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Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

APOLLO THEATRE
Shaftesbury Avenue



 


EVERYBODY'S TALKING ABOUT JAMIE (musical)
CONTAINS ADULT MATERIAL AND STRONG LANGUAGE.


Sheffield. Jamie is bullied on his council estate, just for being different. All that changes in the spotlight...

Dan Gillespie Sells / Tom MacRae musical, transfers from hit Sheffield Crucible Theatre run.



 


 

Theatremonkey Opinion:

(seen at the afternoon performance on 13th January 2018)
Everybody's talking about Jamie? Not true. The monkey is babbling incoherently, sobbing occasionally and gesticulating anybody within range towards the box office.

This tale of self-discovery and actualisation is blisteringly honest, searingly moving, sizzling with emotional and hormonal energy and pulsating with the hugest and most original heart in London, bar none.

Gillespie Sells and MacRae create perfect, credible music and lyrics for characters ranging from school kids to single parents to retired and present drag artistes. Kate Prince has them moving on a fabulously gliding Anna Fleischle set.

Of the participants, leading man John Macrae (Jamie New) has all the bluster, self belief and vulnerability of 16. Mother Josie Walker (Margaret New) stops the show twice. Her "If I Met Myself Again" (danced by Kirstie Skivington and Marvyn L. Charles) had the monkey in mid-show tears for the first time since "Once" more than 5 years ago. Her later "He's My Boy" is delivered as a hymn to motherhood, another dazzling moment.

There's terrific work in the smaller roles too. Mentor Ken Christiansen (Hugo) has a lovely moment with "The Legend of Loco Chanelle" (as crazy as she sounds). Friend Lucie Shorthouse (Pritti Pasha) gets the beautiful "It Means Beautiful," a fabulous final speech to bring the house down - and a bedroom lamp she should probably steal at some point. Tamsin Carroll (Miss Hedge) does a lovely job trying to control the unruly mob, and drag team Alex Anstey (Laika Virgin), James Gillan (Tray Sophisticay) and an uncredited at this performance Sandra Bollock are the best. A beautiful "warm up" moment drew an unforgettable "yes, that's how we do it" from someone sitting a few rows behind the monkey, too.

The story is compelling, the music moves things along at a pace emotions hardly keep up with. It did everything for it that "Hamilton" really didn't. The whole thing just punches and punches and punches again, every single emotional button across the range. The whole is a learning experience with the ultimate message that there is nothing brave in being yourself in life - the bravery is leading life as yourself.

Really, really, do not miss this.

 


 

Your Reviews: Add your own by clicking here.
Important: Some reviews below can contain "spoilers" - please don't read if this bothers you!

(11 reviews)

In preview, we (whole family) enjoyed it – mostly – it has some great one liners in the first half. The music is really good, staging simple but well used with projection. The one thing that didn’t work for any of us is a dressing room scene at a drag queen show/club, which could (should?) be disposed of, it doesn’t really move the story forward, but I suspect it is there in part as a time filler covering something like a costume change. My younger, now 16 year old, daughter’s view (she who avidly watches every season of RuPaul’s Drag Race on Netflix) was “if you’re going to do it, do it well”. I’ll be interested to see if critics comment.

The stage has been built out into the auditorium a bit I think, so if you are in the front row stalls you are very close to the stage, which is high and rises above the level of the top of people’s heads – I’m not sure that anyone’s head in the front row came above the stage floor. Consequently the viewing angle looks difficult in this row and I suspect that you struggle to see much, unless actors are at the front of the stage.

We were in G 15 and 16 and H 13 and 14. Excellent view and good value at preview price. Sound balance between orchestra and actors wasn’t right at times and we struggled to hear words in livelier numbers, but I’m sure they’ll sort out the levels over the preview period.
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We saw a preview performance of the show from the stalls, K7 and 8. They were good seats – sufficient leg room – but the rake is slight at that point and the seats there not being off-set did mean that I had to lean sideways at times due to the tallish person in front. However, it’s a musical with endless action so this wasn’t really a problem and it was a comfortable distance from the stage too.

The contrast of the very modern angular set against the ornate theatre was intriguing and there were screens up behind which sometimes acted as set and sometimes as back up to the action. The cast was mostly young (they were playing Year 11s and from the programme, many were in their first West End show) and the attitudes and situations expressed rang so true that you both laugh and wince watching them. The energy was extraordinary (you’d need to be young to dance like that!) and Jamie himself really grew on me through the performance – his acting was delicate and nuanced and his singing voice was wonderful - the standing ovations were well-deserved. The rest of the cast were also excellent, all immensely watchable, and with some amazing voices. Jamie’s mum (sorry, have mislaid my programme so can’t credit her by name!) sang a show-stopper of a song which must have reduced half the audience to tears (any parent, take tissues). I also loved Jamie’s close friend Pritti, another well-rounded character who sang her big number beautifully.

It’s a coming of age story and the ending was perhaps a little too easy, but we and the rest of the audience loved it all. Lots of laughter and applause throughout and standing ovations at the end. The language, for those who mind, includes quite a bit of swearing but not gratuitously so. For these characters not to swear would have been unconvincing!

Go and see it. You will have fun and anything that spreads the message of tolerance and acceptance is a good thing.
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Not a bad show, even from a £10 back row preview seat.
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I saw it last night (5th December 2017). Entertaining, but neither aweful nor awful. Choreography, amateur high school stuff. If this is "Billy Elliot" for this generation, they are pitifully one dimensional! Standing O from the Stalls. I must have coughed through the profound part.
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ETAJ was incredible!! I loved it!

B 5 and 6, £20 "day seats." The stage is insanely high. I’ve never seen a stage this high. I’m six foot and even I couldn’t really see what was going on stage a lot of the time; my five-foot friend had to get a booster seat!! Worse than Stomp and even worse than Garrick Scottsboro Boys. I think for £20 they should really advertise these seats as restricted view the row behind (and at least the row behind that too) are basically restricted view as well, it seems to me!!

Anyway even with the absurdly high stage we still LOVED the show. Worth it if, like us, you’re unsure if it’s for you and you don’t want to pay top dollar. But we’re extremely keen to go back and get a seat in the circle. I’m not sure if any stalls seats actually offer a clear view of the actors’ legs and feet?

No regrets, but yeah, it is restricted view and they should have said that when I went to the box office this morning. it does say on the ticket, high stage will interrupt view, I suppose he should’ve just made that clear when I booked. He just said they were day seats. Still great value if you want a cheap ticket though. I’m more concerned about the row behind, and the stalls in general…
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Went on December 23rd 2017, feeling very Christmassy. A real feelgood show. Star performance from John McCrea. Above-average number of catchy/moving songs. Solid 4-stars.

