STALLS
The Dress Circle overhangs the stalls at row H. The top of the stage is
not visible from row T back in the centre and row O from seats to the
sides of the theatre. Seating is in one large block in front of
the stage. Every seat is within the proscenium arch, and there are no
official "restricted view" tickets.
If row A or B is cheaper - not in use for "Mamma Mia" (September
2012) - the monkey quite likes. In B, if cheap, it would go for most of the row - 6 to 20 (centre seats
first of course). Behind, at a little more it particularly likes 9 to 17
- in both cases if looking up
isn't a problem. Certainly it's a way to be closer to the stage than any
other seats at the same price for those tall enough to accept the issue...
...The stage is high, and those in rows A to C will have to look upwards - mildly neck
ache inducing perhaps, and the shorter person may well prefer to be further back
in the stalls. For the rest, the view is probably more than acceptable and the
back of the stage is visible without a problem..
A reader comments, that when row B is the front row at full price,
"the stage is MASSIVELY HIGH! I
would RED it out... I complained to the house manager and she looked for another
seat for me - I took a complimentary programme instead and moved to an empty
middle seat which was a bit better as there was more space between the stage and
seat there."
Reader John agrees, saying, again at a previous production,
"We sat in front row B in the stalls - not recommended as the stage is
high for younger fans - moved to row G stalls at interval and it was
much better but I dare say even further back in the stalls would be
excellent in this lovely theatre."
A reader says
"B22. Very good seat on discount, being off to the side
didn't matter at all for the play I saw. Missed tiny little things when some
of the set blocked me due to being so close to the front but honestly,
I'm not fussy when it comes to stuff like that."
In row C for "Cat On A Hot Tin Roof" (December 2009), with row A as
the front row, a reader says,
"C15 to 17: was a bit nervous that my friends would find it
uncomfortable given your comments about it being 'mildly neck ache
inducing'. However, none of us even noticed that we were looking
upwards, probably because we were so enthralled by the acting. All I
would say is that the seats are on the narrow side, and not a lot of
legroom either - Adrian Lester might have coped with the seats but I
think James Earl Jones would have struggled!!"
"Mamma Mia" (September 2012) normally has a very low stage, with the
orchestra pit extended out in the centre. At the time the transfer was
announced, nothing has been confirmed, so the monkey will update nearer
the time regarding layout and sightlines, it is hopeful that the
situation at "Crazy For You" (October 2011) will be avoided,
where those in rows C to F missed feet - still, the cautious might wish
to book further back.
A reader reports on this issue at the show,
"Went to 'Crazy for You' - paid £64.50 for centre front stalls (second
row - row D). Huge revolve built on stage: couldn't see anything below
the knees from people on stage, nothing from the waist down if they were
upstage. Not on for a tap show, and NO WARNING when purchasing tickets.
It must have been even worse for those in the front row. Walked out at
the interval - very disappointing evening."
Readers Sharon and Derek commented for an earlier production "Footloose",
which used row C as the front row,
"sat in row 'D' which was actually the 2nd row for this show. Fantastic seats -
fantastic view."
Reader Andie King agrees for the Shakespeare season of March 2007,
"My seat was in row D of the stalls which provided an excellent view of the
entire stage and was close enough to feel the actors’ spit, the theatre itself
is beautiful and the intimate."
Reader HB comments, with B as the front row,
"D14 and 15 offered a good view. However you did have to look up due to
a high stage so I would suggest a couple of rows further back would be
better."
Regular contributor Lizzie adds,
"Our seats were stalls row E (which is really only the third row back as there
is no A or B for earlier production "Footloose" - ed) – seats 4 to 8 not bad – good view of the stage but not great when
you have big people sitting in front of you – and yes you guessed it, we did.
Seats were a bit cramped too. Would recommend you go for Row F and get the end
seat as it protrudes out further and you should get an unobstructed view ."
