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."
Reader Mark rated A19, "A bargain as
a cheap day seat."
Another reader
comments,
"Sat in the centre of row A in the stalls. Being 6 foot, I still
found this too close and would rather have been 4 or 5 rows back.
However, at £15 (what I paid for the show I saw in 2009) it's great value."
Another opines at the same show and on the same deal,
"A11 and 12: GREAT seats. Right at the front of the stalls, and had
great view! Only limited view is when the televisions come down, you
have to really crane your neck up to look... But the actors, and
actresses are dead in front of you - and all the looks and winks are
amazing! Definitely worth the £20 I paid in 2009 per ticket!!"
For "Much Ado About Nothing" (June 2011) a reader
says,
"Row A: At a late date an extra row was put in at the front and we
managed to get seats in the middle of row A - in the neck ache zone, but
so fantastically close to the actors that we felt intimately involved in
the production."
Reader HB says, a row back,
"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"
Another row back, another reader in the front stalls opines,
"D9 to 11: A fantastic view, you could see everything and
close enough to the stage to feel really part of the action. Legroom was
OK – not much room to move but not nearly as bad as many. There is a
"but" though – being on floor level, you are at the mercy of who sits in
front of you. I had a pretty tall man in front of me which would have
been a problem if I wasn't even taller. I shudder to think what sort of
view the people had behind us. My wife had a small person in front of
her and therefore had a perfect view. So overall, these are great seats
if being close is important to you, but be prepared for the possibility
of being slightly blocked by heads."
Central rows E to O offer the best overall view of the stage, with a
fairly decent rake.
"Jackie Mason - Fearless" (February 2012) has rows E and F 10 to
22 and G to J 9 to 22, plus H8 for good measure, at "premium" prices.
Attractive options are available nearby for less cash, feels the monkey.
A reader notes,
"E14 and 15: offered a super view of the stage and
were comfortable enough even though slightly cramped."
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.
Sometimes, this largess extends as far as row O too - making O good
value for being cheaper than N - so take this row over N if possible.
Row Q is worth a thought for legroom if the upper circle at similar cost
doesn't appeal. Do be aware you may miss something happening at the top
of the stage, though... usually not much beyond set design, luckily.
Should Q and R ever be the same price as other rows, take those first...
why pay the same as somebody 20 rows ahead of you, is the monkey
feeling... "Jackie Mason - Fearless" (February 2012) being a case
in point.
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!)."
Another, at "Much Ado About Nothing" (June 2011) says,
"Q19 and 20. Nice seats, plenty of legroom, not too close to the stage,
but a good view and well worth second price."
In the same seats at "Driving Miss Daisy" (September 2011) another
reader opines,
"Q19 and 20: Plenty of leg room and a reasonable view."
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 - a reader notes no loss
of view, except for row G.
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!
"Jackie Mason - Fearless" (February 2012) has rows A and B 7 to 24 at "premium"
price. The monkey would take seats around them rather than pay the
extra if a bit strapped for cash. Premium stalls also have more legroom
if taking a tall corporate client, too.
In row A for "Clynbourne Park" a reader reports,
"A 27 and 28: From the end of the front row we could see all the stage
perfectly with adequate leg room (I’m 6’1”). As we have an interest in
getting the best seats for our members I took time to try other seats in
the circle (except the ‘extra’ row G) and could see the entire stage to
the full height even from the back row F."
Another reader contrasts, however,
"Row A, my friend is quite small and she said that legroom was dreadful
up there!"
In row C for "Avenue Q" (March 2010) a reader opines,
"C16 and 17: Thought they were excellent seats. I know that I'm going to
cause controversy here by disagreeing with the monkey that the 'Circle
is nothing to get excited about here,' because I actually preferred it
to the stalls, and didn't feel quite so squashed in and my knees weren't
trapped either. The view was perfect from these seats and the sound
couldn't be faulted, so you've probably guessed that I really rate these
seats, although I would accept that all seats are pretty tight for
room."
In the same row for "The Shawshank Redemption" (August 2009), another 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.
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.
One 6ft 1 reader disagreed, and found the end of row A acceptable, though a
shorter reader found an inner seat in the same row tight.
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.
Reader Annie Gross says,
"Box 4, excellent view for 'Clybourne Park' (March 2011)."
Reader Sinead at "Much Ado About Nothing" (2011) reports,
"Box 8: After perusing the info about which seats were
best, I ended up getting last minute tickets for Box 8. These seats were
great for the price! Yes, be prepared to lean forward, but it is much
closer to the stage, and its nice to have the space! I would recommend
it heartily to those who want to pay less than premium but like to be
close to the action on stage."
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. Most productions - though not "Jackie
Mason - Fearless" (February 2012) - have these at cheaper prices. The monkey likes the look of them as a fair priced option - if you can nab the seats directly next to
the expensive ones, then it's a decent alternative indeed. It would go central
for Mr Mason's show as all seats are the same price, but being a single stand-up
performance it expects that those preferring an aisle seat won't miss anything
much.
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.
At "Driving Miss Daisy" (October 2011), from row B a reader
says,
"B22 and 23: even though quite a height, these still gave
a decent view; so offered value for money."
For "Jackie Mason - Fearless" (February 2012) all seats are the
same price. Take B first, then C or D - leaving A unless legroom isn't a
consideration.
At other productions, where C is cheaper than B, those offered row B may like to ask if cheaper
C is available instead - similar view for less bananas, feels the
monkey. It would also consider boxes 5 to
8 for the same money.
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."
At "Much Ado About Nothing" (June 2011) reader Laura opines,
"D10, D11 and D12: OK view for the price (the bottom of
the left hand corner of the stage was cut off slightly but if you lean
forward slightly it's OK - although based on the steep rake if you're
not good with heights these may not be the best seats for you), but
legroom not great - my friend and I are under 5'4" but we still felt
squeezed in. Plus in comparison to other theatres in the area £25 a
ticket seems a little steep, but if the price jump is too great to the
next level - and frankly it feels like it is - then they are tolerable
for a couple of hours if you stretch your legs in the interval. Were I a
little earlier in getting tickets I might go for row C next time
though."
Normally, pick rows B to D seats 9 to 22 first, then the others, as reader
Taljaard says for "Clybourne Park" (February 2011),
"D3: Went to the box office at 5pm and was offer a seat in the front row of the
stalls at £25 or the back row of the balcony at £20.50. Took the latter (D3) and
it was fine. Clear view and not too high for me. Could hear every word crystal
clear and missed 90 seconds due to sight lines."
Also
consider the cheap 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.
At "Much Ado About Nothing" (June 2011) a reader says,
"A26: I just wanted to thank you for the information
posted on your site about the balcony seats in Wyndhams Theatre,
especially the details about the two "nest" seats. The seat was just
great! I wasn't disappointed. I had a clear view and was pretty
comfortable in that seat (I'm slim, average height, and pretty flexible,
so I was able to find a number of creative ways to use the space, and
had a lot of room to put my stuff)! Well worth the £22.75 to see the
production. Also, it's a quick hop at intermission to the loo or the bar
-- bonus!"
Another plus indeed, feels the monkey.
Also at "Much Ado About Nothing" (June 2011) another reader says,
from the seat on the other end of the row,
A5: I booked it for the 31st August 2011 performance, and it was a huge
bargain. I am 6 feet tall, so while, admittedly, I sometimes did need to
move around to keep the blood going, my view was of more than 90% of the
stage, I had some privacy to myself, and got to lounge in that oddly
shaped seat! Recommended to anyone who is fit and able!"
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 - as one 6ft reader found). 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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