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

THEATRE ROYAL DRURY LANE

 


 CLICK HERE to buy the NEW 2009 LIVE Drury Lane Cast Recording

Also available
2009 Drury Lane Poster, "I Want Some More" Begging Bowl,
T Shirts, Charm Bracelet, Patchwork Bag "Food Glorious Food" Apron,
Souvenir Brochure, Key Ring
The Ultimate 1968 Film DVD / CD Gift Set

OLIVER! (musical)

Cute orphan on the run falls in with a dodger pickpocket and gang run by an even dodgier man with still dodgier friends. Lionel Bart wraps the tale in timeless songs, Fagin gets to confront his magistrate complex and Dickens gets a fresh airing in a tale suitable for all.

The British public have selected Jodie Prenger as the leading lady by telephone vote through TV show "As Long as He Needs Cash." The West End benefits again with infusions of new audiences, jobs and revenue. Everybody is happy...though the monkey does note, in passing, that a BBC producer have now cast a nun, young male slave, hooker and a cute little boy in various years.  It is saying nothing actionable here... but shouldn't someone be noticing a pattern and monitoring someone's internet usage, especially considering the latest package was called "I'd do Anything?!"

Griff Rhys Jones plays Fagin until June 2010.

Jodie Prenger is currently scheduled to continue as Nancy until 27th March 2010. Kerry Ellis will take over as Nancy from 29th March 2010.

The official theatre website advise that the child playing "Oliver" at particular performances cannot be guaranteed. They also state that the winning "Nancy" Jodie Prenger will perform (holidays and illness permitting) at all performances EXCEPT Wednesday EVENINGS and Thursday EVENINGS. Tamsin Carroll has been announced as alternate for these performances.

Casting holiday information is given for interest only and theatremonkey.com take no responsibility for any changes that may occur, or any issue arising for any ticket holder.


www.oliverthemusical.com is the production website.

 

Theatremonkey Opinion:

It's compulsory, anyway, so the the monkey had better do it. This review opens with the words, "The monkey will review the situation." There. Out of the way. It will now open its actual review by reviewing previous productions of this musical. First encounter was the mid-1970s revival, during which Helen Shapiro as Nancy demonstrated what a theatrical 'belter' is by blasting a tiny theatremonkey off its seat in the back row of the Albery Balcony without using a microphone. A cosy and tightly staged version, but the monkey didn't like the straggly ending, even at a young age. The film was pretty much the same, though Shani Wallis charmed and Ron Moody et all sang and danced a storm. Then there was the Palladium version on which this current run is based. And then there wasn't. The ending was almost fixed, but the show itself was chronically underpowered. And that brings readers who wish to know about the monkey's pre-prejudices up to date before it lays into the current outing.

First, the really good stuff. Cameron Mackintosh has obviously raided workhouses far and wide, populating the vast stage with enough orphans to keep adoption agencies busy for years. Unlike the anaemic Palladium outing, the big numbers thus teem with young life as they should. Elsewhere the sets are left intact, the lighting (particularly during the "Undertaking" sequences) matches the extraordinarily good performances here, and the orchestra and sound balance are another triumph. Let's not forget the ensemble, either, who make the most of every opportunity and minor character role (spotted you, Ms Lark, well done.)

The usual weaknesses are still present. The book doesn't always work, the best songs are mostly gone in the first hour, and insufficient numbers of the cast appear to be suffering from authentic ill health. Remedial crude dental work and a pay cut to "gruel-only" levels should sort that one out within a few months though, just as it did last time.

So, the elected "Nancy" - one Jodie Prenger. On this one, the monkey is prepared to give her more time. She can deliver a song, and scrapes by with the acting, and on current form should mature noticeably during the run.

Elsewhere, the Oliver and Dodger the monkey saw turned in enthusiastic performances as expected - and it was glad the director resisted the syrup tin.

If we have to have shows revived to accommodate TV casting show requirements, this is how they should be done. No expense spared, equal attention given to everything around the chosen person, and a sound delivery of a timeless favourite. No real need to pick pockets to see this, but you might consider it as an alternative to being at home. Or reading clichéd reviews like this one.

 

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

The latest FOUR reviews are below. For earlier ones, click here.
Reviews may refer to cast members who have now left the show.

___________________________________________________________________

Unfortunately I omitted to look in the foyer last night (25th November 2009) to see who was playing Oliver; The Artful Dodger; and which team of scruffs were performing.

Tamsin Carroll was excellent as Nancy and no one going on a Wednesday or Thursday evening should be disappointed to find that Jodie is not performing. Omid Djalili is superb as Fagin. I first saw Oliver in 1962 with the definitive Fagin Ron Moody to whom any subsequent aspiring Fagin must look up to. Some come close, some way off, but none will ever be better.

It will be interesting seeing Nancy Prenger and Griff Rhys Jones as comparisons when I take my second coach group in January 2010.

The stage scenery is magnificent. They make full use of the great depth of that wonderful stage and the street scenes with St Pauls Cathedral at the end of a narrow street is just perfect and the use of a lift lowering down to Fagin's lair is very clever.

One of your earlier correspondents made a very valid comment about the 'naughty' pricing of seats. I had waited a long time for a reasonable group rate and we did get so called £62.50 seats for £35 so can't really complain but it is obviously just a clever way of filling seats that they have not been able to sell for the top price by giving the impression they are at a big discount when really they should have been priced at a second rate in the first place.

We had a block of seats in rows H J & K ( we were sitting in J) of the dress circle, and were so far from the stage that it was not possible to see faces to be able to identify who was playing Oliver or The Artful Dodger. I think we had Callum Henderson. Whichever boy it was did a great job. He was just like Jack Wild in the film version. We must have had Francesco Placentini Smith for Oliver as I do remember Gwion Wyn Jones from the TV search for Oliver, and it certainly wasn't him or Zac Hurst. He sang well but it was sometimes not easy to hear his words from the back of the theatre.

The boy who stole everyone's hearts though was the little mini version of The Artful Dodger who does a Morecombe and Wise departure with Fagin. Great stuff. He must be an aspiring Billy Elliott too, when he gets a bit older.

Is it just me or does that first half seem to gallop through just to bring in all the expected songs one after the other with a heavy précis of the story line?

Great show, I just wish I had been nearer.

On a second visit:

I took another coach load yesterday (19th January 2010) and again forgot to look who the Artful Dodger and Oliver were; so it was a straight comparison with last time. (they were both very good)

Coming out and getting on the coach it seemed a unanimous view that this was a great production with comments like "what a great show" " I loved it" "One of the best we have been to" etc. I went along with them and I did really enjoy it and it helped being in row G rather than K.

