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CAMBRIDGE THEATRE |
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MATILDA
(musical)
CONTAINS FLASHING LIGHTS AND LOUD EXPLOSIONS.
Captioned Performances: 1st June and 31st July 2013 at 2.30pm, 15th October 2013
at 7pm, 15th December 2013 at 3pm.
Audio Described Performances: 2nd June 2013 at 3pm, 1st August and 18th October
2013 at 7.30pm, 11th December 2013 at 2.30pm.
One clever girl, two neglectful parents, one abusive headmistress and one
idealistic young teacher. Roald Dahl weaves these into a story about revolting
children...
The Royal Shakespeare Company hit show of 2010 transfers to London for a
commercial run.
http://uk.matildathemusical.com/
is the official show website.
BOOSTERZ™ Inflatable Booster Cushions are now available to borrow at this
theatre. Raising a child 10 to 14 cm, this easily inflated - by pump or pure
'puff power' - item can be loaned from ushers at the venue (who will supply it
ready inflated!). For regular theatregoers, they can also be purchased, at just
£7.99 each direct from the inventors at
www.boosterz.co.uk, and the more you buy, the greater the discount! |
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Theatremonkey Opinion: |
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(reviewed at the preview performance on 3rd
November 2011). Some performers have now left the production.
Lyricist Tim Rice once said that the best musicals are the
shortest. “Matilda the Musical” proves his instinct right. A feisty, slim
children’s tale by the master of storytelling is stretched beyond breaking point
by the Royal Shakespeare Company.
Trailing clouds of glorious reviews from its run on a
thrust stage in Stratford Upon Avon, this production manages to slot reasonably
well behind a West End theatre arch, though both designer and director insist on
carrying things out into the auditorium as often as possible. Stalls dwellers in
particular will find the aisles constantly clogged with children – and not just
those needing the toilet five minutes after curtain up.
The highs of the show are very high indeed. The
heart-wrenching “Naughty” early in act one (and inexplicably received with some
laughter on the night the monkey attended), tender “swing” – literally – number
“When I Grow Up” and the penultimate sequence (when a little girl chooses to
defend evil against greater evil) move in a way few musicals can. The Quentin
Blake inspired set and costumes are also a joy, adding as much enjoyment to the
theatrical tale as they do to the printed one.
There’s also a couple of excellent “set pieces” by the
company, one so original as to feel a cliché before and during, yet breathtaking
in memory. Add a few laugh out loud moments and clever lyric and this should be
an enormous hit…
…Sadly, it missed for the monkey. Between the gems, there’s
an (almost) unnecessary subplot, several sequences that hold up the action and a
distinct lack of zippy Dahl humour. Worst, the final forty minutes are a mess of
speedy plot tying that could have eased out the padding earlier in the show. Two
excruciating seeming-nods to previous RSC musical “Carrie” encircle “My House,”
a number that every female drama school auditionee will now be singing from here
‘till it’s banned. Alas it misfires in both tone and position in the show – an
11 O’clock number produced sometime before 3, sleepwalked through by director
and author alike.
You could praise the children’s cast - Sophia Kiely, Ellie
Simons, budding comic Jake Bailey - and speculate which will be the “X Factor”
finalist or Jessie J of 2017; and you might also mention the fluid cartoon
credibility of Paul Kaye as Mr Wormwood and controlled vapidity of Josie Walker
as his wife. A nod too for Alistair Sim-alike Bertie Carvel as evil Trunchball
(not quite psychotic enough – perhaps a little tired that night, felt the
monkey).
Overall, though, the monkey was left with just two
thoughts. First that for adults, this lacks the pizzazz and clever multi-level
appeal of “Shrek: The Musical” that would make it a treat for ALL the family,
not just sophisticated 6 to young teens; and second, that the RSC missed a trick
in marketing the show. The monkey would have gone for a poster with two green
eyes and the white sprayed title “Brats”…
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Important: Some reviews below can contain "spoilers" - please don't read if this
bothers you!
(11 reviews)
A masterpiece! I saw a preview performance on Tuesday 1st November 2011 and
marvelled at the creativity of this production. In fact, I can't really find
fault with it. The direction is lively and engaging, the music and lyrics by Tim
Minchin is darkly comic (as you would expect!), the acting of the entire cast
(including many very talented children) is spot on but the most impressive
feature is that the tone of the piece is totally Roald Dahl - unlike the film.
The male actor playing Miss Trunchbull delivers one of the best comic
performances I've ever seen; just wait for the "Phys Ed" lesson - hysterical!!!
This show deserves to run and run and run. I hope it does because I already want
to see it again.
We sat in row J of the Dress Circle. The view was great, probably helped by the
fact that the two seats in front of us were empty. Legroom - not so good for a
6ft2 theatregoer.
Any chance that Theatremonkey could use its power and status in the theatre
world to campaign for a ban on sweets (sweet bags and wrappers to be precise!)
in theatres?!?! I'd be the first to sign the petition!
Rich.
Guildford.
_______________________________________
This was an amazing performance, and I thoroughly enjoyed it.
The letter blocks around the stage looked very good and I think that it was good
as there were words hidden in them.
The characters were very well cast, especially Mrs Trunchball and Mr Wormwood.
The set design was great and the costumes were as well. One of my favourite
parts was when the children were on the swings; it was so effective and looked
amazing. I also loved all of the songs, especially the way that they were
repeated throughout the performance. The special effects were great as well, as
they really added to the performance. I really liked the way that Matilda’s
story came true as she was telling it.
So overall it was a great show and I would recommend it to anyone.
3rd November 2011.
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I had a rather
curious experience last night (22nd March 2012). I took my cousin
from Vancouver to see ‘Matilda’ and at quite short notices I bought
stalls L 31 and 32, which are seats at the end of the row. We both
found it very hard to catch the lyrics of most of the songs, and I
also had trouble with a lot of the dialogue as well. We both felt
that there were far too many words squeezed into the ensemble
numbers, especially when they were delivered at such speed and so
vigorously. As a result, the music, as such, made little impression
on us and we felt we were experiencing some kind of crazy pastiche
of Gilbert and Sullivan patter songs performed at double speed and
double volume!
