STALLS
Layout:
The Dress Circle overhangs the stalls at row Q.
The top of the stage is not visible from row W back due to circle
overhang.The stalls is divided into front and rear sections by a wide aisle across the
front of row Q.
The front section split into three blocks - centre and two side blocks by
aisles. The rear section is split into four blocks - two central
blocks, two outer blocks, by aisles.
In the front side blocks the first and last few seats are at the far
sides of the theatre, outside the proscenium arch and have a strange viewing
angle.
Legroom:
Taller folk (over 6ft 2 or so) find most seats cramped - least legroom
in rows B and C. The seats seem wide and comfortable to the smaller Monkey,
though.
Row A has "space to lie down" according to one reader, and row Q offers exceptional legroom as it has an aisle in front.
Seat Q9 has extra space over about three-quarters of the seat, with nothing in
front.
Choosing Seats in General:
Front Section, Centre Block:
Row A to C are fine. Further back, the lack of offsetting of seats,
combined with a low stage, seems to have sparked a few issues.
The prime seats are normally in rows K to P where being the right distance
from the stage ensures an excellent view in monkey opinion. Sadly, at premium
prices and with a low stage, they suddenly don't seem so appealing.
Many readers have reported issues, which the monkey never noticed
previously. Hence it alters advice accordingly. Note that
booster cushions (available from the theatre) may help some, and that the issue
hasn't always arisen for in these seats, but when it does, it is a problem,
hence the highlighting here.
Front Section,
Side Blocks:
The bargains here are down to a show re-pricing seats downwards at the
outer ends of rows. Otherwise, it's a case of going for seats as close to
the centre aisle as possible. At the ends of rows, the acute angles to the
stage diminish as you go further back - by around row J the effect becomes
noticeable.
Rear section, Central blocks:
The rear section of the theatre is split into four blocks - two central
blocks, two outer blocks, by aisles.
Row Q seats
10 to 37 are good value thanks to legroom and having no heads directly in front.
Row Q is also haunted, though the spook has failed to put in an appearance
recently.
Otherwise, most are very happy with seats back here. Some readers comment
that being further back makes it easier to take in the whole stage, and that
the rake
(sloped floor to help
see over rows in front) is far better. Monkey feeling is that row X is about far enough
back at top price, though. Instead take the
Dress Circle for the same price, unless you need more legroom than circle
seats offer. The circle seats
will be closer to the stage.
Further back, when rows ZC to ZF are below top price, these are fair
value. Clear views, and the reduction matches the distance from the front
pretty well.
Rear section, Side blocks:
The side blocks of the rear section are often the same price as central seats.
Though there's no problem with the view, monkey feeling is that it's a bit harsh
to pay full price for the outermost 4 seats in rows Q to Z. There's more central
seats further forward at the same price.
As a rule, opt for the seats closest to
the central aisle to maximise value for money.
Moving back to the lower prices, aisle
seats in rows ZE and ZF again seem best bet when all seats are the same price
either centre or side blocks.
As in the central block, though, you could alternatively choose seats in the Dress Circle
for
the same price, be closer to the stage (and see more of the top of it), but have less legroom... Your call as it
is based on your own physiology!!
General Hazard Notes:
Seats are not properly "offset" - they line up behind each other. This
means there is no view between the seats in front through the arm rest gap.
The rake is shallow - as a reader notes, in a cinema (as the venue once
was), front rows do slope downwards away from the screen - and little
adjustment has been made since. One reader felt row D was noticeably lower
than row C.
In the rear blocks, seats on the "low numbers" side may hear noise from
the bar outside the auditorium.
Changes for the current production:
A low stage, so looking up isn't an issue.
"Day Seats:"
Stalls row A are being sold as "day seats" at a great price for all
performances. Monkey feeling is that all are great, and it highlights 15 to 34 in particular.
Worries that the conductor may be in front of some central seats
around A 24 / 25 / 26 have proven unfounded. It
would sit in any seat in the row, though, given the hefty discount on
offer!
Central rows H and J (H to M on Saturdays until 1st November 2013
then H to M Saturday Afternoons, plus N to P on Saturday Evneings)
become "premium" priced. The monkey would honestly avoid unless it has
struck banana oil. There are decent seats around them... In particular,
it would avoid row J... see below for reader thoughts as to why...
In the side blocks, most of the seats at the extreme ends of the row are
cheaper. Almost all are bargains. Those on the "low numbers" side near the front
are most expensive as they suffer least from restricted views - and are almost
worth the extra money. Many fans of "Wicked," though, are happy with the
cheapest seats going - and feel that going further back improves the view.
As a rule, seat prices accurately take account of the various
quirks of staging which cut into the view of the audience at the ends of rows at
times. With the huge drops in price, the monkey rates the end seats in all rows
at "fair" value - you will get what you pay for, and some should feel they have
done very well. The seats it particularly likes are in rows N to P 40 to 45, M
40 to 43, H to L 39, G 9, 38, 39, E and F 36 to 38 and D 36 and 37. All
previously top price but now at a reduced fee you should feel you are
getting more than pay for, feels the monkey. In the corners, it also liked B 13 and 14, C 12 and 13, D 11 and 12 and E 10
and 11 too. Not quite as cheap as seats on the other side, but a reasonable
alternative at similar prices to "day seats," it feels.
A small cluster of seats on the "high numbers" side
of rows Q to X are also discounted. Q to T 43 and 44 seem a fair way of getting cheaper seats (those
on Q with maximum legroom) and are worth taking if the ones at the same price in the
front stalls section have gone.
From 4th November 2013, some interesting new pricing Monday to
Friday off-peak performances throws up some bargains. The extreme ends
of rows Q back to Z drop to second price on the "low numbers" side. Some
lucky person can grab Q 3 and 4 to enjoy magnificent legroom for a
tenner less than the person beside them. Those not moving so quickly
still get a pick of decent seats nearer the front than normal. Take "low
numbers" side before "high numbers" for the view without the staircase,
though, and take seat 4 then 3 unless an aisle is preferred... in which
case...
... centre block seats from row ZA drop to second price, and in ZE
drop to third. If the edges of the theatre don't appeal, look at these
two rows, then the ones behind. Closer to the stage than circle
equivalents, and with more legroom. Good change, feels the monkey.
Rear rows ZC and ZD are overpriced at the weekends, at top price, in the
monkey's opinion.
Reader Comments:
Front Section, Centre Block:
" Row
A: (Karen and Peter). Front row is great but make sure you try to get seats 16 to 25 as a lot of the
action takes place here."
"Row A: (Liam). bargain on the front row - although I'd ensure you were as central as
possible as many cast members block your view at a couple of moments towards the
side."
"Row A: (Rebecca). I've seen Wicked numerous times. The majority have been in row A,
central section. This is probably the greatest view in the world -
enough leg room to swing a baboon in, and the stage is set back far
enough that you can see everything without needing to tilt your head at
all. At only £25, I would, and do get these seats whenever the feeling
strikes me. Sitting in the middle of row A, it really feels as though
the cast are performing just for you."
"Row A: (Sarah Clarke). I can't rave enough about the day seats for this show!! Only £15 (now £25
- editor) for a front row seat! I'm the sort of person who
likes to be 'up close and personal' with the actors. I like to see their facial
expressions, hear every comment, witness things you can only see from the front.
I also like to loose myself in a show - envisage myself in Oz with no other
audience heads to confuse the illusion. If you can relate to any of that you
have to get the day seats!
There is no restricted view like some theatre day seats. At the Apollo Victoria
you can see the whole stage. The only effect you don't get the full benefit of
is the dragon fixed above the stage and green lighting that reaches up into the
balcony when the characters arrive at the Emerald City."
"Row A: (Andy B). The only negative thing about sitting in the front row is that you lose a
lot of the impact of the set, which comes right out over the proscenium arch
and into the auditorium. But the fact that you get so close to the
marvellous costumes and stunning actors more than makes up for it. You also
get closer to seeing things done with smoke that you'd never imagine!"
"Row A (Lauren):
"I took the advice given by many people that the day seats for 'Wicked' were
excellent value and have a fantastic view, and I'm so glad I did! The stage was
low and I had a perfect, clear and close-up view of every moment of the show. I
also had acres of legroom and no annoying heads in front of me - I couldn't have
really asked for any more, and all for £25!"
"A18: (Tom C). The seat was absolutely fantastic! The stage literally feels like
an arms-length away, and you can see right to the back of the stage
because of its low height. You feel so up-close and personal with the
actors and actresses that it feels like they are only performing to you-
and you can notice so many intricate details that you can't notice from
further back e.g. the wonderful costumes. I would highly recommend
day-seating if you fancy an affordable trip to the theatre because it is
completely and utterly worth it- although if you haven't seen the show
before you would be better off sat further back as you can reflect on
the show as a whole e.g. see the whole set, rather than being
specifically 'zoomed in' on the characters.
Two points, though:
- A18 is on an aisle, and it just happens to be next to the position
where the ushers sell ice-creams! Although this can be beneficial (you
can be first in line for an ice cream!), it is really distracting during
the interval to have people queuing next to you and looking over your
shoulder!
- It seems that the day seats in the two side blocks provide less of a good view
as members of the cast and parts of the set block the view - throughout the show
I noticed the people sat across the aisle from me swaying from side to side to
peer through the gaps between the actors."
"A19 to 21: Amazing, perfect view the best seats in the house."
"A22 to 24: have to say they must be one of the best bargains in
London. The view of all the action is amazing because you do not have to
look up to see it all."
"A23: (Kirsty, regular reader). I have sat in this seat before and I love
it. Its very central and you don't miss a thing, except perhaps the
dragon, which only really moves at the beginning." On another visit
she adds,
"A23 and A24 feel very close to the action and I swear to God at times
Alexia was staring right at me."
"A 24: I day queued for Wicked, sat Row A24 in the Stalls and it was
perfect. The music was well balanced and not too loud. It's quite obvious that
you have a great view, especially at the finale of Act1. Stunning. Though I have
to admit, that first timers should see it from farther back first. I also found this seat preferable to M36 in the circle, which had no
legroom for my 6ft 2 tall frame to be comfortable - for the
tall take the front row day-seats first every time..." "A25: Although I've read that sitting behind the conductor
wouldn't be a problem, it kind of was for me. Not a lot but it was a
little bit disturbing, especially when he was making little dance moves
or something:) Apart from that, I really loved the seat! It was right in
front of the action and it felt as if Alexia Kadhime was looking
straight at me when she was singing "No good deed". It was so incredibly
intense and really gave me the chills! Ok, she was probably looking at
the conductor, but still :)"
"A 25 and 26. (Gem). Now I really cannot put into words how amazing the seats were. They
have the best view from any front row I have ever sat in! The stage is
relatively low and you miss nothing, you can even see peoples feet. You don't
need to look up at all and there is no restriction whatsoever from the
conductor. Also the legroom? I could have lay down on the floor in front of me
and still had room to move!"
"A 27 to 30: (New Zealand reader Karin W). My husband I took our two boys 8 and 10 and luckily, got 4 of the last 5 seats
they sell - A 27 to 30. I must comment that our two boys would have benefited
from having a cushion as they were quite low down to the stage and one got a
sore neck in the last hour from looking up. However the seats would be perfectly
fine for adults."
"A27 and A28: You cannot get better for the price. Many others have said, you'll
miss out a bit on the mechanical dragon, though it didn't seem to move that
much. It is difficult to focus on the whole stage as you are quite close. But I
believe the close proximity a good thing. You are NOT close enough that you need
to tilt your head back, but you are close enough that you feel as though the
actors/actresses are looking directly at you while they're singing. You can see
the details of all their costumes, the expression on their faces and even their
beads of sweat. (The conductor also poses no problems to anyone.)
If given the choice again, I would still chose the day seats over the regular
seats as you really feel the acting, the leg room is great and you are first in
line for the ice cream and drinks."
"A 30 and 31: I was impressed with the legroom, sound and view of the stage. It
didn't feel
too close, though the orchestra was a bit overpowering coming right off the
speakers incorporated into the proscenium arch to your left - but you could
still understand everything. I'd always try to get those day seats, best seats
in the house in my opinion!"
"A36: For £25 this is a really good seat. I have sat on the far side at the other
side of the stage and the view here is much better (and I didn't see Helen Dallimore's pants, as I did from B11). The odd bit of a scene was blocked by chorus members, but
all in all I caught most of the action."
