STALLS
The Dress Circle overhangs the Stalls at row M (and curves around to row J
at the sides). This affects the view of the
top of the stage from row S back. Extra speakers hung under the circle overhang
clip a further 5cm off the view too from some centrally located seats - not a
problem though, the monkey just records it from interest!Aisles split the stalls into a centre and two side blocks. A further aisle in
front of row K splits seats into front and rear sections. A noticeable rake ensures a good view from all seats to row S. Row K is
a few millimetres higher than row J too.
In row A, a reader feels that, when he got a large discount:
"A3 in the stalls! for £20! The view from this seat was immense... and
the leg room, well, I had enough room to put my bags in front of my seat
and outstretch my legs fully and still let people get past!"
Moving back another row, another reader says,
"We had stalls B9 to B15 which were superb seats. Had to look up slightly but we
didn't lose any of the view from where we were. You really get to "feel" the
atmosphere from these seats and the orchestra is well "hidden" below the stage
so again no problems. 3 children aged 8 to 10 years did find the booster
cushions provided useful."
Behind this, theatremonkey regular seat connoisseur James says,
"D17: Good seat, but for a huge musical, would recommend
Upper Circle or Balcony as if the show is "big" it's better to
appreciate it from afar."
Among the best seats in the house are rows E to G 10 to 26 and rows H and J
11 to 27. The monkey would
also add rows K and L seats 6 to 30. Of the rest of the top price Stalls, the centre block row D then
row M is prime.
One reader says,
"Seats H 9 and 10 of the Stalls (for "Lord of the Rings" - May 2007) were just
perfect. 10 is on the aisle and is angled to give a wonderful view of the stage.
I had an enormous man of about 20 stone sitting in front of me but he didn't
spoil my view one bit."
Over the aisle, reader Sally Scott says H13 to H16 were "Great seats." while
another reader rates central row F excellent, though with average legroom (that
didn't bother her, as she wasn't that tall, but might concern others.)
Reader Daryl says,
"Stalls Row H17 - the view was fab"
Reader Rob continues the reviews one row back,
"we sat in J11 and J12 of the stalls – excellent seats. Bit of trade off with the seats
– we were on the aisle of the centre set of seats; very handy for making a quick
getaway but there were two moments - during the show we saw - where the actors standing at
the front of the stage blocked our view of actors in the middle; this would not
be the case if you were sat in middle of this centre row. My guess is that the
very best seats in the house would be K16 to 20 – these are bang in the middle
and you have an aisle in front of you allowing extra leg room."
Reader Ian notes,
"I sat in K20 in the Stalls and it was the most amazing place to sit. Yes - it's
a Green seat without doubt. I am 6 feet 4 inches tall and there is tons of leg
room and the seat affords a magnificent view of the spectacle on stage... I will
always choose this row in the centre block of the stalls for all future visits
to the Theatre Royal Drury Lane. They should be 24 carat Gold - not green !!
WOW."
Reader Rich agrees,
"Row K in the stalls is an excellent position to see the show from,
loads of legroom and a great view."
Off in the side block, reader Jon reports,
"Stalls F27, aisle seat right hand side of left block. Excellent
view
(though Dress Circle I guess will be better for some of a raised
set),
seats a little low (i.e. your backside is slightly below your knees
if you are over 5'8" so "cheek shuffling" may be required - apologies to
those sat
behind me!) though plenty of leg room as I could full extend under
seat in front and I could shift to stretch to my right into the aisle."
Reader James comments,
"Stalls L12 and L13 were great – you are far enough back to see the whole stage
without turning your head from side to side, but still close enough to really
engage with the show. Stalls C22 and C23 were far too close to the stage and I
would not sit there again."
Next try the rest of side blocks of K to M, then central row C and the side block of rows
C to J (except the first and last 4 seats - which should be avoided), and
finally row N back - centre then side blocks.
Of M8 and 9, reader Steph Nicholls says,
"The seats were great with a clear view. I would like to see it again
from the dress circle to get the full spectacle as sometimes we were too
close to take in everything."
One reader rated aisle seats in row P excellent.
In row R a reader says,
"7 and 8: Pretty
good
view, leg room OK. 1 and 2 are OK as well."
Reader Sharon reports,
"We had seats in the Stalls in Row S numbers 29 to 33 and had a wonderful view
of the stage. One of our party is a 6-footer and he had just enough leg-room,
whilst the somewhat shorter family members borrowed the theatre's booster
cushions which made our line of sight uninterrupted."