Sat in Dress Circle A13, 14, 15 (premium price – a Christmas gift). Poor legroom (but not unbearable for us, all around 5ft5ins), brilliant sightline. Not worth the price, in my opinion.
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Thursday January 25th 2018. At 10am, only me in the queue! Was offered centre of front row (row B) for £20 each, or any other available seats for £25 each. As I had heard there was a high stage for this show, I opted for the second choice and was given D 11 and 12. Fabulous seats. And yes, the stage is high and shorter people would have a very restricted view from there. ( and what a great show ).
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Saturday 17th February 2018. 1st in line at 8.15am, next people came around 8.45am. We got E28 and 29 in the dress circle for £25. Nobody in line wearing a dress but plenty of them during the performance, we loved it!!
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Saw matinee Saturday 17th February 2018. Absolutely brilliant show. Everybody should be shouting about Jamie. My wife and I thought it was one of the best shows we'd ever seen ( and we've seen plenty ! ). Impossible to describe how good it made us feel. We laughed and cried and cheered and talked about it for hours afterwards...what more could you wish for?

Our seats:N5 & N6 in the stalls. Clear, unobstructed view and felt quite close to the stage.
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On Friday 16th February 2018 I went to see "Everybody's Talking About Jamie," which was wonderful - your review says it all. Would recommend this show to everyone. I sat in stalls K10, an excellent seat for £39.50 from TKTS booth on the day.
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The show is brilliant, really enjoyed it. I wouldn’t recommend the day seats in the front row, the stage is very high and you do miss a lot of the action. If you are offered seats further back in the stalls for £25 I would go for them, it’s worth the extra £5.
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May 2nd 2018, Matinee

Second at 08:55 in light drizzle, 3rd at 09:30 – no one else till the box office opened. I was offered a choice between seats up front for £20 or £25 for Stalls F7. Luckily I chose F7 as the stage is very high and would have been quite a bit above eye level in front row. The view from F7 is near perfect.

Legroom isn‘t great, wherever you sit. Or maybe I‘m just to tall. Anyway, it was bearable. And the nice young lady from Russia, who was sitting next to me, was rather tiny, so I could "steal" a bit of her space.

Clueless as I am, when "Everybody‘s Talking About Jamie" was originally announced, I thought it had something to do with Jamie Oliver and ignored it. It was only after reading the monkey‘s very enthusiastic opinion that I reconsidered. And I‘m glad I did. Who would‘ve thought the story of a boy who wants to become a drag queen could make for such a fun, and sometimes moving, musical? Maybe because it‘s not really about drag queens (although a few show up!), but about love and dreams, and that‘s rather universal.

Note: John Macrae had the afternoon off when I visited. His understudy, Luke Bayer, played the role of Jamie brilliantly.
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Attended the Matinee performance on Wednesday 16th May 2018. We had booked tickets on row X the back row of the stalls but as soon as we arrived the very friendly usher said we could move to a row further forward if we wanted to. We chose row T (seat 12 and 13) as I had recently had an op on my knee and the endless legroom was much appreciated as was the uninterrupted central view.

I love this show. It is so happy and funny and touching. Nearly a week later I'm still walking around with a warm glow inside every time I think about it.

The whole cast are brilliant. John Macrae is a fantastic lead as Jamie and has a great connection with Josie Walker as his Mum. I would mention everybody's names if I could because they all played their parts perfectly.

The music and lyrics fit in beautifully and everyone in the audience was humming away as they left the theatre. I did hear a couple of people complaining that they couldn't understand the accent in places but as a Yorkshire lass myself I thought the accent was really good not too over the top as is often the case. Its a long time since a show has made laugh, cry and laugh some more like this did.

I will definitely be booking to see it again before the end of it's run. The only downside - having to leave at the end. I wanted to stay in this happy place a bit longer!






  

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Performance Schedule:
The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Monday to Saturday at 7.30pm
Wednesday and Saturday at 2.30pm and 7.30pm

Runs 2 hours 40 minutes approximately.
 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

THIS THEATRE USES "DYNAMIC PRICING" - THE SYSTEM WILL ADVISE OF EXACT PRICES ON ENQUIRY.

Monday to Thursday:
Stalls

Rows C to V: £65 except
"Premium Seats" rows F to M 7 to 16: £85
Row W: £49.50
Row X: £35

Dress Circle

Centre Block
"Premium Seats" Rows A to C: £85
Rows D to G: £65

Side Blocks:
Rows A to F: £65 except
"Restricted View" seats A 4, 5, 28, 29; B 4, 5, 27 to 29; C 4, 5, 28, 29, 30; D 4, 5, 6, 26, 27, 28: £49.50
"Restricted View" seats A 2, 3, 30, 31; B 1 to 3, 30 to 32: £35

Upper Circle

Rows A to E: £35 except
"Restricted View" seats A 1 to 4, 25 to 28; B 2 to 4, 24 to 26; C 3 to 5, 23 to 25; D 3 to 6, 22 to 25; E 3 to 6, 21 to 24: £20
Row F: £20

Boxes

Dress Circle boxes B and C: £49.50 per seat.
Upper Circle boxes B and C: £20 per seat.


Friday and Saturday:
Stalls

Rows C to V: £69.50 except
"Premium Seats" rows F to M 7 to 16: £95
Row W: £49.50
Row X: £35

Dress Circle

Centre Block
"Premium Seats" Rows A to D: £95
Rows D to G: £69.50

Side Blocks:
Rows A to F: £69.50 except
"Restricted View" seats A 4, 5, 28, 29; B 4, 5, 27 to 29; C 4, 5, 28, 29, 30; D 4, 5, 6, 26, 27, 28: £49.50
"Restricted View" seats A 2, 3, 30, 31; B 1 to 3, 30 to 32: £35

Upper Circle

Rows A to E: £35 except
"Restricted View" seats A 1 to 4, 25 to 28; B 2 to 4, 24 to 26; C 3 to 5, 23 to 25; D 3 to 6, 22 to 25; E 3 to 6, 21 to 24: £20
Row F: £20

Boxes

Dress Circle boxes B and C: £49.50 per seat.
Upper Circle boxes B and C: £20 per seat.
 


"Day Seats": A small number of seats - quantity and location at box office discretion - are available to personal callers at the box office before the performance on the day from 10am, priced £20 each. Limited to 2 tickets per person. The monkey always advises taking both cards and cash in case one is preferred over the other. Check with the box office before travelling if this policy is still in operation.

Online Lottery: Todaytix offers users the chance to secure tickets (19 on stalls row A) to that night’s performance priced £20 each. A lottery will run each day from midnight, via the app at Todaytix. If lucky enough to secure tickets, users are notified via push notifications or email and can then collect them from the theatre on the night.

 

Some details may change. The monkey will update as available.
 


 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Buying Tickets Online:

Other Box Office Information

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
www.nimaxtheatres.com

This system allows you to select your seat AND check the view from it when you do so.

 

Booking fees per ticket for online bookings:
No booking fees.


 

Other Online Choices (with S.T.A.R. genuine ticket agencies):

When the box office does not have seats available, or you require an alternative choice of seats, the Theatremonkey Ticketshop, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), agency service can offer seats with a variable "per ticket" service charge - £10.50 on £65 (£11.25 on £69.50 Saturday) seats (£19 on £95, £17 on £85, £8 on £49.50, £5.75 on £35, £3.25 on £20 seats) to 13th October 2018. More than the box office, but well worth trying as it often has tickets when other companies do not! Note that this system will confirm exact seat numbers prior to purchase. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases.

