STALLS
Layout:
The Dress Circle overhangs the Stalls at row M (and curves around to row
J at the sides).
The Dress Circle overhang affects the view of the
top of the stage from row S back.
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.
The side blocks extend beyond the proscenium, so do not look directly at
the stage opening.
A noticeable rake
(sloped floor to help see
over rows in front) ensures a good view from all seats to row S.
Row K is
a few millimetres higher than row J.
Legroom:
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, D 1 and 33
with nothing in front; and (for one leg) E35 and H37 - the only places for
the longest legged to choose.
Most readers found A 0 and 24 and rows from L back noticeably tighter,
though - a reason the monkey removed row L's previous "green" rating.
Choosing Seats in General:
Front Section:
An extra row, AA can be inserted in front of row A in the centre block.
Even when row A is the front row, it's rare to experience neck strain here
as you look over the wide orchestra pit.
As there is no rake, though, younger children and those under 5ft 8 or so will struggle to
see past any taller adult in front of them in rows A to C at least. Take
the dress circle for them.
For everybody else these front three or four
rows are a wonderfully immersive experience - monkey only leaves
the 'green' rating off because of the lack of rake.
Among the best seats in the house and this section are rows E to G 10 to 26 and rows H and J
11 to 27, then centre row D.
Rows A to J usually have reduced prices at the extreme ends. 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 and block views. 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. If at second price 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.
Rear Section:
The monkey first choice in the entire theatre is row K seats 6 to 30.
Unlimited legroom and a decent view.
Behind, row L loses points for legroom. Row M has a little more.
At top price, next try all but the outermost two seats of side blocks of
K or M, then look forward to 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.
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.
At the back of the theatre, top price runs back a good way. The
monkey would skip anything behind T, as U to W are too far away, not
brilliantly raked and cramped. Much better stuff available further
forward, really.
Row X at second price or less compares badly with the upper circle
seats at the same price. Comfort is slightly greater in that you can
slip your feet under the seats in front, but the upper circle doesn't
contend with the overhang or being so far from the stage with so many
folk in front. Skip it, feels the monkey.
Moving back, Monkey likes central row YY 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. You could do worse than YY 11 to 13
and 21 to 23. Why? There is a small step to them, giving them an extra 2
inch raise above the row in front. Not perfect for children - who'll see
far more from one of the circles above, but a possible choice for many
less choosy others seeking cheaper stalls.
Do note, though, there is another reason that rows Y to ZZ at often
at second to lowest price. They are low (feeling lower than rows in
front), far back and miss the top of the stage.
As an alternative to vertigo in the top balcony, fine. As perfect seats
for a special night out... try elsewhere or pay up for seats further
forward, feels the monkey. For those on a tight budget and not wanting
vertigo or the extra cramp of the highest balcony though, they
might just do the trick, so don't ignore them.
General Hazard Notes:
Speakers hung under the circle overhang
clip about 5cm off the view from some centrally located seats from row S
back - not a
problem though, the monkey just records it from interest!
All the very end seats in rows A to J in particular, are well outside the
proscenium arch, leading to strange viewing angles around / excessive noise
from, the soundman's hardware - it particularly affects the front 4 rows.
Avoid seats around the sound desk if you will be disturbed by the noise
and light, though sensibly they have added a gap between the desk and the
seating. Worst affected seats are Y14 to 24, YY14 and 20, Z14 and 24 and ZZ
14 and 24.
Rear rows have pillars to the side of seats in the centre of the centre
block from row YY back.
Changes for the current production:
Row AA is the front row in the centre block, row A in the side blocks.
The extreme ends of rows A to F are down to second price. The monkey
would take A 4 or 21 then 3 or 22 first.
Sure, you'll get a side view, but it'll be near identical to the one
over the aisle in the centre block at £10 more, and you'll have nobody in
front.