My cousin was
familiar with the story from the book and the film so at least he
knew what was going on, but I was left totally confused! The
production and staging, including Paul Kieve’s illusions, were
terrific and the performances were fine, especially the wonderfully
talented children (we had Sophie Kiely as a brilliant Matilda), but
it’s no good if you can’t hear what they are singing or saying!
I have just this
minute sampled parts of the cast recording on the ‘Matilda’ website
and I can assure you that what I heard – or rather didn’t hear – in
L 31 last night was nothing like that! I admit that at my advanced
age of 74 my hearing is not what it used to be, but usually my
complaint at musicals these days is that the amplification is too
loud: in this case it was just unintelligible. Is it just me or is
there a problem with the sound at the sides of the stalls in the
Cambridge Theatre?
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Matilda at Cambridge Theatre 17th April 2012.
We sat in the upper circle row C seats 17, 18, 19 which were in the
middle of the centre block - we had a perfect view of the whole show
and felt fairly close to the stage even though we were in the upper
circle. Couldn't fault these seats.
I noticed there were a few comments on the sound and I also found it
a bit difficult to hear the lyrics of some of the songs as the
background music was louder than the children singing.
Liz,
Battersea.
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Matilda. Stalls P24-25. 21st April 2012. £62.50 each.
This show was just completely amazing and I am still in awe about
how they do some of the special effects in the show, absolutely
amazing! Bertie Carvel was amazing as Miss Trunchbull and I loved
the show as a whole!
Our seats were amazing as well, Perfect view of the stage,
undisturbed! Don't think there is a bad seat anywhere in this
theatre - which made it even more amazing. The show was a sell out,
and I would definitely be returning VERY soon to see this... and of
course sitting in the same seats!
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April 2012. It was a rather special performance with extreme high
excitement for the kids as it was Hayley Canham's debut performance
as 'Matilda' and also for several of the kids: and boy did they give
it some welly. What a thrill it must have been for a young kid on
her first starring role to have an instantaneous standing ovation
from the whole audience. A
n usherette afterwards said that there is usually a part standing
ovation but last night it started much earlier and spread from
middle and back to the front.
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Oh my! What can I say about Matilda – other than whatever you have
to do, as long as it’s legal(!), get a ticket for this show! IT IS
AMAZING! Quite simply, one of the best and most joyous nights I have
had in the theatre. Sublimely brilliant.
The story is one of Roald Dahl’s greatest, with a few little
alterations here and there – a brilliant child is born to the
nastiest, weasliest parents who treat her with contempt so she
escapes into books and stories. Met with the nastiest headteacher at
school, Matilda wins the day and finds security and happiness!
The songs (Lyrics by Tim Minchin) are fantastic, and reading some of
the comments already on here about missing some of the lyrics I can
sympathise as I did a little too – simply so many Minchin-esque
lyrics to fit in, but they are brilliant songs. The set is stunning
– the alphabet blocks that spill out from the stage around the
theatre in which you can find different words if you look for
them(!), the use of trapdoors and raising desks – it’s just
brilliant!
The performances were all spot on – not a fault from anybody whether
child or adult. Matilda deservedly remaining on stage on her own for
a standing ovation before the rest of the cast appeared – amazing
cast.
Seriously, just buy a ticket and go see it.
Seats were in the Upper Circle Row E 13 and 14 (green on monkey’s
plan) were great. Clear enough view without feeling too far away. A
teensie-weensie bit greedy in pricing at just over £40 but cheaper
than Ghost (for example) for similar seat positions. There is quite
a bit of action towards the front of the stage, so when folk in Row
A began to lean forward, it was a little bit bothersome. Stalls
centre aisle seats I imagine would be great for the show as there
seems to be a fair amount of coming and going down the centre aisle.
Saving up already to take wife and eldest child next summer!
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Our party were sat in the Upper Circle, seats D15 and 16 which gave
a pretty decent view of the entire stage as you're sat quite
centrally. The only draw back is that the very front of the stage
isn't visible but for this production it didn't cause any problems
as none of the action takes place there.
Must admit we didn't have much choice other to buy seats for the
Upper Circle as we found seats in areas lower in the theatre just
far too expensive, how families can afford to go in these seats at
prices from £60 to £70 is beyond me.
The set is really colourful and imaginative, it's as though Quentin
Blake's sketch book has exploded all over the stage. The cast are
exceptional, the child performers really impressed with how
professional they were especially Lucy-Mae Beacock in the title role
of Matilda.
I already want to go and see Matilda again after seeing it only a
few days ago as I enjoyed it so much. The songs created by Tim
Minchin are fun, very wordy and drive the story along. I loved songs
such as Miracle, Revolting Children, When I Grow Up and the
annoyingly catchy interval song Telly which has been buzzing around
my head since I heard it ... TELLY!!
Matilda is an awesome show for both children and adults (big kids)
which totally brings Roald Dahl's famous children's novel to life.
Hopefully it'll remain in the West End for many years to come
especially that come 2013 it'll have Charlie & The Chocolate Factory
to compete with at the Palladium.
I have only one gripe and that was chatter throughout the
performance not just from kids but adults too ... aren't they
supposed to set the example ... grrrr. This didn't help at times as
some songs are so wordy that they need your full attention which you
can't give when you hear muttering behind you. Unfortunately, a case
of the minority spoiling the fun for the majority.
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1st December 2012
The show appears to be "sold out" until the day before Armageddon,
but I managed to get hold of 3 tickets for Saturday evening by
booking on the day, via SeeTickets.
Although the seats (stalls H23-26) were next to the side aisle the
view was excellent. The only complaint I could possibly make is that
the seat/person directly in front squeaked.
I had seen the film, but never heard the musical. It didn't appeal
to me when it first opened because I feared the audience would be
full of ghastly children with pig-tails. I've heard so many people
say "oh, you must go!" that I finally got the message. The audience
was surprisingly adult, and the cast surprisingly young.