"B20: which although you've got marked as red I was very impressed with - though
admittedly the seat in front of me was the only seat in that row unoccupied so
effectively I was in the front row. Admittedly you can't see the actors feet,
but worth suffering for such a good seat. I also found that most people in the
front row really seem to slouch in their seats and look sharply upwards (and
then complain about neck-ache, silly people)!"
"B 24 and 25 and 29 and 30, and C32 and 33: although theatremonkey
recommends taking row C over row B, I haven’t notice a difference in the
view from either rows. Both rows offer amazing value and views of the
action on the stage. Occasionally you have to look up to see the dragon,
but as this only has a small part in the production its not essential to
be looking up at it through the whole production. The central block of
the stalls can be a bit cramped for leg room. However, ! would highly
recommend sitting in any of the 6 seats mentioned."
"B 27 and 28: Even though you have them marked red, in
my opinion, they are the best seats in the theatre. As the stage is
quite low, you don't have to look up so no neck ache! And you are so
close, you feel as if you are right in the action and you can see the
facial expressions and costumes so clearly. These seats are best for
fans of the show who have seen it before, because admittedly you do lose
some of the impact of the set. If I had the chance, I would definitely
book these seats again."
"C 18 and 19: These seats were on the central aisle and were perfect. I
got to see such a different show sat there and felt so up close and
personal with everything that was going on in font of me. No-one will
have a problem sitting in these seats, they were great!!!"
"C 18 and 19: (Peter Rose). I have seen the show twice now, first time in the stalls row R 24 and 25 and
second time stalls row C seats 18 and 19. I had an amazing experience is both,
but it depends on what you prefer. Row R enables you to take in the whole
stage and offers excellent views and sound, though there is a walk way in
front so people are able to walk past during the performance which can be
annoying, especially during a good number. Row C lets you become completely
absorbed in the action. I love seeing the actors close up and thought this
was fab. You are slightly looking up but this is a small matter really.
Defying gravity is awesome and I was blown away by this in both seats, row C
was fantastic for this song."
C22: (Barfly). on the first preview night of "Saturday Night Fever" in
2004 and can understand why you made it red too. The rake there is non-existent
and although admittedly I'm shorter, the person in front's head blocked a lot of
the action. Sat in stalls D15 later, and that wasn't too bad, at least I got to
see all the action.
"C24 to 29: for "Wicked." Fantastic seats with a
great view of all the action and the emotion."
"C26 and 27: Good view, close to the stage where you can see all the
actors trying their best. No problem with any large heads in my way this
time, although a rather annoying child kept rocking backwards and
forwards in her seat - and as they are obviously not oiled you can
imagine the squeaking got on ones nerves after a while."
"Row D: (Dawn). I have now seen the show ("Wicked") four times and have sat in a variety of
seats.
Row D of the stall was a very different experience - very powerful
and personal. Great as I'd already seen the show - but maybe you miss
out a little on the whole effect. I would book these / or closer
again - as I saw lots of little things I hadn't noticed from further
back."
"D15, 16 and 17: the side block of
the front stalls, almost in line with the side of the proscenium. The
auditorium is very wide, so we had to look well over to our left to see
the action. While D17 provided an excellent view down the aisle, in D15
the head of the person in front totally obscured centre stage. This was
exacerbated by the inability to look through gaps, and the lack of rake:
row D appeared lower than row C. We may have been particularly unlucky,
as the patron in C16 was large, but it did ruin the evening and, after
swapping seats at the interval, two of us each saw only half the show!
Additionally, the ladies’ toilet facilities are inadequate for the huge,
predominately female, audience."
"D 30 and 31: (K Elliott). so on the end of the central
aisle, these offered very good value for money, priced at £20 (now £45 -
editor), and would highly recommend".
"D30: I saw Wicked from stalls seat D30. I didn't feel I was too close to the stage,
neither did I feel a sore neck. But there was very little leg room and I was
sitting beside a rather large American woman who took up her own seat and much
of mine. When we had to let someone in during the second number she refused to
get up and chaos ensued. Also, I was only in row D yet found the sound a
problem."
"Row E: I have seen Wicked 3 times already and it's "the business", twice in the stalls
row E which was great"
"E23 and 24: awesome, its great to be so close..."
"E 24 to 26: I've noticed in the monkey reviews that row E isn't
mentioned and it also seems to be one of the last to be taken up in the
ticket selling plans. Well my advice is don't worry and snap up the
central location. Yes it is at the edge of the price group, but being
centrally located and just 5 rows back you get a fantastic view and
exhilarating experience being close-up and personal. SPOILER ALERT You
do look up, but only a little, the worst is at the start with Galinda in
her bubble - conversely the best is when Elphaba is menacingly overhead
in 'Defying Gravity.' SPOILER ENDS.
"F20 and 21: (Diego). Got these on a standby discount for £25. Central and close
to stage. These seats are close to the action which is good as you see
the expressions on the actors faces, but it is really hard to see the
dragon as you have to crane your neck! Not that I am complaining given
the price of the seats. As the monkey suggests, the most ideal seats are
a few rows back. The rake also isn't great in these first few rows and
so the person in front did have a blocking effect on one half of the
stage."
"F22 and 23: (Pip). I have to say these are the most amazing seats ever. Could
see everything in a central view. However, I wouldn't pay the price for
them as the seats at the side are perfectly good for a cheaper price."
"F27: I was sitting in F27 in the stalls and was very disappointed with view.
I am 5'6" and the man in front of me was of average height yet I could
not see anything in centre stage at all. I spent the entire performance
weaving from side to side to follow the performers and felt I had to
apologise to the woman behind me for doing so. Her response was that she
was following me because she couldn't see either! Having spent £66 per
ticket I felt it was very poor value for money."
"G24: Although ideally placed, this seat (and those in this area) could
cause problems. There's no rake and the rows are not staggered. If
someone tall sits in front of you, then you're going to be in trouble.
Fortunately, on this occasion I was lucky and so had a fine view of the
stage."
"G25 and 26: I was sat in the centre of row G (G25, G26). Great seats and didn't have to
look up,"
H43 and H44: (Nicola). Having read the reviews on the website I was
hopeful that despite the tickets being ‘Limited View’, I would still see
most of the show and it wouldn’t spoil my enjoyment. I would say that
although our overall enjoyment of the show was not spoilt and we got the
jist of the story, it should be pointed out that we did miss any action
at the back of the stage (including, I believe, some projections of
images that we completely missed) and a lot of the staging of the cast
meant that we saw a LOT of the backs of people’s heads (so missed their
facial expressions). There is also a spiral staircase on this side of
the stage that blocks the view of the back of the stage. If you know
these facts and you don’t mind missing some bits then, at £25 each, I
would say it’s still worth the money if you know what to expect."
"J 18, 19 and 20: Fantastic seats could not fault
them. The slope in this part of the stalls is not very steep but it didn't make
any difference. Could not recommend these seats too highly."
" J22: (Barfly). is admittedly a good seat - though not as much rake as at the Dominion
Theatre. Stalls F18, on the aisle, is also a very good seat, admittedly there
was very little rake (used booster cushions) and I had a couple of young kids in
front of me but I saw a lot more than previously."
"J22 and 23: After reading reviews here
we paid for top price tickets in the stalls (J22 and 23), what a big
mistake. Out of all the seats in the theatre, the guy with the biggest
head and curliest ridiculous hair had to be sitting in front of me. All I could see was the back of his head!... The seats are not set aside to one another either,
i.e. the seat in the row in front of you will be directly in front of
you rather than to one side where you would be able to see through a gap
between heads. Others around me were finding it hard to see past taller people
in front of them as well given that the rake in the stalls is virtually
non-existent. I would advise you seriously think about this and perhaps sit in
the Circle instead or the first few rows in the Stalls."
"J22 and 23: We were in the stalls (J22 and J23) these were somewhat disappointing - the
rows are all on one level so if you have a tall person in front of you, you have
to keep dodging their head when characters are centre stage. I suggest for the
stalls either buying tickets further back (from row Q) where the seats slope or
if you want to be near the front don't go in the centre that way you are always
looking diagonally so people in front of you do not get in the way."
"J24: (James from Finchley). Seat was not great value (at £55) as the rake is
completely un-noticeable. A man of average height in front obscured the whole
centre of the stage and I was moving from left to right constantly. In the
interval I walked back a few rows and reckon that even going back to row P will
still give an excellent view as there is a good rake from about K/L and there
are no pillars to obscure the view."
"J 24 and 25: (Luke). Paid £60 each. These seats where exceptional, well worth
the money. These seats offer a fantastic view of the stage and you're
not too close that you feel uncomfortable, but not too far back that you
don't feel part of - or engaged in - the show... and now that they are
marked as 'premium seats' I feel I got a brilliant deal, best seats in
the house!!"
"J24 and 25 (John). Sat in Stalls J24/25 (what should be prime stalls) and experienced the same
problems as Caite. The rake of the seating is barely noticeable. When combined
with the low height of the stage, the close spacing of rows and the lack of any
offset between seats in adjacent rows (why?) it means you can struggle to obtain
a clear view of the stage – I found myself staring at the back of someone’s head
which obscured all action dead centre of the stage! At the interval, when the
man in front stood up, I expected to see some 6’6 giant but the man was only
average height. I think I’d prefer to move back to row Q where the wide aisle
should afford a better view. Myself and my partner actually found that part of
the stalls quite claustrophobic – something I rarely encounter."
"J 26 and 27: (Ali). Excellent seats in row J of the stalls 26 and 27 ... I have seen that other
reviewers didn't like row J - maybe we were lucky not to have tall people in
front! I was able to see details of the fantastic costumes and the facial
expressions. Legroom was ok"
"J27 (Caite). I was in seat J27... I have to say the view was poor. Although the rake has
just about begun here, it is barely
perceptible and with the stage being fairly low and flat, a good part of the
action was obscured by the head in front of me (and it was only a person of
average height). The seats are at a level where the head could obscure an
entire group of people standing up on stage, so I spent most of the
performance swaying from side to side to see round at what I was missing. I
really couldn't recommend these seats for the money."
"K 24 and 25: We were sat in row K 24 and 25 so we were dead centre and 11 rows from
the front, perfect, I hear you cry, well cry you will because the rake
is non existent and even at 6ft 1" I could not see over the head of the
guy in front of me. OK, this particular guy did have the head the size
of a large pumpkin (yes he did) in fact he could go to his local farm
show and he'd win first prize for the largest pumpkin EVER!! If anyone
is slightly smaller they will not see a thing and at £60 a time for
these seats it's no laughing matter. I had a much better view from row C
when I was sat there at a previous performance because you do have to
look up to the stage. Row K you are looking straight ahead, I wouldn't
recommend these seats to anyone. Row A to F would be OK, and I would
miss the next few rows out and opt for row P going further back as the
rake starts to get steeper from there. It would probably help if the
seats weren't directly behind eachother and moved slightly left or right
with each row so that you are looking through the gap of heads rather
than at a head (or pumpkin in my case)."
"K 26 and 27: (K Fried). Our seats (stalls K 26 and 27) were AMAZING. I can't imagine better seats for
this show. Close enough to feel part of the show, far back enough to allow a
small amount of illusion. We had to look up to get the full effect of the
dragon, but I really think that it should be that way. After all, he's meant to
be looking down over OZ."
"K26 and 27: Fantastic seats, dead centre, a good rake and outstanding
view. Could not recommend these seats highly enough."
"M 24 and 25: Other readers of Theatremonkey have commented on the lack of rake in the front
centre stalls. This is a problem but we were very fortunate to have two children
in front of us (there is no off centre seats i.e. they are all behind one
another in this block). Consequently we enjoyed a perfectly central
uninterrupted view of one of the most lavish sets I have ever seen. Close enough
to see faces and expressions but far enough away to get the whole effect of the
set and which does not restrict itself just to the stage (genius usage of the
LED fabulousness that is the Apollo Vic)."
"N 19: (Peter Rose). We were spread across the front section of the stalls. I sat in row N
seat 19 and had perfect view of the stage, however this was because no
one was sitting in front of me (lucky lucky). The seats in the front
section are poorly raked and hardly staggered which means your full view
can be blocked if you are smaller. Some pupils needed cushions kindly
supplied by the staff, to help them see. So I would pick front dress
circle or the first 5 rows of the stalls. Some pupils commented that
some of the action was missed as they were on the ends (seats 3-7) and
sight lines are not great (I have trained them well!!)"