Rows A to J often have reduced prices at the extreme ends. Currently, these
seats are not on sale for "Oliver" until sightlines are checked. Large speakers
are often positioned at the edges of the stage, which may blast those at the
ends of rows B and C in particular. All the very end seats are well outside the
proscenium arch, leading to strange viewing angles around the soundman's
hardware. The discounts reflect this and the monkey feels them not seats to take first or all
that great, but close to the front and a bit cheaper for those willing to take a
chance.
Rows AA to J often have reduced prices at the extreme ends. Large speakers
are often positioned at the edges of the stage, which may blast those at the
ends of rows B and C in particular. All the very end seats are well outside the
proscenium arch, leading to strange viewing angles around the soundman's
hardware. The discounts reflect this, and though the monkey feels them not seats to take first or all
that great, they are close to the front and a bit cheaper for those willing to take a
chance.
As for the rest of row A, one reader writes:
"Seat 15: The view from here is of course, excellent. I had no difficulty seeing
anything on stage...and the legroom was excellent."
Reader Ali agrees from the adjacent seat,
"Row A, seat 16, one of the best seats I have ever had – good legroom, very
little neckache, and is fantastic for getting a really good look at the action"
Wheelchair spaces are at K 1 and 35 and L 1 and 35. Take K first. The view is
fair, a little sideways on but better than the rows in front. Transfer able can
use any seat - take aisle if possible. See notes.
Seats have been restored to the back of the centre block and a sound
technicians desk has been added. Avoid the seats around this desk if you will be
disturbed by the noise and light, though sensibly they have added a gap between
the desk and the seating. Currently, the worst affected seats are
Y15 to 24, YY13 and 21, Z13 and 25 and ZZ 13 and 25. Other seats in the centre blocks
rows Y to ZZ have to contend with being either side of the pillars. Just
avoid them if possible, though if sat here, you could do worse.
At the back of the theatre, top price runs back a good way. Luckily, they are
being sensible for "Oliver," working perhaps on the theory that the overhang of
the circle above may reduce the views of scenes taking place on the bridge above
the stage (which was used in the last production of the show at the Palladium).
Monkey likes central row U and side block Y 4 to 10 and 28 to 34 as they are cheaper than the seats in front but
with a similar view.
For best results, try and avoid the first and last 4 seats in the side
blocks, plus those around the sound desk to maximise the experience. There isn't
much wrong with any of the mentioned tickets - except missing the top of the
stage at times, just that there are better seats for the same hard earned
bananas in the monkey view. The front Upper
Circle is more expensive than the very back stalls - but a show sure looks
spectacular from up there (though the legroom isn't as
good...).
Legroom is good throughout the stalls for all but the very tallest (over 6ft
or so), particularly good in row K - the only place for the longest legged to
choose. One reader found A a little tighter, though.
DRESS CIRCLE
Called the Grand Circle in this theatre.
The Upper Circle overhangs the Grand Circle at row E. The view of the top of
the stage is badly affected from row H back.
The Grand Circle is split into three blocks - centre and two sides - by
aisles. It has a very shallow rake making row F back seem a long way from the
stage and also affecting the view for anyone not tall enough to see over the row
in fronts' heads.
Reader Rich opines,
"The best position to see a big show from is the front of
the Dress Circle. You get to appreciate the whole spectacle. Having sat
at the front of the stalls and the Dress Circle, I would go for the
Circle any time."
Among the best seats in the house are rows B and C 12 to 26, D and E 13 to
27, and row A 11 to 25 in that order. Row A loses marks for legroom comfort. Next best are rows F and G centre.
Reader James was happy in A, though,
"Seat A24 Front row of Dress Circle was perfect for view and legroom."
reader Paul Nicholls disagrees on legroom, though,
"row A of the dress circle. Superb view, but legroom for hobbits and people who
were born without knees!"
Contrast that with reader Vicky at the end of row A,
" We sat in Row A of the Dress Circle, seats 3 and 4. These seats were
absolutely fantastic and I cannot recommend them enough. Everyone should
see this show from the front row of the Dress Circle if they can!
Reviews of cramped legroom is absolute rubbish, there is much more room
here than what you would get in a normal row. In fact we had room to put
down our bags, coats and sweets in front of us! Fantastic show and
view."
More room at the ends than the centre, it seems to the monkey.