Next in the restricted view stuff it would go back to row F and take
the seat off the aisle next, then the aisle seat, then the one in the
row in front off the aisle and work forwards from there. With speakers
and lights in front, and a side view of the action, any ill-effect is
minimised the further back you go.
"Premium" seats have been designated in rows F
to J of the central stalls. Up to you if you
wish to pay more, feels the monkey, though the view is very good.
Row U is expensive at top price.
At second price, row W is better value than row U. The rest of the second price,
apart from the elevated ones in row YY are below mediocre in monkey opinion,
though, so take the same price upper circle over these - unless legroom is an
issue, as the stalls do have more.
Working perhaps on the theory that the overhang
of the circle above may reduce the views of scenes taking place at a
high level, rows Z and ZZ are fairly priced (particularly during
previews until 24th June 2013) if anybody is willing to trade a cramped
restricted rear stalls seat for a cramped back row upper circle one. The
monkey might, if the restricted view seats in the upper circle at the
same price have gone.
Reader Comments:
"A3: At a big discount for £20 at 'Oliver' in 2009! 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!"
"A9: Oliver. you get a truly magnificent view from here. You are, of course,
probably a bit too close, as due to the size of the sets you are
constantly moving your head and eyes around as there is so much
happening on stage. You don't have to look up too much as the stage is
set quite low and there is fantastic legroom. Also, the conductor
doesn't get in the way."
"A12: A wonderful seat - you'll love it! So close that you feel you're
totally in the show.
The setting is a monument and sometimes you will be blasted by the huge
and beautiful stage design. The only one thing which can harm you is the
spittle from the actors, because when the get in front of the orchestra
pit they are so close that you're able to smell them :-) It is a very
good choice to spend your money on that seat because the experience is
fantastic."
"A15: The view from here is of course, excellent. I had no difficulty seeing
anything on stage...and the legroom was excellent." "A16: (Ali). 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"
"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." "C20 and 21: "Shrek" (May 2011),
(Michael). I would like to say they were excellent viewing as we
could see the stage floor from here with offset seats and close to the
action on stage, but on this occasion, my view was constantly blocked by
the gent to my right who was swaying left and right. No doubt I was
causing the same problem for the person behind me as a swayed in unison
in order to see as best I could. When someone's head is blocking a
character as large as Shrek, then I believe it's a problem."
"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."
"D17: (James - regular contributor). 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."
"D 30 and 31: "Shrek" (May 2011). Apparently these seats are
classed as 'restricted view' seats but I found no problem with them at
all. I think from seat 31 you missed a tiny bit of action but as 99.9%
of the action is centre stage you really don't miss much at all. We paid
£45 per ticket for £65 tickets through a discount website and we got a
real bargain as far as I'm concerned. Legroom was quite generous for
someone of 5'6", but I can imagine it might be slightly uncomfortable
for someone who is 6ft or taller. All in all I can't fault these seats.
(When discounted a bargain indeed, feels the monkey)."
"E5: 'Oliver' (December 2008), (Kirsty). 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."
"E16: "Oliver," (Martin). had an excellent view and just enough legroom (I'm 6' 01") although
I wouldn't recommend sitting any closer."
"Row F: centre excellent, though with average legroom."
"F12: "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."
"F27: (Jon). 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."
"Row G: "Oliver" (January 2009), (Dave). Seats in row G centre stalls were excellent. I am please we bought top
price."
"G22 and G23: 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."
"Row H: "Shrek". Tight on the knees for me being 6' 1", but did give a good view;
but even being so close to the stage it was only just apparent that
Princess Fiona became a green ogre at night. She was definitely not
green enough and not apparently ugly either - so sitting further
back this would have escaped people even more the further back you are
seated. SPOILER ALERT I also wonder if the rear seats could see the
dragon flying over the stalls. That was spectacular. SPOILER ENDS.
"H 9 and 10: "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."
"H13 and H14: (Diego). got for the student rate of £25 for "Oliver" in June 2010.