"N 23, 24, 25: (Rob). My seats - front stalls row N 23, 24 and 25 were perfect - best I've had. They
seem much higher than the row in front."
"O25 and O26: (James, regular contributor). Sat here for 'Wicked.' Still can’t seem to
find the best place to sit in this theatre. The rake is definitely better
here than it is further forward, but the fact that the seats are all
directly in front of each other rather than staggered meant that a person of
only average height still managed to partially block my view. That said,
row O was a great place to see the show without moving my head constantly
from left to right due to the wide stage and there was no neckache as it’s
at a good level to see the stage. The sound is good here too and you don’t
feel far away from the action
On another visit I sat in Stalls O20 andO21 and with a slightly shorter
person in front of me this time, the view was the best I've had for the show".
"Row P: (Holly M). near the back of the front section, great seats with a good view"
"Row P: I must admit I felt you could get a good view from any area of the
stalls and Row P was fine for me, even though I’m usually a front row
fan! If I see the show again (and its highly likely I will as it
completely captivated me) I would like to sit further forward just out
of personal preference."
"P18 P19 and P20. We had seats in the stall in row P by the aisle.
This block rakes downwards but we found that the drop between rows P and
O (the row in front) was much less that the drop between O and N. A tall
couple sat in O18 and O19 and it was very difficult to see past them. If
I was going to this theatre again I would avoid row P."
"P20 and P21: (Mark). Good seats in P20 and P21 for this, Monkey is spot on in rating these as
amongst the best in the house. Only slight issue is the rake isn't quite as
good as might be desired, particularly if your companion is a bit of a Munchkin and sat behind someone with height to spare. Other than that they
are a great spot where you can take in the whole stage and still be close
enough to take in the expressions on actors faces."
Front Section,
Side Blocks:
"B11: I was sat in seat B11, marked red by Theatremonkey. I totally agree
with this assessment. Soundwise it is fine, but because it is so far
over the side of the stage, you miss some of the action upstage left.
The way the chorus are arranged in some scenes also prevents you seeing
all the action, which is not great if you don't know the story. I also
got a very good look at:
a) the stage hands in the wings, and
b) Helen Dallimore's pants at least twice in every scene (which some may
see as a selling point)."
"B13 and 14: These seats are marked as 'green' on the seating plan and I
can definitely see why. At times (especially when she flew) you really
felt as if you were in the action and there, this made it very special.
These seats were definitely worth it at £28 each. If they were marked
down as £62 seats, I probably wouldn't hesitate sitting there again
because the view was absolutely phenomenal."
"B14: Booked this as a "restricted view" seat, for around £30 (with fees
etc). I sat in it before the show started, but since seat B15 (around
£65) next to me remained empty, I moved into that one. Had an excellent
view for (nearly) the whole show. I can only imagine that it's marked
red by the Monkey because the main action was slightly blocked by other
members of the cast for a little bit in one scene, but this really
wasn't a problem for very long. I would highly recommend this seat for
people who are able to pay top price. However I'd imagine that B14 would
be almost just as good for less than half the price."
"B 14 to 17: (Mila): Seats great, it's fantastic to be so close. B 13
and 14 are marked as limited view so are much cheaper but are well worth it,
none of us missed anything....."
"B17: (Kirstin). I just wanted to put in a good word for seat B17 in the stalls. Though this is
the second row, its position on the aisle and the fact that the front row starts
further across means that this seat is effectively a front row seat in the
second row - there won't be anyone in front of you! Plenty of space and a
completely clear view of the stage."
"B33 to 35: (Barfly). I went to see Saturday Night Fever in 2004 and sat in stalls seats B33 to 35. The end of the stage either
side juts out and is very high meaning that the back left of the stage couldn't
be seen from where we were sitting. In fact my dad, who was sat in B35, hardly saw
anything on the near left hand side of the stage even though he's six
foot tall! These seats should really be avoided when they're full price. You'd have to be about
eight feet tall to see some of the action, and nobody should pay full price to 'see' a dismembered voice!
I also doubt you can see anything from seats B37 and 38 because the stage is
so high. I don't think the reduction in price justifies such a bad view. Admittedly
the seats mentioned hadn't been sold at the show I went to but I
felt theatregoers should be aware of this."
"B36: in the stalls as it was only £15 (plus £2.50 for booking). I was
warned that there was a limited view but decided to go for it as I was
probably going for the soundtrack more than anything. Then my Mum
decided she wanted to come, so I bought the two seats next to it, B37
and 38 (I wasn't planning to buy two more, but Ticketmaster's policy of
not leaving single seats meant it worked out just as cheap for me to buy
an extra seat as it was to move somewhere else).
"B 36, 37 and 38: For the most part, B36 had a fantastic view. Being so
close to the stage, you are looking at a slight upward angle but it's not
uncomfortable. I had enough leg room as well, but I'm 5'7" so anyone taller may
have a bit of a squeeze. There were a couple of occasions where you couldn't see
actions in the back left of the stage due to the stage, but these aren't pivotal
scenes and you can still tell what is happening. Also, you do find yourself
looking at cast members' backs a few times but they move around a lot and for
all important scenes the view is fine.
My Mum had a little more trouble in B37 as the stairs were more in her way, so I
would say that 36 is as far as you can go before the view is really hindered,
but she said she could still see all of the action in the centre and didn't
really feel like she missed out on anything. She also said she thought the music
was a bit loud at times as the amps for the orchestra are positioned right in
front of our seats. Luckily there was no one in the end 3 seats of row A so no
tall people blocking the view. I don't know whether that would have been a
problem; that's one advantage of going on a week day I suppose (ours was a
Wednesday matinee).
Overall I would recommend buying B36 if you're on a budget and don't mind
missing a little bit of the action. Being so close was great as you could see
the actors' faces perfectly and they even catch your eye a few times which was
nice. It may be that if you get the equivalent seat on the right hand side of
the stalls then your view would be less restricted because the stairs to the
wings aren't on that side. I think B36 is as far left as you would want to go if
seeing the action easily is important to you, but for such a good price it was
great! "B 37 and 38. They were really awful because the staircase was in the
way."
"C10 and 11: (Kirsty). These are OK. The view is not that fab if you want to see the whole stage.
Anything that happens on the right hand side is totally lost. However, if you
are slightly interested in seeing the scenery and cast members move on and off
it is quite fascinating. You see everything centre stage and you are still close
so you can see all the actors facial features and gestures. In the Shiz scene,
though, I had Keeley Jane Jackson and Sabrina Carter blocking my view of Chloe's
Glinda - but hey ho."
"C 12 and 13: Brilliant view all the time! But for some reason I prefer Row
D! Totally worth the price as in many theatres, side view seats would be at top
price in the stalls."
"C12 and 13: Although these tickets offer better value than C 10 and 11,
I would advise to avoid these seats. These are the cheapest bracketed
tickets I have ever purchased for a West End show and this obvious
throughout the show. Although we had an amazing view the main characters
through the main scenes ('Defying Gravity,' 'No Good Deed,' 'Popular'
'Wizard and I' etc) at times the stage was blocked by backing dancers.
Also because these seats are at such an angle it is possible to see the
stage hands stood at the side of the stage and also the cast exiting and
going back stage. I would recommend paying a little extra and sitting
either further back, or in the cheaper bracketed tickets on the other
side of the stalls."
"C16 and 17: (Mila). Seats great, it's fantastic to be so close."
"C 32 and 33: These are the aisle seats on the side front stalls block and
this is the second time I've sat on the aisle on a side block and strongly feel
that any aisle seat on either side block from Row C back to P are brilliant.
Because of the angle your view will be totally un-interrupted and the seat in
from it are usually very good too. My seat in Row C on the aisle was perfect
bearing in mind it was my third viewing. I had no one sat in front of me in Row
B so when Elphie, Glinda and Co, were my side of the stage it felt like they
were singing directly to me. Awesome. Like others have said before though, for a
first viewing I think ideally it's better to sit further back - I bought my
parents tickets in P16 and 17 which was a few rows back from my last seats and
they loved their view. Having now watched the show from both sides of the 'side
stalls' I would recommend labelling Seat numbers C17 back to P17 and C32 back to
P32 as great seats. As mentioned previously the seats next to these won't be as
good but they'll still be good ones."
"C 36 and 37: (Cristopher H). I thought that the front seats in the stalls were really affected by an
overflow of smoke that covers the whole theatre. I was seated on the
stalls row C seats 36 to 37 , which were £20 each and when the show
started I really knew why!! These seats were really on the side, and
parts of the musical were blocked by the staircase on stage. I actually
thought that the best seats were in the stalls behind row P in the
middle, just because of the rake. In my seats, a very tall man sat in
front of me for the second half and I had a neck ache by the end of the
show. I also noticed the seats were old, creaky and very uncomfortable -
the space was poor and the leg room atrocious."
"C36 and 37: I hated these seats. I felt too close to the actors and the
stage, there were moments when I thought they were going to fall on top
of me. Certain moments throughout the show were missed because my view
was restricted - including a very important moment towards the end. The
seats were only £30 each, but I've sat in the £15 seats in the Circle
before and much preferred those. I would say avoid these seats!"
"C36 and 37: (Pip). Joint furthest forward I've been at the theatre. I much
prefer these to Row C £25 seats (as Glinda blocks your view often in the
first song). However in these you are much more central than other seats
so you don't miss anything due to blocked staircases on stage. The seats
are comfortable and no neck ache. Legroom is average."
"D11 to 12: Personally I have no complaints about D11 to 12 and I missed none of
the show,
In fact, I would recommend these seats any day.
"D 36 and 37: (Harriet). each £20: Very good value for money and I would definitely
recommend them to anyone, particularly if they enjoy being close to the
action. At other musicals I have sat in the circle, but preferred the
experience in the stalls as you could see the acting more clearly. Our
seats were classified as restricted view - and occasionally we could not
see people when they were entering the stage - but we didn't miss any
important parts of the show as all of the main action took place near
the front of the stage. I am glad to see these seats are marked green on
the chart because I would definitely choose them again."
"D 36 and 37: (Pip). Excellent view for the price, much
preferred then my old favourites of £25 on the other side. Leg room
acceptable, and considering the seat next door is £60, it's a bargain.
Only disadvantage is scenes with dry ice make you very cold, and there
is no heating! But loved them. Comfortable as always. Brilliant,
wonderful, fantastic! Can't say anymore than that."
"D36 and D37: (Michael). green on the monkey seating plan were available at half
the price of D35 - which had no better view than ours! The seats were on
the cusp for viewing the left of the stage and very little was performed
there due to the stage stairs in use immediately in front of us. There
was a little neck ache looking to the right most of the time, but the
price of the seats made up for this. If going again I would look for
seats in the centre, though more expensive."
"D36 and 37: offered a decent view of the stage, there was only a small
part which I couldn't get a clear view of."
"D38: Although the view from this stalls seat was a slightly restricted,
it was still a great view for the £20 I paid. The staircase on this side
of the stage, that quite a few reviewers have mentioned, wasn't actually
that much of a problem. In one scene, you couldn't really see what was
going on at the very left of the stage, but it was easy to guess what
was happening, and this was only for one scene. If you're happy to spend
a little more, then go for a seat slightly further in, but if you're on
a tight budget, this seat is more than satisfactory."
"E8 to E9 do miss some of the key events in the first half, but the
price is fair for this, and they are very much better than Dress Circle
row U at £5 less. Worth paying the extra to sit in the stalls."
"E 8 and 9: (Moon). Don't pay £60 (£55 when I saw it) to sit in Stalls, row E, seats
8/9. These are top price tickets and yes, you guessed it, they had a restricted
view. We could not see a full half of the back of the stage. Thankfully, most of
the action took place further forward."
"E36: I'm still not convinced that the sound is right - I have no idea how that is
adjusted - or if it can be - but where principals are singing with the full
company e.g. in 'One Short Day' they are not quite prominent enough - Idina
and Helen were not sufficiently 'picked out' when singing the 'there are
buildings tall as quoxwood trees/dress salons/and
libraries/palaces/museums/a hundred strong'. I was in E36 in the stalls -
which is very much to the side of the theatre - perhaps it was a quirk from
that position - but I could have done with a more treble sound to the
principal vocals from there and picked them out even more in the mix. But
what do I know?"