Having however seen the definitive Fagin Ron Moody in the 1962 production, other attempts to improve on the role will inevitably fail. Omid Djalili is presumably a Moslem being Iranian (he is - editor), but he was quite 'Jewish' which I really liked. Griff Rhys Jones makes no attempt at being Jewish and although he does a great job in his own way he becomes more 'Griff Rhys Jones' as the evening moves on. In the earlier scenes I doubt anyone would recognize him if they did not know he was performing but as the show moves on he is easily recognizable by his normal voice.

It was interesting seeing Jodie Prenger rather than Tamsin Carroll (who was superb as Nancy). I did however get the impression that her voice is suffering from the strain of performing the role for so long compared to how I remember her in the TV search. Perhaps she had a sore throat? She just seemed to be singing in a lower key than Tamsin did.

The one aspect that did disappoint me yesterday, that no one in the theatre who was seeing this production for the first time could appreciate, was that in November the tiny little lad, who will be a fantastic Artful Dodger in four or five years time, wasn't there yesterday, and that dance off into the sunset between him and Fagin 'Morecambe and Wise' style which closed the show in November, didn't happen yesterday.

The one unfortunately adverse aspect is the extreme 'bonking' in the pub scene that starts the second half. It has been reported on in previous comments and is totally unnecessary and adds nothing to the show, although I have to say I didn't really notice it last time, perhaps because I was viewing from a different angle being more to the left last time.

The scenery and settings are fantastic and this is a great production and in the eyes of many of my group will be right up there with some of the best shows we have been to. Yesterday was different to November but both superb in their own way.
_________________________

I bought 2 tickets from an ebay seller, a coach operator who had obviously bought for a group and had tickets left over. These were sold at the face value (I think it was £37.50), with just postage costs added and were good value, £80 for 2 tickets for the evening performance.

Seats were in F18 and 19 of the Grand (Dress) Circle, very central, we thought these seats were excellent and were surprised that they weren't top price. The Grand Circle does have quite a shallow rake but I don't agree with the comment that from Row F back it seems a long way from the stage, perhaps it depends on the production but we had a great view, didn't need opera glasses although they were available.

Leg room not bad at all, have had a lot worse - I'm 5'8" with long legs and I was fine, I guess anyone taller might have found it a bit cramped but it's rare to have generous leg room in any theatre seat.

Anne Hysted
from New Malden, Surrey
__________________________

I saw this production in early March 2010 but, after hearing good reports from friends, was left rather disappointed.

There was plenty that was good about it: the set was fantastic; the production bounded along at a fine pace; the choreography was inspired; and the performances of Griff Rhys Jones (Fagin), Julian Glover (Mr Brownlow) and Steven Hartley (Sikes) were all excellent. However, two central performances were somewhat lacking, which I felt was detrimental to the entire production.

The lad who played Oliver was not in fine voice, missing the top notes and cracking on many of the lines. Of course he's only a young boy so this can be overlooked. The other disappointing performance came from Jodie Prenger as Nancy. There's no doubt that Jodie has a very good singing voice and she belted out her show number wonderfully, but her Nancy completely lacked vulnerability. We never felt scared for her, never felt that she was in real danger. It sometimes seemed that she could've given Bill Sikes as good as she got, which totally upset the balance of the piece and stifled any real sense of impending threat for the audience.

The matinee audience that I attended seemed to love the show so perhaps I am being a bit harsh, but for me, this production could have been so much better.

Jenny


 

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 Evenings at 7.30 pm
Wednesday and Saturday at 2.30pm and 7.30 pm 

Runs 2 hours 30 minutes approximately.

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

Monday to Thursday performances ONLY:
Stalls:
Rows A to T (except rows C to J 1 and 2, C28, 29; D32, 33; E to G 34, 35; H and J 36, 37): £62.50

Rows U to X, plus rows C to J 1 and 2, C28, 29; D32, 33; E to G 34, 35; H and J 36, 37: £45
Rows Y to ZZ: £37.50

Some "Premium" seats at £85, including free programme are also available. These are drawn from seats in the central stalls, usually around rows G to J.

Dress Circle:
Rows A to K: £62.50
Row L: £45

Upper Circle:
Rows A to J (except A 1 to 7, 16, 33, 42 to 48; B and C 1, 2, 12, 29, 39 and 40): £45
Rows K and L (except K and L 12 and 29): £37.50

Restricted view seats A 6, 7, 42, 43; B and C 1, 2, 39 and 40: £37.50

Restricted view seats A 16, 33; B and C 12 and 29, L and L 12 and 29, plus slip seats A 1 to 5 and 44 to 48: £17.50

Balcony:
Rows C to L (except C 2, 3, 37, 38; D and E 1, 2, 38, 39): £25
Restricted view rows A and B, plus C 2, 3, 37, 38; D and E 1, 2, 38, 39: £17.50.

Boxes:
A, B, AA, BB, L, M and N: £62.50 per seat
E and EE: £37.50 per seat
J, K, O, P: £45 per seat


Friday and Saturday performances ONLY:
Stalls:
Rows A to T (except rows C to J 1 and 2, C28, 29; D32, 33; E to G 34, 35; H and J 36, 37): £65

Rows U to X, plus rows C to J 1 and 2, C28, 29; D32, 33; E to G 34, 35; H and J 36, 37: £45
Rows Y to ZZ: £37.50

Some "Premium" seats at £85, including free programme are also available. These are drawn from seats in the central stalls, usually around rows G to J.

Dress Circle:
Rows A to K: £65
Row L: £45

Upper Circle:
Rows A to J (except A 1 to 7, 16, 33, 42 to 48; B and C 1, 2, 12, 29, 39 and 40): £45
Rows K and L (except K and L 12 and 29): £37.50

Restricted view seats A 6, 7, 42, 43; B and C 1, 2, 39 and 40: £37.50

Restricted view seats A 16, 33; B and C 12 and 29, L and L 12 and 29, plus slip seats A 1 to 5 and 44 to 48: £17.50

Balcony:
Rows C to L (except C 2, 3, 37, 38; D and E 1, 2, 38, 39): £25
Restricted view rows A and B, plus C 2, 3, 37, 38; D and E 1, 2, 38, 39: £17.50.

Boxes:
A, B, AA, BB, L, M and N: £65 per seat
E and EE: £37.50 per seat
J, K, O, P: £45 per seat

PLEASE NOTE: For copyright reasons, information and graphics on this page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed. 

 

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.seetickets.com provide the service for this theatre.

Booking fees per ticket for online bookings:
A £2 per ticket booking fee is charged for performances until 26th September 2009. This increases to £2.75 to include a restoration fee contribution for performances from 28th September 2009 - you gotta pick a pocket or two, thinks the monkey.