Another alternative is www.seetickets.com / telephone 0870 830 0200 which offers tickets with booking fee of £9.75 on £65 (£10.42 on £69.50 Saturday) seats (£14.25 on £95, £12.75 on £85, £7.42 on £49.50, £5.25 on £35, £3 on £20 seats). A £2.75 per booking, not per ticket, transaction fee is also added on all bookings. (FREE call if using BT.com Calling Plan at your chosen times).

www.ticketmaster.co.uk levy a booking fee of £10.75 on £65 (£11.50 on £69.50 Saturday) seats (£15.75 on £95, £14.25 on £85, £8.25 on £49.50, £6 on £35, £3.50 on £20 seats) per ticket. This system allows you to select your own seats.

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer a booking fee of £19 on £65 (£19.50 on £69.50 Saturday) seats (£27 on £95, £24 on £85, £14.50 on £49.50, £10 on £35, £6 on £20 seats). A postage charge of £1.45 per booking, not per ticket may be applied to bookings made from UK addresses more than 5 days before the performance. The "Flexiticket" Exchange Service, allowing FREE transfer / cancellation (credit note up to 12 months) of your booking up to 3 days before the performance is also available for £1.99 per ticket. "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

LondonTheatreDirect.com offer tickets with booking fee of £13 on £65 (£14 on £69.50 Saturday) seats (£19 on £95, £17 on £85, £10 on £49.50, £7 on £35, £4 on £20 seats). There is a £1 per booking, not per ticket, transaction fee for collecting tickets from the box office before your performance. Alternatively, if time allows, there is a postage to your home option, costing £2.95 (£4.95 to non-UK addresses) per booking, not per ticket. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.



ALSO SEE Tickettree.com for great value "hotel and theatre ticket" packages.


 

Box Office Information:
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
0330 333 4809
Operated by Quay Tickets Agency 9am to 9pm daily, on behalf of the venue. Outside these hours, See Tickets can sell seats on 0870 830 0200. Booking fees will apply on this number.

Booking fees per ticket for telephone bookings:
No booking fees.



 

For personal callers or by post: Shaftesbury Avenue, London. W1V 7HD
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats and enquire about concessionary prices that may be available to them on a dedicated phone line. See Notes.
 

 

 
 
Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Theatre Seat Opinions:
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.

The official website www.nimaxtheatres.com allows you to check the view from any seat selected.

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Balcony Notes
STALLS 
Layout:
The Dress Circle overhangs the outermost three seats in all rows from F, and the centre stalls from around row M.
Rows T to X lose their view of the top of the stage view due to circle overhang.

Speakers hanging under the circle are also in view from row R back.

Split into front and rear sections by an aisle in front of row T.

Rows A to R are split by a centre aisle for some, but not all, productions.

The seats are well raked (sloped floor to help see over rows in front) from around row L - and seats are off-set and slightly raised from row G back. Row X is on a step, so is raised a further six inches or so.

Legroom:
More than acceptable for all but the tallest throughout the Stalls, with a few exceptions. Rows J and R seem to have less space for those over 5ft 10 or so. Rows W and X are mostly very cramped for those over 5ft 9 or so, though feet can go under seats in front and the plinth raising helps a lot.

Row T offers unlimited extra space as a gangway runs in front of it.

X6 has nothing in front of it. V7 has 99% of the seat width free ahead of it. C1 and 19, E1 and 20, F1 and 21, G 1 and 22 have 10% of the seat width clear ahead of them.

Choosing Seats in General:
Advance booking rows A to D before the set has been installed is a gamble.

When the stage is low, those rows have near-perfect views, and if row A is reduced as "Day Seats" they are a bargain.

If the set has been placed on a plinth, or the stage floor raised, then those in rows A to D will experience neck strain looking upwards - for many rows B and C at top price might be avoidable due to this. If row A isn't discounted, casual visitors paying top price might want to avoid this row too.

A good rake in the stalls otherwise ensures good to excellent views from almost all seats in rows G to T. A centre aisle means the prime seats in the middle of the theatre from row D back have the added luxury of space next to them.

The rest of row T, and V behind it, are nicely central, and central row T seats 11 and (most of) 12 get the bonus of legroom and a view straight down the centre aisle. Wheelchair users can either park at the ends of stalls row R, for a reasonable view; or transfer to any aisle seat.

Behind these, rows W and X, when cheaper, are worth considering for vertigo-sufferers with short legs, feels the monkey. Any discount may indicate a restricted view of the set, but rarely reflects the lack of legroom. You will miss the top corner of the side of the stage, if anything at all.

If rows back to X are indeed top price, monkey rates rows from V back avoidable for comfort alone. At low price for other productions row X is fair value for the shorter, it feels, unless you have smaller theatremonkeys in tow. Nothing behind to kick your seat back, either.

X6 also benefits from a space beside it for a coat, and both it, and V and W7 have an exit to the street just to the right, too (noise from the street does filter down, though).

General Hazard Notes:
The changing height of the stage affects the desirability of rows A to D far more than any other theatre in London.

Speakers hanging under the circle appear in sightlines from row R back.

Row T is disturbed by others moving in front of them to their seats.

Rows W and X are cramped in their rear alcove that was once the cheap "pit" area.

Row W has a slope leading up to the seats.

X6 has a 15cm drop in front of half of it, and a step in front of the other half.

Seats in row X have flatter backs and seem more upright than other seats in the stalls.

Changes for the current production:
No centre aisle.

The front row is B and sold cheap as "day seats." Very high stage, though. Those sitting in rows behind may want to go back a bit as well. Seats 8 to 15 have the best view, as they curve back from the stage. Outermost seats are closer to the stage, but the legroom isn't affected (though the centre seats obviously have a good 6 inches more).

The stage floor (part of the production design) is not visible until row G. The monkey also noted key scenes happened more to the "low numbers" side than high numbers, with high numbers in the front rows not having a great angle on one scene due to the set... though low numbers don't get the best on a later scene either. Basically, sit further back to take in the whole stage, it feels.

Central rows F to L are "premium." Your choice, feels the monkey - who would avoid F at the cash. Otherwise, it would take the pairs of seats beside the expensive ones in G to L, then central M back in that order - similar views at less cash. Given the high stage, it prefers those to D for this one. As a rule, it also prefers to go back a row than off to the sides in this theatre, as the stage opening is quite narrow and viewing angles from row ends not brilliant, it feels.

Top non-premium price goes back to row T. The monkey would take T for comfort, but otherwise go for X at third price. Not only does it have the same view as second price row W in front (your next option), but is cheaper - more comfortable than upper circle and side dress circle seats left at the prices. Worth missing a bit of top stage action (which, the monkey feels, you probably won't miss anyway) for the saving, too.

A sound desk behind T 14 to 16 and by seats V13, W13 and X13 doesn't bother anyone. There is a decent gap between the seats and the desk.


Reader Comments:
Updated row numbering adjusted for the new layout.
"Stalls: "Nell Gwynn" (February 2016). Generally you'd be better sitting mid way back. Rake and offset isn't great at The Apollo and stall seats feel a little 'sunken'."

"A: "The Go-Between" (June 2016).The stage was higher than usual, the front row had to stretch their necks."

"A: "Let The Right One In" (April 2014). Bought as "day seats." If you're this close, I would advise picking seats centre or to the left of centre given the action on stage. The seats are practically on the stage but there are no obstructions in the production."