The children (in the cast) were great, especially Hayley Canham as
Matilda, who was really outstanding. David Leonard (Miss Trunchbull)
was a perfect bully and the scene with Amanda's pig-tails was
hysterically funny. There were some good melodies and harmonies, and
cleverly crafted words, although it was difficult to understand the
quicker numbers so it’s worth listening to the music before going.
The production is spectacular and entertaining for adults and
potential astronauts alike. I will definitely recommend.
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On Saturday 5th January 2013 we took our family for a Christmas
treat (a party of six adults and five children ages 6-12) to the
matinee performance of 'Matilda' at the Cambridge Theatre, We sat in
Stall seats A2 - A7 and B1 - B5.
Most of the party could hear and enjoyed the performance, however
we, the grandparents with no hearing impairment and sitting in A2
and A3 at the end of the row, were unable to hear the dialogue,
particularly Matilda, and when, for example, she was talking to the
librarian we could not catch even the gist of the story. The sound
seemed distorted and not clear.
Although we thought Matilda did very well, she was very young and
spoke quite quickly - perhaps the amplification was too much for her
young voice? Our daughter, who was sitting in B3, was able to pick
up the gist of the story although she also struggled to hear.
Nevertheless, she thoroughly enjoyed the show and all the children
are now playing the CD over and over!.
We feel that the cost of those seats
should be reduce to take account of that. The words of the songs
were also difficult to pick up as the background was very loud.
These comments apply also to the end seat B1.
We paid a good deal of money for the experience and travelled a long
way to get there. We have to say that sitting in those seats (A2, A3
and B1) at the top price did not give us a feel good factor or value
for money.
Marilyn and Barrie Knight.
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Overall, I enjoyed the show (March 2013) but left feeling a little
underwhelmed. Maybe because of all the hype I expected too much?
Nevertheless there was plenty to enjoy, enough to make the trip
worthwhile.
We sat in the stalls, row C seats 14 to 16. This is so close to the
action you are practically on stage, I would suggest 5 or 6 rows
further back would be ideal, especially to get the best out of act
one's big 'set piece' illusion. The view is great, obviously from
being so close - but the rake is so shallow, any children's views
could be obliterated by the person in front, even at this distance.
My biggest qualm though is the legroom - when seats are so close
together and low backed that you can't even comfortably read the
programme without invading the personal space of the person in front
then it is clearly too restrictive. I was wedged in my seat and
unable to move for the entire performance. I had thought that given
that seat 14 is an aisle that I would have room to stretch a little.
This was not to be the case as the aisle is used continuously
throughout the performance. Overall, I would say approach with
caution - if you are the right size and the size of the person in
front of you is not too restrictive, then the view is good. If not,
it's a bit of a lottery.
For the show itself, the staging, set and performances were
fantastic. Special mentions should be made to the children who were
superb, especially Cristina Fray who I believe is a very new
"Matilda" but did a fabulous job. James Moore made a wonderful
Bruce, and Ella Bartman as Lavender very nearly stole every scene
she was in! I can't comment on how David Leonard compares to Bertie
Carvel as Miss Trunchbull, but I thought he gave a faultless
performance, just hitting the right balance of comedy and Monster.
He really commanded attention whenever he was on stage and the show
was all the better for his presence. The set was wonderfully
imaginative, with some great touches, particularly the "school song"
sequence, and Miss Trunchbulls chokey! I nearly bought the "children
are maggots" mug, but thought it might not make the right impression
next time OFSTED (for non-UK readers, Government school inspectors)
come to visit (I'm a teacher)!
My problem was the sound balance made the lyrics very hard to hear,
particularly when the whole cast was singing together. As a teacher
I really appreciated the portrayal of parents and children in the
opening number, but as soon as there was more than one person
singing the lyrics became lost. This happened a number of times, I
thought what I heard of Tim Minchin's lyrics was great, a shame that
so much was missed. By the interval, I didn't know what to think,
having been wowed by certain moments, but bewildered by others.
The second act seemed to calm down a lot, the set pieces were not so
chaotic, the characters had more space to breathe and the story
telling became clearer - meaning that by the end I had been more or
less won over. The classroom scenes were where this show worked the
best for me, and this had more of an act 2 focus. Having said that,
the arrival of Matilda's powers seemed tacked on - having not read
the book I don't know if that is the source material or not, but I
would have found her outwitting Trunchbull with her intelligence
more satisfying. I think the actor playing Trunchbull is essential
to the show's success, without that performance being so strong, the
show would lose a great deal.
There was one sequence which for me was truly magical, that being
"When I Grow Up", simply staged with the swings and beautifully sung
by the cast. A few more moments like this would have made what was
(despite my criticisms) a good afternoon at the theatre into a great
one.
Nothing else booked for London now although I am sure that will
change. I will keep reading the site's advice, thank you as always.
Will also stock up on painkillers for my next London theatre visit!
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The monkey advises checking performance times on your tickets and
that performances are happening as scheduled, before travelling.
Tuesday at 7pm
Wednesday at 2.30pm and 7.30pm
Thursday and Friday at 7.30pm
Saturday at 2.30pm and 7.30pm
Sunday at 3pm
NO MONDAY PERFORMANCES.
Runs 2 hours 40 minutes approximately, with one interval.
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View this information in
diagram form
All Tuesday, Wednesday and Thursday performances EXCEPT "PEAK DATES":
Stalls
rows A to R: £62.50 EXCEPT
"Premium Seats" rows E and F 7 to 20, G and H 8 to 21, J 9 to 20, K 10
to 21: £82.50
row S: £52.50
Dress Circle rows A to J: £62.50 except:
"Premium Seats" row A 12 to 22, B 12 to 23 and C 12 to 24: £82.50 Upper Circle
front
section rows A to F: £42.50
Upper Circle rear section
Clear view
rows G to K: £29.50
rows L and M: £25 Restricted view seats
Row J 13 to 16 and 25 to 28; K 13 to 16 and 25 to 28:
£20 Box A: £62.50 per seat.