"F36 and 37: I asked for F36 and 37 (£20 at the time - February 2010) in the stalls after
looking at the theatremonkey plan and they had them. These seats were amazing! I
can’t explain how great they are, I think they are the best seats I have ever
sat in, anywhere, and such a great deal! They were what I would describe as a
perfect distance away from the stage: really close so you can see everything in
detail but not too close. Even though they are towards the side, you can see
everything, I sat in 37 and I think there was one occasion when I had to wait a
couple of seconds to see who had just come on to the stage, but you can see all
of the actual action as it goes on in the middle or at the front. I can see from
the plan these seats are about to increase in price, but I would say that at
£30, or even £40 they are still fair value, especially as the seats next door
(and behind?!) are top price."
"F36 and 37. These seats offer amazing value for money. The view of the stage is
only limited slightly (SPOILER I can only remember missing the lion cub). I
would recommend these seats to anyone on a budget who cant get to the show to
purchase day tickets." "F 38 to 40: (Tom C). (£20). I have sat once in the circle (row K) and
once further back in the stalls (row R). The seats for this performance
were fantastic!! They were really worth the £20 that we paid. However, I
agree with the ratings of the seats on your Apollo Victoria seating
chart. I sat in F38 which had a perfect view of everything (except for a
small amount of scenery in 2/3 scenes) - you have highlighted this as
green which I agree with! My sister and our friend sat in seats F39 and
40 and had more of a restricted view. The stairs on the left hand side
of the stage blocked around 1/5th of the stage - but as most of the
action took place at the front it did not matter as much! They were just
surprised at how good the show was!
Another point that makes these seats so fantastic is that the speakers were
literally a few rows in front (disguised underneath the stairs on stage). This
meant that the sound was perfect - you could literally hear every instrument in
the orchestra and all of the singing on top of this! There was no point in the
show where I couldn't hear what was being said / sung."
"F41 and 42. Lovely seats, felt nice to be further forward, but I
prefer not being at the end of the row. Comfortable seats with better
legroom at the very end. Can see almost everything."
"G32: (Roddy). we were sat to the side of the Stalls in rows G, H, and J seats 32 to 45ish...
These seats were excellent and a fun and most memorable time was had by all,
with no viewing problems whatsoever like others have mentioned on Monkey's site.
A very clear uninterrupted view.
For any musical or show, I would always recommend front Stalls as the best
seating."
"G32 and 33: Paid £62.50 per ticket.
Brilliant seat. Worth every penny. View was clear, we could see the
actors up close but were far enough to appreciate the stage. Perhaps a
seat further behind in the central stalls would be more appropriate for
someone who wishes to enjoy the entire stage. However, I certainly
enjoyed being close to the stage."
"G38 and 39: Gave a pretty decent view of the stage, only a slight part
was obscured but tickets were still great value for money."
"G 40 and 41: (John). only cost £20 and were great value - especially
considering a few seats across they were £60. There were only a couple
of occasions that our view was not great, but overall brilliant value -
I would suggest that the seats similar to these at the other side i.e.
Row G 8 and 9 would be slightly better than ours as there is a circular
stairway on our side which does protrude more than on the other, where
there isn't one. But if your on a budget and want to see this great show
don't hesitate."
"G 40 and 41: Excellent seats, for £20 you can see everything.
I don't see where 'restricted' view comes in at all. Although being at
the side, I do think they are excellently priced and well worth it.
Would attempt to get a few rows in front for the same price (if
possible) though.
At another performance I sat in Stalls Row E seat 8. This use to be
my favourite area to sit in as it is amazingly priced for £25 when the
seats nearby are £60. You are up close and personal and the sound if
perfect. Legroom at the end of the row is plenty and is very
comfortable. However, having experienced £20 on the other side of the
Stalls I personally feel they are better for money, because I don't see
the restriction over there, but at this seat where Glinda stands in the
first scene blocked the 'Witch's Mother' scene, and the back of the
stage is not visible."
"G43 and 42: seats with “restricted view”, so they were just
£15. I cannot praise these seats enough for the price, there was a small
bit of the stage, maybe the left fifth, but only at the back, you could
see everything on the left at the front fine (and a great view for “As
Long As You’re Mine,” it felt like Elphaba and Fiyero were just in front
of us). I would definitely go for these seats before more expensive
seats far back in the circle. I have never sat in the stalls to see a
musical before because it’s always too expensive for me, so it was
amazing to be this close to the stage."
"H 40 to 44: (Trevor Chenery). We were sitting in row H 40 to 44 which are in red on your seat plan (in
early 2007). True the
left-side stage action when the cast are not very far forward misses a bit of a
view but, overall, you lose nothing. One important thing to bear in mind about
this show and others - is that a lot of the close-up action takes place on
the left side of the stage and rows A to J seats 35 to the 40s really get the
best and most intimate view of what is happening in key scenes.
Also, that night, seats in 35 to 42 in rows B to E were unsold. Any late-comer,
personal-callers at the box might enquire about availability of these if they
desperately want to see the show at short notice or to try and do a deal.
What your other correspondents don't seem to take into account with regards to
"seat rake" is that the theatre was originally built as a cinema and as such the
stalls seating in the first 20 rows needed to fall away from the stage level to
make the screen visible."
"H 41 to 42: (Pip). Must say I loved these seats. I think I'd get them
around here because you're not too far at the side, and not too close to
the action to get a bad neck. Lots of legroom, extremely comfortable,
just beware of uber tall people in front (although I didn't have one).
Could see everything from exit to entrance."
"H43 and H44: We got tickets on
Ticketmaster for £17.25 each (February 2012 prices) and they
were perfect. I was a little nervous about
them but after reading reviews on this website decided to take a
chance. They were great seats and hardly any of the show was missed.
I would recommend anyone to go for these cheaper seats than pay full
price for them."
"J44 and 45: (Pip). Personally this was the biggest bargain I've ever made at a
theatre. I could see all but one part of 'The Wizard and I' because of
the stairs, and Elphaba's entrance to the Ozdust Ballroom, but otherwise
everything was clear and detailed. I loved it. Definitely good seats.
Much better then same priced in the stalls. Legroom is good at the end
of row and very comfortable. Some theatres that sell £15 seats aren't
anything like as good."
"K14 and 15: (4ft 11 tall reader Rebecca). I was happy with the distance to the stage - it gives an
excellent broad view. I was happy with the position, slightly to the
right, and felt nothing was hidden. However, the rake of the Apollo
Victoria is almost non-existent, and because the seats do not alternate
position, my view was largely hidden by the heads in front of me, and by
the woman who sat through the second act painting her toe nails. Unless
confident that they are tall enough, I would recommend that people
consider sacrificing a few hours of sleep and getting the front row day
seats."
"K 41 and 42: (B). Purchased through Ticketmaster for £30 plus
service charge. We thought these seats were fair value. Row K is a good
distance from the stage in that you are close enough to see everything
and feel the emotions of the characters, and far enough that you can
take in the whole stage and are not looking up. We could comfortably see
almost everything from seats 41 and 42. There are a very few scenes
where you have a few seconds of a restricted view (mainly left hand
side) but as soon as the characters come further forward (usually within
seconds)--you have a wonderful view. This is mainly due to the
proscenium arch, but it in no way detracted from my enjoyment of the
show. In fact, the savings of £30 greatly increased my enjoyment because
it meant that I could also go to 'Billy Elliot the next night :-).
I loved Wicked--it is a wonderful show--my evening did indeed "defy
gravity".
"K45 and 46 (Dee). I booked the lower end tickets (£15) which were a great bargain and got
seats K45/46 in the Stalls. I thought that being in the Stalls would
mean having a fabulous view of the stage/show. Boy was I wrong! Yes,
these seats are close enough to the stage to see precise expressions of
the characters however, they are way too far to the left hand side of
the stage and both my boyfriend and I found we had to constantly crane
our necks to the right every time there was a captivating scene (which
in my opinion is for the majority of the show!). In these seats the view
of the stage backdrop is lost A LOT almost to the point of spoiling the
evening. If I had paid any more for these tickets I would have been
really disappointed."
"L32: Great view, highly
recommend."
"L36: Hardly any leg room. I'm 6ft 3" and had to sit bolt upright so
probably blocking the view of someone behind. Sorry!
A good view from the side, but would not have liked to be any more to
the left i.e. 37 onwards) as the view must be obscured.
Having sat in many other places in this theatre and the sound was
good, the sound was not balanced here. Way too much bass. Near the
drum kit I think! and some of the dialogue was drowned out.
There was also the noise of what sounded like a large fan constantly?
May be the lighting coolers? Not had that before either.
Glad I only paid £35 for this."
"L41: (Price paid £22.50): Leg room was good. This seat was quite to the left of
the stage, and I would not advise readers to sit much further to the left. Some
of the stage entrances were missed but that was all." "L45: (Paul). (£20 in April 2010) – utterly, utterly
brilliant value. Missed very little (a few entrances) despite blocking
issues with the way the ensemble were placed in the opening scene, as
the majority is staged in the centre and front. I suspect I missed
seeing Dorothy’s house – but that didn’t matter. Having been a
‘best-seat’ purist for many years, ticket prices mean that cheaper seats
are needed now and then. These seats, should in my view – for the price
and the view – be green. Would see it again – glad I didn’t pay £62.50 –
and would be incredibly happy to see it from L45 once more!"
"L46 and 47: (Pip). Would be nicer to be further in the centre, but as the
price is cheap I loved it. Could see everything clearly and sound is
excellent)."
" M15, 16 and 17: Researched these seats and came up trumps. Superb. The
raking just comes into effect and the aisle location means that the person in 17
has a total unrestricted view. Plenty of key scenes straight ahead too. If
you're paying top price for tickets, these are near-perfect seats"
"M17: This seat was fine. Being tall, I was able to put my legs into the
aisle and lower myself into the chair a little to help the person behind
due to my big head! Sometimes I hear people moan behind me when I sit
down; if any one reads this who has had their view blocked by a tall
person, we can’t help it, we were born that way!!!"
"M44 and 45: they were an absolute bargain at
£20! I would definitely mark these seats green (value for money).
Great distance, only occasional restricted view and generally superb."
"N1 to 5: (Di). Just to add to your conversation about seats at the Apollo Victoria (Wicked). I
really wouldn't advise people to pay top price to sit in the stalls N1 to 5.
Unfortunately we did, and we couldn't see half the action. A little dickie bird
tells me that prices for N1 to 4 have been reduced for the next booking period -
but I would still say that if you want to see the full effect of this show don't
sit in these seats. (Interesting that no-one in the side blocks gave a standing
ovation at the performance I saw - probably because they only saw half the
show!)"
"N44 to 46: (Lynn). Having checked with your website, I booked stalls
N 44-46... and your reviewer was right - they were great seats. We
couldn't quite see the far left hand side of the stage but that didn't
really matter as nothing much happened there. Think the theatre have
been reading your reviews as tickets were £32.50, but still great value
for money."
"N 46 to 48: N46 was £22.50, N47 and 48 were £15 each plus service charge in
August 2011.
N46 had an amazing view and I would highly recommend it, especially for the
amount paid.
N47 and 48 are over to the side, therefore you miss some small bits of the show, and
the back of the stage is hidden a bit, but you still get to see pretty much the
whole show and are so close to the stage. Great seats for the price paid. £17.25
was a total bargain!!! I would highly recommend these seats of you can get them."
"P14 and P15: (James, regular contributor). for “Wicked”. I actually
quite liked being slightly off to the side as although the seats
aren’t quite staggered, because everyone is slightly angled it made
for a very good view between people’s heads and I had a completely
unobstructed view of the stage."
"P36 to 39: (Hannah M). I rate these stalls highly for "Wicked."
"P38 and P39: although they're in white on the seating plan, we found
them to be AMAZING!! (but we were quite lucky - the two seats in front
of us were unoccupied)."
"P40 to 43: Cheaper than full price tickets but we couldn't understand
why - as they offered a fantastic view. With no one sat directly behind
us, we also made a 'coat booster-cushion' for our 7 year old son to
raise him a little, and both he and our 10 year old daughter were able
to see everything."
"P40 and 41: (Teresa Gustafsson). The best seat I’ve ever had anywhere so far! My friend saw the show for
the first time and she also loved the seats! We had tickets to stalls
P40 and 41 which is marked green and only costs £40 because of the
slight angle of the stage, which was fine, but there wasn’t anyone
sitting next to us so we moved to P37 and 38 which is full price seats
and closer to the centre. We had a perfect view of the stage and I could
finally see the actor’s faces and details, something I’ve wanted for a
long time."