"
A: "I sat front row and view was fine. Stage slopes down and there's a rail then the stage so not too much in your face."

"A: I got a £10 day seat in the front row of the stalls. Excellent! I didn't find the stage high at all. The stages at the Savoy and Novello are higher than this! Maybe they have lowered it for this production? Or maybe it's just that I like being really up close and personal and don't even think about the stage height!"

"A: "Nell Gwynn" (February 2016). Day seats are well worth it. Front row, amazing view and £15 a piece."

"A11: "Nell Gwynn" (March 2016): The stage here is low enough that anyone a bit taller than me (ie. 99% of the population) would be able to see perfectly, however there were booster cushions available for the vertically challenged! There is plenty of legroom and proximity to the stage makes up for having to crane your neck a bit."

"A 15 and 16: "The Go-Between" (June 2016). Was offered front row stalls A15 and 16 as day seats (for the matinee). The stage is high for this production and the first row has to look up. Due to a box office screw up we were moved to B17-18 before the show started. The second row gave a much better view than the front row."

"A17. "Nell Gwynn" (February 2016). 'Day Seats.' The front row isn’t too bad, although the stage is a few inches above eye level. Much of the action happens a few inches from you so being able to crane your neck to a near vertical position is essential. The day seats are fantastic for the price though, unlimited leg room being one of the many benefits. I don’t think it would be too troubling at all being on the far side of this row, no significant action is ever going to be obscured."

"A6 and A7:  ("Blithe Spirit" March 2011). I was a bit disappointed about being here at first because I do think that sometimes you miss quite a lot by being on the front row. However, it was very interesting to see the actors at such close quarters and there was nothing to obstruct our view. I would have preferred more of an overview of the stage but I wouldn't discourage anyone from being on the front row, you get a good view of everything and there is plenty of leg room."

"A6 and A7: ("Day Seats" for "Jerusalem" (October 2011). It was mind blowing! The stage isn't too high, and none of the action is missed whatsoever. For such an emotionally tense show as this, I feel it would be spoilt if you sat too far back, but the view from here was amazing! Definitely worth the early start! Also, worth noting, there is no leg room issue here whatsoever! I could outstretch my legs fully, and still be no where near touching the stage (and I'm 6ft 2!) Finally, if you are sitting in seats 1 to 7 of the front row, be aware; you may get a little wet at various points! ;)"

"A12: (Nell Gwynn). Great seat with loads of legroom. There is some need to look up, but my direct sight line was at stage level, so this was not much of a problem. At a cheap price, this is a bargain."

"A12: ("Day Seats" for "Jerusalem" (October 2011). Got as a day seat for £10.  Extraordinary leg room (I almost felt like royalty!), and the ability to be that close to an extraordinary production was stellar.  Nothing more to report here besides amazing sight lines and the many bugs living in the set's grassy stage that fly about in your face, which makes one feel very much a part of the action!  If you sit on the other side of AA (house right), you might want to not hold or wear anything you like dry! ;)"

"A 14 to 16: "Peter Pan Goes Wrong" (December 2015). We had the front row. The best legroom I've ever had! I could actually stretch out! It made such a difference to not feel penned in. Yes you miss the show and a little bit of the lagoon wonderful performances up close, which is a bonus. It's probably better to be a little further back but whether it's worth the £10 / £20 extra to do this is debatable. We were all very happy with where we were sat. The high stage might be more of a problem for the vertically challenged but my wife loved it!"

"Row B: "Everybody's Talking About Jamie" (November 2017). Front Row B seats for 'Jamie' via TodayTix lottery has quite a restricted view due to very high stage and the school desks props which block views for pretty first 30 minutes of show."

"Row B: "Urinetown" (September 2014). At the interval, I sat in an empty seat in row B, centre-stage. A fellow theatregoer who had a ticket for a seat in row B told me he'd be happier sitting further back. I'd estimate that you are looking up at more than 45 degrees to see the front of the upper level platform. The safety curtain was down (unlike at St James' Theatre where you could watch the set being changed at the interval), so I can't comment on the view of the actors on the upper level, but if we were missing lower legs, I'd suggest that those in row B missed a lot more."

"Row B: "Everybody's Talking About Jamie" (November 2017). £20 "day seats." I wouldn’t recommend the day seats in the front row, the stage is very high and you do miss a lot of the action. If you are offered seats further back in the stalls for £25 I would go for them, it’s worth the extra £5."

"B 5 and 6: "Everybody's Talking About Jamie" (November 2017). £20 "day seats." The stage is insanely high. I’ve never seen a stage this high. I’m six foot and even I couldn’t really see what was going on stage a lot of the time; my five-foot friend had to get a booster seat!! Worse than Stomp and even worse than Garrick Scottsboro Boys. I think for £20 they should really advertise these seats as restricted view — the row behind (and at least the row behind that too) are basically restricted view as well, it seems to me!!
Anyway even with the absurdly high stage we still LOVED the show. Worth it if, like us, you’re unsure if it’s for you and you don’t want to pay top dollar. But we’re extremely keen to go back and get a seat in the circle. I’m not sure if any stalls seats actually offer a clear view of the actors’ legs and feet? No regrets, but yeah, it is restricted view and they should have said that when I went to the box office this morning. it does say on the ticket, high stage will interrupt view, I suppose he should’ve just made that clear when I booked. He just said they were day seats. Still great value if you want a cheap ticket though. I’m more concerned about the row behind, and the stalls in general…"

"B 5 and 6: "Everybody's Talking About Jamie" (November 2017). A bit deep and you miss about 5% of the action upstage, but for that price and SO close to the rest of the action - for me best seat in house!"

"B14 and 15: "The Go-Between" (August 2016), (Martin). Perfect view of stage despite it being raised about 6 inches. Anyone shorter than my 5'8", or in row A (which was empty at this performance) would have had a restricted view though. Main problem was that the lighting designer has chosen to back-light characters, so a lot of very bright LED lights above the stage point forwards and blind the front three rows of the Stalls."

"B16: "Urinetown" (September 2014). Front row seats. Excellent for leg space but you miss most of action on the top portion of set."

"B17 and 18: "Everybody's Talking About Jamie" (November 2017). £20 "day seats." However the stage is very high, this remains a bargain and I would definitely sit there again."

"B17 and 18: "The Go-Between" (June 2016). Due to a box office screw up we were moved to B17-18 before the show started. The second row gave a much better view than the front row."

"Row D: at a discount - absolutely fine"

"D5: "The Madness of George III" (January 2012). Unobstructed view of the stage, slight neck-ache due to close stage proximity but nothing major, legroom was OK-ish (I'm 6' tall)."

"D11 and 12: "Everybody's Talking About Jamie" (November 2017). Fabulous seats. The stage is high, and shorter people would have a very restricted view from row B."

"D14: "Nell Gwynne" (February 2016), (thespyinthestalls). Perfect - really great view for this production - two not so tall ladies in front which may have helped, however seats well staggered so you should generally get a clear view from this seat. I had two larger gentleman on either side of me so did feel a tad cramped but that would be the same in any seat."

"E10: "Urinetown" (September 2014). Reasonable leg room nice and central."