In the same row for "Betty Blue Eyes" (March 2011) reader Mark L
says,
"E5 and 6: Our seats were excellent and the view was fantastic. The
stage is high and there's no orchestra pit as they are at the rear of
the stage, but the view here was great - no problems at all, and I'm
only 5'7. Could see clearly from toes to top of heads without any neck
ache and at £77 for 2 seats a real bargain as well. At this proximity to
the actors you really do get to lock eye contact with them and this was
fantastic. There was plenty of legroom, and good air conditioning could
be felt."
Moving back, the rake becomes noticeable from row F, and decidedly pronounced
from row G back. Combined with well thought out "offsetting" of seats so that no
seat is directly behind the one in front, the mid to rear stalls instantly
appeal to the monkey. When choosing, it would pick row G first - reader Fiona
rated G 13 to 15 "excellent", then K or F (if slightly taller than 5ft 7), then
move back from row L to R, then E or S, depending on your preference for close
up views or distance. Rows D and C can also be considered, if neck ache isn't an
issue - the view itself is fine from these rows.
A reader says,
"We sat in stalls row F 20 and 21, excellent view but 21 was an uncomfortable seat
as it tilted forward so I was constantly having to hitch myself back up."
Another reader says of F16,
"F15 and F16: I wanted to tell you that I was very uncomfortable for the
whole performance as my seat F16 seemed to be tipping me both forward
and to my left. To save my back, I had to prop up my left leg by wedging
my coat under my left thigh, in order to feel like I wasn't going to
slide off. My husband felt that he was also being tipped out forwards,
but was otherwise level. The view was very good, very central and close.
Almost too close, I felt, as I could see all the sweat on the dancers."
The monkey researched this in 2011, and found that readers under
around 5ft 3 did indeed seem to "slide" off stalls seats (even
if sober) if they were
not careful! Strange... Even stranger, since posting this, other readers
of 5'5 and 5'9 report exactly the same issue. One reader of 5'8 thinks
that it is caused by the rake of the floor making an otherwise
horizontal seat into a forward slanting seat. If not, then optional seatbelts may be
the answer, feels the monkey.
Regular theatremonkey seat reporting reader Mark says of this row,
"F22: Got as a cheap student standby. Very good clear view of the stage,
could see every expression."
Reader Lisa felt row G, Seats 13 and 14 had an excellent view.
One reader also felt that for musicals, G1 and 25, despite the extra legroom,
lost a little 'something' in the view department - though the monkey hasn't
noticed this. A reader at "Crazy For You" (October 2011) did, though,
"G23 to 25: We could just see the dancers' feet (pretty essential for
the tap routines) and, because of the high stage, views were mercifully
unimpeded. However, what G25 gains in legroom (no seat in front) it does
lose in sight of the left hand side of the stage, which was occasionally
an issue. The left side of the stage has restricted visibility at the
upper level of the set too, because of the box. Not that Theatremonkey's
book / website hadn't pointed out this possibility. "
A row behind, another says,
"H19 in the stalls was a really good seat, though there was very little leg room
and I felt very squashed indeed."
Theatremonkey regular seat connoisseur James almost totally agrees,
"H17 to H19 feel really close to the stage. Staggered seats help with
the view and the sound is great from here."
At the end of row H another reader says,
"H24 and 25, very comfortable, no seat in front of H25 so endless
legroom and a splendid view."
"Mamma Mia" (September 2012) has central rows G to J (plus K and L at
weekends) at "Premium" prices.
Your call, feels the monkey, who would sit in nearby seats for the same
view at a lower price. On Saturday Evenings, stalls row F 9 to 18 are
also at "Premium" prices. "Premium" price seat locations sometimes change at short
notice. Please be aware of this when booking.
Reader James F says,
"The seats I had - J8 and 9 in the stalls - were really comfortable and you can
easily put your legs under the chair in front. The seats had an excellent view
of the stage and my view was never obscured by the person in front."
A row behind, a reader comments,
"K7 to K10 were fantastic seats – being staggered from the row in
front and a good rake ensure an excellent view."