"P42 and 43: We had seats P42 and 43 in the stalls and we were a little worried as you had
these as red on your seating plan (now green at lower prices - editor). Yes, we did have to view the stage at a
slight angle but we didn’t miss any of the action on stage and had a fantastic
view of all of the characters. The tickets at full price were worth every penny
and we would recommend them to anyone."
"P42 and 43: Having read all the reviews here and despite being a seating snob
(always go for A-reserve), I decided to chance it and bought myself and
a friend P42 and 43. I can't recommend these seats enough. £32.50 each
and the only action blocked were three entrances which were brief and
minor. Would I pay £30 more for these entrances? Absolutely not. To put
it another way - the entire row (P 32 to 48) was empty apart from us but
we were happy to stay in P42 and 43. If you can get these, take them."
"P42
and 43: (£35). Felt they were great value for money. I only
recall two brief instances of missing entrances from
the left of the stage, and not being able to see what was in the
cage during the lesson. All the other scenes were perfect, close
enough to see expressions, far enough to take in the whole set. The slight
angle means that you look between the head of the people in front of
you, which is useful due to the shallow dip of the seats."
"P42 and P43: To the left hand side of
stalls, and are ones that the Monkey recommends as they are at a reduced
price compared to some of the more expensive tickets in the stalls. The
tickets were £32.50 and are amazing value as you get a good view of the
stage without the big price tag of surrounding seats. There was only one
moment where I couldn't see one of the performers enter, but they soon
moved to the foreground. I would highly recommend these seats as they
are really great value." "P48: Advertised as a limited view, bought it on the day at box office
for just £15 at a Wednesday afternoon performance in October 2010.
Brilliant view for the money, end of an aisle. Legroom is generous in
that row, though, even without being on the end of an aisle. Sound was
brilliant and could see everything apart from bit right at the back left
hand side of the stage where very little happens. Having previously sat
in the back of the stalls under the circle, this seat was far better
value for money."
Rear section, Central blocks:
"Q 19: I was extremely pleased with the clear, unrestricted view of the
stage and felt that this seat was well worth the top price that I had
paid. I was near enough to see facial expressions but far away enough to
experience the whole affect of the stage/set designs. In addition, the
wide aisle that runs in front of row Q gives you an enormous amount of
legroom to really stretch out. The rake of the floor is also very
noticeable in this row, giving you clear views over heads in the stalls
in the front centre block."
"Q23: (Tony). I was told this normally went
for an eye-watering £90, but I could have it for £62.50. Still pricey,
but not a bad deal on a premium seat. The view really couldn't have been
better. The near lack of rake in rows A to P works to your advantage
here because unless you have someone particularly tall in those seats,
you are looking over the people's heads. Also, as will be seen from the
seat plan, it is the front row on a centre aisle so the leg room is
enormous. The seats in row Q are also far enough forward so the overhang
of the dress does not obscure the view of anything happening high up, as
it might do with seats further back. A small (very small) irritation is
that Q23 is on the junction of two centre aisles, the position where the
drinks and ice cream sellers position themselves, so if you're staying
in your seat for the interval, be prepared for quite a bit of traffic
— as I say
minor quibble. Facial expressions would have been clearer by being a bit
closer, but again this is a small point and you're really not that far
away. Being central, the sound is superb and Rachel Tucker's voice is so
powerful it could probably be heard at the Apollo Shaftesbury Avenue,
never mind the Apollo Victoria. I'm probably a bit spoilt now. I can
never afford the full price of a premium seat and will not always be
lucky enough to pick up one cheaper. But if you can go that extra few
pounds, this is a good a seat as any in the house."
"S21 to 23: Me and two other friends went again to see Wicked (Wednesday matinee 21st March
2007) and sat in stalls S21-23. I couldn't ask for better seats, all the stage
was visible including the time dragon perfectly. Furthermore, we were close
enough to take in the expressions and also detail of the props themselves. In
addition we felt as if we saw everything the stage had to offer, being at this
distance. The seats do provide binoculars for 50p but honestly you don't really
need them - however they are quite cool to look through at the map in the
opening of the production! For £60 a ticket I did feel they were a little
expensive yet still was highly pleased - great view, great sound and also great
leg room. I would definitely be experiencing Oz from these seats again!!!!!"
"S21: Taking advantage of the January 2010 getintolondontheatre.com
promotion, I secured S21 in the stalls for £35. Initially apprehensive
(S sounded like a LONG way back) - I was pleasantly surprised - this is
a great seat - for some reason it feels pretty close to the action.
Perfect view of the stage, and due to the fairly steep rake there's no
problems with anyone blocking your view. Legroom pretty decent too. At
full price, I would probably opt for rows Q or P in the central blocks
first."
"S24 to 33: (Julia). We were sat in the stalls row S24 to 33. The view... was ideal to see
everything and to feel totally included in OZ"
"S34 to 37. (James, regular reader). A great place to see the show from – good sound and a really
good view especially because the seats are angled slightly so you look
through the gaps rather than directly at the back of someone’s head."
"T22 and 23: Very good view of the stage with a good rake. I could see
the Time Dragon and hear everything. In addition, seat 23 is on the
aisle so you can stretch out at least one leg."
"T 23 and 24: (George Wheeler). These were even better seats (than S 1, 2 and 3 from my
first visit) and I thought the view was spectacular and would thoroughly
suggest these seats to anyone even if they are full price tickets."
"T 24 and 25: were really good seats - and no pumpkin head in front of me
this time. T24 is situated on the aisle which meant I could stretch my
leg out."
"U 10 to 23: We were a group, in rows U and W seats 10 to 23 and row X seats 18 to
23. I sat in U23 (on the aisle), giving a central, completely
uninterrupted view of the stage. Although it sounds surprisingly far
back, the stage seemed so much nearer but gave you a chance to admire
the whole set as well."
"X30 and 31: (James). for “Wicked”. You can see the whole stage
clearly here and I didn’t lose anything from the overhang. The sound is
good here too. However, at top price it feels a bit too distant."
"Z 28 and 29: Paid £40 for these £60 seats when visiting the Box Office on
the day (local discount offer, Editor) and were good value for the money. My
girlfriend is of average height for a female and her view wasn't brilliant with
someone of average height in front of her, quite far back with low ceiling due
to Circle Overhang but for £40 good seats. For face value of £60 you can get
MUCH better."
"Z39 and 40: which I was really worried about but the
view was excellent.. except we couldn’t see the dragon at the top of the
stage, but it didn’t matter."
"ZA 19 to 23: (Rebecca). Our party of 5 was in row ZA of the Stalls seats 19 to 23. The seats were
comfortable, with plenty of legroom (tallest 5' 11"). We found these seats to be
excellent, I was worried about being so far back, but the steep rake allowed for
an excellent view and even the children in our party could see the stage
reasonably well with adults sitting in front. Binoculars were 50p but not really
necessary. The biggest drawback was the heat. It was stiflingly hot. I can't
imagine what it must have been like higher up."
"ZA 28 and 29: Sat in Seats Row ZA in the stalls 28 and 29 and very good view as most of the
stall seating seemed to offer."
"ZD34: (Luke). Paid £40. Good view of stage and, by sitting further back, you
seem to take in a lot more of the show and notice more of detail put
into the set. Although... the overhang prevents you from seeing the
dragon, I also felt quiet far back and distant from the stage."
"ZE24: (Teresa Gustafsson). Loved that seat! It’s straight in front of the stage and because the
floor goes up it’s also at the same level. Perfect, clear view although a little
bit far back. It was also nice not having anyone next to me on one side."
Rear section, Side blocks:
"Q 3 to 9: (Mila) Lovely seats. Theatremonkey has seats 3 and 4 marked as red
but not sure why (expensive at top price - Editor), me and my friend could see everything, and a perfect
view as no-one in front of us. And plenty of room for bags, and to stand
and cheer Louise at the end."
"Q38 and 39: fantastic seats with
a brilliant view of the stage!"
"Q38 to 40: Are great. There are no leg room concerns, as the seats are
the first row following a walk through gap. The seats cost £65 each
(including booking fee) whereas the ones just across the aisle, in the
centre block, were £92 each. We each had a full and unobstructed view of
the stage. The rake wasn't an issue because of the walk through gap and
the row in front being set lower down. And, an added bonus for the
ladies - loos just off to the side, which allow you to beat the interval
rush and would have saved us queuing at the main ones when we came in
had we known!"
"R5 to 9: On the diagram it looks like the
seats are very wide out and looks as though you may miss some of the
action on stage but they were fantastic seats and are closer to the
stage than the diagram suggests. We didn't miss one minute of the action
and all the special effects worked well from our view."
"R8 and 9: (Mila). Only white in the seating plan, but really really good.
Because of the way the seats are laid out, R9 actually has no seat in
front, meaning a completely clear view of the stage for my 11 year old
daughter."
"R 38 and 39: PERFECT."
"R38 and 39: (Geoff Jones). Great
view of the whole stage and one of us could stretch out a bit as R38 is
on the aisle – seats felt comfortable and binoculars were available if
you felt you needed them. For the most part sound was fine when people
were speaking and singing individually, but when the whole cast sang it
was hard to make out what they were saying."
"R 45 and 46: (Tom C). On your seating plan, it marks seats R 45 and 46 as red...but I think
that this is wrong! My two friends who sat here basically had the same
view as myself and my other friend did in seats R 43 and 44. They were
all worth £30, so obviously had a slightly restricted view. There were
short amounts of time where you couldn't see scenery because of the
staircase on the left hand side of the stage, like the house in the
Catfight Scene and the Stairwell during 'For Good' but you did not miss
anything at all because most of the action took place on centre stage.
Here, the sound was better than previously because the orchestra sounded
louder and therefore the songs were more spine- chilling, and also you
could actually see the character's facial expressions!"
"S 1 to 3: (George Wheeler). I bought S 1, 2 and 3 for £62.00 each in April 2009, and thought they
were brilliant value but maybe a little low on the rake. View wasn't
obstructed at all as I am quite tall but for anyone shorter may be a bit
of a problem if you got an adult sitting in front."
"S38 and 39: George Wheeler). These seats were amazing. I had full view of the stage, No
view restrictions. Well worth the £62.50 per seat! If I went again I
would try and get closer to stage. The sound is a tad low back in Row S
and you don't get the full OOMPHH of 'Defying Gravity.' But... the view
is clear, and you can just about make out the facial expressions on the
actors/actresses faces. Bloomin' GREATTTTT SEATS!! :)"
"S 38, 39 and 40: Excellent views, good leg room and good luck as two
tiny people sat in front of my young daughters!!"
"S46: (Jesca). I had a fantastic view at only £35 (January 2011 prices); the rows
curve into a semi-circle so you actually feel quite close to the action.
The seats were slightly wider than in most theatres so more comfortable
for larger visitors (me being one of them!), and leg room was more than
ample HOWEVER a small step down between rows S and R means that even
when the seats in front of you are occupied, you can't stretch your legs
out, something I found unbearable as it's the main reason I choose the
stalls. There are no such problems in row T as far as I could fathom, so
it may be worth choosing this row if this is a problem for you and you
can't get a seat any further forward. This end of the stalls would also
be handy for anyone who wants easy access to the toilets as you just
duck behind a curtain and you're at the door for the ladies (and the
gents' can't be far away!)."
"T 3 to 5: Seats were adequate. We sat behind four young women who spent
the entire time fidgeting, which caused a problem as my kids tried to
angle themselves to look through the gap of heads, so every time they
put their heads together to have a chat, my kids couldn't see."
"T38, T39 and T40: These seats were side right
to the stage. We paid £67.50 and would recommend these seats. I
unfortunately had a tall man in front of me so had to do a bit
of bobbing in and out; however, he was aware of his height and sat
well down in his seat, bless. The characters were easy to see
but for more of a look at their expressions etc we used the
binoculars. I would recommend these seats and the leg room was
excellent."
"ZA 1 and 2: "Wicked," (Martin from Austria - regular reader). The
guy at the ticket booth told us, that these seats are premium seats! (
But more about this later). The fact is, you are pretty far away from
the stage. The sound is crystal clear, you're able to overview the whole
stage, and what's going on up there and you're able to see the
actors/witches faces but not really their expressions.