"F7: "Everybody's Talking About Jamie" (November 2017). I was offered a choice between day seats up front for £20 or £25 for Stalls F7. Luckily I chose F7 as the stage is very high and would have been quite a bit above eye level in front row. The view from F7 is near perfect.
Legroom isn‘t great, wherever you sit. Or maybe I‘m just to tall. Anyway, it was bearable. And the nice young lady from Russia, who was sitting next to me, was rather tiny, so I could "steal" a bit of her space."

"F13 and 14: "The Go Between" (July 2016). We got our tickets from the tkts booth in Leicester Square - Face value of the ticket was £85 each but they were reduced to £29.50 each so a great bargain. The Apollo is a lovely theatre and we got seats F13 and F14 in the stalls so had a great view - the rake seemed good as well. For this production the front row looked a bad choice as the stage looked quite high - it was a totally empty row on our visit. I didn't find the seat very comfortable - rake was good from what I could see, as had no head in front of me issues - sound was fine too. At £85 though I wouldn't have wanted to pay that much to see it - from our row, the front row looked an awful prospect as the stage is high for this production."

"F17 to 21: "Urinetown" (September 2014). Even the seat at the end of the row afforded an unobstructed view of the set, as the scenery (a cross-section through a large, round sewer tunnel that frames the stage half-way back) keeps the actors away from edges of the stage as they go upstage. The set itself, however, is split-level, with the upper level protruding to within a couple of metres of the front of the stage. This means that you spend half your time looking up at around 30 degrees in these seats.
The upper-level action is kept to the front half in Act I due to the scenery that forms Mr Cladwell's office, and the actors are usually very close to the front of the upper level. At most, we missed seeing the legs below the knee when they moved to the back wall of the office - nothing important. In Act II, however, the upper level becomes part of the sewer network (by removing the office wall) and action can now take place further back. Although the actors again keep mainly to the front part of the stage, one joke is missed when Hope Cladwell is sitting in her Father's chair where the office wall was once, as you can only see her from the waist upwards."

"F21: "The Go-Between" (June 2016), (Malcolm). F21 was ideal. There is good raking and it is a very comfortable smaller theatre."

"Row G: (Monica). Which is too near as the stage is high, I would recommend sitting H and behind. It is a small theatre therefore most of the seats in the stalls probably have a good view". 

"G 1 and 2: "Everybody's Talking About Jamie" (November 2017). Really great seats, could see everything very clearly and felt a part of the action."

"G15: "Let The Right One In" (June 2014), (Andrew Davidson). Discounted by 50% through TKTS. Great view from here, good legroom though I’d have preferred a little steeper a rake, particularly if I was shorter."

"G15 and 16: "Everybody's Talking About Jamie" (November 2017). Excellent view and good value at preview price. Sound balance between orchestra and actors wasn’t right at times and we struggled to hear words in livelier numbers, but I’m sure they’ll sort out the levels over the preview period."

"Row H: (John Lafferty). Our seats were in the seventh row and we were right on top of the action, of which we had an unencumbered view."

"Row H and J: "Peter Pan Goes Wrong" (December 2015). For my money I'd sit in the high numbers if you're going to be in the stalls. We had the ends of H and J which means you get the narrator's side. You also avoid being suffocated by dry ice."

"H13 and 14: "Everybody's Talking About Jamie" (November 2017). Excellent view and good value at preview price. Sound balance between orchestra and actors wasn’t right at times and we struggled to hear words in livelier numbers, but I’m sure they’ll sort out the levels over the preview period."

"H18: "Urinetown" (September 2014). Good view of the stage from here. Well raked stalls. Leg room good."

"Row J: "The Madness of George III" (January 2012): centre "Great" at a discount."

"Row K 5 to 7: (Rupi). Very good with a full view of the stage. There is a decent rake in this theatre, which means there isn't a problem looking over the head of the person in front of you."

"K 7 and 8: "Everybody’s Talking About Jamie." (November 2017). They were good seats – sufficient leg room – but the rake is slight at that point and the seats there not being off-set did mean that I had to lean sideways at times due to the tallish person in front. However, it’s a musical with endless action so this wasn’t really a problem and it was a comfortable distance from the stage too."

"K10: "Everybody's Talking About Jamie" (November 2017). An excellent seat for £39.50 from TKTS booth on the day."

"K15: (Graham). An excellent seat. Comfortable and, being over 6', I was also pleasantly surprised by the legroom compared to other theatres I have been in. There wasn't a huge amount, but I didn't feel trapped in my seat."

"K18: (Mark). Excellent."

"L9 and K10: (James, regular contributor). Great seats with a great rake. There was a particularly tall person in front of me as is always the way, but if it wasn’t for this then there’d be no problem with the seats at all. This was for a one-off performance though that didn’t have big sets / lighting, so it could be different for other productions."

"L20: "Everybody's Talking About Jamie" (November 2017). Ideal distance from the stage, so a great view, but rather disappointing legroom. At 6' 1", my knees were jammed right against the seat in front."

"M13 and 14: ("The Country Girl" October 2010). excellent view of the whole stage, comfortable seats with good leg-room. Also I had no problem with hearing any of the actors."

"N5 and 6: "Everybody's Talking About Jamie" (November 2017). Clear, unobstructed view and felt quite close to the stage."

"N7: "Everybody's Talking About Jamie" (November 2017). Dayseat which I got at 1pm after losing the Todaytix lottery. Very friendly box office staff here. Excellent view and good rake."

"N9: "Jerusalem" (October 2011). (James, regular contributor). A perfect place to see the show."

"P: "Yes, Prime Minister" (July 2011). It’s a lovely theatre, but a bit hot. I had a good-ish view from row P, though I had to lean sideways to see past the hair in row P. Mid-way through the first half a woman (in row P) opened a bag of crisps and munched and rustled her way through the next 10 minutes, much to the annoyance of everyone around her. Perhaps a £1 chav surcharge should be imposed."

"P7: (Wim). perfect view, reasonable leg room, comfortable chairs. I did move to the centre seat of row O (which was almost empty) during the break because of the luxurious leg space in front of that row."

"P14: "The Madness of George III" (January 2012). £27.75 TKTS Booth. Excellent clear view, plenty of legroom and no sound issues. My first visit to the Apollo, and hopefully not my last. It is a lovely little theatre, although somewhat warm even at this time of year; maybe they had turned the heating up, as the vast majority of the audience looked as though they would be in danger of hyperthermia setting in, after sitting in a chill for nearly 3 hours. But the seat I had this time wouldn't be a problem in the future - the stage is very high, and I felt sorry for those in the front few rows who must have all had a severe neck ache."

"Q21 and Q22: "Urinetown" (September 2014). The last two seats on the left-hand end of row Q gave an unobstructed view of the set. No need to crane necks skyward to see the upper level of the set, and the left-hand side of the stage as used by the actors was in view (actors could be seen climbing and descending the ladder on the far left of the stage). The raking and the staggered seating meant that my 5'8" theatre buddy had a good view of the stage. As a 6'2" theatregoer, I usually worry about those behind and try to shimmy down in my seat. No need in Q22 as there isn't a seat behind, so I was able to sit bolt upright and I could see the whole of the stage perfectly with legroom to spare. To make it an even better evening, these were the seats I was assigned as day seats for just £20 each. Brilliant!"

