worried. The seats
were close to the end of the row but visibility was excellent and comfort good (being
6'2"). There were many quiet moments disrupted by the rumbling underground
trains but everything else was spot on."
Well, the monkey assumes it was the tubes, on the grounds that there were no
reported earthquakes on that evening. Not an issue it has ever noticed itself,
though!
Wheelchair users can also transfer to any aisle seat. Make it the centre aisle for
the best views. See notes.
A reader opines,
"The Victoria Palace is a large and unforgiving auditorium and from two
thirds of the way back in the stalls we felt disconnected from the
action and longing for a more intimate space."
Reader James feels,
"Stalls L29 and L30 felt a little unattached from the action."
Reader Matthew Rodgerson contributes,
"Row M35 to 36 and these weren’t great seats for this price as we were
looking form left to right and could only see the right side of the
stage properly and mostly we were looking at the gaps behind the
performers."
Reader Ali P says,
"N27 and N28: Paid full price, as gift. Seats were good, leg room adequate (we
are tall) and we could see whole of stage. Tube rumble only felt once. Over hang
of balcony no problem."
Avoid
row T seats 9 to 19 and rows U and V seat 9 and 10 for being too close to the
sound control desk for comfort if you are a purist. A reader notes, though, that on 20th June 2005:
"our original group booking for the matinee on May 7th 2005 was cancelled,
so we had to settle for an evening performance and had rows Q, R, S and T (right in front of the mixing desk) whereas we would have had rows E
to H, but did it matter? There were no complaints about the seats, in fact people praised them for not being too close to the stage and those in Row T said they were not even aware of the mixing
desk".
These seats were obtained at a "group discount", notes the monkey,
but those paying full price may also find this view interesting.
Reader Alan confirms this,
"We sat at the rear of the stalls in adjoining seats to the centre aisle T
18/19. The view was all one could have wanted in a packed house."
Row V seat 20 does not have a small plaque on it commemorating the spot where
a tiny theatremonkey got the theatregoing bug at his first proper theatre
outing.
Legroom is acceptable in all seats, for all but the tallest. Centre aisle seats which
combine good views with leg stretching space for 1 leg at least!
A larger reader opines,
"Cramped seats towards the back of the stalls.. but acceptable. As a
large person you cannot expect comfort."
DRESS CIRCLE
The Upper Circle overhangs the stalls at row F. Only rows K and L generally suffer a
restricted view of the top of the stage due to this.
The Dress Circle is split into two blocks by a centre aisle. For best value
for money ignore the first and last four seats at the ends of the row (unless
legroom is required - see below).
Rows A to J offer a clear view of the stage and fair value for money. Pick
rows B to D first, then E to J in alphabetical order. Row A is acceptable to
those who do not require much legroom.
One reader says of row B,
"the position and comfort was excellent."
Reader Jon endorses this:
"Leg room in the Stalls is better than the Dress Circle so a seat on the
centre aisle has the advantage of being able to stick your legs to the side
(I do have long legs). By chance my first seat in the Dress Circle was C17
which is on the aisle and was my favourite. My first choice of seat at the
top prices would be the first four rows of the Dress Circle i.e. A-D and seats
17 or 18 which are either side of the aisle."
Another reader, David, says:
"I sat in row A of the Dress Circle in seats A9 and A1. Despite seat A1
being on the extreme right of the theatre, there was still an excellent view
of the stage. Most of the action was visible apart from a very few scenes
that took place on the right hand edge of the stage. The vast majority of scenes were fine. It was only
occasionally that you were not able to clearly see an actor (or two) if they were standing on the
extreme right hand side of the stage.
My only real complaint
with these front row seats is that leg room is very limited. I am only 5'8"
tall and leg room was just about adequate. I had to stand up in the
interval to stretch my legs. Great view, but limited legroom is my summary. An
interesting point, too, comparing seats in the Dress Circle to the Stalls: I
found the overall sound slightly better in the Dress Circle. The music seemed
more dramatic and had greater impact. The difference was small, but quite
noticeable to me. It could be due to the fact that you are physically sitting in
the middle of the theatre in the Dress Circle (three dimensionally speaking)
where the sound is not absorbed as much as if you are sitting at the bottom of
the theatre in the stalls."
Reader Kevin notes:
"Row A 5 and 6 were fine with no need to lean forward - as many people do at the
front of Dress Circles."
Take rear stalls before rows K and L of the Dress Circle, based on comfort.
The views are about equal.
Reader James compares,
"Dress Circle B8 and B9 were fantastic seats to see the show from. Have since
seen the show from Stalls L29 and L30 which felt a little unattached from the
action."
