STALLS
The Dress Circle overhangs the stalls at row H. The top of the stage is not
visible from row L back. In fact, the view gets so poor that producers have
been known to curtain off the rear rows to prevent embarrassment!The stalls are split into front and rear halves by an aisle behind row H. The
front block has seats across the entire width of the theatre, the rear block is
split into three sections - a central and two side blocks, by more aisles.
Seats in rows AY to H are all fine - shorter folk may wish to avoid the very
front row as the stage is high, though. The rake from row B to H ensures particularly good views from these
rows - sitting in the central seats of these rows ensures maximum value
for money.
In row A, a reader reports,
"Row A5 view was really good. The rake was great so I could see the
stage clearly and I saw everything."
One reader says,
"We were seated in the stalls seats C 7 and 8 in the stalls. Although I could see
the stage well I would say that it was a little to close to the action and would
have preferred to be further back, certainly not any closer as I had to move my
head from side to side to see all the action. However, the theatre is quite
small so it did feel quite intimate and allowed the audience to feel like part
of the action."
The front two rows are designated AY and AZ, before the third is designated
A. This means the unwary will be seated three rows further back from the stage
than the traditional alphabetical order might suggest. AY is the front row for
"Dirty Dancing" (October 2006).
Premium seats - central rows E, F,
G and H seats are more expensive. Your call, feels the
monkey.
Rows J to Z are in the rear half of the stalls. The central block is
acceptable if one can live with the very low ceiling and missing top half of the
stage - though the monkey doesn't feel anyone will be totally unimpressed
sitting here for "Dirty Dancing" (October 2007) as only the top half of actors
standing on the bridge is missed for a brief moment in row R back, and prices
acknowledge this.
At Friday Evening and both Saturday
performances, rows R to U are more expensive. Slightly cheaper Upper
Circle seats might edge them for view value at those performances, feels
the monkey.
Row
Z are "flip down" square perches rather than traditional theatre seats, without
backrests, so that audiences lean directly against the theatre back wall.
Padding is planned at some time, though. Less
comfortable - though fairly priced considering the view and position near an
exit door. Z1 in particular is a cheap bargain as it has a view straight down
the aisle beside it.
A sound desk is positioned in the centre of the back rows of rear stalls, with
five seats either side (3 on one side of row Y). The monkey is didn't think any
of these were particularly awful - the desk was neatly a bit away from the
seats. The corners of its protective surrounding walls have been trimmed, with
only X5 and 11 and Y8 and 14 losing view to it - avoid. Only purists will want to skip
other seats around the desk, though.
The side
blocks of rows J to X feel like satellite colonies for some reason,
and the odd viewing angle is mildly irritating. For "Dirty Dancing" (September
2006), monkey feeling is that the extreme ends (first and last 3 seats in row O
back) are the third choice of ticket, as there are more central seats for the
same price, and the overhang is most noticed here. Worse, they also lose view of
nearside staircase action - though the show has been arranged to minimise this.
Lighting may also be hanging in view from the circle above.
Legroom throughout the stalls is excellent, best in C1, 2 and 21 and J1 to 5
and 19 to 23, all of which have nothing in front of them.
DRESS CIRCLE
The Upper Circle overhangs the Dress Circle at row B. Clamps holding the
lighting rail in place are in front of some row A seats, with masses of lighting
dangling from the circle front too. These
do not affect the view significantly.
The rake is steep, allowing a good view of the stage until row E. After this
point the low circle above begins to restrict views of the top of the stage. The
monkey is inclined to skip row M in particular at second price as it seems a bit
overpriced.
The circle seems close to the stage creating an intimate atmosphere. No rail blocks the
view (though there are short ones at the end of the aisles - pedants might want
to sit one seat off the aisle in row A to avoid them), and only
rows J back feel a way from the stage.
In row B, a reader says,
"B16: The perfect play to see the show I think. And what a lovely
theatre! Seats were very comfortable and view great."
One reader reports, for "Dirty Dancing,"
"We purchased the ‘top’ tickets, figuring as it was a bit of a treat for
us, we might as well get good seats! However the seats when we got there
– F26 and 27, in the dress circle had a restricted view – very
disappointing! We were unable to see the left side of the stage, and the
steps there – where at least a couple of the scenes take place. Needless
to say we wrote to the company who supplied the tickets, but apparently
they are ‘fair value for money’!! Not in my opinion. So, if you are
considering buying tickets for this show be aware if you are in the
dress circle check the seating on ‘theatre monkey’, and if you are on
the ‘end’ of a row, there is a good chance you will have a restricted
view."
At the sides of the Circle, row A seats 1 to 6 and 28 to 33 offer a close up view of the
stage with only a shallow triangle of the nearest side not visible; unless willing to
lean. Only problem is, if others follow suit, you see less - take seats 1 and 33
first. Expensive
at second price for "Dirty Dancing" (September 2006), the monkey feels, though.
At Friday Evening and both Saturday
performances, rows L and M are more expensive. Slightly cheaper Upper
Circle seats might edge them for view value at those performances, feels
the monkey.
Seats C1 and C25 can be removed to provide a large wheelchair space, and transfer to C1, 2, 24 and 25 is
possible. The customer gets a fairly
good view, though a rail is slightly in view if the chair is beside C1 or 25. See Notes. When wheelchairs are not present
in front of them,
those in D1 and 26 have nothing in front but a low loop of safety rail, allowing
extra legroom and unobstructed views.