"T9: "The Go-Between" (August 2016). Purchased for £10 through a LoveTheatre promotion. Bargain! Clear view, great legroom. Will definitely look to sit here again at the Apollo rather than the upper circle.!

"T11 and 12: "The Go-Between" (August 2016), (Lordship Theatregoers). (Dead centre). At first we were a bit alarmed at being so far back but soon realised that we had an excellent view of the entire stage and exceptional legroom as we were on a gangway. If I was to be hyper critical I’d mention the lights that stayed on overhead throughout the show (as it is a gangway) but after the first few minutes I learnt to ignore them. We’d happily sit here again in this theatre."

"T12 and 13: "Everybody's Talking About Jamie" (November 2017). We had booked tickets on row X the back row of the stalls but as soon as we arrived the very friendly usher said we could move to a row further forward if we wanted to. We chose row T (seat 12 and 13) as I had recently had an op on my knee and the endless legroom was much appreciated as was the uninterrupted central view."

"Row X: Centre seat. I'm only 5'10.5" tall but for the first time in my life I found I could NOT sit in the seat. It was unbearably uncomfortable. There is next to no leg room and my knees would have been either continually bumping the back of or around the ears of the person sitting in front of me. I kindly asked the House Manager if I could have an aisle seat. There were very accommodating stating that they realise the limited legroom in those seats. I ended up in V1 which is fantastic, perfect view because the back stall seats are pretty much centre."

"X 12: "Cat On A Hot Tin Roof" (August 2017). I am small but was able to see the whole stage so felt it was a reasonable seat. The theatre is raked. The legroom was fine too. X13 is next to a boxed in area for the technical staff which I thought might be disturbing before the play started and the staff chatted. However once the play started I was not aware of the boxed in area [the action on stage is very intense]. I could hear well too though had trouble understanding Sienna Miller's weird accent."

"X16 and 17: "Nell Gwynn" (March 2016), (Francesco). Placed in the back of the stalls, we had a perfect view all over the stage, with nothing missing at all. In particular X17 has plenty of legroom and no seats in front of it, however the X16 gave you the perfect view to the theatre and to the stage. At £25 each is a real deal."
 



Stalls Boxes
Layout:
Boxes A and B are either side of the stage. Each box has three seats.

Legroom:
Fine, as ordinary chairs are used.

Choosing Seats in General:
If available, these boxes are worth considering as an alternative to seats in the Circles when sold at second or third price.

Take all 3 seats for privacy and to shift your chair for the best view...

General Hazard Notes:
Designated restricted view as the nearest side of stage cannot be seen.

May be shared with speakers.

Changes for the current production:
Not in use.

Reader Comments:
"
Box A:
("Carrie's War" July 2009). We booked for box D, but were shunted down to box A as they closed the dress circle. Box A was not good for this one as so much takes place out of your view."



DRESS CIRCLE 
Layout:
A shallow ledge above and at the back of the stalls, with a poor rake except where rows F and G are built up at the back.

Seats are split into a central and two side blocks by aisles.

Legroom:
Poor throughout the circle for many over 5ft 8, worst in rows A and C in the centre, and only fit for those under 5ft 6 in the side blocks of row F - and only a little better in front in the sides of row E. Things have been improved by new, raised seating in rows E and F, but still tight. E23 is 95% clear of the seat in front, B21 is clear for about 50% of the seat width.

Central block rows B, D, E, F and G have the most. Those up to 5ft 8 should be comfortable and it's possible to move legs into the gap between the seats in front to improve things further. For those over 6ft, though, stalls row T remains a must, feels the monkey.

Choosing Seats in General:
Centre Block:
Seats here offer only fair value for money as they are far from the stage and suffer from the shallow rake, affecting the view from row C back. Front two rows are best bet for view (if not "premium price").

One reader liked row G as he found it quite comfortable.

Side Blocks:
The two side blocks curve inwards, and many seats here are designated restricted view due to the viewing angle precluding seeing the side eighth of the stage. These seats are - Row A 2, 3, 4, 27, 28, 29, 30, 31; B 1, 2, 3, 4, 5, 28, 29, 30, 31, 32; C 4, 5, 28, 29, 30; D 4, 5, 6, 26, 27, 28. It is probably worth avoiding them, and the rest of the seats in these blocks too. If you must, take those seats closest to the centre aisle.

If taller than 5ft 8, don't even think of taking side block row F 7 to 10, and think seriously about taking F 23 to 28 or anything more than three seats off the centre aisle in side block row E.

General Hazard Notes:
A single metal bar in front of the aisles affects the view from row A seats 12,13, 20 and 21.

The further outwards you go, the less seats in both side blocks face centre stage.

Changes for the current production:
Central rows A to C (D on Friday and Saturday) are "premium" seats, if "front row circle" is your thing, your call, it feels. Taller folk may find stalls premium seats have more legroom, though. Take D (E on Friday and Saturday) and save a few pounds.

In the side blocks, most seats in are top price. Skip them - except the centre aisle seat in rows B to C.

Outermost side block seats are mostly reduced to second price (the very ends of A and B drop to third). Again, skip them in favour of cheaper boxes, with far more legroom and a comparable view. If short, the view isn't bad, but anyone over 5ft 8 should look elsewhere. B 5 and 27 and D 6 and 26 are the best of what's there, the monkey feels.

Row F is top non-premium price, and has no legroom. Enough said, feels the monkey.


Reader Comments:
"A2: "All My Sons" May 2010): Bit of a side view but missed very little. As this was a £10 'day seat' it was fantastic value."

"A13, 14 and 15: "Everybody’s Talking About Jamie" (November 2017). (premium price – a Christmas gift). Poor legroom (but not unbearable for us, all around 5ft5ins), brilliant sightline. Not worth the price, in my opinion."

"A18: "Travesties" (February 2017).  Paid  £35. Great view, not too far from the stage. Legroom was rather poor."

“A27 and 28: “Twelfth Night,” (Chris B). These seats are front row in the curve of the dress circle to the left as you look at the stage. The seats feel very close to the stage too (overhang about row D/E in the stalls) and provide a beautifully clear, up close view. Whilst it is a slight side view, you miss nothing for Twelfth night and only a small slice of the very left hand side of the stage. This doesn't affect the enjoyment of the play at all. The legroom is sufficient but not ample.”

"A27 and 28: "Let The Right One In" (May 2014). Good place to see the show. Sitting back you lose a small corner of the front of the stage, but as long as you are able to lean forward (as we could as no-one was in the seats behind) you can see all but the entire stage. From these seats the actors are very close and you can see everything. Only drawback is a lack of legroom."

"Row B: "The Audience" (April 2015). £20 'day seats' in row B, slightly restricted view but good value."

"B27: "The Audience" (April 2015). Row A would have been great. Very tight leg space for me (I'm 6ft 1) in row B so I moved to empty row in back of Dress Circle. But for 20 pounds I was happy to sit anywhere."

"C28: "Let The Right One In" (April 2014) (Burntcopper). Very good view, unrestricted of everything aside from the sweet shop scenes on front left of stage, but just have to sit up straight and lean forward a bit for full view. Newsflash: turns out the gilt cherubs are gold under the dust. New fabric ceiling is gorgeous."