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

When the theatre does not have the tickets you desire available, it is well worth trying the Theatremonkey Ticketshop agency, which offers £65 and £62.50 seats with £9 per ticket booking fee (£6.75 on £45 seats) and adds an extra 75p per ticket restoration fee imposed by the venue - moderate by agency standards, though higher than box office fees, worth trying as they often have a choice of seats available! Simply select the show from the "drop down" menu in the centre of the page. Note that this system will confirm exact seat numbers prior to purchase.

Another alternative is Ticketmaster.co.uk who offer £63.75 (including £1.25 restoration fee) seats with a £6 fee, £6.25 on £65.75, £4.35 on £45.75, £2.45 on £25.75 tickets.

Encore Tickets offer £62.50 seats with a £15.50 fee per ticket (£45 seats with an £11.50 fee). An optional UK postage of £1.50 per booking, not per ticket, available if time allows. Meal and show packages may also be available.  Quality and Value hotel / theatre ticket packages are also available.

PLEASE NOTE: For copyright reasons, information and graphics on this page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed. 

Other Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.


 

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:
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:
A £2 per ticket booking fee is charged for performances until 26th September 2009. This increases to £2.75 to include a restoration fee contribution for performances from 28th September 2009 - you gotta pick a pocket or two, thinks the monkey.

For personal callers or by post: Theatre Royal Drury Lane, Catherine Street, London WC2B 5JF
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 020 7087 7960 or 0844 412 4648 (Minicom 020 7087 7839) and enquire about concessionary prices that may be available to them.

 

 
 
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.

PLEASE NOTE: For copyright reasons, information and graphics on this page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed. 
 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Balcony Notes
STALLS 
The Dress Circle overhangs the Stalls at row M (and curves around to row J at the sides). This affects the view of the top of the stage from row S back. Extra speakers hung under the circle overhang clip a further 5cm off the view too from some centrally located seats - not a problem though, the monkey just records it from interest!

Aisles split the stalls into a centre and two side blocks. A further aisle in front of row K splits seats into front and rear sections. A noticeable rake ensures a good view from all seats to row S. Row K is a few millimetres higher than row J too.

In row A, a reader feels that, when he got a large discount:
"A3 in the stalls! for £20! The view from this seat was immense... and the leg room, well, I had enough room to put my bags in front of my seat and outstretch my legs fully and still let people get past!"
 

Moving back another row, another reader says,
"We had stalls B9 to B15 which were superb seats. Had to look up slightly but we didn't lose any of the view from where we were. You really get to "feel" the atmosphere from these seats and the orchestra is well "hidden" below the stage so again no problems. 3 children aged 8 to 10 years did find the booster cushions provided useful."

Behind this, theatremonkey regular seat connoisseur James says,
"D17: Good seat, but for a huge musical, would recommend Upper Circle or Balcony as if  the show is "big" it's better to appreciate it from afar."

Another reader adds,
"D15 and 16. They were expensive seats but well worth the money. Excellent view, loads of legroom and no heads in the way! We had a great close up view of the actors' faces and we really felt part of the action."
 

Among the best seats in the house are rows E to G 10 to 26 and rows H and J 11 to 27. The monkey would also add rows K and L seats 6 to 30. Of the rest of the top price Stalls, the centre block row D then row M is prime. 

From row E, an "Oliver" watcher, Martin, comments,
"E16 had an excellent view and just enough legroom (I'm 6' 01") although I wouldn't recommend sitting any closer."

In row F, a reader says for "Oliver" (January 2009),
"I sat in F12 in the stalls, which was (as indicated by the Monkey) a great seat, with clear views of the actors’ expressions. However, I paid full price (£65 in total) for my ticket, and would have felt cheated had I sat any further back or off-centre (although that said, the production makes full use of the massive stage depth and height, so the dress circle would probably be great for catching a better all-round view of the show) Legroom in row F of the stalls was snug but just about ok - I'm 5'9, but I think anyone taller would struggle."

From row G, Dave says of the same show,
"Seats in row G centre stalls were excellent. I am please we bought top price."

One reader says,
"Seats H 9 and 10 of the Stalls (for "Lord of the Rings" - May 2007) were just perfect. 10 is on the aisle and is angled to give a wonderful view of the stage. I had an enormous man of about 20 stone sitting in front of me but he didn't spoil my view one bit."

Over the aisle, reader Sally Scott says H13 to H16 were "Great seats." while another reader rates central row F excellent, though with average legroom (that didn't bother her, as she wasn't that tall, but might concern others.)

Reader Daryl says,
"Stalls Row H17 - the view was fab"

Reader Rob continues the reviews one row back,
"we sat in J11 and J12 of the stalls – excellent seats. Bit of trade off with the seats – we were on the aisle of the centre set of seats; very handy for making a quick getaway but there were two moments - during the show we saw - where the actors standing at the front of the stage blocked our view of actors in the middle; this would not be the case if you were sat in middle of this centre row. My guess is that the very best seats in the house would be K16 to 20 – these are bang in the middle and you have an aisle in front of you allowing extra leg room."

Some "Premium" seats drawn from seats in the central stalls, usually around rows G to J are also made available. Up to you if you wish to pay more, feels the monkey, though the view is very good. A reader says,
"
We sat in "Premium Seat" G22 and G23 in the Stalls, Excellent view of the stage and all of the fantastic movements of the scenery. Actors were up close and you could see every facial expression.
 
£85.00 is too much however for this seat and a free programme and I still believe these are still just £60 Stalls seats for some performances."

Reader Ian notes,
"I sat in K20 in the Stalls and it was the most amazing place to sit. Yes - it's a Green seat without doubt. I am 6 feet 4 inches tall and there is tons of leg room and the seat affords a magnificent view of the spectacle on stage... I will always choose this row in the centre block of the stalls for all future visits to the Theatre Royal Drury Lane. They should be 24 carat Gold - not green !! WOW."

Reader Rich agrees,
"Row K in the stalls is an excellent position to see the show from, loads of legroom and a great view."

Another feels, though, that,
"There is superb legroom in row K, but even this row could be considered to be a little too far back."

Off in the side block, reader Jon reports,
"Stalls F27, aisle seat right hand side of left block. Excellent view (though Dress Circle I guess will be better for some of a raised set), seats a little low (i.e. your backside is slightly below your knees if you are over 5'8" so "cheek shuffling" may be required - apologies to those sat behind me!) though plenty of leg room as I could full extend under seat in front and I could shift to stretch to my right into the aisle."

