STALLS
The Dress Circle overhangs the stalls at row K and cuts off the view of the
top of the stage from row N back. Row R is
set in an alcove at the back of the theatre, fenced in by row Q in front - quite
a cosy arrangement, thinks the monkey.
Rows A to D are not raked, but the proximity to the stage makes them a
favourite of theatremonkey's. The viewing angle of the first and last three
seats in each row is a little annoying, so take more central seats first for the
same price, but value for money is at least acceptable in all seats. Neck ache
allergy suffers may want to sit further back, as might children if the height of
the stage is a problem.
The stage corners
are sharp in front of the end seats in row A - ending around or just above the
average person's eyeline. This means looking steeply upwards, but no actual
restricted view. Still worth avoiding for the shorter, perhaps.
Reader Craig clarifies,
"Sat in row A seat 9 and 10. Seat 9 was marked as red on the seating
chart, and I can kind of understand why. The stage rises slightly in
front of this seat and A8 but to be perfectly honest the view from this
seat was still superb with much of the action taking place literally two
feet from me. You can see all of the stage from this seat apart form the
back right, where nothing happens anyway. The seating in the stalls was
great compared to other theatres - with the obvious sea of leg room in
row A. Even though I had a (seemingly obligatory these days) very rotund
person sitting next to me, the seats were wide enough for it not to be a
problem."
More centrally, regular theatremonkey seat reporting reader Mark
comments,
"Got a cheap student standby for row A. Great seat and could see
everything, the stage (for "The Shawshank Redemption" September 2009)
was quite low so could see everything very clearly."
From A 17 and 18, reader Alun says,
"had front
row seats but with the Wyndham stage not to high, it was OK."
For "An Inspector Calls" the set
means that row A, plus seats on the "high numbers" sides of B and C have
been removed - the latter has the telephone box blocking the view.
Reader HB adds,
"B 22 and 23: the view and sound were great. You had to look up a little
as the stage is high but you are extremely close to the cast."
Reader Phil Ellis notes:
"We sat in stalls C22 and C23 (for "As You Like It" - August 2005)...All the front
stalls seats are very close to the action"
Central rows E to O offer the best overall view of the stage, with a
fairly decent rake.
A reader notes,
"E14 and 15: offered a super view of the stage and
were comfortable enough even though slightly cramped."
For "An Inspector Calls" (December 2009) central rows G and H
are at "premium" prices - your call, feels the monkey, who finds the
price about average value.
Reader Avril says,
"Row G 9 to 12 had a marvellous view. Plenty of legroom, but altogether
a feeling of being very close to everyone else."
Reader Simon reports,
"Row H of the stalls - quite frankly I can't imagine having seats any
better."
A reader says,
"My seat K22 in the stalls was fine with a good view and adequate leg
room."
In row N, regular monkey seat commentator James reports,
"I would have preferred to have been a bit more central, but it didn't
feel too distant from the stage."
Rows Q and R at lower prices also offer fair value for money with the
cheaper price compensating for the distance from the stage and lack of
view of the top of it - though be aware some action may be missed (that
is why there is often a discount). Just average without one, though.
"An Inspector Calls" (December 2009) has row R at a slightly lower price
- worth a thought for legroom if the upper circle at similar cost
doesn't appeal.
A reader says,
"Q16: The legroom and view were fine (I don't think anything was missed
by not being able to see the very top of the set), although you do get
streams of people filing past you at the interval (and spilling the
occasional drink on you in my case!)."
There is a little more space for someone in the aisle seat of central row R
behind, but it is not as much as the width of two sets as the gap in some seating
plans indicate (one of those unavoidable computer distortions alas!).
One reader comments of the new layout,
"From my seat near the back of the stalls, under the overhang of the
Dress Circle, I found it quite difficult to hear some of the actors on
stage in ‘Ivanov’ and 'Twelfth Night,' although others were perfectly audible. Also the seat
was rather uncomfortable and the theatre was very stuffy."
Legroom is just acceptable in rows A to D, slightly better for all but the
tallest throughout the stalls.
Cheap standing places at the back of the stalls are not bad either in
the monkey view.
Stalls Boxes
Box A is behind row R in the Stalls. It offers a central view but without the
top of the stage. Try boxes 1 to 8 at Dress / Upper Circle level first. This box is
sometimes used to house the sound desk and is not always available to the
public.
Legroom is good in all seats.