Then consider the side blocks. Take rows B to G the first four seats
nearest the centre aisle. Then choose whether to take row H back, or seats in
rows B to G further along to the side. If action mostly happens centre stage,
then rows B to G ends get a reasonable (just about) view. The first and last seats in the
side blocks of all rows are affected by the boxes projecting into the field of
view a little, but the rest allow an adequate view. Side block seats are not
really a bargain, and for top price special occasions are possibly best avoided,
but for those willing to pay top price to just "see the show" the
monkey feels many will be satisfied.
At the side of row C, and with a heavy discount, a reader opines,
"Don't be fooled by the red squares on the seat diagram, Row C seats 1,
2 and 3 of the GRAND CIRCLE are amazing. The legroom is plenty, in fact
I could stretch my whole legs at an angle and I still wasn't disturbing
the people next to me. And the view is amazing. Because of the circular
setting of the theatre, you can see everything on stage (and above) and
you feel a part of the play. If the moving stage is being used in the
show you are seeing, these seats (or ones similar) would be my choice
because when the moving stage is high, if you're in the stalls, you have
to tilt your head up where in these seats we looked down or straight
ahead. For £25, totally worth it!"
at full price, though, the monkey still feels other seats preferable.
Another reader reports,
"Row H, Dead centre gave me a full view of the stage, literally the
edges of the walls bordered the set. The leg room is OK, and it allowed
me to look down slightly, so I got the impact of the on stage projection
and lighting."
A reader reports, of discounted tickets,
"Sat in seats K3 and K4 in the Dress Circle. We got them half price at
TKTS half an hour before the show started (the matinee on 24th November
2007). View was absolutely fine and for £32.50 were really good value.
Could see the whole stage and set really well and didn't feel like we
were all the way over at the side."
Reader Peter Grant reports for a previous production,
"Our particular seats (which were described as "best" and appeared to be
normally full priced - now reduced, editor) were in row L of the Grand
Circle, but have a very restricted view of the top of the stage. They
don't actually miss any action but they do miss some of the atmosphere
which would be created from seeing the entire stage."
For "Oliver," row L is cheaper. Again working perhaps on the theory
that the overhang of the circle above may reduce the views of scenes
taking place on the bridge above the stage (which was used in the last
production of the show at the Palladium). A pretty good bet, though,
feels the monkey, for those who don't mind a little less legroom than
the stalls but a better rake over rows in front.
Legroom is adequate in all seats except row A for all but the tall (on reader
says row A has, "legroom for hobbits and people who were born without knees!"
Another reader though felt A 3 and 4 had space and even room to put bags down.
Seems to be less space towards the centre of the circle in that row. The tall should
should pick row K stalls. Extra comfort can be had
taking seats on the central aisle.
Dress Circle Boxes
Boxes J to P are arranged across the back of the Grand Circle. These
offer average views of the stage, being affected by the overhang of the Upper
Circle. When sold at third price or less, they are a good value, preferred alternative
to the rear stalls.
Boxes B, C, BB and CC are at the sides of the Dress Circle between it and the
stage. B is the Royal box and is double height. BB matches the design
architecturally. C and CC offer the best view of the stage, then B and BB.
Frankly, choose central seats first as around an eighth of the stage is
not visible from any of these boxes. When sold at third price, they are a good
value, preferred alternative to the rear stalls.
Reader Daryl says for a previous production:
"Sat in Box CC. I can 100% say if this box is let out at £20
it is well worth it! (not a usual concession - editor). I've had the box to
myself twice now and the view
is stunning from here. Yes, about an 1/8th of the left of the stage is cut off,
but much of the show is symmetrical so you can quite easily picture the
other side. I'm an avid box user, as I've said before elsewhere on this website,
and this box doesn't fail to please: a great view, great space, privacy and a fab sound quality."
Above this set of boxes are D, E, DD and EE. E and EE are preferable, but
should only be a first choice for those wanting more legroom at Upper Circle
prices. Again, the view is restricted slightly.
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.
UPPER CIRCLE
The balcony overhangs the Upper Circle at row E. The view of the top of the
stage is affected from row H back.
Like the Grand Circle, the Upper Circle is split into three blocks - centre
and two sides - by aisles. Each aisle has a low bar at the end. The circle, too, has a very shallow rake making row F back seem
a long way from the stage and annoying shorter persons. Quirkily, rows A to D
feel quite close to the stage.