At "Betty Blue Eyes" (May 2011) a reader says,
"K19: Excellent seat with good views and sound. Leg room was very
cramped being 6ft 3” however. Perhaps a little too close to the
stage for my liking but that’s a personal thing. This is a lovely
classy theatre. Very ornate and camp!"
Reader Daniella C comments,
"We were sitting in the stalls Row L Seat 16 and 17 (10 rows from the front),
but knew from Theatre Monkey that the seats were slightly raised, which meant
that we could see really well."
In the same row at 'Betty Blue Eyes' (March 2011) a reader says,
"L20: I had an excellent seat – at a reduced price – but the sound there
was ear-splitting and that rather put me off to begin with."
Reader Cristopher H adds,
"M (in the stalls) seats 1 to 3, these were good; although I do not
recommend seating in the aisle-seats, but if you must... go for it if
cheap (we only paid £10 for the show we saw in Autumn 2008). The rake is
quite visible from row D back, but all seats behind row R are over
hanged by the circle. I would say that the best seats are in row K to M
seats 4 to 12."
The only seats some may wish to avoid usually are the first and last three seats in
row O back, as the overhang of the circle above restricts the view of the top of
the stage (though this is irrelevant for many productions that do not have
staging at high level).
Another reader comments,
"sat in the middle of row M for "Drowsy Chaperone" (May 2007) and found that the
seats at this theatre are now extremely uncomfortable, with an unpadded straight
wooden back and little legroom for a person of my height around 6 foot tall. I
found myself feeling pain in my legs after perhaps 10 minutes and by the middle
of the show my legs were embarrassingly shaking of their own accord. If I could
have walked round in an interval I could have shaken some of this off but there
isn't one. The seats are not very wide either so it is difficult to find a
position you can get into where you are uncomfortable. Really affected my
enjoyment of a very fun show"
At 'Betty Blue Eyes' (April 2011) in the same row, two readers say,
"M 13 and 14: Dead centre, seemed to be just about the best seats in
this beautifully restored theatre."
at the same show, reader Celia adds,
"M15 and 16: were great."
From row O at "Onassis" (September 2010), reader Mark says,
"O26: Not a bad seat, could see everything; but if I was paying full
price I'd have wanted to be more central and a tad further forward."
In row Q, a reader comments,
"Row Q seats 6 to 9: Initially, given that they are quite far back I was
expecting them to offer worse view than those further forward but was
pleasantly surprised. Plenty of leg room, a perfect view and slight rake
meaning no problem from the heads in front. I would recommend sitting
this far back in this theatre in the future!"
From row R, one reader finds R 1 and 2 fine, while another opines,
"Got tickets for Row R seats 11 and 12: I could see everything and could
even stretch my legs. Would get these seats whatever the show was."
In row S, another reader found the seats uncomfortable, and felt a bit
far back from the stage.
The monkey might also skip rows T and U as they are a longish way back for a top priced
ticket - nothing wrong with the view, though.
Other productions though
may put front rows at second price and may suit those willing
to look up too. The monkey likes to see faces, so would pick A, but
wouldn't moan about central T either really at the same price.
Theatremonkey regular seat connoisseur James says,
"Sat in Stalls U20 and U21 for “Spring Awakening” (March 2009). The view was
obstructed by a tall person in front but they left in the interval and after
that the view was great although it did feel a little too far back for top
price. You don’t lose anything important to the overhang though. The only other
problem was that I felt it was a bit too quiet back there but I saw it early in
the run and it might need time to fully settle technical wise."
Another reader says,
"U2: Got them for standby price on the day for £20, for the production I
saw ("Spring Awakening" in May 2009) which I thought was good. Wouldn't
have liked to pay full price though. Overhand didn't affect the view at
all! Not a bad seat if you can get it at a discount."
At second price row V is much cheaper than row U, with similar view;
this or W are worth considering in the monkey view. Usually, the monkey would compare rows V to X with
rear Dress Circle or central row B Upper Circle at the same or slightly
lower price, feels the monkey, unless legroom is a factor (stalls are
preferable for that!).