All Friday, Saturday and Sunday performances AND
"PEAK DATES":
Stalls rows A to
R: £65 EXCEPT
"Premium Seats" rows E and F 7 to 20, G and H 8 to 21, J 9 to 20, K 10
to 21: £85
row S: £55 Dress Circle rows A to J: £65 except:
"Premium Seats" row A 12 to 22, B 12 to 23 and C 12 to 24: £85 Upper Circle
front section rows A to F: £45
Upper Circle rear section
Clear view
rows G to K: £32.50
rows L and M: £25 Restricted view seats
Row J 13 to 16 and 25 to 28; K 13 to 16 and 25 to 28:
£20 Box A: £65 per seat. "PEAK DATES": These are
during public and school holiday periods. The box office will advise of exact
applicable dates when enquiring, but will include performances from 27th May to 2nd June 2013, 19th
August to 1st September 2013 and 28th October to 1st November 2013.
All performances:
Buy a full price top non-premium, second or third price
ticket for an adult, and get £10 off a ticket for a child aged under 18 at
Tuesday to Thursday performance ONLY. Up to 2
discounted tickets per adult are permitted. A maximum of 8 tickets per
transaction applies. It is NOT available on "Premium Seats," or for any
performances in "peak" weeks - the box office will advise on dates when
enquiring (excluded dates are usually all school vacation periods, of course). Bookings can only be made via the box office, not by ticket agencies.
"Day Seats"
for those aged 16 to 25 ONLY: 16 tickets - often in rows J and K in the upper circle - go on sale at 10am on the day of
performance to personal callers at the box office priced £5 each.
First come-first served, these are limited to 1 per person, and may
be paid for in cash or by credit card, they are subject always to availability.
PROOF OF AGE IS REQUIRED, and the booking must be done by the person who will be
using the ticket. The monkey always advises
taking both to be safe, in case one is preferred over the other, and also
calling the theatre in advance to check that the "day seat" ticket policy is in
operation.
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Theatre Box Office:
www.seetickets.com
provide the service for this theatre.
Booking fees per ticket for online bookings:
No booking fee. A £1 per ticket "restoration fee"
is shown as the 'booking fee' on all prices - it isn't, it is just a restoration
fee. Fair deal, feels the monkey.
The Royal Shakespeare Company: www.rsc.org.uk
also have a very small allocation of tickets, with a 75p per booking, not per
ticket, optional postage fee. No fee if you wish to collect your tickets from
the box office on the day of the performance.
Other Online Choices (with
S.T.A.R. genuine ticket
agencies):
When the theatre does not have tickets available, it is also worth trying the
Theatremonkey
Ticketshop agency,
telephone
020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom),
which offers £62.50 seats with a £10.20 booking fee
(£13.45 on £82.50, £6.95 on £42.50 seats) all performance EXCEPT Friday and Saturday Evenings /
£10.60 on £65 seats (£17 on £85, £9 on £45 seats) Friday and Saturday Evenings - moderate by agency standards, high by box office ones, but worth trying
as they often have some choice available! Note that this system will confirm exact
seat numbers prior to purchase and that prices may vary for some "Peak Date"
performances.
Ticketmaster offer £65 seats with an £8.75
per ticket booking fee (£5.75 on £42.50, £4 on £29.50, £3.40 on £25 tickets)
Tuesday to Thursday AND £62.50 seats with an £8.40 per ticket booking fee (£6 on
£45, £4.40 on £32.50, £3.40 on £25 tickets) Friday to Sunday, plus a £3 per
transaction (not per ticket) booking fee. This system allows you to choose your own seats from the selection the
company has available.
Encore
Tickets (telephone 0207 400 1253 /
0044 207 400 1253 if calling from outside the United Kingdom) offer £62.50 seats with a £16.50 booking
fee per ticket (£11.50 on £42.50, £8.50 on £29.50 and £32.50 seats, £7 on £25 tickets) / £17 on
£65 seats (£8.50 on £41, £7 on £25 seats) Friday to Sunday per ticket.
A postage charge of £2 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 £2.50 per ticket. Discounts and "Meal and Show" packages may also be available.
Quality and Value
hotel / theatre ticket packages are also available.
Lastminute.com offer
£62.50 seats with a £7.50 booking fee per ticket
(£5.10 on £42.50, £2.50 on £29.50 and £25 seats) Tuesday to Thursday, £65 seats with a £7.80 booking fee per ticket (£5.40 on £45,
£3.90 on £32.50 seats) Friday and Saturday / £65 seats with a £10.60 booking fee
per ticket (£8.20 on £45, £6.70 on £32.50 seats) on "peak" dates.
NOTE: Seat numbers are NOT available in advance from this company. All seats
booked in the same price group will, of course, be together or at the very least
be in front or behind each other in the theatre. In the very unlikely event of
this not being possible this company will call you and give you the option of
cancelling your booking. However if booking in two or more price bands, you will
not be sat together. Please DO NOT purchase if this is unacceptable to you, as
all tickets are sold subject to this condition. Discounts and "Meal and Show"
packages may also be available. Quality and Value
hotel / theatre ticket packages are
also available.
Londontheatredirect.com
offer £62.50 seats with a £14 booking fee per ticket (£10 on £42.50 seats) Tuesday
to Thursday AND £65 seats with a £14.50 booking fee per ticket (£10 on £45 seats)
Friday to Sunday.
A box office collection fee of £1.50 OR, if time allows, postage
charge option of £2.75 (£3.75 to non-UK addresses) per booking, not per ticket
applies to all bookings. Optional Ticket Insurance is also available.
Meal and Show Packages may also be available.
ALSO SEE
Tickettree.com for great value "hotel and theatre ticket" packages.
Other Independent S.T.A.R. ticket agencies
may also offer an alternative choice of seats
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Box Office Information: |
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Tickets offered differ between outlets. Outlets also may offer
different seats via their phone and online systems. Offers may be
available click here. |
Telephone: 0870
830 0200
(FREE call if using BT.com
Calling Plan at your chosen times)
Operated by See Tickets on behalf of the venue.Booking fees per ticket for telephone bookings:
No booking fee. A £1 per ticket "restoration fee"
is shown as the 'booking fee' on all prices - it isn't, it is just a restoration
fee. Fair deal, feels the monkey.