To my shock, these are the so called 'premium seats' and although they
aren't often sold at their £85 listing price, I knew that I was getting
a bargain! The seats were really, really good and you have a clear view
of everything. I was very pleased."
H13 to H16: (Sally Scott). Great seats." w
"H17: (daryl). the view was fab"
"J11 and J12: (Rob). 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."
"Row K: (Rich). in the stalls is an excellent position to see the show from,
loads of legroom and a great view."
"Row K: There is superb legroom in row K, but even this row could be considered
to be a little too far back."
K20: (Ian). 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."
"K27 and 28: "Shrek" (June 2011). This is the fifth time I've been to this theatre and third
time in the stalls. Without doubt K27 and K28 are the best seats I have
ever had here (even better than the premium priced seats which I have
sat in before). The main reason for this is the huge amount of leg room
between this row and the one in front so you can fully stretch out plus
the view is totally unobstructed in any way by the people in front
(whereas with the premium seats they might if you get someone tall). We
paid £35 each through the Get Into London Theatre ticket promotion but
would've happily have paid full price."
L12 and 13: (James). 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."
"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!"
M8 and 9: (Steph Nicholls). 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."
"M16: Perfect view of the stage."
"O1 to 5: "Oliver" (January 2009), (Penny). Very good seats, although could have been a little cramped for
very tall people. Great view."
"O3: "Oliver" (January 2009), (Jackie). The seat was well placed and gave an uninterrupted view of the
stage. The legroom was dreadful though. I am 5ft 9 and at first couldn’t
seem to fit my legs in to the gap! Eventually managed to wedge them in
the triangular gap where the two seats in front joined – not the most
comfortable evening and my back / hips are still aching from the hours
in this unfortunate position."
"O 28 and 29: While
the view to centre stage is great, the legroom isn't what you might
expect in the stalls."
"P26, 27 and 28: "Oliver" (January 2009), (Mila). 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!"
"R7 and 8: Pretty
good
view, leg room OK. 1 and 2 are OK as well."
"S29 to 33: (Sharon). 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."
"Row U: "Oliver," (Lorna). and I too felt a bit far away. As Fagin
jokes, I'm the poor at the back."
"Row U: "Shrek The Musical" (June 2011). I believe we overpaid at £40 each for rear stalls (row U with dress
circle overhang above) preview tickets - which were reduced to £15 by
the time we actually went."
"U19 to 24: 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!"
"W31 and 32: 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...)."
"Row X: "Oliver!," (Rachel). Centre – 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."
"X 36 and 37: "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."
Yet another wasn't keen for the same production,
"Y9 and 10: "Oliver" (January 2009). I am normally fairly positive about theatre seats but these
were horrendous! I felt so low to the ground, my knees were by my ears
and the restriction of the circle overhang cuts of half of the stage
which is a problem in this show. We felt very claustrophobic! I asked
if we could move at the interval and despite it being a near sell-out
the front of house manager was very kind and let us move to some great
seats in the upper circle."
"YY7 and 8: "Oliver!," (Louise Robinson). 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."
"Y12: "Shrek" (June 2011). Using Theatremonkey's advice, I sat in Y12 in the stalls, which I
have to say are amazing value at £25, much closer to the action than if
you were in the balcony tickets at the same price, also just one row
behind seats which were £55. Definitely a bargain! Although listed as
"overhang may obscure view" nothing was obscured for me, however I feel
if you sat any further back then it would be a bad view."
"Y28 and 29: "Oliver" (January 2009). 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."
"YY 29 and 30: "Oliver!," (Ros). 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."
"Row Z: "Shrek" (June 2011), (Mark - regular contributor). Seats here at just £20 (at preview prices) and are great value
for this show. You don't miss anything substantial as nothing takes
place up a height. Definitely worth it. Would take these instead of the
gallery if the overhang doesn't bother you. Obviously Y will probably be
even better! Didn't even feel too far back, which was great! SPOILER
ALERT I had to slouch slightly to see Farquad in his castle in Act One
but that's probably to do with me being 6 ft 2! The dragon you can't see
all the time, obviously, but you can see it enough when it comes a bit
lower. I didn't feel like I missed out."