"E17 and 18: "Urinetown" (October 2014). View is near to perfect, in the middle, and being in the dress circle allow to see comfortably both levels of the show without missing anything. Only downside is, as mentioned in the general dress circle seats comment, legroom is awful. I'm so glad I had no one next to me, allowing me to put my legs sideways (I'm 6'2'') Not sure how I would have coped for 2 hours without this extra space! (should have listened to Monkey - maybe the legroom comment for the dress circle should be in bold!!)."

"F1, F2, F3, F4: ("Jerusalem" November 2011). The leg room in these seats is so bad they can only be suitable for children. Even Ryanair wouldn’t allow seats like this. Yet they charged £55 for the 3 hours of discomfort – made worse by having a set of those stupid little binoculars on the back of the seat in front of F1. We had to stand for part of the performance and the discomfort significantly reduced our enjoyment of the evening. AVOID them at all costs!. EDITOR'S COMMENT: Luckily, the monkey happens to know the company who put those binoculars into the theatres. Within a week they responded that,
"The feedback was correct and this morning (January 2012) we have moved the opera glass holder into a position where it won’t ‘restrict legroom’."

"F18 and 19: "Let The Right One In" (May 2014). Ideal seats in terms of positioning as you are directly in front of the stage and the whole of the stage is visible. You are also close enough to see expressions on the actor’s faces. There are no issues caused by the overhang of the Upper Circle. Legroom is decent with no need to fidget felt during the first act. However, if you have a tall person in front of you (or a lady with ‘large hair’ as was the case last night) then the rake – which appears steep enough to avoid any line of sight issues – is just not enough to avoid your view being partially blocked."

"F20: "Travesties" (February 2017), (Taljaard). Very expensive and not a good seat at all. Plenty of leg room but as the seats are directly in front of each other - the tallish persons head in-front of me blocked my view; as they had the same problem we were both moving our heads from side to side to catch a glimpse of what was going on on stage. In addition, to get to the gents you have to trundle all the way to the Stall Bar."

"G1 and 2: Despite being on the back row, seats G1 and G2 afforded an excellent view and there was plenty of leg room."







Dress Circle Boxes
Layout:
Boxes C, D and E are at Dress Circle level next to the stage. C has 4 seats, D and E have 3 each.

Legroom:
Fine, as all contain movable chairs.

Choosing Seats in General:
All offer adequate but side on views of the stage. Box D is best, being halfway between stage and Dress Circle.

If available these boxes are worth considering as an alternative to seats in the Circles for comfort, but not really for view.

General Hazard Notes:
Side views.

Changes for the current production:
Boxes A and D are not on sale. If box A is used, a speaker blocks the view of the side stage. All other boxes are very average at second price, feels the monkey. Boxes are still a better alternative than the sides of the dress circle, though...

Reader Comments:
"Box C: ("All My Sons" June 2010). (Mark). It was pretty good as a £10 day seat. Missed about 10% of the stage but for £10 that is to be expected."

 


UPPER CIRCLE
Called the "GRAND CIRCLE" in this theatre.

Layout:
High up, with a shallow rake except rows E and F, which are raised. The raise may induce vertigo from these rows.

The balcony above overhangs the circle but does not affect the view noticeably.

In two blocks, with a centre aisle. As rows extend out to the sides, seats don't face centre stage - side views only there!

Legroom:
Poor in all rows, notably A and B. Centre aisle seats should be requested for maximum comfort and legroom declines as you move outwards to the sides.

Rows D to F have the most. Those up to 5ft 7 should be just comfortable and it's possible to move legs into the gap between the seats in front to improve things further. For those over 6ft, though, stalls row T remains a must, feels the monkey.

Choosing Seats in General:
If forced to sit here, row B away from the aisle is best of the poor bunch, the rest offer average value for a fairly distant view...even the box office are not keen on this Upper Circle.

Try to stay within 5 seats (3 in row F) of the aisle. If forced outwards, go for the first "restricted view" seat nearest the "full price" zone available. You might as well have the best view possible, and things only get worse as you move on outwards.

General Hazard Notes:
A metal bar runs across the side front of the circle, with a second bar at the ends of the aisles, affecting the view in outermost row A, notably seats 6, 18, 19 and 33 and B 12 and 13.

Shallow rake means you won't see over the head of a tall person in front in rows B to D.

Row A, rows B and C 1 to 3, D to F seats 1 to 4, Row B 23 to 25, Row C 22 to 25, Row D 21 to 23, Row E 19 to 22 and row F 17 to 20 are designated restricted view. It is worth avoiding the next two seats as well, in rows B to F, to be on the safe side unless the price is good enough to make sitting here a bargain. Theatremonkey usually finds not.

Changes for the current production:
Row A is third price - fourth at the ends. Unless very short AND willing to accept rails in view, go elsewhere - upper circle boxes for a start, or pay more.

Behind, the same pattern follows back to row E.

Row F drops to fourth price, worth a thought, feels the monkey.

 

Reader Comments:
"A19 and 20: ("Jerusalem" January 2010). (Deb, regular theatregoer). I noted that these were listed as seats to avoid. When we took our seats, we found that we had to sit bolt upright or lean forward in order to see the front of the stage (a three hour show! Hard on the back and neck). I would really advise people to avoid these, as they are not even particularly cheap. Very luckily for us, most of the action took place mid-stage, and it was a great play, so it didn't ruin the evening, but I would avoid Upper Circle in future, and wish the box office would be more honest about what constitutes restricted view. I think for nearly £40 you should be able to see the whole stage!"

“A 21 and 22: “Idina Menzel” (Chris B). This does not feel that high up as far as upper circles go. You get a good overview of the stage and as its the front row there's nothing to block the clear view. You are just about close enough to make out facial expressions. However the legroom is quite restricted, fine if you've short legs but a struggle if you're over 6 foot.”

"A 25 and 26: ("Jerusalem" January 2010). (C Omran). Brilliant play, what a pity we couldn’t enjoy it in full, due to poor sightline, despite paying £47.50 plus £3.80 booking fee per ticket. These were purchased through lastminute.com, and as they were a Christmas present we went for the higher price, and they were not marketed, or priced, as Restricted View. When we queried this, we were handed a form with the address to complain to, and we were obviously not the first, as the assistant came armed with a pile, ready to hand out. As our tickets were A25 and 26, front row upper circle, obviously we thought that being front row we would have a good view... but there is a wide ledge in front of balcony, then a wide bank of lights beyond that, so left stage facing was completely out of view. A lot of the action takes place in that part of the stage it became increasingly frustrating. Talking to people outside during the interval, the general feeling was the same, that they have your money, and as they are not relying on ‘repeat’ bookings they can do what they like. All in all it was a very uncomfortable 3 hours 10 minutes as we struggled to find a comfortable position to sit with a decent view of stage. We go to theatre regularly, and yes, if we buy low price tickets, expect there to be a certain element of chance in the view, but not when you pay for front row seats. Yes, it is a very old theatre with all the accompanying problems adapting to modern lighting etc, but stop fleecing the public."