The Royal Shakespeare Company: 0844 800 1110 (Monday to Saturday
9am to 8pm) also have a very small allocation of tickets, with a 75p
per booking, not per ticket, optional postage fee. No fee if you
wish to collect your tickets from the box office on the day of the
performance.
For personal callers or by post:
Earlham Street, London. WC2 9HU
No booking fee for personal callers.
Special Access Needs Customers:
Wheelchair users and other registered disabled
theatregoers can book their seats on 0844 412 4648 and enquire about concessionary prices that may be available to them.
This theatre is part of the RU Group, whose ticketing division is contracted
to
"See" -
.
The same box office booking fee is charged for online transactions as by
telephone. Note that
the tickets offered may differ between phone and online sources.
www.reallyuseful.com/theatres/cambridge-theatre is the official
venue website. |
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Theatre Seat Opinions: |
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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. NOTE: Shorter children and adults should
try circle rather than stalls seats, as the circles are tiered and
may make it easier for children to see over those in front of them.
Booster seats are also available.
http://uk.matildathemusical.com/ The official show website, has
a handy "view from your seat" facility under the "Ticket Info" tab
at the top of the main page.
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STALLS
Layout:
Two blocks, split by a central aisle.The Dress Circle (called the Royal Circle here) overhangs the stalls at
row O. This does not affect the view from the rear stalls.
The stalls have a very shallow rake
(sloped floor to help see over rows in front) until the tiered steps kick in at row
P.
Legroom:
Good for all but the tallest. Seats on row
A and the centre aisle offer the most exceptional combination of comfort and view.
Choosing Seats in General:
Best seats are rows D to J 9 to 20. The shallow rake means that from row K back
to O the view is progressively worse for the less tall!
In general, the curved shape of the stalls make the first and last four seats in every
row poor value as the view of the stage does not justify the price. The box
office feel that the ends of rows are OK, as nothing
is missed. They also feel that all the seats are fairly priced.
Stalls seats N1 and N34 are removable for wheelchairs. Theatremonkey
rates the view below par for a top price seat, just acceptable if heavily
discounted. Having a decent centre aisle seat removable would have been
nice, though.
Rows P to S are progressively stepped, raising them a little more
than a floor slope alone. With short folk in front, the view is pretty
good, though seats on the very end of the row may feel a little far over
- no action is missed, from
here, however.
General Hazard Notes:
A sound desk is usually installed in the rear stalls. Avoiding row Q 10 to
17 and rows R and S seat 10 should put you furthest from any problem. Better
yet, pick seats on the other side of the aisle. Seats near the sound /
lighting control desk may suffer noise and disturbance to your
enjoyment. R10 will be conscious of the desk when looking to the right, S10
will find it even more noticeable - though not totally sightline blocking in
either case.
Changes for the current production:
Rows A and B will find the stage fairly
comfortably sloping towards them. The only issues are that at either end
of the row the seats face a disconcertingly jagged edge to the stage,
with staircases beside them; while in the centre of the row those seated
in A 10 and 13 have a staircase directly beside them, which must be
scrambled over to reach your seats.
A reader noted poor sound at the outer edges of rows A and B. Another
in the centre of row C.
Central rows E to K are at "premium"
prices. Your call, feels the monkey, who would sit one row forward
first, then one row back or even in the 2 seats beside the more expensive
ones, and pay less for the same view.
Row S seats 18 to 23
are well priced for worthwhile value, feels the monkey. The other side of the aisle is OK too, away
from the sound desk.
Reader Comments:
"A2 to A7 and B1 to B5: "Matilda The Musical" (November 2011).
Marilyn and Barrie Knight.
In January 2013, most of the party could hear and enjoyed
the performance, however we, the grandparents with no hearing impairment and
sitting in A2 and A3 at the end of the row, were unable to hear the
dialogue, particularly Matilda, and when, for example, she was talking to
the librarian we could not catch even the gist of the story. The sound
seemed distorted and not clear. We feel that the cost of those seats should
be reduce to take account of that. The words of the songs were also
difficult to pick up as the background was very loud. These comments apply
also to the end seat B1. We paid a good deal of money for the experience and
travelled a long way to get there. We have to say that sitting in those
seats (A2, A3 and B1) at the top price did not give us a feel good factor or
value for money."
"A 5 and 6: (Natalie).
We were in row A seats 5 and 6 and had a great view, only missing the teeniest
portion of the bottom of the stage."
"C 14 to 16: This is so close to the action you are practically on
stage, I would suggest 5 or 6 rows further back would be ideal,
especially to get the best out of act one's big 'set piece' illusion.
The view is great, obviously from being so close - but the rake is so
shallow, any children's views could be obliterated by the person in
front, even at this distance. My biggest qualm though is the legroom -
when seats are so close together and low backed that you can't even
comfortably read the programme without invading the personal space of
the person in front then it is clearly too restrictive. I was wedged in
my seat and unable to move for the entire performance. I had thought
that given that seat 14 is an aisle that I would have room to stretch a
little. This was not to be the case as the aisle is used continuously
throughout the performance. Overall, I would say approach with caution -
if you are the right size and the size of the person in front of you is
not too restrictive, then the view is good. If not, it's a bit of a
lottery. My other problem was the sound balance made the lyrics very
hard to hear, particularly when the whole cast was singing together. As
a teacher I really appreciated the portrayal of parents and children in
the opening number, but as soon as there was more than one person
singing the lyrics became lost. This happened a number of times, I
thought what I heard of Tim Minchin's lyrics was great, a shame that so
much was missed. Will stock up on painkillers for my next London theatre
visit!"
"E8: (Nicky). was a fantastic seat - you could really see every expression on the
actors' faces. It took a while to get used to at first, as there is so
much going on on stage that at times I struggled to know where to focus
my attention, but would definitely sit there again if the tickets were
available at the same price. I wouldn't mind trying out something in the
Dress Circle too though, to get a more panoramic look at the stage."
"G6: (Rattly Noise). I'm 6ft and found the leg room to be good, better than
the train I'd travelled down on in fact. The view was great, even at
full price (but obviously incredible, given what I'd actually paid for
it)."
"G17, 18 and 19: (David). gave an excellent view and better legroom than most
theatres."