I was a little bit distracted by the candy shop, hidden behind the
curtain, next to me. I was able to smell those yummy yummy sweet
temptations during the show, which kicked me out of OZ from time to
time!
Back to the ticket booth guy: lovely fellow with a joke on his lips for
every customer. Maybe he made a joke when he told us about those premium
seats. They are nothing like that. Of course they are OK, ( we paid a
fair value), but, as the monkey said, there may be better seats for the
same price. "
"ZA38: "Wicked." Very good view
from here, it is nowhere near as far back as you fear from the seating
plan. The overhang is quite high so you don't lose anything of the
actual stage at all. The dragon that sits on top of the stage is partly
obscured, but it hardly moves anyway so not a problem. Leg room is quite
good back here for the 6ft plus, with this being an aisle seat it is
better as well. This would also be a good seat for kids or shorter
people, as the rake means that there is no one sat directly in front of
you in the line of sight to the stage. I got it on the GILT offer so
great value, if you were paying full price you would naturally want to
be a bit further forward, somewhere around Q would be perfect probably
for Wicked. However if you get offered a discounted ticket for ZA then
go for it, it is still a very good view."
"ZC 1 and 2: Was a bit worried as could only get seats
ZC1-2 in stalls but needn't of worried - did not feel like I missed anything. Yes, would be nice to be in centre of theatre but if this is all
that's left
did not feel cheated... and loads of leg room! I`m over 6ft and had no problems.
In quieter bit did get a little noise from behind curtains at side where
they keep stock for the bars etc, so staff should be quieter - and cold
blasts as someone else said -
but I had a great view.
DRESS CIRCLE
PLEASE NOTE: For copyright reasons, information and
graphics on this
page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed.
Layout:
The Dress Circle is split into front, centre and rear sections by aisles across
the fronts of rows G and P.
Each section is split into 5 blocks by aisles. In the centre section, all
except the central block have seats missing for entrance stairwells. In the
rear blocks, the two blocks either side of the central one also have
stairwells.
Legroom:
Many feel row A and aisle seats satisfactory. Some find the seats
narrower and more cramped than the stalls, but most are satisfied that it's
acceptable unless particularly tall.
Choosing Seats in General:
Front section, Central blocks:
In the central block, the prime seats are in rows C to F, numbers 10 to 37.
These offer a good view of the stage, though row B can be affected by people
leaning forward to see over the wall in front of row A.
Front section, Side blocks:
Almost all seats offer fair value (again the problem in row B applies),
though the ends of rows are rather far over to the edge of the theatre.
At top price, the monkey isn't keen on the seats
behind the rail, nor the extreme edges (first and last two seats in rows back to
D) either. The extra money should ensure a really full view, in its opinion.
Row E in the side block has platforms at the ends for wheelchair users. Not
at all bad, feels the monkey, and a chair user confirms it!
Central section, Central blocks:
The central block back to row M is top price at Friday and Saturday
performances. Monkey advice is to make L and M last choice if there are
central stalls back to T available. After that, take circle centre block J,
K, L, H, M over side stalls for view if not comfort. It still feels the
seats are getting darn overpriced, though, and would point out that sitting
a single row behind in the circle row N is £10 cheaper. At Monday to
Thursday performances, they are cheaper and thus about "fair value" feels
the monkey.
Central section, side blocks adjacent to central blocks:
In these blocks, rows K to O are prime. Remember that there are stairwells
in these blocks, so choose the centre block first for the same money if
possible where seats are at top price.
Row J seats 14 to 17 and 36 to 39 are behind a stairwell wall. This
restricts legroom and will annoy anyone under 5 foot 9 tall. Rows G to J
seats 13 and 40 are affected slightly by the walls too, and should not be
considered unless only far side block seats are available.
Pairs of seats H18, 19, 34 and 35 are well liked by monkey readers for
privacy.
Central section, outermost side blocks:
Of the tiny side blocks, rows M to O are far more expensive - take N or
O (as a reader recommends) first if you must, but try for the same
priced front section stalls before taking these if possible. Worth
knowing is that the rear rows - O back, may miss action at the very
front of the stage if you are shorter.
Those in L have to lean forward to see over the wall. If you have to
see the show and accept being at the very extreme edge of the theatre,
sit here, but for the same money, try to be in the more central blocks
unless sold at bottom price.
Rear section, Central block:
A safety bar in front of row P intrudes into the view, as do safety bars at
the ends of rows on the aisles, and you are a long way back. take row Q first to
avoid this, but do remember that here you get what
you pay for, so rule it out if you want more than to just "be at the show"!
Also worth knowing is that the section may miss action at the very front of the
stage if you are shorter.
It would still explore row R 16 to 20 and 21 to 35 if the stairwell rail isn't a bother (skip if
shorter / dislike leaning forwards / being told not to lean forward by those
behind). The price for rows P and Q at weekends seems very high, and the monkey would try for
the front stalls at the same price first, followed by N and O in the extreme
sides of the Dress Circle. The extreme side blocks seem expensive, and the
monkey would skip 1 to 3 and 48 to 50 if possible.
Seats further back have a very distant view of the stage. Those seated here
still get about average value for money -
and a history lesson in how 1930's "Super Cinemas" were constructed to allow
maximum audience seating at the expense of view for the poorest!
Rear section, Side blocks:
Simply along way back, and to the side. Be aware everything looks far away
from up here. Avoid the seats near the stairwells and in the front of the
section where rails are in view and you pay the same as folk in the centre
for a mediocre view. There's no bargains unless prices are very low, but
unless you are at the most extreme ends of the row, you'll get about what
you paid for. Just remember that some in the restricted view stalls pay the
same for a much closer view...
General Hazard Notes:
Rails across the front aisles are right in audience sightlines and cause
many people annoyance.
Further rails across the front of the centre and rear sections irritate
fewer people, though the short might well wish to avoid them.
Folk leaning forward to see over rails will upset those behind them.
Row G has sightline and legroom restricted by ironwork in front, row H
may also suffer for some people.
Rear rows - O back, may miss action at the very front of the stage if you
are shorter.
Many moans about sound, particularly in the centre of the front and back
section.
Ushers are known to stand in the aisles and restrict views.
Changes for the current production:
Until 1st November 2013 at all performances, then just on Saturdays, a cluster of 4 seats at the far (high numbers) end
of rows A to D have been re-priced to account for the restricted view. The
monkey really liked B and C 43 and 44 under this new regime, and thought the
other two seats fairly priced too - but would go for the ones further in first!
From 4th November 2013, new pricing Monday to Friday puts the end two
seats in rows A to D at fourth price, but makes the next two further in
top price again on the "high numbers" side. So, skip the newly increased
ones, and for those willing to accept the rail in view, take D 2 then 1,
C 2 then 1 first for a cheap front block circle view.
Centre section side blocks have undergone a massive price increase since
the show opened. Until 1st November 2013, "Clear view" seats are top price at weekends - try for
front section centre block seats first. At Monday to Thursday performances
the "clear view" seats become second price and better value - excluding
those around the stairwells, of course.
Row L extreme ends are cheap, but not for the shorter. Bargain for those
willing to put up with the rails, only.
From 4th November 2013, new pricing at Monday to Friday off-peak
performances is far more realistic. New bargains are in centre blocks
rows J and N where the prices drop to second and third respectively.
Over the aisle, Theatremonkey readers' favourite pairs of seats by
the stairwell drop a price. H18, 19, 34 and 35 for those private
moments, J 19 and 34 for only one person beside you (if you can take
them moaning about the wall corner beside them).
The rest of row H is also well priced, with a seat near the front of
the section the same price as ones in centre row N. The monkey would
take the seats 11 and 12 / 41 and 42 at this price over same price centre block
row O for sure. There's also seats even further along in the same blocks in rows L to O at the same price. Another choice once those front corners of
H are full.
Further, in this barganacious zone, just behind row H, row J 6 to 11
and 42 to 47, and seats behind it in all rows back to row O suddenly
become a mere £35 each - £10 cheaper than the row in front. Bargains for
sure, feels the monkey, if you can nab the most central of the bunch in
rows J or K first.
The outermost blocks in the middle section also drop a price. N and O may suit those
on a budget, but remember there are seats in the block beside them
behind a stairwell at the same price, and with a decent view if you are
tall enough to see over the wall (5ft 8 or so) but not too long-legged
to let legroom get to you.
The rear section also has a new pricing strategy, with lower prices in
the adjacent-to-the-central-block row Q looking good, and centre block row S
a bargain.
Further very cheap seats can be had in Q 6, 7, 44 and 45 (and those
in front in row P if you don't mind a rail). Even the very outermost
seats in rows P to W are now reduced, with cheap pairs to be had once
those first ones are gone. Skip row P but from Q back, you can't go
wrong at the price, feels the monkey. Oh, and the tall but not too long
legged might also find stairwell seats at the same price another
bargain.
Basically, some "Wicked" changes, it feels, happily reliving its
1980s vocabulary.
Reader Comments:
Front section, Central blocks:
"Row A: I did get one complaint about the brass rail on the balcony which is just on
eye level, fortunately there were other seats empty which they moved to and
others in the circle almost had vertigo due to the rake of the seats and they
moved to the stalls."
"Row A: (Jazz). Sat in the the front of
the Dress Circle. It definitely was a great view to take in all the effects
of "Defying Gravity" and a good place to appreciate the staging and
choreography."
"A 18: I have never been a fan of front row Circle seats but I have to
say that I found this seat gave me an amazing view of the stage. Even
better than my favourite seat in Row Q in the stalls. At 5ft 8" I found
the Circle wall to be only very mildly off putting, as it cuts of the
very front of the stage and you will sometimes miss some of the limited
action that takes place there, especially on the right hand side
(looking at the stage). Having always sat in the stalls for 'Wicked,' I
found that sitting in the Circle gave the show a completely different
look, and I could see things that I did not see before.
However, the only major problem I had was the sound. It was terrible! At
times it was deafening and at other times it went really quiet. For the
final five minutes it completely went and then I couldn't hear anything
that was being said; which was a shame because I really enjoyed myself
sitting in the Circle and would be happy to sit there again."
"A 22 and 23: Dead centre and on the aisle, a bar just to the left on
the circle ledge might just creep into sight but it did not distract me
at all. Great seats....Sound quality off balance a few times but not as
bad as on previous visits; I really don't know why they cannot sort this
out as the shows been running long enough now."
"A 22 and 23: Both seats give a good central view of
the stage. In addition, I believe that row A sits at around row N in the stalls
so you are not as far back as you think, although the Circle in this theatre
does seem high up. At 5ft 8, I find the Circle wall only cuts off the very front
of the stage (you will miss the orchestra and the right hand stage protrusion)
but this won’t spoil your enjoyment of the show and is a good place to see some
of the big musical numbers like ‘Defying Gravity’ and to appreciate the sets,
including an excellent view of the Time Dragon.
In addition, seat 23 is on the aisle, so you can stretch out a bit, but I found
that space was not too much of a problem in the front row. The only issue I had
was the metal bar that sits on the circle wall at the bottom aisle staircase.
Although it does not really obstruct your view, I found it a little intrusive,
as if someone was standing right next to you. This was my second time in the
circle and was pleased to notice that the sound was a lot better ." "A24 and 25:
(Chris B).
Fantastic seats, perfect clear view of the whole stage and
being raised up you can appreciate the whole intricately designed set
without having to strain your neck, and they use every last inch of it.
And one of the largest legrooms around. Plus A24 is an aisle seat
allowing you to extend your legs if needs be. Looking eye to eye with
the dragon too! I have seen this show three times getting gradually
further towards the front of the dress circle (starting about half way
back) and would say these are by far the best in the house, worth every
penny."
"B14 and B15: We were both amazed at how remote we
both felt, despite being only 2 rows back from the front of the circle.
The seats were good, though the person in front of me kept moving
leaning forward when any action took place at the front of the stage and
this blocked my view."
"B23: (Rebecca). At 4ft 11 inch tall, I feel these are overpriced and unsuitable for those of a shorter
disposition. The front of the circle actually cuts off the front of the
stage and completely hides the protruding sections of stage at the
sides. Being short, I found additional problems and had even more of the
view cut off. I would not see 'Wicked' again from anywhere but the
stalls."