"Row Z: "Shrek" (June 2011). The comment about the dragon being difficult to see from the rear
stalls was correct: we were craning our necks forward to try and see
what the rest of the theatre were ooohing at. I imagine it'd be very
impressive if you were under it, or at the same height in the dress
circle, or above in the front row/s of the balcony, but people in the
rear stalls and rear balcony would wonder what was going on. SPOILERS END."
DRESS CIRCLE
Called the Royal Circle in this theatre.
Layout:
The Upper Circle overhangs the Grand Circle at row E. It
affects the view of the top of
the stage is from around 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.
Legroom:
Row A is complicated. Reader Paul Nicholls
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.
The monkey took a look and found that the legroom varies a lot in that
row. There is least in the two seats nearest every aisle. It then seems
to increase as you move towards the centre of the row, the centremost
seats in the side blocks having a bit more, then decreasing again. In
the centre block, legroom apart from the end 2 seats is more consistent
and should just about suit all but those over 5ft 8 or so; two 6ft plus
reader even found the centre two seats more than acceptable. The tall should
should pick row K stalls, though.
Elsewhere, it's adequate for all but the tall.
Extra comfort can be had
taking seats on the central aisle.
A strange quirk means that the 'inner aisle' seats in the side block
containing seats 1 to 12 (11 / 10 / 9 - you know the one the monkey
means) has a bit more legroom - a stretch into the aisle for one leg! -
for the highest numbered seat in each row from row B back. Same goes for
the other side block, with seats starting 27 / 28 from row B back there
too.
Choosing Seats in General:
Centre Block:
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 needs careful selection if legroom comfort
is a priority. Next best are rows F and G centre, then look at side block
seats.
Reader Rich summed it up with,
"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."
Side Blocks:
Once centre seats in rows A to G are gone, take rows B to G the first four seats
nearest the centre aisle. Then choose whether to take row H back centre block, or seats in
rows B to G further along to the side. If action mostly happens centre stage,
then rows B to G (away from the extreme ends) get a reasonable (just about) 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.
General Hazard Notes:
The shallow rake affects the view for anyone not tall enough to see over
the row in fronts' heads from around row F back.
The first and last seats in the side blocks of all rows are affected
slightly by the boxes projecting into the field of view a little.
Changes for the current production:
Central rows A to C are "premium" priced. Your call, feels the monkey,
who notes there are great seats behind them for less cash.
Rear rows are NOT cheaper. Often the overhang of the circle above may reduce the views of scenes
taking place at the top the stage. At top price, rows H back are a last
resort, it feels.
Reader Comments:
"A 3 and 4: (Vicky). 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."
"A16: the
view was magnificent with a completely unobstructed view of the
stage. You
don't even need to lean forward to see clearly!"
"A 17 and 18: "Shrek" (June 2011). Paid £45 each for preview tickets (in May 2011) and the
view was unrivalled. Purposely chose Dress Circle over stalls seats as I
presumed there would be large elaborate sets and dance routines, which
there is! :) These seats offer an amazing view of the entire stage, and
the central location is brilliant for seeing everything! The lack of a
safety bar means you don't miss a thing and at 6ft 2, the leg room is
more than ample (there is even a small ledge just below knee height you
can rest your feet up on!)." "A17,18 and 19: "Shrek" (June
2011). The seats were fantastic! We had a perfect, unobstructed
view of the entire performance! We weren't too sure about booking them
after reading reviews saying there is no leg room in this row, but
decided the view was more important. We were very surprised then to find
there is plenty of leg room! In fact, people weren't even standing up to
let others by. My husband is 6' 2" and often struggles with leg room but
he had plenty too." "A24: (James - regular contributor). Front row of Dress Circle was perfect for view and legroom."
"A26 and 27: Outstanding view, every aspect of the stage was seen so
clearly and there was no annoying safety bar."