"H16 and H17: (Ali P). top price tickets but good value, as we had an
excellent view of entire stage. The seats provided good leg room (we are both
tall) and have the added advantage of being aisle seats and pretty much centre
stage."
"H23: (Alun of Basildon). Good seat, view good, but if some tall Monkey was in front of me
maybe the view would not had been so good, luckily for me it was a short
female."
"H23 to 26: Next to the side aisle, the view was excellent. The only
complaint I could possibly make is that the seat/person directly in
front squeaked."
"K12 and 13: (Cristopher H). The Cambridge theatre is quite simple absolutely nothing special, the
rake is the shallowest of all west end theatres. K 12 and 13 were great,
if only the rake wasn't so shallow. The legroom was not great, and I
would definitely pay full price tickets only if the seats were located
in the stalls."
"L9 and 10: I was given these seats as an apparent upgrade after only
paying £27.50 for seats in the dress circle; because of this I can’t be
too critical of these seats. However, these seats are advised as top
price tickets, and if I had paid top price for these tickets I would
have been disappointed. They feel too far away from the stage. Some
people may prefer this however I prefer to feel a little closer. The
rake in the stalls is practically none existent; this can be a problem
if someone taller has the seats in front."
"L31 and 32: "Matilda: The Musical" (November 2011). The sound wasn't as clear as it could be."
"O 7 and 8: (Danielle Knights). I was slightly worried about where we were sitting as it was row O seats 7 and
8, but they were both very good seats, enabling us to have a clear view of
everything going on on stage. I was pleased with the size of the theatre - I was
convinced it would be too big to see from everywhere, but I could confidently
say that you could see from anywhere, certainly in the stalls."
"O 24 to 29: (Paul West). We got seats on row O of the stalls from TKTS (seats 24 to 29.) The
view was great, the theatre is small enough to see everything really
clearly, although the shallow rake meant that a couple of my group had a
few problems with big people in front of them. however, I feel they were
maybe unlucky, as with a quick swap, they could see perfectly. However,
I found the legroom (or lack of it) pretty painful. Once my legs were
wedged in, they weren't going anywhere! All the others (who are
substantially shorter than me) were very comfortable."
"P24 and 25: "Matilda" (November 2011), 21st April 2012. £62.50 each. Our seats were amazing.
Perfect view of the stage, undisturbed! Don't think there is a bad seat
anywhere in this theatre - which made it even more amazing. The show was
a sell out, and I would definitely be returning VERY soon to see this...
and of course sitting in the same seats!"
"The seats in the rear stalls were great and provided a good view of the stage."
Stalls Boxes
Layout:
One box, Box A, set into the back wall behind the last row of seats and
the cross aisle.
Legroom:
Good, as normal movable chairs are used.
Choosing Seats in General:
The monkey notes that other seats at the same price give a closer view
of the stage, this one is pretty far back.
General Hazard Notes:
These are a long way back, depending on the production.
A reader noted poor sound in 2012.
Changes for the current production:
None.
Reader Comments:
"Box A: "Matilda." This box is actually at the rear of the stalls,
in other words behind the last row of seats, row S. I thought it was very
far back, quite difficult to hear and not really worth it. I wouldn't accept
tickets in this box again - generally boxes are in a prime position (though
off-centre) but seats in this box are really the worst seats in the stalls
(though obviously one gets the benefit of being in a 'private' box)."
DRESS CIRCLE
Called the ROYAL CIRCLE in this theatre.
Layout:
The Upper Circle (called Grand Circle in this theatre) overhangs the Dress
Circle at row C.
This circle is tucked away at the back of the theatre, a long distance from the stage and
almost behind the Stalls.
The rake of the seats is shallow, contributing to that
distant feeling.
Legroom:
Just adequate for a five foot seven Theatremonkey
in row A, try the stalls. Elsewhere it is pretty fair for those up to
around 5ft 11 or so.
Aisle seats in this circle do offer
slightly better legroom with space for a leg to shift into.
Choosing Seats in General:
If you get sat here, rows B to G seats 12 to 24 are the prime seats in the
centre block, the pick of the bunch. Theatremonkey says if you must sit in this
circle, the centre block is the only way to go. The side blocks are not
particularly poor, but if paying full price, you might as well be central.
The box office do indeed feel strongly that the Dress Circle is well priced
and worthwhile. A reader also notes the sound balance in row B was excellent in
November 2007.
General Hazard Notes:
Circle overhang affects the view of the top of the stage from row G back.
A metal bar runs across the front of the circle. This does not particularly
affect the view from any seat other than those in row A, who may feel more
conscious of its presence.
Row J has rails at either end
of the row, slightly affecting sightlines if sat here.
Changes for the current production:
Central A, B and C are at
"premium prices." Your call, feels the monkey, who would go one row back for
the same view... particularly skipping row A if taller than 5ft 8 or so.
Reader Comments:
"C 10 and 11: We got these on a deal, but would have been good value at full
price. Fabulous seats with a great view of the whole stage and all the action."
"C16 and C17: ( Andy
Ellis). I must disagree with negative comments
about the Dress (or Royal) Circle. It was a gentleman called Chris at the
box office (who I think works at the Cambridge) who recommended our seats,
saying the view were very good, and I was pleased we took his advice. We sat
in C16 and C17, and found the raking adequate, the leg room (I'm 6ft 1in)
OK, and the view of the whole stage excellent. I accept that the back of the
circle and extreme sides would have been less satisfactory, but the centre
block was fine - especially for admiring the dance routines and action."
"C18 and 19: (Barry Liimakka). Our seats, in Dress Circle C18/19, were good seats, just as TM describes them."
"C19 and 20: "Matilda" (November 2011), (James - regular contributor). Paid regular top price rather than premium as the show is still in
previews. The seats were superb. A perfect place to see the whole stage and the
sound was great here too. It didn't feel far away at all, although when I go
next, I'll go a row behind rather than pay premium price."
“E22 and 23: “Matilda,” (Chris B). The seats offer a great view but the circle
feels quite far back from the stage but you still get a good overview of the
performance. There is quite a bit of action that takes place raised up on the
stage so being in the circle means you can look directly forward rather than
craning your neck in the stalls. The legroom was more than sufficient too,
overall excellent seats.”