Another row B reader says of the seats next to these,
"Dress Circle row B6 and B7. Like others have noted, these seats provide an
excellent view of the stage. It’s a bit to the right to my liking but they are
good seats nonetheless."
Reader David comments:
"Possibly the least successful seat I've had was in the back row of the Dress
Circle. The view is O.K, although I feel it's too far back to clearly take
everything in. Also the Upper Circle does obstruct one scene where Billy,
dancing with his older self, disappears up out of sight. The sound is not
nearly as good up here, and it does get very hot, even on a cold December
evening! What it must be like in the height of summer, I hate to think!"
Speaking of which, the first and last seat in rows D to H have a little extra
legroom due to the rows curving slightly away from the front of the circle.
Reader Wayne from Lincoln reports,
"seats D 33 and 34: excellent seats, excellent view and plenty of room, well
worth full price."
Reader Nicky says,
"Row F, seats 31 and 32. The theatre is beautiful and the seats were
very comfortable. Having read a few negative reviews about the lack of
legroom, I was apprehensive as my boyfriend is 6'4" and I am 5'8," but
we had plenty of room and were very comfortable with no complaints at
all. We had an unspoiled view of the stage and were very happy with our
seats."
Eccentric architecture also puts two alcoves with five seats each at the back
of the circle, and 5 seats on a shelf at the side of the circle overlooking row
E. Both positions offer a poor view of the stage, but the rear alcoves win on a "not really bad view" if compared to the side alcoves. Take these
only if the rear stalls is unavailable - they are expensive at £40+, feels the
monkey.
Reader Jon goes further on the alcoves:
"I sat in rear Alcove Right seat 3. You're looking over the heads of the back row
of the Dress Circle with the top of the stage cut off by the overhanging
Upper Circle. When Billy's in his 'bedroom' which rises up from the stage
you can only see his knees and in the flying sequence he goes completely out
of view. The leg room is poor and the only possible advantage of sitting
here is that you can lean forward onto the rail in front of you without
having to worry about blocking anyone behind you. You can see most of the
width of the stage even from the end seat of the alcove but you are a long
way away. For a £40 seat it's dreadful and I wouldn't recommend it at all.
The route to the Ladies Toilet passes in front of the alcove so you also
have to put up with people walking in front of you throughout the
performance. I'd never realised before how many people 'excuse themselves'
during a show. The alcove on the left suffers from all the same problems
although the Gents Toilet doesn't generate quite as much traffic
Also, just to clarify a point about those 'Side Alcoves' at the Victoria Palace.
Although I've not sat in them I have had a look and the leg room is quite good as the chairs are not fixed so if you're prepared to sacrifice a bit of
the view you can pull your chair further back".
Reader Keith comments:
"saw Billy Elliot last night (27th May
2005) from the side alcove in the Dress Circle - Seat 2. I thought the seat was
reasonable for £25.You missed a bit to one side but not a huge amount".
Legroom is barely adequate in most seats, worst in row A -as a reader
confirms, best at the ends of
row D to H (though those over 5ft 6 or so will still be uncomfortable). Centre aisle seats combine a good view with space
to exercise one leg! One reader feels strongly that no seat in the Dress Circle
has sufficient legroom for anyone over 2 foot 6 tall!
Reader Nicky says that,
"I was apprehensive as my boyfriend is 6'4" and I am 5'8," but F31 and
32 were very comfortable."
Dress Circle Boxes
Six boxes, three on each side between the Dress Circle and the stage at Dress
Circle level.
The view from all boxes is side on to the stage with nearly a quarter of the
sides of the stage not visible. Unless a sale at third price or less is possible
when other seats are sold out, take the stalls. One reader felt that the 25%
restriction on view in box 1 was worth the trade off for the extra legroom. At
top price, though, many may want to consider this very carefully.
A reader endorses this:
"We sat in Box 2 of Dress Circle. I spent the first half only able to see one
third of the stage, and second act able to see about half. The biggest problem
was the huge speakers situated at the side of the stage. This blocked the right
hand side of the stage completely. If we'd been warned at booking that there was
restricted view I wouldn't have had much to complain about. But we weren't given
warning, yet we were charged £50 per seat. Full price and no warning did NOT
prepare me for the appalling view we had. Please warn Theatre Monkey readers
that box seats are not worth full price payment."
A reader notes that the first two boxes nearest the stage may be noisy due the nearby
speakers often positioned there!
UPPER CIRCLE
Now called the "Grand Circle" for "Billy Elliot" for some
unknown reason.
The front of the circle offers a good view of the stage. A steep rake makes
the rear rows feel remote and can trigger vertigo.
The circle is split into two blocks by a central aisle.