For 'Oliver' (December 2008) reader Kirsty says,
"Row E seat 5: It's an OK seat and I was really able to feel part of the show from there. The sound quality was good and you could see the casts' faces clearly. They did have their backs to you sometimes though, which is to be expected if you sit at the very right hand side of the stage."

Reader James comments,
"Stalls L12 and L13 were great – you are far enough back to see the whole stage without turning your head from side to side, but still close enough to really engage with the show. Stalls C22 and C23 were far too close to the stage and I would not sit there again."

A young reader disagrees,
"L 12 and 13. Personally I am not a fan of the stalls, however I mistakenly brought these seats. AWFUL!! I was so disappointed with the view. Such a poor rake between the rows and constantly had to keep dodging the heads in front of me. I went home feeling terribly ripped off!"

For adults, more than smaller children, maybe.

Next try the rest of side blocks of K to M, then central row C and the side block of rows C to J (except the first and last 4 seats - which should be avoided), and finally row N back - centre then side blocks.

Of M8 and 9, reader Steph Nicholls says,
"The seats were great with a clear view. I would like to see it again from the dress circle to get the full spectacle as sometimes we were too close to take in everything."

Further along, another reader says,
"M16 - Perfect view of the stage."

In row O for "Oliver" (January 2009) reader Penny comments,
"O1 to 5: Very good seats, although could have been a little cramped for very tall people. Great view."

Another reader agrees with this from O 28 and 29, noting that while the view to centre stage is great, the legroom isn't what you might expect in the stalls.

One reader rated aisle seats in row P excellent. Reader Mila expands on this for "Oliver!":
"P26, 27 and 28. White in the TM seating plan, but very good seats I thought, especially with the booster cushions for the kids, we had a perfect view of the whole stage, and a nice aisle seat so we were first to the ice creams and able to stand and give Jodie a cheer at the end!"

In row R a reader says,
"7 and 8: Pretty good view, leg room OK. 1 and 2 are OK as well."

Reader Sharon reports,
"We had seats in the Stalls in Row S numbers 29 to 33 and had a wonderful view of the stage. One of our party is a 6-footer and he had just enough leg-room, whilst the somewhat shorter family members borrowed the theatre's booster cushions which made our line of sight uninterrupted."

Rows A to J have reduced prices at the extreme ends. Currently, row A sides and very end seats in B are removed / not on sale for "Oliver." Large speakers are often positioned at the edges of the stage, which may blast those at the ends of rows B and C in particular. All the very end seats are well outside the proscenium arch, leading to strange viewing angles around the soundman's hardware. The discounts reflect this and the monkey feels them not seats to take first or all that great, but close to the front and a bit cheaper for those willing to take a chance. At second price for "Oliver," it rates E to G 1 and 2 and 34 and 35 about "fair" if willing to accept extreme side views - not a generous discount, but a cheaper way of being near the front, perhaps.

As for the rest of row A, one reader writes:
"Seat 15: The view from here is of course, excellent. I had no difficulty seeing anything on stage...and the legroom was excellent."

Reader Ali agrees from the adjacent seat,
"Row A, seat 16, one of the best seats I have ever had – good legroom, very little neckache, and is fantastic for getting a really good look at the action"

Wheelchair spaces are at K 1 and 35 and L 1 and 35. Take K first. The view is fair, a little sideways on but better than the rows in front. Transfer able can use any seat - take aisle if possible. See notes.

Seats have been restored to the back of the centre block and a sound technicians desk has been added. Avoid the seats around this desk if you will be disturbed by the noise and light, though sensibly they have added a gap between the desk and the seating. Currently, the worst affected seats are Y14 to 24, YY14 and 20, Z14 and 24 and ZZ 14 and 24. Other seats in the centre blocks rows Y to ZZ  have to contend with being either side of the pillars. Just avoid them if possible, though if sat here, you could do worse.

At the back of the theatre, top price runs back a good way. Luckily, they are being sensible for "Oliver," working perhaps on the theory that the overhang of the circle above may reduce the views of scenes taking place on the bridge above the stage (which was used in the last production of the show at the Palladium). Monkey likes central row U and side block Y 4 to 10 and 28 to 34 as they are cheaper than the seats in front but with a similar view.

One reader does feel, though,
"After all the hype, I left 'Oliver' on Friday 30th January 2009 feeling rather disappointed. It just wasn't the 'wow' I had expected. I suspect that a lot of this was because of our seats (Stalls U19 to 24) - I had wanted to book top price, but with a group of 6 this was all that was available. From here you do miss the grandeur of the colossal sets and the whole show feels enclosed by the Dress Circle - a bit like a TV. I like to be immersed in theatre. When I saw 'Lord of the Rings' at this theatre, I sat in the centre of row G and it was a fantastic experience. Also, from back here you miss a lot of Rowan Atkinson's performance - closer up you would get a lot more from his facial expressions. My biggest complaint is the sound at the back. It all seemed quite quiet! It definitely proves it is worth paying full price - for me at least!"

Reader Lorna agrees,
"Row U Stalls for "Oliver" and I too felt a bit far away. As Fagin jokes, I'm the poor at the back."

If used to more expensive seats, well, these may not be quite the same indeed; but that is the reason they are cheaper, of course, notes the monkey.

Another reader makes this point well for "Oliver" (January 2009),
"Y28 and 29: As others have said, it's a long way back in these seats and the overhang does mean you only see the feet of some of the dancers at times but we could see top stage scenes OK although I suspect even one or two rows back may not have been able to. I can see why Monkey marked these seats as green because the 3 rows in front are £7.50 more and the one in front of that is £22.50 more - I would be wholly unimpressed paying £60 for seat T39! If I went again, I'd pay £20 more for the best Grand Circle or Stalls seats - but like much in life, you get what you pay for and those that complain about poor visuals from the back probably moan about the price of bread compared with 20 years ago."

Ahead of them, another writes,
"Interestingly, you have widely differing opinions from theatre goers on the Theatre Royal's stalls seats. Myself and a friend were in stalls W31 and 32, the second row back in the second price ticket band. Originally we thought the seats would be pretty awful as we were quite a way back, but we were pleasantly surprised as the view wasn't bad at all. Yes, it was slightly restricted by the overhang of the Grand Circle resulting in the top of the scenery, particularly the bridges, being hidden from view, but as the setting is so big, you get a wider perspective of the action. Also we didn't have any tall people sitting in front of us to spoil the view! The seats were quite low, though, but we both thought the sound from this part of the theatre was very good. There certainly seems to be a mixture of opinion on sitting in this part of the theatre!