"B 29 and 30: "Oliver" (December 2008). These seats offer a brilliant view of the stage. As the
stage adjusts the Dress Circle in my opinion offers the best of both
worlds at this show. A major downside of these seats was the lack of leg
room (I'm 5ft 9), which made sitting through the show uncomfortable to
say the least."
"C 1 to 3: 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 (heavy discount - editor), totally worth it!"
"C12 and 13: “Oliver!,” (James - regular contributor). 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."
"C17 and C18: 'Oliver!, (James). Excellent!"
"C18: This seat definitely requires a 'green' coding as it provided a
great view of the stage and was well worth the £25.75 I paid for it. For
Shrek I notice that this seat is going to be £95! This seems an
extortionate amount to pay and I personally wouldn't pay it."
"D19 and 20: bang in the middle of the row and in TM's green area too!
The seats were excellent with a great view of the huge set, although it
was a little obscured at times by the head of the rather large gentleman
sitting in front of me. But I suppose that's the luck of the draw, isn't
it? Legroom was fine, not as good as if you were sitting in the stalls,
but more than adequate. I would like to sit in the front row of the
Grand Circle again, just for the spectacle! Given the choice I still
prefer the front few rows of the stalls, though.
"E21 and E22: “Oliver!,” (James - regular contributor). Great!"
"F18 and 19: “Oliver!,” (Anne Hysted). 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."
"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." "Rows H, J and K: "Oliver" (December
2008), (Group Organiser). 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. "K3 and K4: 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." "Row L: (Peter Grant). 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."
Dress Circle Boxes
Called Royal Circle Boxes in this theatre.
Layout:
Boxes J to P are arranged across the back of the Grand Circle.
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 on the other side of the theatre.
Legroom:
Good as all seats are movable chairs.
Choosing Seats in General:
Boxes J to P:
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 as they are raised above the
seats in front (and are a private space away from crisp-munchers) least.
Boxes B, C, BB and CC:
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.
General Hazard Notes:
Top stage is missed from boxes J to P, side stage from B, C, BB and CC.
Side stage boxes B, C, BB and CC could have speakers placed in or near
them, making them noisy and further blocking views.
Changes for the current production:
Side boxes A and AA are not used.
B, C, BB and CC are top price. About fair, but better views
elsewhere.
Boxes J, K, L, N, O and P all have reduced seating capacities, losing
two seats in each box for some reason. Still, for privacy at second
price, about fair, feels the monkey.
Reader Comments:
"Box CC: (Daryl). 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."
UPPER CIRCLE
Called the "Grand Circle" in this theatre.
Layout:
Like the Royal Circle, the Upper Circle is split into three blocks - centre
and two sides - by aisles.
A short row of slip seats either side extend from the front of the
circle, down the sides of the theatre, towards the boxes.
Seats are raised on steps.
The balcony overhangs the Upper Circle at row E.
The view of the top of the stage is affected by circle overhang from row
H back.
Legroom:
Just barely adequate in all seats except row A - which is very cramped. 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.
Choosing Seats in General:
Quirkily, rows A to D feel quite close to the stage.
Centre Block:
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 loses marks for legroom comfort.
Moving back, the rest of the seats at least offer clear views for all
but the shortest.
Row K of the centre block offers good value when cheaper than the row in
front but having a very similar view. Take K over J and save a few pounds!
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.
Side Blocks:
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!
In the main blocks, as in the Royal Circle below, 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
if discounted 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.
Otherwise, try for the most central seats you can. Oh, and do consider
the single seats right next to the aisle on rows B and C in particular (plus
A if nil legroom isn't an issue). Always cheaper due to views through a
rail, which doesn't bother bargain-hunting monkeys a jot...
General Hazard Notes:
Each aisle has a low bar at the end.
A very shallow rake makes row F back seem a long way from the stage, and
annoys shorter persons trying to see over those in front.
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.