For "Mamma Mia" (September 2012) there are decent Upper Circle seats at the same price
as row V back (it doesn't
fancy the second priced rear Dress Circle ones or third price slips as much for view).
A sound desk replaces seats in rows W and X for "Mamma Mia"
(September 2012). Purists may wish
to know to avoid it. Unlikely to bother many others, though. Row W17 has
a bit of extra gap between it and the desk.
Legroom throughout the stalls is fine for all but the tallest over 5ft 11 or
so - as a 6ft tall reader notes above. The original seats have
been retained, meaning that they are high and have space to slide legs under the
seat in front. Of particular interest to the tall are the front row (B
particularly, if A is removed), plus
row F seats 3 and 24 and G 1 and 25. as there is nothing in front of these
seats. Those who dislike bobbing heads in front may also wish to seek out the
row F and G seat numbers in particular, as they combine legroom, nobody in front
and a good view of the stage overall.
Stalls Boxes
Boxes A and C, above the stalls, between Stalls and Dress Circle height.
Only half the stage is visible, and then only by leaning forward. The
seats are low and space is limited, possibly making them less than ideal
for the tallest - though the seats can be moved around, which may help.
Additionally, lighting or speakers can be placed at the sides of the
boxes, sticking out and causing another view obstruction...and potential
loud noise if speakers are in use. Take other seats instead for a far
superior view in the monkey opinion.
DRESS CIRCLE
The Upper Circle overhangs the Dress Circle at row C, cutting the view
of the top of the stage from row G back.
The Dress Circle is divided into a main central block, plus two "slip"
blocks. The slips are positioned at the edges of the circle, running along the
theatre's side walls from the front of the circle towards the boxes and stage.
In the centre block, the projection of the boxes very slightly clip a few
centimetres off the extreme edges of the stage for those in the very first and
last seats of all rows. Only purists will mind, but the monkey notes it for
information purposes.
For the rest of the central circle, there is no noticeable issue with the
view from any seat. The monkey would take row C first, then D, then B or E
before F. Rather than H, it would take J at second price for the same view for
less money - or even central seats in Upper Circle row B. It would also consider
stalls rows G to R before circle rows E to H at the same money - and pick stalls
every time if taller than 5ft 9 or so.
From row A, a reader says,
"A 13: Very limited leg room, but great to have no one in front of you."
"Mamma Mia" (September 2012) has the centre of this row, and B (plus
C at weekends), at
"premium" price. The monkey would avoid A if shorter, take B if less
than 5ft 7 and wealthy. If tall and wealthy, stalls have more legroom -
everybody else will find cheaper row C as good as those rows in front at
all non-weekend performances.
In row C, reader Vince Hanratty feels,
"Seats I had seemed to be the best view I've ever had in a London
Theatre (Dress Circle C11and 12)."
A reader says,
"Got good half price seats from TKTS. Dress Circle F 4 and 5, perfect view.
Minimal leg room did get uncomfortable without an interval"
For "Betty Blue Eyes" (March 2011) a reader comments,
"F19: very good, great clear view!"
Another says,
"row G of the dress circle. Great view, and we had a surprisingly large amount
of leg room."
Theatremonkey regular seat correspondent James says for "Betty
Blue Eyes" (March 2011),
"H11: No problems with sound or sightlines from here, although if you're
paying top price it's worth seeing if you can be a few rows further
forward."
In the same row at the same show, reader Graham adds,
"H15 and 16: Great seats if a little tight on legroom but comfy enough.
Good view of the stage and only spoilt if someone leant forward which
they seemed to be doing in the next seat along, why I don't know because
no-one else was, and the view is good. I did feel that the overhang
seemed very close overhead which might make some feel slightly
enclosed, something I've not noticed in other theatres but certainly
noticed at the Novello. It is probably noticed more if sat towards the
back of the Dress Circle. For the £32.50 paid (offer price) it was very
good value."