"D10 and 11: They were well worth full price, we
were bang level with the (enormous) time dragon (who sparked lots of oohs from the audience whenever in motion) and when Elpheba
flew in Defying Gravity we had a fantastic overall view of the whole scene one
suspects you would not get in the stalls. Only problems is the sound could go up
a notch especially the orchestra I wanted to be blasted out my seat by that
overture and I was not, it sounded like they were hidden behind a screen
somewhere, but again early previews yet!
Seats at the very back in the Circle I personally would avoid they were miles
high and I looked at them thankful I was not swayed by the cheap offer and had
paid the money."
"Row C 15, 16, 17: (Kathryn). Could clearly see all of the action."
"C31 to 33: (Frank). The seats have a good rake and are offset, so we
had a good view of the main stage at all times, including the sets and
action that takes place above the stage. The seats were comfortable and
had adequate leg room. Our view of performers on the 2 smaller stages
projecting towards the audience were sometimes restricted by people
leaning forward over the wall in row A, causing those in row B to do the
same! However, these stages are not frequently used, so it was a minor
irritant. Booster cushions seemed to be available for smaller children."
"Row
D 13 and 14: Central seats, however the view was distant. The seats
are so tightly packed. When people started standing up for no apparent reason (not during
an applause), they blocked my entire view for the whole of "Defying Gravity." I missed all the special effects, and I was very upset as I had paid
£120
for the pair. I just wasn't satisfied, so I had to see it again. This time I sat
front row A23 of the dress circle... fabulous UNINTERRUPTED view."
"D16 and 17: Seats very distant from the stage and a long way up,
just off centre but with a good view of the main stage. The lower stage
(stage left) was slightly blocked from view. The performers tend to look
forward to those in the stalls as opposed to looking up so high. The
theatre is huge and I would strongly recommend not sitting in the next
tier back as more of the stage would be lost. I think the stalls may be
better for this show to be closer to the action."
"D19 and 20: As feared, whilst these seats are almost as
good as it gets in the Circle, it's still a long way up from feeling as
though you're part of the action. Considering the great seats you can
get in the Stalls, the Circle is just too high up and far back. The leg
room was OK and it was great to see more spectacle from the position,
but this is far outweighed by what sitting in the stalls at the Apollo
Victoria offers. Another thing I found unreal was how everyone had to
lean forward to see the performers when they ventured to the front of
the stage. You often get this was the front row or two but here I'm
talking everyone. It should be said, when attending the theatre I'm
neither a Circle or Stalls fan. Some shows I'd prefer to be sat in the
Stalls, some the Circle. It all depends on the show itself and obviously
the theatre. Having now seen Wicked from four different areas, easily
the best place to see the show is one of the aisle seats of the Stalls
Front Section, side areas, C to P 17, C32 to P32. "
"D 24 and 25: (Barry Liimakka).
"Our seats in Dress Circle (D24/25) were as TM suggests, very good seats -
comfortable and good leg room to boot. However that brass balcony railing which
is located adjacent to the aisles is indeed an annoyance which blocks your view
of the stage. It affects my view of the stage from D24, though not my wife's
view. I suspect that the same is true for rows C, E, and F immediately behind or
opposite my seat. Perhaps others can weigh in."
"Row E: (Michael). I sat in row E of the Dress Circle at a preview performance of Wicked, and
whilst the view was very good indeed, the sound was very very poor. The
orchestra sounded as if they were in another building and the cast could have
been singing in French for all we could tell. the dialogue was not much better -
you really had to strain to hear what was being said and a lady sitting next to
me summed it up when she said that "This is billed as the untold story of the
witches of Oz - I have sat through three hours and am no wiser as I can not hear
anything". It was a preview but they HAVE to sort this problem out - at £55 a
ticket it is not on. I do gather that the sound is better in the stalls but I
can not confirm this."
"Row E: I went to see it last night (14th October 2006), sitting in Row E of the Dress.
I was a
little concerned before by the reports on this site about the sound. I
feel they must have sorted it because I felt it was perfectly balanced
between vocals and orchestra, at an appropriate volume - Idina
Menzel's magnificent voice given just the right "knee-trembling"
factor! Also, the spaciality of the sound was right. So, I breathed a
sigh of relief."
"E 31 to 33 - the sound was quiet, but I had no
problems hearing any of the show. having been to some shows where the balance of
music / vocals have sometimes been disproportionate, I was pleased that the
balance seems right here. Re. the seats - legroom is a bit tight, but the view
was fine."
"E 21 to 25: we had a good view, seating was well
raked and all the stage was visible. Legroom was a little tight but nothing out
of the ordinary."
"Row G: (Morvey). We were right in the middle of Row G in the Dress Circle and the sound was
truly dreadful - the only thing we could hear clearly was the percussion track
which was very annoying at times and, of course, Miriam Margolyes who has the
best speaking voice in England."
Front section, Side blocks:
"A 7, 8 and 9: I was expecting a pole in front of us (I had these booked
for me!), but actually this was not a problem. I think the rows behind
were more affected than ours, but the bar was not in the field of vision
at all. However the front right of the stage was obscured, even when
leaning forward, due to the height and width of the lighting rig in
front of us. However, 80% of the view was fine, although feeling distant
from the stage. Leg room was terrific! Overall, I would keep these red
for full price, but under the new pricing structure definitely worth
looking at.
"Row A44 and 45: These seats are
the last two seats on the row, however I could see everything perfectly and for
£30 well worth it - seeing as the seats next to them
are worth £60."
"B1 and B2: Good views looking down onto the stage, no problems with
bars in the way or having to look over the edge. As others have
commented, the sound did seem a little different up here as opposed to
the stalls. Far too much bass, often overpowering."
"B 8 and 9: Was supposed to sit with a friend in B 8 and 9 of the dress circle - to all the
readers, try and avoid B9 of the dress circle as much as you can, as there's a
pole right in front of your line of vision! Luckily the seats in the centre of B
of the dress circle weren't filled, so we moved and 2 friends who had bought
tickets for other seats moved down to sit with us, B in the centre of the dress
circle are great seats, I could see everything, facial expressions quite a bit
too!"
"B 45 and 46: Our seats were pretty good although we couldn't see all the action on the left
hand side of the stage, especially the part where the house lands on the Wicked
Witch of the East.
Luckily a girl was sitting in front of me so I didn't have to lean to the sides
to see the action."
"C 8 and 9: We sat in Row C8 and 9 in the Dress, and I wish I had seen your red marked
chart area before I paid full price for these (£55). The safety bar on the front
of the circle aisle is sufficiently high that neither my husband nor I could see
the middle of the front of the stage without scrunching our heads down into our
shoulders. It is only when you have to do this that you realise just how much
action takes place there. The people one row in front had to do this too. In the
row in front of them, you could just look through it like a frame. On the plus
side, the aisle seat had no seat in front so the legroom was infinite, and the
other seat had good leg room. The also sound wasn’t very well balanced that
night (13th October 2006), I have to say. It was still good though! (These seats
were made cheaper since - Editor)"
Row D: (Lee Wilson). Circle Row D... the sound was adequate it was certainly not stunning. It was
much louder and clearer in the cheap seats (row W). On 18th September 2006 there
was a more "muddy" sound with lyrics sometimes hard to understand. Individual
voices were mostly okay but as soon as more than one person sang it was hard to
follow lyrics. Whilst it is great to have a much closer view of the stage people
should be aware that at the side block (we sat in D38 and D39) there is a quite
high horizontal bar on the front of the Circle that I found slightly irritating
because I found myself having to look under it to see the actors when they were
on the very front sections of the stage that jut out.
I would say for the few seats that are affected by the bar it should be red,
if only because I would not choose them again at full price. If anything in the
centre block was available I would go for that or even anything a couple of rows
back at the side where the height of the seat would mean we would not notice the
bar as much. Again I would say it is a minor quibble but for full price you can
get better seats"
"D 5 and 6: (Lynda). Good seats, but could not see all of the front
of the stage without leaning forward."
"E 6 and 7: As another reader here says about row D in front, the front area of
the stage is invisible and the distance meant that we could not see the actors
clearly without opera glasses. Most of the front of the stage also had an aisle
safety rail blocking visibility."
Central section, central blocks:
"Row G: The view was still excellent from row G circle though, and I didn't find the
bar in front of the seats restricted the view. I would agree with previous
reviews about the sound - when I saw it in the circle I could barely make out
half the words of the songs. The theatre needs to sort this out - that's why you
have preview performances. The sound quality was MUCH better in the stalls. It's
not fair to penalise people who can't afford top price tickets such that they
get bad sound quality."
"Row G: The mix where I was sitting was absolutely dreadful; I could hear bass
and nothing else."
"H26 and 27: (Emerson). The view from these seats was amazing. All the stage could
be clearly seen, with none of the characters feeling too far away. Sound
was pretty good, better than expected after reading the reviews. However
I do not suggest these seats unless bought cheap; reason being that
people in row G in front of you have the railing. We had the guy in
front of us constantly moving, forward and backwards - and this was a
pain. We were lucky enough that row I behind us was empty so we moved up
one row, resolving the problem. So I agree with Theatremonkey marking
these rows in Red as they are risky especially if you pay top price for
them. Go for rows J or K or A to F middle section, worth every penny."
"K20 to K29: (Steph Nicholls). Got for £40 each from the booth within Leicester Square Tube
Station. The view was great, apart from the very front of the stage
being cut off (not that we missed anything). Leg space was adequate,
though our America friends felt cramped, however we left without bruises
on our legs from the seats in front which isn’t always the case!"
"J32 and J33: (James). got seats at a £15 promotional rate and for that the view
was fair, but at the regular £45 price… absolutely outrageous!! You feel so far
back and the sound was all over the place."
Central section, side blocks adjacent to central blocks:
"H 18 and 19: (Emma). I think we had fantastic and great value seats, Circle, Row H 18 and 19. These
are two seats on their own, right in the middle, not too far back and priced
only £35. The same would be true for Row G and Row I. Pass the message on."
"H34 and 35: (Francesca). We had seats in the Dress Circle. I took my
10-year-old daughter and she thought they were the best seats we’d ever had!
Unobstructed view and it was nice not sitting next to anybody! We usually pay
top price so I was apprehensive but I would recommend these to anybody. (Sadly, the producers have probably read this... and they are now top price - caught, alas, thinks the
monkey!)."
"Row K: Sat in circle row K, excellent seats, good view of everything, don't pay the
extra for the front of the Circle."
"K 14 to 17: (Tom). which, at the time were £30 at the start of
the run in 2007.
These seats were good, although the characters seemed quite far away,
and also the front of the stage was cut off by the bar splitting the
circle and the top of the stairwell just a row in front of us. The sound was powerful and loud and nothing can
fault those seats for the amount of money we paid."
"K15 and 16: These seats are listed as 'restricted view' and reduced as
such. However, I had no problem with these seats at all; and for someone
looking to see the show on a budget and have a great view I would highly
recommend them. No problems at all, could see the actors faces clearly
and really felt involved in the action!"
"L37:
"Paid £15 (in 2006, editor) for seat 37 row L of the circle and OMG what amazing seats. Could
see the whole stage and take in the amazing sets and costumes from there...
On a small side note, leg room is insufficient for taller people (I'm 5
foot 11)."
"M 18 and 19: (Paul Nicholls). Sat in seats 18 and 19 Row M Dress Circle. Seats only £15 each (now £25,
editor)
and EXCELLENT value for money. We had a clear view of the massive stage and set.
I can't see any reason to pay top prices if you can get seats in this section of
the circle. I did have a walk up to the rear of the circle to see what the £5
(now £15) seats were like. A bit too high up for me but great at that
price."
"M36: have to say, that it
is a decent seat for £25 (I guess it cost that much in January 2007 - now £60, Editor) but it is not worth any more in my opinion.
I had a hard time getting my legs in a decent place (I'm 6ft 2" tall), had luck that no-one was
sitting next
to me then. I'd always go for front row day-seats now for comfort."
"O 15, 16 and 17: I had researched the seats on theatremonkey. I was a bit disappointed. When the
action on stage went to the very front part of the stage we could not see it,
and had to lean forward a lot. My friend and I could see down to the stage but the
little girl with us who is 9 couldn't."
Central section, outermost side blocks:
"O 49 to 52:
(Dawn). First thing to note is that the numbers on the seats are actually 48
to 51 - there is technically no seat 52!!!!! When you actually ask for
assistance in this matter they tell you to go by the number on the
step (which says 49) and although they are numbered 48 to 51 they are
tickets 49 to 52 !!! Worth being aware of as otherwise you might find
two people sat in the middle of your seats!!!