"B13: (Julian Taylor). would that I had spotted the red mark of doom before booking! The seat itself seemed designed for the benefit of a contortionist, though, oddly enough, knee-room was adequate for my 6ft plus. My view of the action was blocked almost entirely by the head of the person in front, who leant forward for the duration, this, and the brass bar blocked any view of action downstage - and there was a lot of it for the production I saw ("Virginia Woolf" in Spring 2006)."

Upper Circle Boxes
Layout:
Boxes F and G are above boxes C, D and E at Upper Circle level. 

Each box seats two people.

Legroom:
Good, as seating is in movable chairs.

Choosing Seats in General:
These offer similar views to the Dress Circle boxes below, from a higher level. Normally sold at third price or less, they are value for money only because they promise greater comfort than an upper circle seat at the same price. That, though, may well be worth sacrificing a view of almost half the stage for.

General Hazard Notes:
View lost of a good part of the stage nearest to you.

Changes for the current production:
Boxes A and D are not on sale as the set extends out to block their view. The other two are bottom price, with side views to the action. Considering the legroom in the other cheap seats, but the view problems, the monkey feels these JUST average value - but a better alternative for comfort alone.
 

Reader Comments:
"
Box C: (
"All My Sons" June 2010): I cannot recommend is the view from box C. I spent most of the performance standing up and leaning over the edge as that was the only way I could see more than half of the stage – I noticed the lady in box B doing the same. I am a dedicated box user (being broader in the beam than most), and I have to say that this box, for this play, is the worst view I have ever had, and they seem to think that this is worth £46. No way! It was overpriced at the original £33, not for this body again."



BALCONY
Layout:
Directly above the Upper Circle, again high up, with a shallow rake.

In two blocks, with a centre aisle. As rows extend out to the sides, seats don't face centre stage - side views only there!

Legroom:
Very tight in all seats, worst in row A.

Choosing Seats in General:
A shallow rake and being so high up means a modest view of the stage. The 6 seats either end of rows A to C are worst, as they curve to the sides of the auditorium. Rows D to F just induce vertigo. Usually, take C first, before B, then D - or for those who don't mind the height, pick E over D and save a few pounds if row E is discounted.

The monkey would skip central row A at bottom price for a slightly improved view and comfort behind that. To explain, row A is uncomfortable. Often, though, the very ends of rows B and C are reduced to the same price as the middle of row A. When that does happen, Monkey feeling is that B 6 and 25 and C 5 and 24, all next to the more expensive seats, are the most average of the bunch and may be worth a look for those desperate for a ticket. Not a recommendation particularly, just an observation of a way to sit nearer more expensive seats and save a very little cash - if you have to see the show and don't get much other choice. Do be aware that the lack of legroom will tell during a three hour play in all seats here...

All seats here, except those noted, normally offer a cheap way in to the show and value exactly matching the low price.

General Hazard Notes:
So high that you get a superb view of aircraft at maximum cruising height can be seen below you, subject to cloud cover.

A double height metal bar appears at the ends of the aisles, affecting the view in row A, notably seats 20 and 21.

High ledge in front of row A.

Bars run between the rows too, but don't really affect the view for any but the absolute shortest. Some find them reassuring as well.

Changes for the current production:
Not in use.

 

Reader Comments:
"A12 to 15: had to move as the view is so restricted - not by a safety bar, but by a high safety ledge. The seats are also relatively low to the floor, which means you have no choice but to lean forward on to the ledge if you want to have any chance of seeing the stage. Dreadful seats, with very little legroom too."

"B12 and 13: "The Curious Incident of the Dog in the Night Time" (May 2013), (Taljaard). A bit high but at £12 and if booked through the National Theatre no booking fee it is the best buy in London."

"B21 and B22: "The Curious Incident of the Dog in the Night Time" (May 2013), (Taljaard). Quite high but very little problem seeing everything."



Notes
Total 776 seats

Air-conditioning.

Infrared headsets, not working in the front row of the stalls. If short sighted and deaf, a problem! Guide dogs can be dogsat outside. 

The theatre has a stair lift to allow wheelchair users into the venue. They can park at either end of stalls row R. There is also an adapted toilet available. The monkey salutes Nimax Theatres for an amazing improvement in facilities at this venue when it was owned by them. Interestingly, the stair lift is installed in the original "Pit" entrance - at one time the "Pit" was an area of cheap seating at the rear of the stalls.

Other good news is that there are two disabled parking spaces behind the theatre in Archer Street. Fuller details from Nimax Theatres on 0844 482 9677 (10am to 6pm, Monday to Friday) or email access(insert the @ symbol here)nimaxtheatres.com. A "venue access guide" from the team who created book "Theatremonkey: A Guide to London's West End," is available to download in PDF format by clicking here.

No food except Ice cream and confectionery.

Two bars. Stalls and Upper Circle.

Seven Toilets. Stalls 1 gents 1 cubicle, 2 ladies, 3 and 4 cubicles respectively; 1 adapted disabled unit. Upper Circle 1 gents 1 cubicle, 1 ladies 2 cubicles; Balcony 1 gents 1 cubicle, 1 ladies 2 cubicles.

Reader Taljaard also notes,
"Totally random, but my walk from the Donmar theatre to Piccadilly took me down Shaftesbury Avenue and I really noticed how magnificently well it is lit and looks. Fantastic job done on the exterior and the jewel on the Avenue!"


 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Getting to this Theatre
Find this theatre on a Street Map. The theatre is just to the right of the arrow.
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Piccadilly Circus - Piccadilly (Dark Blue) and Bakerloo (Brown) lines.

The escalator from the platforms ends in a large circular underground area. 

After leaving the barriers, turn to your left, and follow the curve of the barriers around until you see an exit to your right with the sign "Subway 4" over it. Walk under this sign.

Walk through this tunnel and take the first staircase to your right, marked "Shaftesbury Avenue", take the stairs up to the street.

At the top of the stairs, take a very sharp "U Turn" through 180 degrees to your left. Look forwards and upwards for the huge advertising screens. Walk forwards towards it.

The busy road to your left is Shaftesbury Avenue. If you see the Prince of Wales Theatre, and Trocadero centre, wrong way.

For the Apollo Theatre cross the road and turn to your right, walk under the covered area where the cash ATM's and street artists are. Walk straight on, crossing Denman Street, and Great Windmill Street. Pass the Lyric Theatre and the Apollo Theatre is the next on Shaftesbury Avenue.

 

Buses:
14,19, 22B, 38,53,88,94,159 To Shaftesbury Avenue.

 

Taxi:
Hail one in the busy street outside the venue.

 

Car Park:
Newport Place, China Town. The "Theatreland Parking Scheme" may be available here. Call Q-Park car parks on 0870 442 0104 or see http://www.q-park.co.uk for details. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost. Spaces CANNOT be reserved at these prices, so choose whether you would prefer to book and pay more, or use this scheme.

If you choose the "Theatreland Parking Scheme", you must get your car park ticket validated at the theatre's box office counter (the theatre attendant will insert the car parking ticket into a small machine which updates the information held on the magnetic strip on the reverse, thus enabling the discount). When you pay using the machines at the car park, 50% will be deducted from the full tariff. You may park for up to 24 hours using this scheme and it is endorsed by the Society of London Theatre.

For a full list of car parks and theatres that participate in the 50% off theatreland scheme see http://www.q-park.co.uk.


 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here



 

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