Legroom throughout the circle is average, better in rows back to E, slightly more in the last two
seats at the ends of row B to M, and maybe a tad less in central L and M. Row A has less legroom due to a wall
rather than seats being in front. Slip seats 3, 5, 29 and 31 have least of all
with the wall curving inwards, 1 and 33 have more as it curves out there.
Dress Circle Boxes
Boxes B
and E are on ledges to the corners of the Dress Circle.
The chairs used in boxes B and E offer
excellent legroom, though a very average view of about two thirds of the stage. A
bar runs across the front of the box, adding to the problem.
Box D can house a wheelchair and companion. See Notes.
Users should take Dress Circle C1 instead.
Boxes A and D, between the circle and the stage; offer poor views, about half the stage is not
visible, but good legroom. Speakers set here restrict the view further for
"Dirty Dancing" (September 2006).
UPPER CIRCLE
Known as the GRAND CIRCLE in this theatre.
Notorious for being high and steep, the view none the less is generally good
from most seats. Only rows G back feel, naturally, a little remote from the
action.
A metal bar runs across the front of the circle cutting into the view from
row A, which also has less legroom. Further bars run across the front of rows D,
E and H, but don't cut into views except for the shortest.
There are no arm-rests in seats from row D back, and from row E seats
are far narrower, with straight upright backs. Most are also not
conventional "tip up" theatre seats, but fixed down.
Row D is preferable to the rear stalls row Q back since more of the stage is
visible from here. Legroom is excellent, but you could be disturbed by
latecomers shuffling along the aisle in front of you. Note that the
first and last four seats have the circle aisle end rail in view, and if you are shorter
the rail in front of this row may also make it worth a miss, a reader in
C1 noted.
Behind, E has less legroom, though putting a leg through the bars
will give a little more... but annoy those in front...
In row F a reader comments,
"F 12 and 13: Excellent views for £33. I'm short so leg room was fine
for me. But it was VERY hot up that high - one woman passed out!"
Reader James says,
"Sat in F20 - view was fantastic and really didn't
feel a long way from the stage at all, could almost
see all the action, rake very good. I found leg room
fine, more of a problem was width - I'm not a large
person at all, and neither were any of the people
around me, but I was very cosy to the people on either
side!"
Reader Karen reports,
"We sat in the Upper Circle row G15 and 16. I have to say the view was
great and it was raked so that not even the person in front could have
blocked your view. HOWEVER, leg room is REALLY tight. I am 5"4 and I
have never been so uncomfortable. We were packed in like sardines. I
know they were the cheaper seats but for £35 we got fold down seats with
not even an arm rest separating you from the person next to you."
Row K offers a cheap way to see the show. Sure, its at the back and
you'll look through heads, but legroom is good. Behind, a reader moans that seats in row L were pretty bad, with a view of
the row in front rather than the stage as they are raised only on a very low
plinth. They are much cheaper now because of
this, still maybe something worth knowing, though...
At the sides of the Circle, six slips seats are tacked to the ends of row
A. These are movable chairs, and you'll have fun shuffling them around for
maximum viewing - you'll see little if politely leaving them against the wall.
Views depend on arrangement and how far you are prepared to lean out. A total
budget choice, and pick carefully. 1, 2, 11 and 12 have more space than the
others.
A larger reader opines,
"Strange seats at the side of the upper circle. at an angle... not a
good view in my opinion but not uncomfortable,"
but another feels,
"Row AA 1 and 2. Both of us agree that these seats are under priced. At
first when you walk up to them, they look like normal seats. You sit
down and can't see anything! But the seats can be moved forward right to
the edge of the bar in front and with a slight lean you can see
everything but anything at the very edge of stage left (which is nothing
really). The lean did not hurt our backs once, and I have had a bad back
since a very young age. For £15 I would get these seats every time. No
one is behind you so you can get up and dance, stretch your feet and
there's plenty of room to put your feet up as well. These seats are so
comfortable I took my shoes off like I was at home. Excellent, if you
don't want them, I'll have them!"
Legroom is just adequate in all seats barring row A for the tallest and E, with row D offering most
due to a gangway running in front of it. F, H and K also have more than the rows
in front, for some architectural reason.
Notes
Total 1176 seats.
Air-conditioned auditorium.
No food except ice cream and confectionery.
Three bars one each at the back of the Stalls, Dress Circle and Upper Circle
Occasional signed performances, hearing loop.
1 guide dog per performance allowed in box D only. Wheelchair users
(non-motorised chairs only) must use the
fire doors but have a level access to the Dress
Circle box D. Row C seats 1, 2, 24 and 25 are available for transferees and
wheelchair spaces are available replacing C1 and 25. One adapted toilet has been fitted. Fuller details
from the theatre on 020 7379 3367 or Artsline on 020 7388 2227, 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.
Nine toilets. Foyer 1 ladies with 9 cubicles, Stalls 2 gents 1 cubicle each,
2 ladies one with 1 cubicle, one with 5 cubicles. Dress Circle 1 gents 1
cubicle, 1 unisex disabled. Upper Circle 2 gents 1 cubicle each, 1 ladies 2
cubicles.
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