" G27 and 28: We sat in the Dress Circle - G27 and 28 and although we are not tall we had a
great view and the sound perfect."
"G31 and G32: (James - regular contributor). sound is fine from here and the view is good, but feels a little
distant at top price."
"Row J: "Matilda" (November 2011), (Rich). The view was great, probably helped by the fact that the two seats in
front of us were empty. Legroom - not so good for a 6ft 2 theatregoer."
Dress Circle Boxes
Layout:
Two boxes, one either side of the Dress Circle.
Legroom:
Good, as normal movable chairs are used.
Choosing Seats in General:
The monkey notes that other seats at the same price give a fuller view of
the stage, but for those willing to take a side view the above will
certainly be of interest.
General Hazard Notes:
These have a restricted view - up to one fifth of the nearest side of the
stage is not visible, depending on the production.
Changes for the current production:
Not used.
Reader Comments:
"Box C:
Me and my family sat in Box C seats 1 to 4 (taking the whole box),
Theatremonkey gave the seats a red rating saying that a 5th of the stage wasn't
visible and perhaps that the seats didn't show value for money at £39 per seat.
However on my experience of Chicago - these seats are fab - the view was great
(though at an angle) none of the action was missed and only a small part of the
orchestra stage left was unviewable. Even when Roxie and Val are extreme stage
left and right on the ladders you are still able to see them perfect. At a great
price (£39 slightly cheaper then stalls and equal to Dress Circle) these seats
offer great views , a private area and great sound quality (which isn't too loud
due to the speaker being side of the box) Great seats...will definitely consider
again !!!!!!"
UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.
Layout:
This circle is above the Dress Circle, overhanging it to row C.
It is split
into a front and rear block, divided by a wide gangway.
Both are fairly steeply raked, feeling a little disconnected from the stage once
past row C or so. The front block is split into three by aisles.
Aisles
divide rear section seats into four blocks, with only the back row, M, running the whole
width of the circle. Legroom:
Best in M 7, 8, 24, 25, 41
and 42 with nothing in front.
Barely adequate in rows A and
G, cramped for anybody taller than around 5ft 10 elsewhere except in aisle
seats with a little space. The theatre have, though, placed the seats higher
than usual to maximise legroom for all, and this seems to work rather well
unless 5ft 11 or over, the monkey felt.
Choosing Seats in General:
Like the Dress Circle, the centre block offers best value for money. Select
row C 13 to 23 first, then D to F - though row A is also possible at the
same price but with less legroom.
Next best are side blocks B to F 12 to 7 (12 being an
aisle seat with good legroom), and equally B to F 25 to 30 (25 also aisle). The
other seats here are too far to the side to offer good value.
The rear block is very high up and a long way from the stage.
If you have a problem with low bars in view, then skip rows G and H -
even J for purists - but K back are about fairly priced, felt the
monkey. Go for the centremost seats possible at each price - it's worth
taking side blocks last up here.
When sold at a discount, notable value is row G 7 to 10, 15 to 18 and 23 to
26, skip when sold at normal prices, though.
Behind the stairwells are also some cheap seats. The monkey would still skip row J, but those looking for a cheap seat
(and prepared to accept the limitations in view) might well find K 13 to 16 and
25 to 28, worth a thought as central seats for a low
price. NOT for those who expect a full and good view, though, the monkey points
out.
Row
M 7, 8, 24, 25, 41 and 42 are worth considering for children, allowing for the fact they are in
the back row, since they are at the top of the aisle and offer a view down it, and
maybe a bit more legroom. just about fair value for money.
Some sensible pricing prevails in the rest of rows L and M too.
Central rows L and M may also suit
anyone seeking a more central view who don't mind being a little further back.
General Hazard Notes:
A metal bar runs across the front of the circle, restricting the view in row
A. Row G also has a bar in front.
In the rear section, the two middle blocks suffer from stairwells let into them. The walls around
and on top of the stairwells affect views in rows G and H 11 to 14 and 19 to 22,
also row J 11 to 18 and 23 to 30. The row J seats particularly suffer from both this
and poor legroom, and a restricted view (a bar which annoys children and shorter adults, but is not
noticed much by other people), in the monkey's opinion, provided you accept the
limitation.
The shallow rake in the rear section further diminishes the view, even
allowing for low prices.
The monkey has registered several complaints about poor sound quality in this
part of the theatre, though one reader reports this problem has now been fixed.
The height of seats above the floor left a shorter 5ft 2 reader in row D
dangling - they suggest borrowing a booster cushion to rest your feet on.
In the rear block there are no aisles at the extreme ends of the row.
Claustrophobics may like to avoid these!
Changes for the current production:
Row G
is not priced for the restricted view (a bar which annoys children and
shorter adults, but is not noticed as much by other people), they are only
worth thinking about, in the monkey's opinion, if you accept the
limitation. Indeed, the whole central three blocks seemed expensive to the
monkey for this production, with nothing below £29.50 in the first four rows
except a few restricted view tickets.
The outermost 4 seats either end are
somewhat expensive for "Matilda: The Musical" (November 2011), feels the
monkey, as there are centre block seats going for the same cash.
Reader Comments:
"Upper Circle: (Alun Moss).
You are up very high in these seats and I felt a little bit as if I was out of the way out of the
show in the first half. I would say if you go for the Upper Circle try as hard as you can not to go for any further back than row F."
"Row A: (Chris).
"We sat in the central block of the upper circle, row A. I'd seen that this
was coloured red according to Theatremonkey but was actually quite pleased.
There is a safety bar which runs across the front of your view, but sitting
up straight and leaning slightly forward, you pretty much eliminate it's
effects. I was surprised how far forward I felt, and how clearly I could see
all the cast and their facial expressions, the upper circle didn't seem as
high as it has done elsewhere either."
"Row A: (Jackie). As the monkey notes, there is a safety bar which does rather
obscure the stage, however, sitting forward gave a good view (although
by the end of the show a bad back!)."