I have seen "Oliver!" several times now and my favourite seats have been in stalls rows D, E and F in the centre block. I know they may be classed as being too close to the stage but you do feel part of the action and personally I love to see the expressions on the actors' faces and all their little mannerisms! One of the main reasons I would generally go for the stalls in any theatre is that legroom is usually so much better than in the upper tiers. I'm only 5'8" but I do like to be sitting comfortably! In row W legroom was adequate, but still better than the Circles and Balcony."

For best results, try and avoid the first and last 4 seats in the side blocks, plus those around the sound desk to maximise the experience. There isn't much wrong with any of the mentioned tickets - except missing the top of the stage at times, just that there are better seats for the same hard earned bananas in the monkey view. The front Upper Circle is more expensive than the very back stalls - but a show sure looks spectacular from up there (though the legroom isn't as good...).

A reader comments,
"row X seat 36 and 37 for "Oliver!." Warning; no legroom for anyone over 5'8" (I am 6'1")!  I might be exaggerating a bit, but my knees were definitely pressed against the seat in front and I had to sit slightly sideways to fit in (difficult when it's a sell out). It meant that I couldn't "shift about" in my seat resulting in the inevitable "numb bum"! The view was good, close enough to see the faces and far enough to see the big set-pieces to the extremes of the stage. Some of the high levels were lost although none of the main action was missed."

Reader Rachel feels similarly, for "Oliver!,":
"Centre of row X – awful! Such shabby legroom. Overhang of circle obscures some bridge scenes. Just felt too far away from the action to become absorbed by the show."

Reader Louise Robinson comments for "Oliver!,":
"Seats YY7 and YY8 have a good view of the majority of the stage, but you cannot see the upper bridge and so miss Nancy's death almost completely. However, the binoculars are fab; if you fancy homing in on Rowan Atkinson's many expressions, you can do so very well from these seats."

Reader Ros feels, though,
"We saw 'Oliver' ( or as much of it as sitting in YY 29 and 30 will allow). The sets are the best part of the show, although if you are sitting far back in the Stalls you won't be able to see the bridge or the characters on it, as they are cut off by the overhang. We bought these seats as that was all that was available - and they were truly awful. The seats themselves are so low that you feel as if you are sitting on the floor. If you are under 5' 3'' you will have a problem in seeing the stage. Despite a cushion pad issued by the theatre, the young boy of about 10 years sitting next to my husband ended up sitting on his father's knee throughout the performance as he couldn't see the stage."

Legroom is good throughout the front stalls for all but the very tallest (over 6ft or so - a reader feels 5' 8" though), particularly good in row K - the only place for the longest legged to choose. Most readers found A and rows from L back noticeably tighter, though.

 

 

DRESS CIRCLE 
Called the Grand Circle in this theatre.

The Upper Circle overhangs the Grand Circle at row E. The view of the top of the stage is badly affected from row H back.

The Grand Circle is split into three blocks - centre and two sides - by aisles. It has a very shallow rake making row F back seem a long way from the stage at top price, and also affecting the view for anyone not tall enough to see over the row in fronts' heads.

Reader Rich opines,
"The best position to see a big show from is the front of the Dress Circle. You get to appreciate the whole spectacle. Having sat at the front of the stalls and the Dress Circle, I would go for the Circle any time."

Among the best seats in the house are rows B and C 12 to 26, D and E 13 to 27, and row A 11 to 25 in that order. Row A loses marks for legroom comfort. Next best are rows F and G centre.

In row A, a reader says,
"A16: the view was magnificent with a completely unobstructed view of the stage. You don't even need to lean forward to see clearly!"

Reader James was happy in A,
"Seat A24 Front row of Dress Circle was perfect for view and legroom."

Next to him, a young reader says,
"A26 and 27. Outstanding view, every aspect of the stage was seen so clearly and there was no annoying safety bar."

reader Paul Nicholls disagrees on legroom, though,
"row A of the dress circle. Superb view, but legroom for hobbits and people who were born without knees!"

Contrast that with reader Vicky at the end of row A,
" We sat in Row A of the Dress Circle, seats 3 and 4. These seats were absolutely fantastic and I cannot recommend them enough. Everyone should see this show from the front row of the Dress Circle if they can! Reviews of cramped legroom is absolute rubbish, there is much more room here than what you would get in a normal row. In fact we had room to put down our bags, coats and sweets in front of us! Fantastic show and view."

More room at the ends than the centre, it seems to the monkey. Row C certainly draws the praise of theatremonkey regular seat opinion contributor James,
"Sat in the Dress Circle C12 and 13 for “Oliver!”. They are fantastic seats. The Dress Circle feels lower down compared to other theatres or perhaps the stage is just high, but either way it’s on an excellent level to see the performance. Leg room is good and the sound is fantastic from here too."

Further along, another James adds,
"C17 and C18 for 'Oliver!'... Excellent!"

Then consider the side blocks. Take rows B to G the first four seats nearest the centre aisle. Then choose whether to take row H back, or seats in rows B to G further along to the side. If action mostly happens centre stage, then rows B to G ends get a reasonable (just about) view. The first and last seats in the side blocks of all rows are affected by the boxes projecting into the field of view a little, but the rest allow an adequate view. Side block seats are not really a bargain, and for top price special occasions are possibly best avoided, but for those willing to pay top price to just "see the show" the monkey feels many will be satisfied.

At the side of row C, and with a heavy discount, a reader opines,
"Don't be fooled by the red squares on the seat diagram, Row C seats 1, 2 and 3 of the GRAND CIRCLE are amazing. The legroom is plenty, in fact I could stretch my whole legs at an angle and I still wasn't disturbing the people next to me. And the view is amazing. Because of the circular setting of the theatre, you can see everything on stage (and above) and you feel a part of the play. If the moving stage is being used in the show you are seeing, these seats (or ones similar) would be my choice because when the moving stage is high, if you're in the stalls, you have to tilt your head up where in these seats we looked down or straight ahead. For £25, totally worth it!"

at full price, though, the monkey still feels other seats preferable.

From row F, reader Anne Hysted says of "Oliver" (December 2008),
"F18 and 19: I bought these from a coach operator for £37.50 each. Very central, we thought these seats were excellent. The Grand Circle does have quite a shallow rake but I don't agree with the comment that from Row F back it seems a long way from the stage, perhaps it depends on the production but we had a great view, didn't need opera glasses although they were available. Leg room not bad at all, have had a lot worse - I'm 5'8" with long legs and I was fine, I guess anyone taller might have found it a bit cramped but it's rare to have generous leg room in any theatre seat."

Another reader reports,
"Row H, Dead centre gave me a full view of the stage, literally the edges of the walls bordered the set. The leg room is OK, and it allowed me to look down slightly, so I got the impact of the on stage projection and lighting."