Rows J and K at second price also offer about fair value, and the monkey
would consider these equally with stalls and Upper Circle at the same price,
taking stalls if legroom is preferred, circles for the "overall" view of the
stage if less intrusion from any overhang is a factor. "Mamma Mia" (September
2012) only has K cheaper - the monkey would try stalls row U first, or the upper
circle (including the cheaper seats) as the views are a little better. To be
fair, though, K is substantially cheaper than the rows in front this time,
though, so less of a worry if you do sit here.
Reader Sam says:
"I sat in seat K6 Dress Circle. More or less, I agree with your assessment.
Whether I would give it 'green' or not depends on the price. The overhang is
very visible and take some chunk from the top of the stage. However, it is
annoying more than anything else. The view of the rest of the stage is very
clear, but I felt a little bit far back. At £30 I wouldn't give 'green' to any
seat in that row. But, if you can get it in the region of £20 it will probably
merit a 'green' colour. Leg room is reasonable."
The monkey rated K2 to 6 as 'green' because it felt they were superior or
equal to other seats at the same price in either the Stalls or Dress Circle - in
this case they offered a small shade more legroom than other Dress Circle seats
at the same price. It would agree that £30 is the absolute maximum price that
could justify a "green" rating, though. When they are more expensive than usual,
they rate lower
accordingly.
Another reader comments, for "Antony and Cleopatra" (February 2007) that
"Some of the action for this play takes place in balconies at the side of the
stage and the scene covering the death of Antony takes place on a raised
platform. All this activity is invisible from row K of the Dress Circle. The
latter is a particularly significant loss."
No guarantee that other productions will have the same issues of course, but
the monkey felt it worth readers knowing there have been problems in the past.
Wheelchair users have two spaces available by the removal of seats A 23 and
24, AA 10 and 11 or BB 4 and 5. The view isn't bad at all from here, and access
is simple from the side street via a side door. See notes
for more information.
The view from the slip seats, row AA and BB is poor from almost all seats.
Without leaning forward the view is around a third of the stage...but if you do
lean forward the person next to you is likely to do so too - and affect your
view! Row BB seats 3 and 4 are the only seats the monkey would consider...and
then only if the best of the other seats elsewhere at the same price have
gone. They are just about acceptable for view and comfort, perhaps worth knowing
about when seeking an elusive ticket for a "sold out" performance more than
anything else. "Mamma Mia" (September 2012) will likely have row AA 10 to 12 removed and BB
4 to 6 crushed against the wall, out of use.
Legroom is likely to be uncomfortable for anyone over 5ft 5 or so in rows A,
AA and BB (with the exception of row BB seats 3 and 4, which have a little more
and will suit those up to around 5ft 9). For the rest of the rows, the central 6
seats in rows A to F have the most legroom. Those up to 5ft 9 should be O.K.
here - the monkey would welcome opinions from those of this height in
confirmation! Other seats in rows A to J are likely to be acceptable to anyone
up to around 5ft 7 or so - the ends of row B have an inch or two more space in
particular. Row K is more of a curiosity. For some reason, seats 1
to 6 are quite comfy for the 5ft 7 monkey brigade (and one person of 5ft 10
feels K6 as "reasonable" for them too)...then as you move along the row, legroom
decreases until seats 19 to 24 get tight for those 5ft 4 or above.
Dress Circle Boxes
Boxes B and D are above the stalls boxes, between Dress and Upper Circle
height. Only half the stage is visible, and then only by leaning
forward. The seats are low and space is limited, possibly making them
less than ideal for the tallest - though the seats can be moved around,
which may help. Additionally, lighting or speakers can be placed at the
sides of the boxes, sticking out and causing another view
obstruction...and potential loud noise if speakers are in use. Behind
Box B a retiring room and separate entrance from the street are
available.
UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.
The balcony overhangs the Upper Circle at row D, affecting the view of seats
from row E back.
A low metal rail runs along the front of this circle, with double height bars
guarding the aisles at the ends of row A. This badly intrudes into the view of
row AA seats 12 and 13, and A 3 and 24. Those in A 4 and 23 and in the first two
seats of rows B to D may also find these double bars a nuisance too. Shorter
people in row A may also have a problem seeing over the lighting affixed to the
front of this circle.