A metal bar runs across the front of the circle affecting the view in rows A
and B. Row A, and part of row B are discounted to allow for this. When deciding
on these discounted seats, choose between row A and seats further back at the same price by establishing whether you will be
happy with VERY little legroom. If you are, choose A; otherwise opt for B,
though accept a bar in your line of vision. If any bars in your line of vision
are a problem, go for J or K instead (see discussion below).
Theatremonkey regular Jake Brunger says of row A:
"Front row of the upper circle has a very good view if you're prepared
to lean forwards.. good way to see the show cheaply, and I'll do it again".
Another reader comments that in row A a bit of the "flying" sequence
and one important entrance / exit are missed, but neither detract notably from
enjoyment.
The only problem is that for those in B, anyone leaning forward may be in
your way...and don't forget the bars... and remember, a lot of those seated in B
will be paying a lot more too as Row B seats 3 to 15 and 24 to 27 are the
same price as those behind in row C. Monkey advice is to take these last at the
price, as you can avoid the rail and leaning issues by taking seats a row or two further back at
the same price - potentially fewer problems.
Row J is the same price as B, but obviously further back. If J is the only
row on offer, the monkey would pick K instead - £7.50 per seat cheaper, and K
has an inch of extra legroom!
Rows C to E seats 10 to 30 offer best views in the circle - though remember
there is a bar at the front of the circle. In all rows it is
worth avoiding seats 1 to 6 and 34 to 39 for being too close to the edges to
offer equal value with seats closer in.
Reader Chris May endorses this,
"Seat E 29: The view was fine, full
stage in vision minus a little set of steps at the front which are only used
twice, I think. The legroom is poor but this is O.K. due to the seats being of
a design that makes you sit up so the knees can perch on the rears of the
seats in front of you. Also in the Upper Circle the seats are perfectly
arranged (a bit of a strange obsession of mine) so that every seat is
between the two in front of it thus giving everyone a pretty much
uninterrupted view of the action. The only gripe I have about the Upper Circle (and it's a very small gripe that will only annoy rather fussy people)
is the set is not very tall so you can see a lot of the movement behind the
set but this doesn't matter too much as this show is a corker and the set is
perfect for the show"
Rows F to K seats 10 to 30 mostly offer reasonable value for money. As noted
above, though, it is probably worth taking the cheaper row K over J for almost
the same view. Both give a distant but unrestricted view of the stage.
Reader Hannah M says,
"seats F15 to 17 give you a good overview of the action and you can see
everything on stage. The sound levels for the most part were fine, but I did
miss the odd line in some of the songs.
The seats themselves were comfortable, but there isn’t a huge amount of leg
room. My dad, who is 5ft 11 was fine, but he does have short legs (by his own
admission, I’m not being rude). I wouldn’t go with them if you are really tall
(or wearing a very short skirt as the unconventional leg arrangements I found
myself in did mean my pants were fairly often on show)!"
Reader Debbie notes,
"We were right up in the last row of the circle but the view was fine and you got to see the mechanics of how the sets worked as well as all the dancing. I'm looking forward to going again."
Reader BB endorses this,
"Upper Circle leg room is limited, but the view and the sound is fine."
Another reader says of row J,
"Row J seats 33 to 35. The leg room is very little, but fortunately the
seats in front were empty so we put our feet up (and as 4 ushers decided
to fill the empty seats behind us, and didn't tell us off, I guess
no-one is really bothered). However, the seats are the most comfortable
I have had, for I didn't fidget once. And the view is perfect. You can
see everything clearly (even the facial expressions) and hear everything
clearly, it was well worth the price, especially as the rest of the rows
are £10 more expensive and the view hardly changes. Although if you want
really good value go for the row behind as the view won't have changed
and it's cheapest. I would sit here any day as it's that well priced.
And the air conditioning vents were right in front of us, so it is very
cool (especially as it was almost 30 degrees celcius outside when I
went)."
Another reader comments a row back,
"The view from K 11 was fine, with no
obstructions. Leg room was, however, a bit cramped, and I am only
5'3"! Temperature inside the theatre was comfortable. You might be interested to learn that there appears to be a row
of air conditioning vents on the slight overhang above Row K, out of which
an occasional breeze of cold air could be felt. Thus, on hot days, the
discomfort level for those sitting in Row K might not be as bad as one
would anticipate, given the reported inefficiency of the air conditioning
system of the theatre".
Row A seat numbers 1 to 4 and 43 to 46 are grouped around the corners of the
stage. They have a poor view and no legroom and should be taken if nothing else,
including a box is left. Reader Jon B provides more details:
" A44 in the Grand Circle...Worst seat in the house?