A reader reports, of discounted tickets,
"Sat in seats K3 and K4 in the Dress Circle. We got them half price at TKTS half an hour before the show started (the matinee on 24th November 2007). View was absolutely fine and for £32.50 were really good value. Could see the whole stage and set really well and didn't feel like we were all the way over at the side."

A group organiser sums things up for "Oliver" (December 2008) with,
"We got so called £62.50 seats for £35 so can't really complain; but it is obviously just a clever way of filling seats that they have not been able to sell for the top price by giving the impression they are at a big discount when really they should have been priced at a second rate in the first place.

We had a block of seats in rows H J & K ( we were sitting in J), and were so far from the stage that it was not possible to see faces to be able to identify who was playing Oliver or The Artful Dodger." On a second visit, the reader was far happier with his seat in row G.

Reader Peter Grant reports for a previous production,
"Our particular seats (which were described as "best" and appeared to be normally full priced - now reduced, editor) were in row L of the Grand Circle, but have a very restricted view of the top of the stage. They don't actually miss any action but they do miss some of the atmosphere which would be created from seeing the entire stage."

For "Oliver," row L is cheaper. Again working perhaps on the theory that the overhang of the circle above may reduce the views of scenes taking place on the bridge above the stage (which was used in the last production of the show at the Palladium). A pretty good bet, though, feels the monkey, for those who don't mind a little less legroom than the stalls but a better rake over rows in front.

Legroom is adequate in all seats except row A for all but the tall (on reader says row A has, "legroom for hobbits and people who were born without knees!" Another reader though felt A 3 and 4 had space and even room to put bags down. Seems to be less space towards the centre of the circle in that row. The tall should should pick row K stalls. Extra comfort can be had taking seats on the central aisle.


Dress Circle Boxes
Boxes J to P are arranged across the back of the Grand Circle. These offer average views of the stage, being affected by the overhang of the Upper Circle. When sold at third price or less, they are a good value, preferred alternative to the rear stalls.

Boxes B, C, BB and CC are at the sides of the Dress Circle between it and the stage. B is the Royal box and is double height. BB matches the design architecturally. C and CC offer the best view of the stage, then B and BB. Frankly, choose central seats first as around an eighth of  the stage is not visible from any of these boxes. When sold at third price, they are a good value, preferred alternative to the rear stalls.

Reader Daryl says for a previous production:
"Sat in Box CC. I can 100% say if this box is let out at £20 it is well worth it! (not a usual concession - editor). I've had the box to myself twice now and the view is stunning from here. Yes, about an 1/8th of the left of the stage is cut off, but  much of the show is symmetrical so you can quite easily picture the other side. I'm an avid box user, as I've said before elsewhere on this website, and this box doesn't fail to please: a great view, great space, privacy and a fab sound quality."

Above this set of boxes are D, E, DD and EE. E and EE are preferable, but should only be a first choice for those wanting more legroom at Upper Circle prices. Again, the view is restricted slightly.

PLEASE NOTE: For copyright reasons, information and graphics on this page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed. 

 

UPPER CIRCLE
The balcony overhangs the Upper Circle at row E. The view of the top of the stage is affected from row H back.

Like the Grand Circle, the Upper Circle is split into three blocks - centre and two sides - by aisles. Each aisle has a low bar at the end. The circle, too, has a very shallow rake making row F back seem a long way from the stage and annoying shorter persons. Quirkily, rows A to D feel quite close to the stage.

Best seats are rows B and C 13 to 28, D and E 13 to 28, and row A 17 to 32 in that order. Row A again loses marks for legroom comfort. Slips at the edge of row A offer a poor view - looking down at the stage through the thicket of projecting boxes, as well as poor legroom and are worth avoiding!

A reader notes,
"I was in seat B12 of the Upper Circle. Before the show everything seemed fine but as soon as the performance started my view was restricted by the safety barrier. At 5ft 8 inches I do not regard myself as abnormally short but I must have been a distraction to the people behind as I was ducking and stretching to see what was happening on stage".

Another reader, slightly further to the edge of the venue says,
"B6 and 7: Leg room was just about adequate for me (5'10'') and view was great, but the very front of the stage was blocked by the balcony, and when most of the acting which took place at the front was happening, we all had to lean forwards to see."
 

Another reader notes that,
"Seats B12 and 29 can be great if reduced due to some complaints over a safety rail. A bargain, particularly when you consider the surrounding seats are often £40+ and the only other seats at that price are either far to the side in the slips/extreme edges of the circle or behind a pillar!"

Reader James weighs in with,
"The double height safety bar at the aisle affects the view in seats A, B, C and D 12 and 29. Not particularly badly, but would avoid these and sit around them."

The monkey welcomes reports from others experiencing the same problem, along with other comments from other readers like James on this one - especially since producers now seem to acknowledge an issue and have made the seats cheaper... well worth a look, as the second reader points out!

Indeed another reader -  Mike from Shropshire says,
"Sat in B29 in the upper circle for £5. What a bargain!!! Yes, the handrail is in your view but because of the nature of the production, much of the action takes place in the raised revolving set so you don't need to look around it very often.

If you are a perfectionist and expect a clear view, then avoid it but for far LESS than all the seats next to me, it is definitely worthwhile! Even at £15 it is still well worth the money but I wouldn't be surprised if the producers don't decide to increase the value of this seat to 'one less than surrounding tickets."

Fingers crossed they don't, feels the monkey...

Another reader rates the centre of row B, "Good for the price."

One row back a reader says,
"We sat in Upper Circle C28 and C27. View was excellent and legroom perfectly adequate for two people of 5’6” and 5’8” respectively. A word of warning - the Upper Circle steps are quite steep and there are no handrails or anything else within grabbing distance if you slip, so if you’re not good on steps, give yourself plenty of time to find your seat before the last minute crowds."

Another row back a reader reports,
"D23 and 24 had a decent view (slight obstruction due to person sat in front) but slightly cramped for legroom."

While another row back, a reader says,
"Excellent views from E21/22. Only one gripe, the seats are rock hard and at a strange angle"

Row K of the centre block offers good value, being cheaper than the row in front but having a very similar view. Take K over J and save a few pounds!

Row K also wins a reader's vote:
"Upper Circle Row K seats 24 to 28 were wonderful. Felt like I was near the stage and fantastic view. Leg space was not bad for me considering I'm 5''2 but my friend who is 5''8 had more of a problem".