DRESS CIRCLE
Called the ROYAL CIRCLE in this theatre.
The Upper Circle overhangs the Dress Circle at row C restricting the view of
the top of the stage from row C back.
Two new rails on the stairs beside rows A and B assist the less able to manage,
and, along with aisle end rails, do not affect the view. Rows A to F seats 7 to 24 offer the most central view of the stage. The rest
of the seats at the ends of the row offer less value at the same price. A good
rake ensures reasonable sightlines in all rows, though rows D back are hovering
at the average mark at top price. One reader notes the good
view from row A, worth the slightly tight legroom!
In row C for "The Shawshank Redemption" (August 2009), a reader says,
"C 20 and 21: A good rake and slightly staggered seating towards the end
of the row gives clear unrestricted views of the stage. I would happily
sit here again."
From the edge of row D, a reader says,
"Sat in D3, 4 and 5. These seats were really good and you didn’t miss
anything even though you were to the end of the aisle."
Another reader notes that,
"D15 and 16 were central (I like that), comfortable and warm but I understand the problem people with long legs would have - I tossed my head back at one point and encountered the knees of the
guy sitting behind."
Row G on it's own at the back of the Circle offers a fair, if distant, view
at a reasonable price when there is a discount or it is low priced - but not otherwise - and can be considered over the Upper Circle for comfort.
Be aware that there is a rail in front of these seats, except those most
central, which will feature in the sightlines of the shortest.
Cheap standing places at the back of the Dress Circle are not bad either in
the monkey view.
Theatremonkey cannot get excited about the Dress Circle here, Row G aside,
the Stalls at all prices beats the Circle on comfort and view in it's opinion.
At top price rear rows are just about average
- try for seats further forward first.
For "An Inspector Calls" (December 2009), the edges of row C back
to E are
slightly cheaper as the telephone box on stage blocks some action - some compensation for being at the end of the row,
feels the monkey. Not a bad option if similarly priced upper circle or
back stalls seats don't appeal.
Legroom is poor in rows A to F for those over 5ft 7 or so, particularly tight for the tall in row A, but just adequate in row G.
Dress Circle / Upper Circle Boxes
Boxes 1 to 4 arranged in pairs either side of the stage between it and the
Dress Circle. Boxes 5 to 8 above them at Upper Circle level.
All offer sideways views of the stage, losing around 15% or so. Be prepared
to move your chairs around and lean for the best view possible here. Narrow access down three stairs to
wheelchair space in box 3. See notes. Value at second price is
not good, take these after stalls for the same money, and before the Dress
Circle only if legroom is a factor. Choose boxes 3 and 4 first, then 7 and 8
then 1 and 2 then 5 and 6.
Legroom is good in all seats.
UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.
This is far above the stage.
Lighting can be mounted on the front of this circle, potentially intruding
slightly on row A views. Seats are fair value here, B and C seats 12 to 18 offering a central
view of the stage and priced to take account of the distance from it.
Standing space is acceptable, though one reader noted slightly less
audibility on one occasion.
Row A seats 2 to 5 and 26 to 29, B 2 to 4 and 28 to 30, C 2, 3, 28 to 30 and
D 2 and 29 are designated restricted view. Boxes and the curve of the circle
take away maybe a one fifth segment of the front corner of the stage away at
most from the very end seats. Further in, if at balcony prices, they are worth
it for being closer for the same money.
Legroom is poor in all seats, worst in row A, for anyone over 5ft 7 or so.
BALCONY
This is situated behind the Upper Circle and very slightly above it.
A safety rail across the front of the balcony affecting the view slightly. Rails also run across the fronts of rows B
and D, but don't affect the view.
The seats are split into two blocks by a central aisle. Seats A 5 and 26 are
also split from the main blocks by aisle space.
All seats here offer a view in direct proportion to the price paid, the back
rows looking downwards 'under the ceiling' of the theatre below. Value for money for those on a tight budget is
very fair - you can see the
stage through the bars and are not so far away as to require oxygen.
Reader Lesley comments,
"We were seated in the seats furthest away from the stage - Balcony
seats row D - and could hear everyone except for one person who
obviously hasn't been trained to throw her voice as the other actors
managed to do. Balcony seats were excellent value for money at £10."