The Upper Circle has a main central block, plus two "slips." These slips are
positioned at the edges of the circle, running along the theatre's side walls
from the front of the circle towards the boxes and stage.
In the main central block, the circle has a pronounced curve from edge to
centre. The result is that the first and last seven seats in rows D to F, plus
the first and last five in A to C and first and last three in row G all lose the
front corner (around a tenth) of the stage - more is lost the further to the
ends of the row that you go, and the further back in the circle - row D onwards
having the most noticeable reduction.
Irritatingly, when an extended stage is used, those in row C back miss
a good few centimetres off the very front of the stage too - though this
shouldn't be much of an issue, be aware of it. The monkey guesses that some
leaning forward may occur in rows B and C...be prepared and try to resist doing
it yourself, is the monkey advice.
Reader Lynn confirms this for previous production "Footloose", where the
stage extended further than usual:
"Sat in the Grand Circle seat numbers B12 and 13, not a bad view although lost
the view of the very front of the stage so had to lean forward on the kitchen
scenes."
Another reader comments for "Hamlet" (December 2008),
"I had B3. Good value for £10 + £1.50 booking
fee, I feel. The view is slightly restricted, but it wasn't much of a
problem. I am 5' 9", which helps. A1 to at least A5 are for the very
short only. I tried to move into A3, which was free, but couldn't get my
legs in comfortably. The good thing is that if you lean forward from
B3, the rack is so steep you don't get in the way of the person in row C
behind (I'm a good wee theatre-goer - I checked with the lady behind
before the production started.)"
Maybe this and B23 are also worth a shot at £20 or less for those who
find the balcony too high, feels the monkey. Nearby, "Mamma Mia"
(September 2012) has B 4, 5, 21 and 22 a good deal cheaper than the seats next to them... again a possible, feels the
monkey, if central rows C and D are busy.
Notwithstanding the leaning potential, the monkey likes row B and C seats 8
to 20 first, followed by the same numbers in D and E then E and F and the other
seats in A to D. Compared to rear stalls, the view of the stage is about the
same in distance but the restriction of view is perhaps less noticeable in the
stalls - missing the top of the stage is preferable to missing the sides, the
monkey personally feels, though others may disagree.
"Mamma Mia" (September 2012) has row D cheaper than C at weekends
only... the monkey would
take D for a similar view for less cash... When all seats are the same
price, it wouldn't go further back than it has to - and not beyond F
without a discount, really.
One readers spotted a problem when the stage was extended for "Spring
Awakening" (March 2009),
"E10 and E11: The front of the stage was not visible from these seats,
and there is frequent use of that area of the stage. This unfortunately
means that many people were leaning forwards (and with the production
being aimed at younger people, the seats were full of many inexperienced
theatre goers who don't realise how leaning forwards completely ruins
the production for anyone sat behind). As many of those people leaning
forwards for the view of the front of the stage realised that by leaning
forwards they got a better view of everything on the stage, they spent
most of the production leaning forwards. This meant that about 50% of
the people around and in front of us were leaning forwards for a large
proportion of the show, and so for this particular performance, I would
not recommend these seats."
This carries on for "Betty Blue Eyes" in March 2011,
"D7 and 8: Tickets purchased at the preview price of £30 with no mention
on the Delfont Mackintosh website on any restrictions. I know the
Theatremonkey site mentions issues with leaning etc but with the
forestage being used for Betty about a quarter of sage left is obscured
due to the curve of the circle and the subsequent leaning of the front 3
rows from D7 and D8.
Raised it with Theatre Manager in interval (as did several others in the
same area) but was told not the theatre's problem as producers had
decided these seats aren't restricted. May be worth paying slightly more
and go for rear stalls for an unobstructed view unless price is
dropped."
End seats in A to G for "Mamma Mia" (September 2012) are
much cheaper - Monkey thinks them worth skipping for those who want to
see the whole stage; though they do have the advantage of being a cheap
way to see the show from a perch below the balcony for anybody willing
to tolerate the loss. Aisle seats also do provide comfort rather than view.