As in the Grand Circle, the first and last few seats in the side blocks of all rows offer grotty views and poor value with the edges of boxes intruding into the view at the extreme edge of the stage. The first and last 2 in rows B and C are worth a thought - as are the ones in A if legroom isn't an issue. Otherwise, the rest are possibly the most worth avoiding given that there is no discount now to make it bearable.

Rows K and L seats 12 and 29 are behind pillars. They offer fair value at a lower price. If you can bear the restricted view then choose row L over K for the slightly better view for this production in the monkey's opinion. The pillar is thick and directly in front of the seat in row K, so you lean further over to see around it. Those in row L will lean less and be a bit more comfortable in the monkey opinion. It also felt that seat 12 was slightly superior to seat 29. DO REMEMBER, though, that these are restricted view seats - you won't see the whole stage from them...but many pillar seat fans may well be happy here. 

Row D seat 1 is haunted, but never after 6 pm and only if the theatre is full. The gentleman is an elegantly dressed, white wigged man who moves from his seat, across the gangway, and through a wall. A skeleton with a dagger in its ribs was found behind this wall in mid Victorian times. His appearance during previews is a good omen for the production.   

Legroom is just barely adequate in all seats except row A. One reader goes further in his report:
"Upper circle row J seats 12 & 13 at The Theatre Royal: I am 5ft 8, my friend 5ft 6 so we're not that tall and we found the leg room a bit cramped, how people 6ft and over cope is beyond me!". This was echoed by other readers for rows B, D and K too (see above).

Upper Circle Boxes
Between the Upper Circle and Balcony are boxes E and EE. High up and slightly restricted views. Good value at near Balcony price for extra legroom and lack of ironwork spoiling the view. These are a good budget option, sold to the public instead of housing spotlight operators.

 


BALCONY
 

THESE TICKETS ARE OFTEN BOUGHT BY TOUTS / SCALPERS FOR RESALE. THEY ARE THEN PASSED OFF AS DRESS CIRCLE (first balcony) SEATS - WHICH THEY ARE MOST CERTAINLY NOT!. DO NOT PURCHASE FOR MORE THAN FACE VALUE OR FROM UNAUTHORISED SOURCES. 

The balcony overhangs the Upper Circle at row E.

A metal bar runs across the front of this circle, triple height at the ends of the aisles in the corners. Row A and B seats are sold at bottom price to make amends for the restricted view. If you can stand the legroom, sit in the centre block of this row.

Regular reader Astrid comments,
"We sat in row A for "The Producers". We thought the tickets were fine with a good view - we didn't really need the binoculars much. We did lean forward to look through the bars. My arms are still hurting from doing that, though."

Like the Upper Circle the balcony is split into three blocks - centre and two sides - by aisles. It too has a very shallow rake and is very high above the stage, inducing vertigo in many people. Reader Jean Marshall felt that:
"the balcony was steep enough to give a good view of the stage, but I wouldn't have wanted to be at the back".

Best seats are rows D to F 13 to 27. Row A loses marks for legroom comfort, rows B and C because inconsiderate folk leaning forward could be a problem - though B may worth a try at bottom price, feels the monkey...but only if you can intimidate folk in front to behave. If you can't, then pick A instead and maybe be the person to be intimidated...! That of course is a whole different discussion, though.

Reader Adam Walker reports from row D,
"We sat in the Balcony row D 29 and 30. Be warned, the climb to seats from ground level is a big one, especially when you're faced with the curt warning of 'Showtime in 2 minutes!' Leave yourself plenty of time to get in and settle back. Agreed, it is high up. But really the seats are excellent value for money (especially in preview price). You see the whole set from here, and you're looking down on it, so really you don't miss a trick - and it's awe inspiring to see the set at work (more on that in minute)."

Another reader says,
"I was sat on row D of the Balcony seat 27 which sounds really high up, which in some ways it is but for a show of such enormity I wouldn't have wanted much closer at all, it was a brilliant seat to be honest, although it was very hot and a long walk.  I can't really pick a fault at these seats apart from when somebody stood towards the front of the stage I missed it due to the person's head in front of me, but that was only once or twice."

Reader James is also keen on row D,
"Would agree strongly that row D centre block of balcony is a good buy - such a "big" show that being far away didn't matter. However, not sure how this will be for Oliver, which will obviously depend less on big spectacle and more on characters."

The monkey thinks it will be fine... it has been for other smaller shows... paws crossed...

Reader Thomas Evans is also a Balcony fan:
"I booked two seats at the centre of row H of the Balcony, and was initially worried about the distance from the stage. However, pleasantly surprised, I seemed to have picked the perfect row: the whole stage could be seen and only once did we need to lean forward"

While reader Zoe, another few rows back for "Lord of the Rings" (in May 2007) says,
I sat up in the balcony Row K. It was very high up, and very hot, but at only £10 a ticket was excellent value. I have to admit though it is probably even better when you are closer."

Another Row K dweller, for "Oliver," says,
"K3, 4 and 5, are just about as far away and as high up as you can get. The legroom was OK (didn’t come away with bruises on the knees) and the heat bearable. I think for this sort of production some distance from the stage is good, you can almost the full depth (lot’s of it at the Theatre Royal) and width easily to appreciate the choreography. The walkway was partially obscured as was the top of the stage meaning we missed the very occasional bit of action on one of the bridges if it was particularly high. Sound levels were reasonable, but some vocals were lost behind the orchestra."

As in the Upper Circle, the first and last few seats in the side blocks of all rows offer grotty views and poor value. Only row B seat 38 is excepted because it offers a little extra legroom combined with being sold at bottom price to compensate for a slightly restricted view of one side of the stage.

Also worth a look for "Oliver" are the end two seats in rows C to E, also cheaper. Take the one in off the aisle for view, on the aisle for legroom. NOT a particular recommendation, but a way to sit further forward in the Balcony and save a few extra pounds for the least picky, feels the monkey.

The rear two rows offer very poor views from all seats, being far from the stage. Skip them as the are now the same price as rows in front - making them a "red" warning rating to the monkey mind. Take these last or as an option if you don't fancy paying less to lean through bars or peer round pillars. Go centre block before side blocks, naturally, in true theatremonkey style!

Do remember that this is the Balcony, though, and even £29.50 will not provide the same (or even close to the same) view as a £60 stalls seat might.


Reader Chris May comments:
"At twenty quid a ticket in the balcony I feel that if you are  in the centre block up there it's a fine view no obstructions. Binoculars are  good for close up views

The  only problem is that you may want to strip naked as its so bloomin' hot up  there. But it's worth the sweating for the cheap 20 quid. 

Plus if you can't  walk well or like me had danced the night away for 4 hours non stop the  previous night don't expect the climb to the top to be an easy one.. The view of the actual show from row H is fine but you may miss the top of the sets". 