At £17.50 you can't expect too much from Seats A1-4 and A43-46 in the front row
of the Grand Circle. They are actually separate from the rest of the row and
wrap around the side. So you can't see the side of the stage nearest you. There
is also a double level safety bar right in front of your face.
Unless you lean forward the view is terrible. Combined with the lack of legroom
it makes for an uncomfortable and unsatisfactory experience.
Unless you do as I
did and pretend you are at the Proms and stand up. I rested my arms on the top
safety rail and leant forward. You then have an uninterrupted view of all the stage except the side wall nearest you. You are
actually further forward than anyone else in the Upper Circle and even in front
of the Dress Circle as well. You are not blocking anyone's view and I wasn't
told off by the staff who did tell someone else off for moving to
sit on the steps next to seats. Once I stood up the other people in the three
neighbouring seats followed suit.
If, like most people, you actually want to sit
on the seat you've paid for and see the stage then avoid these seats. However,
if you don't mind standing (and don't suffer from vertigo) and want the cheapest
seat in the house then I preferred A44 to some others I've actually sat on at
much greater expense."
In other words, one for the dedicated only, feels the monkey.
Legroom is poor in all seats, very poor in row A. Centre aisle seats in rows
B to K, numbered 19 and 20 offer space to stretch one leg.
Reader Ken endorses this:
"we were in the Grand Circle - nothing Grand about it at all. I'm only 5'5 and my legs were struggling with the space, so an absolute
'no no' for a six foot plus person".
Another reader says of row K: "Leg room was, however, a bit cramped, and I am only
5'3"!
Yet another, especially public-spirited, person writes:
"Dear Theatre Monkey,
Please Please warn patrons who are tall or large to avoid seats in the Grand
Circle of The Victoria Palace Theatre. I saw the show yesterday and was sat in
H18, it was the most uncomfortable theatre seat I have ever sat in, so much so
that I had to leave during the interval due to excruciating leg pains. I counted
six people leave the Grand Circle during the first half never to return. A
comfortable theatre seat is of primary importance, this theatre must sort out
the Grand Circle seats.
Regards, David Craig.
6' 2" and a regular Theatre goer."
Upper Circle Boxes
Six boxes at Upper Circle level.
The view from all boxes is side on to the stage with nearly a quarter of the
sides of the stage not visible. They offer more legroom than comparable seats in the Upper
Circle, and may be a fair alternative to Upper Circle rows A, B and J at the
same price.
A reader notes that the first two boxes nearest the stage may be noisy
due the nearby speakers often positioned there!
Notes
Total 1517 seats.
Air-conditioned, officially, BUT on hot evenings it is worth choosing the front stalls and Dress
Circle as it isn't always that effective. Heat rises and gets trapped in the Upper Circle and under the overhangs
of the other circles. Reader BB highlights this,
"Walking around the Theatre, you really notice how the heat is trapped in the
back of the Dress Circle - AVOID those seats if you don't like sweating through a performance!"
Another reader says:
" You might be interested to learn that there appears to be a row
of air conditioning vents on the slight overhang above Upper Circle Row K, out of which
an occasional breeze of cold air could be felt. Thus, on hot days, the
discomfort level for those sitting in Row K might not be as bad as one
would anticipate, given the reported inefficiency of the air conditioning
system of the theatre".
Induction and infrared loops available. Guide dogs welcome in auditorium or
dog sat. Occasional signed performances and member of box office staff can sign.
Access to wheelchair places is level from side exit. The theatre can take two
chairs at a time, plus a further four wheelchair to fixed seat transferees. An
able bodied companion is required for each wheelchair user, and a good discount
is normally offered on tickets.
Adapted toilet at the Allington Street entrance.
It has a RADAR lock (for those who have a RADAR key) or staff will unlock. A theatre making an effort at access. A reader notes that:
"The disabled toilets need a key to open them. After
hunting for staff I found them in a gaggle at the front of the theatre. So
be warned, if you are disabled and it is urgent, you now know where to look
for a member of staff." The theatre promise to alert staff to the need for
someone to be near the toilets in future.
Fuller details www.theatre-access.co.uk,
Artsline 020 7388 2227 email artsline@dircon.co.uk.
Booster cushions available for children and smaller adults - ask ushering
staff on arrival.
No food except Ice cream and confectionery.
Five bars; Front Stalls, Rear Stalls, 2 Dress Circle and 1 Upper Circle.
9 Toilets. Stalls 2 gents 1 cubicle each, 1 ladies 7 cubicles; Dress Circle 2
gents 2 and 3 cubicles, 2 ladies 2 and 3 cubicles; Upper Circle 1 gents 3
cubicles, 1 ladies 3 cubicles. Reader Ali P notes in the stalls,
"Not enough ladies loos - get there quick at interval - second half is as long
as the first half."