Best seats are rows B and C 13 to 28, D and E 13 to 28, and row A 17 to 32 in
that order. Row A again loses marks for legroom comfort. Slips at the edge of
row A offer a poor view - looking down at the stage through the thicket of
projecting boxes, as well as poor legroom and are worth avoiding!
A reader notes,
"I was in seat B12 of the Upper Circle. Before the show everything
seemed fine but as soon as the performance started my view was restricted by the
safety barrier. At 5ft 8 inches I do not regard myself as abnormally short
but I must have been a distraction to the people behind as I was ducking and
stretching to see what was happening on stage".
Another reader, slightly further to the edge of the venue says,
"B6 and 7: Leg room was just about adequate for me (5'10'') and view was
great, but the very front of the stage was blocked by the balcony, and
when most of the acting which took place at the front was happening, we
all had to lean forwards to see."
Another reader notes that,
"Seats B12 and 29 can be great if reduced due to some complaints over a
safety rail. A bargain, particularly when you consider the surrounding seats are
often £40+ and the only other seats at that price are either far to the side in the
slips/extreme edges of the circle or behind a pillar!"
Reader James weighs in with,
"The double height safety bar at
the aisle affects the view in seats A, B, C and D 12 and
29. Not particularly badly, but would avoid these and
sit around them."
The monkey welcomes reports from others experiencing the same problem,
along with other comments from other readers like James on this one - especially since
producers now seem to acknowledge an issue and have made the seats cheaper...
well worth a look, as the second reader points out!
Indeed another reader - Mike from Shropshire says,
"Sat in B29 in the upper circle for £5. What a bargain!!! Yes, the handrail is
in your view but because of the nature of the production, much of the action
takes place in the raised revolving set so you don't need to look around it very
often.
If you are a perfectionist and expect a clear view, then avoid it but for
far LESS than all the seats next to me, it is definitely worthwhile! Even
at £15 it is still well worth the money but I wouldn't be
surprised if the producers don't decide to increase the value of this seat to
'one less than surrounding tickets."
Fingers crossed they don't, feels the monkey...
Another reader rates the centre of row B, "Good for the price."
One row back a reader says,
"We sat in Upper Circle C28 and C27. View was excellent and legroom perfectly
adequate for two people of 5’6” and 5’8” respectively. A word of warning - the
Upper Circle steps are quite steep and there are no handrails or anything else
within grabbing distance if you slip, so if you’re not good on steps, give
yourself plenty of time to find your seat before the last minute crowds."
Another row back a reader reports,
"D23 and 24 had a decent view (slight obstruction due to person sat in front)
but slightly cramped for legroom."
While another row back, a reader says,
"Excellent views from E21/22. Only one gripe, the seats are rock hard
and at a strange angle"
Row K of the centre block offers good value, being cheaper than the row in
front but having a very similar view. Take K over J and save a few pounds!
Row K also wins a reader's vote:
"Upper Circle Row K seats 24 to 28 were wonderful. Felt like I was near the stage and fantastic view. Leg space was not bad for me considering
I'm 5''2 but my friend who is 5''8 had more of a problem".
As in the Grand Circle, the first and last few seats in the side blocks of all
rows offer grotty views and poor value with the edges of boxes intruding into
the view at the extreme edge of the stage. The first and last 2 in rows B and C
are worth a thought - as are the ones in A if legroom isn't an issue. Otherwise,
the rest are possibly the most worth
avoiding given that there is no discount now to make it bearable.
Rows K and L seats 12 and 29 are behind pillars. They offer fair value at a
lower price. If you can bear the restricted view then choose row L over K for
the slightly better view for this production in the monkey's opinion. The pillar
is thick and directly in front of the seat in row K, so you lean further over to see around
it. Those in row L will lean less and be a bit
more comfortable in the monkey opinion. It also felt that seat 12 was slightly
superior to seat 29. DO REMEMBER, though, that
these are restricted view seats - you won't see the whole stage from them...but
many pillar seat fans may well be happy here.
Row D seat 1 is haunted, but never after 6 pm and only if the theatre is
full. The gentleman is an elegantly dressed, white wigged man who moves from his
seat, across the gangway, and through a wall. A skeleton with a dagger in its
ribs was found behind this wall in mid Victorian times. His appearance during
previews is a good omen for the production.