49 and 50 are the better view of the two, as the other two might be subject
to people leaning forward in row L because of the bar which has a
knock on effect on the other far end of row. Just depends how selfish
the people in front are. Man in front of us just told them!! Although
a theatre chap did bring some people here little cushions - rather
nice! But for £15 per ticket all were fab value and well worth it. (Numbers have
been corrected since - Editor)"
"O 51 and 52: (SJ). For £25 they are excellent value. We even had a space
next to us for all out shopping."
Rear section, Central block:
"Rear Section: (Louise Robinson). I sat in the back circle. You can see the stage but everything's mini
and most of the binoculars were missing!"
Rear Section. (Paul Nicholls).
"I did have a walk up to the rear of the circle to see what the £5 (in previews,
now £15 - editor)
seats were like. A bit too high up for me but great at that price."
"Rear Section. We had £20 seats in the circle and quite a good view, but found latecomers,
toilet visitors and general movement throughout the performance to be rather
irritating."
"Row P: The preview (September 2006) £5 priced seats were okay but not sure I would
want to sit there again though. The front of the stage is a bit obscured by
peoples' heads and, in fact, some of the action too as the stage extends a bit
and they use it quite often; but great for £5 - but in the main run £15 don't
think they are really worth it as with Wicked (and Idina especially) you just
have to see her facial expressions to really enjoy her awesome performance."
"Row P: I have now seen the show four times and have sat in a variety of
seats.
After 0 in the dress circle I have had row P centre in the dress
circle, row W dress circle and row D in the stalls.
I have to say that from all of these seats I got something different
from the show - but all were great. Row W of the dress circle -
booked last minute - cheap - great overall view - took my cheap
Argos binoculars for a closer view - but others in my party were
still blown away by the show from here.
- only problem I have found with any of the dress circle seats - is
the leaning forward person - if you have someone that does that - it
is a real pain - but a polite word often does the trick."
"P25: and surrounding
seats.
The safety bar you mention as being an obstruction isn't the one right in
front of you, but the one forward to stop people falling down the rest of
the dress circle. Now, it isn't high at all, but at a few points during the
show we had to lean forward slightly to see the stage. If my sister didn't
have a booster seat here she might not have seen very well at all. Apart
from those few moments in the show, they were great seats, especially at
just £15 each."
"Row Q: (Liam). I had £5 (preview priced, now £15 - editor) Wicked seats in the middle of row Q on Friday night
(8th September 2006) - and what an absolute bargain! The view was a little
distant but incredible - totally clear view of the stage and you can really take
in the enormity of the show."
"S 27 to 30: (Jan). The theatre is set out in such a
way that you could probably see the stage to a decent degree no matter where you
sat if you are of average height, but being only 5' tall, I have trouble seeing
anything wherever I go. Although the rear circle has a good rake, we had a tall
man in front of us and we had to swap seats around so that the tallest member of
our party sat behind him. But even he had problems and had to constantly lean to
one side to get a proper view. Then of course there were safety bars right at
the front of the circle, so the four rows in front of us all in turn had to lean
forward, until we were all leaning forward to see over someone's shoulder! I had
a neck ache for days after."
"T 21 and 22: which had cost the
princely sum of £5 each. Legroom was very good (my friend is 5’ 8”) and the view
was fantastic – central, clear and so well-raked that even with a couple of
tallish people in front there was no problem at all. Very comfortable, although
walking up and (particularly) down the fairly steep steps can be a bit
heart-in-mouth, especially when being pushed by a crowd, as there is no handrail
and the seatbacks are too low to grab if you stumble. Might be sensible to allow
a few extra minutes if you’re at all concerned about mobility and have a Circle
seat."
"Row W: My row W tickets were £20 each, which I know is quite cheap but I
didn’t expect them to be THAT far away. I would say avoid sitting this
far back at all costs, it’s definitely worth paying an extra £10 (or
more if you can afford it)."
"X 21 and 22: These seats are fantastic for what you pay, a great
central view. Yes you are far away but that's because you're paying
tuppence!"
Rear section, side blocks:
"Rear Section: Seated in the front circle, I noticed that seats at the very back in the Circle I personally would avoid they were miles
high and I looked at them thankful I was not swayed by the cheap offer and had
paid the money."
"Rear Section: (Karen and Peter). Back of the dress circle is great value for money at £15 but we recommend the
middle blocks for optimum viewing."
"P 12 and 13: in October 2007: When booking these seats I rather stupidly
didn't realise there would be a bar across in front of us, preventing easy
access to and from our seats but its not that big of a deal. These seats
offer a nice leg room, however the safety bar is a slight problem which is
sorted by simply leaning forward slightly. If that doesn't bother you then
these seats are a good buy. Got a bit annoyed by late comers and toilet
visitors as you are right by the stairwell and everyone walks past you. All
in all, worth what you pay.
"P13 to 15: (Teresa Gustafsson) they are marked red but I don’t feel they deserve that. The
safety bar meant you had to lean slightly forward at some times (reason
for rating - Editor), but it
didn’t obstruct the view. Maybe I’m an overly positive person or maybe I
just love 'Wicked' to much, but I really liked that seat!"
"Q35 and 36: (Mandi). We had seats in Q35 and 36 of the dress circle. Although we were a long way
back, it was nice to get the overall impression of the staging effects which
were quite spectacular. We had no problems with sound at all. As to be expected
from sitting so far back, we missed all the nuances of expression etc from the
performers but as we managed to get them for only £5 (preview priced, now £15 -
editor) each seat,
we certainly couldn't complain!"
"R19 and 20: are over the stairwell, and if you are sitting there
you need to lean forward the whole time, thus blocking everyones' view behind
you"
"R 31 and 33: We got these last minute from the box office and I think
they should be £15. Compared to the £20 seats behind, which may be
further back, they are even worse. There is a ledge in front because of
the staircase and I couldn't see sitting back (and I am 5ft 8). I had to
lean forward for most of the performance and my back hurt so much at one
point, I gave up and just sat forward enough to see their heads.
However, from my last experience of the Circle, the sound has much
improved and the view without the leaning would be fair value. However,
go for Row T in the middle if wanting to sit in the Circle. Stalls for
same price much preferred."
"T 10: Like other people already said, it's really distant
from the stage, but you saw everything and the sound was great! We then moved to
row P seat 35. They are marked as red but I liked the seat. Really good legroom
and a bit closer to the stage. Would, however, prefer to sit even more close."
"S5: (James). you were a long way from the
stage, but as the show is so "big" it really didn't
matter or detract from my enjoyment at all. Sound
fine here too."
"S 6 and 7: These seats were fine for what you pay (£22). Although I
didn't see much difference from the £15 seats which I've sat in before
the view was fine - a decent buy."
"S44 and S45: (Natalie). I would recommend
our seats. S44 and S45. The aisle seats have loads of legroom, although the
seats are very narrow for the ample of bottom!"
"U 6 to 7: were only £5 less than the stalls seats D11 and 12 and E8 and 9
(already mentioned earlier, above). U is considerably bad in comparison
- you cannot see the actor's faces and at times the music sounds like a
whisper. However, as the person before had not put the binoculars back
properly, we did get a better close up!"
"Row W: (Lee Wilson). the sound back there was fantastic. We could hear
every word clearly even from the ensemble and the songs really belted out to us.
They seem to have additional speakers behind the audience there too (very
noticeable during the "Wizard head" talking for example)."
"W 17 to 20: (Karen Wheeler). was a bit worried we would not see much but
good view, a bit steep going up, and I don't like heights but coped! 19 and 20
were the better of the 4 seats as with the other 2 it was the problem of people
leaning forward in rows in front of you."
"W 18 to 20: On the aisle. I actually took to clients with learning /
physical difficulties to see the show. The seats are comfy, the legroom
is some of the best, and it is not the steepest aisle in theatreland. I
would probably treat myself to seats nearer the stage to get a little
more out of the expressions (which couldn't be seen from out viewpoint),
though there was so much portrayed in the acting and the inflections in
the voices that you knew exactly what expressions they were making and
it didn't detract too much."
"W 34 and 35: (Susan Richards). Dress Circle row W, 34 and 35. Saw the info on your site and got these preview
tickets for £5 each. You rate them "green", I certainly agree.
Although, they are high above the stage and a bit distant, for this price (and
£15 after previews), they are wonderful value. There are glasses, 50p if need
be, but as most of the play is action on a grand scale, this distance is not a
problem. Leg room is ok if you are 5 foot 6 or less. If you need to see every
wrinkle and spot on the actor's faces, pay £60."
"X6: (Teresa Gustafsson). well, it’s almost as high up and as far back as you can get which
means you don’t really see any details but the view of the stage is
clear and you can take in all the action, so it’s ok for just £15. The
sound is great!"
"X 31, 32 and 33: (Pip). By far the best seats I've had in the Circle.
Almost central and yes you are near the back, but you can see everything
clearly and the sound has improved greatly. Would get these before £20
seats by stairwells. I was at the end of the row, so could stretch my
legs - otherwise legroom is not great."
"Y31: (Luke). Brilliant for the price of £15, but you are very far back and are
unable too see the actors faces, but at £15 quid you can go wrong."
Notes
PLEASE NOTE: For copyright reasons, information and
graphics on this
page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed.
Seats 2313 plus 50 standing.
Air-cooled theatre. Not as effective as proper air conditioning, so be
prepared for a hot and uncomfortable time in the height of summer, alas. To
minimise the effects, seating in the front stalls is normally coolest as heat
rises - and is also trapped in Circle overhang. Just a bit of advice from
someone in the theatre industry who has a grasp of physics... One reader does
report icy blasts in the circle in October, though, so sometimes it works...
Another, July reader, says,
"On the Saturday afternoon we went, the air conditioning was almost
non-existent, so take some bottled water if it is a little warm
outside!"
Wheelchair access is to the Dress Circle via chair lifts from pavement to
foyer and foyer to Dress Circle level. The lifts are at the Vauxhall Bridge Road
entrance, not the Wilton Road one that faces the station. Row E has platforms fitted in both
side blocks and a chair user assesses the view as good.
A wheelchair accessible toilet is also available on the ground floor. Signed and audio described performances are planned, guide dogs
are welcome either inside or can be dog sat. There is no hearing loop at the
moment. www.theatre-access.co.uk
or Artsline on 020 7388 2227 or e-mail 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 reader comments,
"I actually took to clients with learning / physical difficulties to see
the show. It is worth talking to the theatre as they can be very
accommodating; allowing you in a little earlier to allow you to get to
your seats before the rush and allowing you to leave after the rush."
No food except Ice cream and confectionery.
Three bars, 1 foyer, 2 Dress Circle. Reader Barfly notes, though:
"The foyer bar is very small and gets very full close to show time. The two
Dress Circle bars should be
sued under the trade descriptions act, Barfly is not happy!"
Six toilets. Stalls 1 Gents 3 cubicles, 1 ladies 11 cubicles; Dress Circle
foyer 1 gents 1 cubicle, 1 ladies 6 cubicles; Dress Circle 1 gents 2 cubicles, 1
ladies 2 cubicles
A reader reports,
"Toilet facilities (certainly for women) totally inadequate; the interval queue
snaked down from upper level to the ground floor..."
This is echoed by many other readers too...
Karen Wheeler adds,
"ladies toilets a nightmare, tried to go in interval and queue right down the
stairwell, but isn't that always the way...the men's were fine."
another adds, from the back of the dress circle,
"There is nothing they can do about the queue for the ladies' toilets in
the interval - where you have to navigate your way down the stairs, then
across to the other side of the theatre, down past the toilets, down
stairs to the front of the dress circle so you can then join the queue
to climb the stairs back up to the toilet. Decide carefully if you want
ice-cream or toilets as you wont have time to queue for both."
In the stalls, reader Jesca says,
"S46: This end of the stalls would also be handy for anyone who
wants easy access to the toilets as you just duck behind a curtain and
you're at the door for the ladies (and the gents' can't be far away!)."
another reader notes stalls row Q 38 to 40 are also in handy "first
in line" dashing distance.
Reader David reports for the Wizards,
"Do not have too much to drink before the show. We used the toilets in
the interval which for a theatre with 2,000 seats are far too inadequate
causing huge queues even at the gents. Patrons continued to disrupt the
performance after the performance re-started."
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