Normally, pick rows B to D seats 9 to 22 first, then the others, but also
consider the new nests A 5
and 26:
A reader reports of A26,
"I was in A26 of the balcony, which is marked both on theatremonkey and by the
box office as "restricted view" due to the lighting rig that obscures part of
stage right (audience left), so I only paid about £20 for it. That was a great
price for the view I got - I could see some facial expressions (not too well but
some) and the lighting rig didn't take away from ANY of the action as most of it
takes place on stage left anyway and the light only took up at most 1/10 of the
stage. I was next to the safety pole so that wasn't a problem, and I had the
balcony rail right in front of me that didn't obscure the view at all, only gave
me a place to put my programme and ice cream and to lean my elbows on as I
watched the show. I was sad that at times some of the actors had their backs to
me as I was in the curved to the left section of the balcony, but otherwise it
was a great view."
This seat, and A5 opposite, have been turned into
miniature padded private "nests" - as the monkey has
christened them. Facing the stage is still a
narrow ledge seat with a straight back, but to the side is a deeper
triangle of padded seat. If willing to look sideways at the stage, you
could sit here (if of average hip width) and stretch your legs
horizontal with the circle wall. The monkey rather likes this new
arrangement but management have informed it that any sign of permanent
residence (i.e. banana skins, cable TV installation etc) will result in
an indefinite ban from the venue. There are several
flights of stairs up to this circle, and it is fairly high up, so
consider health and vertigo at time of purchase. Cheap standing places at the back are not bad either in the
monkey view, but try for stalls / Dress Circle ones first at the same price.
Legroom is tight in all seats for the taller over 5ft 9 or so, worst in row A.
except 5 and 26 (if slim and creative). A reader says of row A in 2009,
"I am a regular theatre goer, and I regularly sit in the 'cheap' seats. In fact
I always choose the front row of the balcony or upper circle despite the monkeys
advice that usually they are a bad or restricted view!! I like to be in the
front and have nobody else in front of me, plus I can rarely afford more
expensive seats!! Hence I felt compelled to write after sitting in the Balcony
at the Wyndhams theatre, Row A, seats 10 and 11. All I can say is that never
have I sat in more uncomfortable seats than these! The backs are so upright
that you simply cannot relax. Plus, there is leg room, however there is no
space under your chair, so if you have a bag with you, as I did, there is then
no leg room as your bag takes up the space. I sat with my feet on top of my
bag!! OK, we only paid £10 for the tickets, but even at this price, I wish I
had splashed out an extra £15 for better seats. Or if nothing else, that I'd
sat in Row B, as they had space under their chairs for bags, though they still
have the upright straight backs to the chairs, and so are probably still quite
uncomfortable, but they cannot have been as bad as Row A! I just wanted to
write to advise readers that I would honestly advise NOBODY to sit in Row A of
the Balcony at Wyndhams, and this comes from somebody who regularly sits and
doesn't mind sitting in Row A of the balcony!!!!"
An honest summary, feels the monkey.
Rows B to D seats 15 and 16
offer the central aisle to stretch one leg out into. Take advantage of this
combination of space and view. Row D seats are also slightly wider than those in
front. Row C seats rest on a ledge rather than being "flip down" variety, and
are a bit deeper than average (but happily won't actually quote philosophy at you).
Notes
Total 780 seats.
Air-conditioned auditorium, but the balcony still gets very hot in summer
according to many.
Infrared system using headsets for the deaf, plus some signed performances.
Some audio described performances for the blind, and guide dogs allowed in
theatre or dog sat outside. Narrow access down three stairs to wheelchair space
in side box. The box has a very restricted view and is poor in theatremonkey's
opinion. It has a private toilet, too narrow to take a wheelchair, but better
than nothing, which is the usual alternative in the adapted toilet department.
Tries hard, given the constraints of the building. The "registered disabled"
concessionary price policy here is generally (though can be subject to change)
for a quota of accessible best seats to be made available at the lowest regular
price charged. This quota is increased for designated performances such as
signed / audio interpreted. Check with the box office at time of booking. Fuller details
from the theatre group dedicated phoneline on 0844 482 5137 or
www.delfontmackintosh.co.uk
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.
No food except Ice cream and confectionery. Bar snacks also available.
Four bars; Stalls, Dress Circle, Upper Circle and Balcony.
8 Toilets; Foyer 1 gents 1 cubicle, 1 ladies 4 cubicles; Stalls 1 gents 1
cubicle, 2 ladies; Dress Circle 1 gents 1 cubicle; Upper Circle 2
ladies; Balcony 2 ladies 2 cubicles.
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