Reader Rich comments,
"D25 is really poor. So much of the stage is cut off by the edge of the
circle. If you combine this with everyone who leans forward I think I
could only see about half of the stage. Thankfully 'Hamlet' (December
2008) had a backdrop of mirrors; I found myself watching some of the
show via those mirrors!"
Moving further back, rows G and H are not bad if cheap, but
the monkey would prefer Balcony central rows C and D for view, and at a lower price. The view may be further away, but there is no overhang to
contend with in the balcony.
Row AA, as the slips have been designated, had the monkey scratching its
head. From seat AA 1 to 7, and AA 18 to 24 you see nothing of the stage without
leaning forwards. If everyone leans forwards, aside from chronic cramp /
indigestion, you'll block the view of those beside you, so everyone sees even
less! The rest of the seats in row AA are not much better. At a pinch 10, 11, 14
and 15 provide some view (about a third of the stage) and may be a way to see a
production if you HAVE to see that performance. Otherwise for the same money,
judge Theatremonkey says "get thee to the balcony, rows C and D for preference,
but any balcony seat has to be better than these!"
A reader comments,
"Sat in the Upper Circle, seats AA11 and 12 (slips). Bought them online
and the theatre plan wasn't as good as yours so showed the seats being more
central. They also weren't advertised as restricted view. The metal
safety bars did obstruct when sitting back in your seat properly, but leaning
forward you had a good view. For "Antony & Cleopatra" (February 2007) with
minimal set this wasn't really an issue, but I can see it being a problem.
If you can't afford anything better these seats were ok, though depending on the
show and the set they could give a worse view. On the plus side there was a
handy storage space for bags behind the seat!"
The monkey would note that it isn't a good idea to store anything valuable
(or coats with anything important like wallets or credit cards in the pockets)
behind the seats, just in case someone sneaks off with the items while you are
watching the show... it has been known to happen...
Legroom in this circle is a variable minefield. Tight for anyone over 5ft 6
in rows AA and A, the true horror is row A seats 12 and 13 - seat 13 in
particular. A fuse box for the lighting fixed to the front of this circle
protrudes into the already limited legroom. While some adjustment has been made
to the price (making it worth thinking about for those under 4ft 5 or so), the
monkey cannot stress enough how much this pair should be missed, and would also
warn ladies to watch their hosiery as they pass along the row...
Moving on, other seats in this circle should feel acceptable for anyone 5ft 8
or shorter. An extra inch or three of legroom can be had in the centre of row B,
from seat 7 to 20 where the circle curves. In rows C and D there is also an
extra inch or so in the central six seats too, the monkey feels. Legroom lovers
may also like C1 and 26 which have a little extra space for one leg to stretch
into. Indeed, the ends of rows B to F all curve a tiny bit backwards, providing
that extra inch or so.
BALCONY
This balcony has a most interesting perspective on the stage. For some
reason the positioning made the monkey feel it was hovering almost directly
above the stage, with a "birds eye" view of it. The effect was disconcerting for
a moment (those with vertigo will want to avoid the front two rows), but then
the monkey suddenly realised that it was rather a good thing...and it started to
get interested in all the seats up here. Double height bars run across the
front of this circle, badly intruding into the view of those in row A, and
slipping into the bottom of the view of those in row B too, while the
extended stage is in use - and gets worse, the further the stage is
extended. Seats in row A are also taller, with an "S-shaped"
curve to the back that may annoy a few. The monkey suspects those in row A may
be tempted to lean forward to avoid the bars too - so those in row B may wish to
be prepared.
In all rows it would avoid the first and last three seats as the curve of the
circle causes the front edge of the stage to be lost. The end seats in A to D
are often cheaper - not for "Mamma Mia" (September 2012) - and are probably not worth
it. Take C or D if you must.
Outside these, row C back is monkey advice. then pick D or B if
"leaning potential" isn't an issue. It prefers D then E (in the purely
non-narcotic sense of the letter in that statement of course!).