Legroom is just barely adequate in all seats except row A. One reader
goes further in his report:
"Upper circle row J seats 12 & 13 at The Theatre Royal: I am 5ft 8, my
friend 5ft 6 so we're not that tall and we found the leg room a bit cramped, how
people 6ft and over cope is beyond me!". This was echoed by other readers
for rows B, D and K too (see above).
Upper Circle Boxes
Between the Upper Circle and Balcony are boxes E and EE. High up and
slightly restricted views. Good value at near Balcony price for extra
legroom and lack of ironwork spoiling the view. These are a good budget
option, sold to the public instead of housing spotlight operators.
BALCONY
THESE TICKETS ARE OFTEN BOUGHT BY TOUTS / SCALPERS FOR RESALE. THEY ARE THEN
PASSED OFF AS DRESS CIRCLE (first balcony) SEATS - WHICH THEY ARE MOST CERTAINLY
NOT!. DO NOT PURCHASE FOR MORE THAN FACE VALUE OR FROM UNAUTHORISED SOURCES.
The balcony overhangs the Upper Circle at row E.
A metal bar runs across the front of this circle, triple height at the ends
of the aisles in the corners. Row A and B seats are sold at bottom price to make
amends for the restricted view. If you can stand the legroom, sit in the centre
block of this row.
Regular reader Astrid comments,
"We sat in row A for "The Producers". We thought the tickets were fine with a
good view - we didn't really need the binoculars much. We did lean forward to
look through the bars. My arms are still hurting from doing that, though."
Like the Upper Circle the balcony is split into three blocks - centre and two
sides - by aisles. It too has a very shallow rake and is very high above the
stage, inducing vertigo in many people. Reader Jean Marshall felt that:
"the balcony was steep enough to give a good view of the stage, but I wouldn't
have wanted to be at the back".
Best seats are rows D to F 13 to 27. Row A loses marks for legroom comfort,
rows B and C because inconsiderate folk leaning forward could be a problem -
though B may worth a try at bottom price, feels the monkey...but only if you can
intimidate folk in front to behave. If you can't, then pick A instead and maybe
be the person to be intimidated...! That of course is a whole different
discussion, though.
Reader Adam Walker reports from row D,
"We sat in the Balcony row D 29 and 30. Be warned, the climb to seats from
ground level is a big one, especially when you're faced with the curt
warning of 'Showtime in 2 minutes!' Leave yourself plenty of time to get in
and settle back.
Agreed, it is high up. But really the seats are excellent value for money
(especially in preview price). You see the whole set from here, and you're
looking down on it, so really you don't miss a trick - and it's awe
inspiring to see the set at work (more on that in minute)."
Another reader says,
"I was sat on row D of the Balcony seat 27 which sounds really high up, which in
some ways it is but for a show of such enormity I wouldn't have wanted much
closer at all, it was a brilliant seat to be honest, although it was very hot
and a long walk. I can't really pick a fault at these seats apart from
when somebody stood towards the front of the stage I missed it due to the
person's head in front of me, but that was only once or twice."
Reader James is also keen on row D,
"Would agree strongly that row D centre block of
balcony is a good buy - such a "big" show that being
far away didn't matter. However, not sure how this
will be for Oliver, which will obviously depend less
on big spectacle and more on characters."
The monkey thinks it will be fine... it has been for other smaller
shows... paws crossed...
Reader Thomas Evans is also a Balcony fan:
"I booked two seats at the centre of row H of the Balcony, and was initially
worried about the distance from the stage. However, pleasantly surprised, I
seemed to have picked the perfect row: the whole stage could be seen and only
once did we need to lean forward"
While reader Zoe, another few rows back for "Lord of the Rings" (in May 2007)
says,
I sat up in the balcony Row K. It was very high up, and very hot, but at only
£10 a ticket was excellent value. I have to admit though it is probably even
better when you are closer." As in the Upper Circle, the first and last few seats in the side blocks of
all rows offer grotty views and poor value. Only row B seat 38 is excepted
because it offers a little extra legroom combined with being sold at bottom
price to compensate for a slightly restricted view of one side of the stage.
Also worth a look for "Oliver" are the end two seats in rows C to E,
also cheaper. Take the one in off the aisle for view, on the aisle for
legroom. NOT a particular recommendation, but a way to sit further
forward in the Balcony and save a few extra pounds for the least picky,
feels the monkey. The rear two rows offer very poor views from all seats, being far
from the stage. Skip them as the are now the same price as rows in front - making them a "red" warning rating to the monkey mind.