"C17, 18 and 19: (Liz). In the middle of the centre block - we had a
perfect view of the whole show and felt fairly close to the stage even
though we were in the upper circle. Couldn't fault these seats. I
noticed there were a few comments on the sound and I also found it a bit
difficult to hear the lyrics of some of the songs as the background
music was louder than the children singing."
"D15 and 16: "Matilda" (November 2011). Gave a pretty decent view of the entire stage as you're sat
quite centrally. The only draw back is that the very front of the stage
isn't visible but for this production it didn't cause any problems as
none of the action takes place there."
"D20: "Matilda" (November 2011). The view was excellent for an upper circle, even when people in
the three rows in front leaned forward a little at times. The sound was
also excellent (people I know who have sat in the stalls say it is
rather loud down there, but the balance was perfect for me upstairs).
HOWEVER, the problem I had was that the seats in that row (perhaps also
in other upper circle rows?) seem to have been raised, meaning that my
feet did not touch the floor when I sat down. I am around 5'2" and I
would guess that anyone under around 5'4" would have the same problem.
You may wish to get a booster cushion to put your feet on!"
"E13 and 14: "Matilda" (November 2011). They were great seats and I'd recommend for this show!"
"E13 and 14: "Matilda" (November 2011). (green on monkey’s plan) were great. Clear enough view
without feeling too far away. A teensie-weensie bit greedy in pricing at
just over £40 but cheaper than Ghost (for example) for similar seat
positions. There is quite a bit of action towards the front of the
stage, so when folk in Row A began to lean forward, it was a little bit
bothersome. Stalls centre aisle seats I imagine would be great for the
show as there seems to be a fair amount of coming and going down the
centre aisle."
"E25: (Chris May). I was sat up
in the Upper Circle on seat E25 and was perfectly happy with my view and the
sound quality and rather chuffed with my legroom. I had a wander up into the " gods" of the
Upper Circle
and really there is no point paying for these seats."
"J9 and 10. (Pip). We were meant to be in Row K seats 15 and 16 but
as it was quiet and hardly anyone was there, they told us to sit where
ever. We decided that these two seats were the best on this side of the
circle. They are fairly cheap and they best avoid the metal bar that
separates the front and back of the circle. You can see everything and
the seats are comfortable, though legroom could be better (though is
acceptable). The seats we were meant to be in were far worse because of
a bar across which is why they are worth less."
"K35 and 36: (Hannah). We were sat in seats K35 and 36, which we got for a discounted £19. I
would say for this price they are very good. Whilst being very far from
the stage, you can see everything, except for although one tiny safety
bar which occasionally comes into view."
Notes
Total 1249 seats.
Air-conditioned.
Infrared headsets for hire, some signed and audio described performances.
Guide dog sitter available. Level access with a gentle slope through Earlham
Street fire doors to Stalls seats N1 and N34, removable for wheelchairs. The
adapted toilet is at the back of stalls and is kept locked until requested. Specific information from www.seetickets.com
or 0844 412 4648 or e-mail customer.relations@seetickets.com. www.artslineonline.com
also has comprehensive information on this venue. 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.
Food: Ice Cream and confectionery available.
Three bars. Stalls, Dress Circle and Upper Circle.
7 toilets in all; Stalls 1 gents 3 cubicles, 1 ladies 4 cubicles, 1 unisex
disabled; Dress Circle 1 gents 2 cubicles, 1 ladies 3 cubicles; Upper Circle 1
gents 2 cubicles, 1 ladies 3 cubicles.
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Nearest Underground Station:
Covent Garden - Piccadilly (dark blue) line.Leave the underground station and turn to the left. Walk straight on to a
road called Long Acre. If instead of a road you see a pedestrianised area, Wrong
way, turn around.
Cross Long Acre to the other side of the road from the underground station.
Turn to your left.
Keep walking:
Cross Langley Street, don't go down it
though.
The next street is Mercer Street. Turn right into it and walk straight
on, crossing Shelton Street on the way.
At the top of Mercer Street is an open
space with a column monument in the centre of it. The Cambridge Theatre is on
the right of this.
Careful - in the absence of kerbstones, cars and pedestrians
mix on the cobbles of this junction.
_________________________
An alternate (some feel easier and safer) route from Leicester Square
Underground Station is illustrated here -
and the tube journey to the station can be planned using the banner below:
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Buses:
None stop outside the theatre. Number 1, 14, 19, 22, 24, 38, 55, and 176 stop
on Charing Cross Road or Shaftesbury Avenue. As a starting point, stand in front
of the Palace Theatre. Turn your back to it. Cross the
road ahead of you to put yourself in front of the large Pizza Hut restaurant.
Turn to your left and walk past the restaurant to Shaftesbury Avenue. This is
the only road to have traffic divided by heavy railings in the centre of the
road. Got it, good. Turn right into Shaftesbury Avenue, Cross over West Street,
then notice the next road, Earlham Street, right next to it. Walk down Earlham
Street, passing the Mountbatten Hotel. At the top of the street is an open space
with a column monument in the centre of it. The Cambridge Theatre is behind
this. Careful - in the absence of kerbstones, cars and pedestrians mix on the
cobbles of this junction.
Taxi:
A rank for Black taxis is at Charing Cross Station - a long distance
from the theatre. Walking up Earlham Street to Charing Cross Road may
well improve your chances of hailing one in the street.
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Car Park:
Newport Place, China Town. On leaving, use Gerard Street to get you
onto Shaftesbury Avenue. On Shaftesbury Avenue look to your right. The
brown brick building to your right is the Palace Theatre. Don't bother
crossing the road, but turn to your right on Shaftesbury Avenue and walk
in the direction of it. When you come to the main road intersection in
front of Shaftesbury Avenue, cross Charing Cross Road at the traffic
lights. Go straight on, entering the other half of Shaftesbury Avenue
for a few moments. continue up it, crossing West Street. Just past that
is Earlham Street. Turn into it and walk to the end, crossing Tower
Street. Ahead of you is an open space (Seven Dials) with a pillar in the
centre of it. The Cambridge Theatre is clearly visible behind that.The "Theatreland Parking Scheme" may be available. 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.
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