Someone else comments,
"I sat in J 24 of the balcony. I had plenty of leg room, but I know other people didn't as the two ladies beside me ended up moving so that they could put their feet over the seat. The view was great - I could even see some facial expressions! The only problem is if someone sits on the edge of the stage - literally the whole balcony leaned forward. Actually the other bad thing about being so high up was that it ruined some effects, if you can see behind the set.

My other complaint about the seats up there - they're all connected very firmly. Normally this is not a problem, but in this case anytime the people next to me moved, they brought my seat with them - this was particularly uncomfortable during the interval. Also, I felt it anytime the person behind me moved their leg because they moved my seat. Luckily I wasn't able to notice it too much once the show started!"
 

Reader Teresa Gustafsson says,
"K20 to 22: these seats are marked red but I disagree. I admit it’s pretty high up but you have a totally clear view of the stage and don’t miss out on anything except maybe facial expressions, but with the binoculars you can have that to. The only bad thing is if you are afraid of heights, like my friend, because it’s a lot of steps to climb!"

The exact reason the monkey has them "red" - though it takes the good point the actual view isn't restricted. You do miss facial emotions in a big musical, though, it feels.

Another reader notes similarly:
"We sat in Row L of the balcony... At first I thought it would be a nightmare being so far back, but the Producers is not an intimate show and you don't miss out on the action by being there. We shared a pair of binoculars to get a few close up looks at the dancers costumes etc... I must agree it gets HOT up there, and the seats are very cramped so get an aisle (not that it's any worse than other theatres!)"

Legroom is just tolerable in all seats except row A - the very tall won't be happy up here in any seat, though. Extra comfort can be had taking seats on the central aisle and row B seat 38 - except for the tallest!

One person felt that,
"I could see very well as each row was raised up, but if I had been taller than 5ft 6 here, I would have been uncomfortable where I sat in row E."

PLEASE NOTE: For copyright reasons, information and graphics on this page should not be directly copied and reproduced on other websites / noticeboards. Hyperlinks to this page are, of course, welcomed. 


Notes

Total 2200 seats approx. 

Air-conditioned using an air cooling system. Readers report this ineffective (paper fans and bottled water are sometimes provided!), so be prepared for a hot and uncomfortable time in the height of summer, alas. To minimise the effects, seating in the front stalls is normally coolest as heat rises - and is also trapped in Circle overhangs. Just a bit of advice from someone in the theatre industry who has a grasp of physics...

Good news in February 2009 is that permission is being sought to install an air-conditioning system. Fingers and paws crossed, thinks the monkey.

Infrared headsets available, working best in the central stalls - get the technicians on the current show to improve this says the monkey; Signed and audio described performances occasionally. Printed matter available in Braille. Wheelchair access via a firedoor but no step for a change. Guide dogs can be dogsat. Unisex adapted toilet available. Kept locked - ask for key. Fuller details www.theatre-access.co.uk www.seetickets.com, or 0844 412 4648 or e-mail customer.relations@seetickets.com.  Artsline 020 7388 2227, email artsline@dicon.co.uk. A "venue access guide" from the team who created book "Theatremonkey, A Guide to London's West End," is available to download in PDF format by clicking here.

Food: a café plus confectionery and Ice cream. 5 bars: Stalls, "Saloon" at Grand Circle level, 1 Upper Circle, 2 balcony.

Also bookable in advance (redeem voucher on day of performance to collect) is a food container called a "Royal Box" (nothing to do with sitting in a box in the theatre!) containing a selection of canapés for consumption in the bar or at your seat. A half bottle of champagne is also available as an optional extra with the box too - for those over 18 only, subject to usual licensing laws. Click here for more information.

16 toilets; Stalls 2 gents, 3 ladies, 1 disabled, Grand Circle 2 gents, 2 ladies. Upper Circle 1 gents, 1 ladies. Balcony 2 ladies, 1 gents.

A further ghost, theatremonkey's hero Joe Grimaldi, haunts the stage and kicks lazy and poor actors in the rear end as appropriate. Rumour has it that the spook retired with exhaustion after dealing with a problem during the run of "My Fair Lady" in the early 2000s... but the monkey cannot confirm that...

 

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Getting to this Theatre
Find this theatre on a Street Map
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Covent Garden - Piccadilly Line (dark blue).

Plan your tube journey to this station using the button below:
 

An ILLUSTRATED PHOTOGRAPHIC version of this route is available by clicking here.

For mobility impaired audience members, the Society of London Theatre provide a "photo map" - illustrated walking route to this venue from a near landmark and also Waterloo Station (the nearest fully accessible station) on their website www.officiallondontheatre.co.uk, via the theatre's listing page on that site.


On leaving the station, turn right and walk into the large pedestrian plaza that is Covent Garden. If you see a long road with cars in front of you, wrong way.

On entering the plaza space, turn to your left and walk along the collonaded area (cut across if it is not raining!). If you see Tesco Metro Supermarket or a bank, Wrong way.

Keep walking ahead as far as the collonaded area will allow (it forms the outer part of the market Square). Follow it to the right. At the end of the building is Russell Street. Walk along Russell Street, crossing one road, until you reach a street corner with the Fortune Theatre to the left and the Drury Lane theatre ahead of you on the opposite side of the road. 
______________________

A photographic illustrated version of an alternative route from Temple underground station is available by clicking here.

Plan your tube journey to this station using the button below:
 

 

Buses:
6, 11, 13, 15, all stop on the Aldwych. Walk towards the Novello Theatre and walk up the street next to it, uphill, past the Duchess Theatre. Drury Lane Theatre is on the right side of this street, at the end corner. If you see the Aldwych or Lyceum Theatres, wrong way.
 
Car Park:
Parker Street, under the New London Theatre. Exit the Car Park and stand with your back to the main foyer of the theatre. Cross the road ahead of you and turn to your right. The street corner is there ahead of you. If not, wrong way. At the corner of the street, Turn left into Drury Lane and walk along it. If you pass the New London Theatre, wrong way.

Walk straight on, crossing Great Queen Street. Continue down Drury Lane. Please cross to the other side of the street and continue, crossing over Broad Court and Martlett Court until you come to a four way crossroads.

Turn to your right at these crossroads. Do not cross any street. Just walk ahead down Russell Street. Cross Crown Court and continue straight on, changing to the other side of the street. 

The end of this street has the Drury Lane Theatre as its corner. Turn to your left at this corner to the Drury Lane Theatre entrance. This is in Catherine Street. and walking downhill, the Duchess Theatre is halfway along on the other side of the road. If you come to Covent Garden pedestrian piazza, wrong way. 

 

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