Take these last or as an option if you don't fancy paying less to
lean through bars or peer round pillars. Go centre block before side blocks, naturally, in
true theatremonkey style!
Do remember that this is the Balcony, though, and even £29.50 will not
provide the same (or even close to the same) view as a £60 stalls seat might.
Reader Chris May comments:
"At twenty quid a ticket in the balcony I feel that if you are
in the centre block up there it's a fine view no obstructions. Binoculars are
good for close up views
The
only problem is that you may want to strip naked as its so bloomin' hot up
there. But it's worth the sweating for the cheap 20 quid.
Plus if you can't
walk well or like me had danced the night away for 4 hours non stop the
previous night don't expect the climb to the top to be an easy one.. The view of the actual show
from row H is fine but you may miss the top of the sets".
Someone else comments,
"I sat in J 24 of the balcony. I had plenty of leg room, but I know other people
didn't as the two ladies beside me ended up moving so that they could put their
feet over the seat. The view was great - I could even see some facial
expressions! The only problem is if someone sits on the edge of the stage - literally the whole balcony leaned forward.
Actually the other bad thing about being so high up was that it ruined some
effects, if you can see behind the set.
My other complaint about the seats up there - they're
all connected very firmly. Normally this is not a problem, but in this case
anytime the people next to me moved, they brought my seat with them - this was
particularly uncomfortable during the interval. Also, I felt it anytime the
person behind me moved their leg because they moved my seat. Luckily I wasn't
able to notice it too much once the show started!"
Reader Teresa Gustafsson says,
"K20 to 22: these seats are marked red but I disagree. I admit it’s
pretty high up but you have a totally clear view of the stage and don’t
miss out on anything except maybe facial expressions, but with the
binoculars you can have that to. The only bad thing is if you are afraid
of heights, like my friend, because it’s a lot of steps to climb!"
The exact reason the monkey has them "red" - though it takes the good
point the actual view isn't restricted. You do miss facial emotions in a
big musical, though, it feels.
Another reader notes similarly:
"We sat in Row L of the balcony... At first I thought it would be a nightmare
being so far back, but the Producers is not an intimate show and you don't miss
out on the action by being there. We shared a pair of binoculars to get a few
close up looks at the dancers costumes etc... I must agree it gets HOT up there,
and the seats are very cramped so get an aisle (not that it's any worse than
other theatres!)"
Legroom is just tolerable in all seats except row A - the very tall won't be
happy up here in any seat, though. Extra comfort can be had
taking seats on the central aisle and row B seat 38 - except for the tallest!
One person felt that,
"I could see very well as each row was raised up, but if I had been taller than 5ft 6 here, I would have been uncomfortable
where I sat in row E."
Notes
Total 2200 seats approx.
Air-conditioned using an air cooling system. Readers report this ineffective
(paper fans and bottled water are sometimes provided!),
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 overhangs. Just a bit of advice from
someone in the theatre industry who has a grasp of physics...
Infrared headsets available, working best in the central stalls - get the technicians
on the current show to improve this says the monkey; Signed and audio described
performances occasionally. Printed matter available in Braille. Wheelchair
access via a firedoor but no step for a change. Guide dogs can be dogsat. Unisex adapted toilet available.
Kept locked - ask for key. Fuller details www.theatre-access.co.uk,
www.seetickets.com,
or 0870 895 5505 or e-mail customer.relations@seetickets.com. Artsline 020 7388 2227, email artsline@dicon.co.uk.
Food: a café plus confectionery and Ice cream. 5 bars: Stalls,
"Saloon" at Grand Circle level, 1 Upper Circle, 2 balcony.
Also bookable in advance (redeem
voucher on day of performance to collect) is a food container called a "Royal
Box" (nothing to do with sitting in a box in the theatre!) containing a
selection of canapés for consumption in the
bar or at your seat. A half bottle of champagne is also available as an optional
extra with the box too - for those over 18 only, subject to usual licensing
laws. Click here for more
information.
16 toilets; Stalls 2 gents, 3 ladies, 1 disabled, Grand Circle 2 gents, 2
ladies. Upper Circle 1 gents, 1 ladies. Balcony 2 ladies, 1 gents.
A further ghost, theatremonkey's hero Joe Grimaldi, haunts the stage and
kicks lazy and poor actors in the rear end as appropriate. Rumour has it
that the spook retired with exhaustion after dealing with a problem during the
run of "My Fair Lady" in the early 2000s... but the monkey cannot confirm
that...
|