Readers Maureen, Jackie, Frances and Lou (on a ladies' night out) felt the same,
they say:
"Bought balcony tickets directly from theatre Row D - quite high up - looking
down on stage. Once you are used to the height there is no problem."
Another reader feels differently, though,
"We were given E7 and E8 in the balcony - if you have vertigo then beware!! I am
sure I could just about touch the ceiling if I tried!! Wow it was high , a sort
of overhead view , for me it spoilt the enjoyment of the show.
We moved to C3 and 4 when the show started as they were empty, but this turned
out worse as I had someone in front who was tall and large and I had to lean
forward to see. I then get a tap on my shoulder "could you sit back please as I
cannot see!!" It was a very hot night and with poor legroom, the first half was
terrible for me.
In the second half I changed seats with my wife and it was a lot better,
although still looking down on the performance rather than at it.
I for one would not sit it the balcony again , although I will probably go and
see the show again, but in a better seat of my choice."
Be aware of the vertigo, is the monkey comment.
One other reader also warns,
"I was in row C of the Balcony for 'Midsummer Night's Dream' on Saturday night
24th January 2009, and have never been so cold in a theatre. A draft swept along
this row as it leads onto the exit and it felt as if the doors weren't closed. I
could also hear every car that drove by - it was like an open air performance; I
fetched my coat and put up my hood, but gave up the struggle and went home
during Act 2." At the back, the monkey fell instantly for row E seats 7
to 17. Cheap, with a decent view for the price and some legroom too, the
monkey felt these a gem worth knowing about. Behind it, row F also has a
surprisingly good view, but less legroom alas. With all seats the same
price, you may wish to
sit further forward for the same bananas, but the monkey still just
likes these few seats anyway if you can't get the ones in front. In
row F for "Eurobeat," one reader comments,
"We sat in F5 and 6. Although up high we didn't think the seats were too
bad - until the show started. It opens with a little bit of a chat shown on a large screen at the back of the stage
- to which we could only see the bottom half. It was also displayed on 2
smaller screens, presumably for us in the Gods to see, but we thought
the screens were too small." On the subject of legroom, rows C and D have the most, with
seats 7 to 17 having maximum available. Those up to around 5ft 9 should feel
reasonably comfortable here, with those of 5ft 7 or less satisfied with other
seats in these rows, and also row B and E. Row F has less legroom, and a 5ft 7
person may find it tight, while those of 5ft 5 or more should certainly skip row
A. Seat D1 has a little more legroom too, and B1 has extra space for one leg to
spread into as well.
Notes
Total 1015 seats. Air-conditioned.
Infrared loop with headsets available from cloakroom to the right of the main
entrance doors in the main foyer. Occasional audio described and signed
performances. Guide dogs can be dogsat by staff in the cloakroom. Wheelchair
users have access via a side entrance, to seats at the edge of the Dress Circle. Access to an adapted toilet through
the corridor is also available - walls slightly curved, so be prepared to
manoeuvre a little in larger chairs. Theatre helpline 0844 482 5137. A "venue
access guide" from the team who created book "Theatremonkey,
A Guide to London's West End," is available to download in PDF format
by clicking here.
No food except bar snacks, Ice cream and confectionery.
Four bars; 2 Stalls, 1 Dress Circle and 1 Upper Circle. Private rooms for
hospitality / functions are available leading from some bars - contact box
office for details.
7 toilets; Stalls 1 gents 2 cubicles, 1 ladies 5 cubicles, Dress Circle 1
ladies 4 cubicles, 1 gents 1 cubicle, 1 unisex disabled;
Upper Circle 1 ladies 5 cubicles, Balcony 1 gents 1 cubicle. Note that the
layout of this theatre means that facilities on each level are accessible to
more than one level of seating. The "ladies' facilities" in particular are
exceptionally well appointed with considerately placed hanging hooks and other
small attentions to detail not generally found in West End theatre restrooms.
Gents will also find their restrooms a pleasure to use too.
The monkey gratefully acknowledges the help received in the compilation of
this information.
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