Changes for the current production:
Rows back to K are all second price. The monkey would avoid row K in
favour of cheaper row L behind - same view, less cash.
Some very tempting restricted view seats are available. B and C 11,
12, 29 and 30 are as cheap as the front row of the balcony above.
Unusually, pairs of tickets are available (normally only the single
aisle seat is reduced). Slightly cramped, but the taller person in a
pair (provided they are not over 5ft 9 or so) will enjoy the aisle seat
with a shorter companion getting a slightly better view beside them. Two
short folk will also like the two row A seats in front of these at the
same price.
Restricted view seats at front the extreme edge of the circle are not
discounted as far, but again provide a close view at a lower price than
usual - same rule about the taller person taking the aisle applies.
At the back, row L is third price and just about fair... except the
"behind the pillar" seats in the centre block. These pillar seats have
again been set to be sold as pairs at second to lowest price.
K and L seats 12 and 29 are behind pillars, the seats next to them are
not so badly affected... Take K 13 and 28, or if you need a pair, L 12
and 29 first (in row L, 12 is slightly superior to seat 29). Then take
the other seat in each pair as required. Not a bad deal, feels the
monkey.
Reader Comments:
"A, B, C and D 12 and 29: (James) 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."
"A13 and 14: "Shrek" (June 2011). We were completely amazed with our view. We got these seats
for £15 on an offer they had in action during the previews (now expired,
editor). The view from our seats was faultless and we could see
absolutely everything without fail. Plus, being so high we were able to
hear everything in the theatre and the sound was good! I would
definitely recommend these seats and I wouldn't hesitate paying £45 for
these seats had they not been in the offer."
"Row B: "Centre. Good for the price."
"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."
"B10 and 11: "Shrek The Musical" (June 2011): I am six feet tall and my knees were pressed up so hard
against the seats in front it was very uncomfortable. I see 4 or 5 shows
a year and this was the most uncomfortable seat I have sat in. The
person with me is only 5’4” and found that if the person in front leant
forward, she could not see a lot of the stage. We paid £39.50 for each
ticket and the person in seat B12 (restricted view) only paid £14.95,
but they could stretch their legs in the aisle and their view was only
partly obscured by a small safety rail."
"B12: 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".
"B12: "Oliver" (opened January 2009), (Martin). My tickets says: "Slightly Restricted View". There was only a
safety barrier next to me, that's all. That is a restricted view? Very
nice. At home in Austria (where I live), this would be a 'First Price'
category seat! The legroom was frugal but OK for me. Normally I´m
looking for tickets in the stalls, but I was interested in seeing the
show and the beautiful set from higher ground! The view was fantastic,
the sound was good, crystal clear but sometimes a little bit to gentle
for my taste! Mr. Safety Barrier and me become close friends because he
promised not to bother me during the show, and I promised him not to
encroach on him as a hat stand! When
you're looking for an attractive offer and there's nothing available in
the stalls, ask for 'the slightly restricted view,' and I promise you
won't regret it!"
"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!" "B29: (Mike
from Shropshire). 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."
“C26 and 27: : “Shrek,” (Chris B). These seats are obviously much
cheaper than the dress circle and stalls and it is easy to see why. To
begin, you don’t even go through the theatre but a special side entrance
that seems more like a fire escape than stairs up to a theatre. Once up
there, the steps to your seat are very steep downwards. These seats are
in the central section of seats, on the aisle on the left hand side.
There is sufficient legroom (for me at 5’8”) but any taller and you
might struggle, or sit in the aisle seat. As for the view, I guess it’s
a bit of pot luck. If the people on the two rows in front play ball
you’re ok, but we had a family with young children in front and they
insisted on climbing on their parents knee and holding their hair up etc
so the view did get restricted quite a few times. With it being a kids
musical, it’s hard to begrudge this, but I’m glad we only paid the
reduced price for these seats.”
"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."
"D23 and 24 had a decent view (slight obstruction due to person sat in front)
but slightly cramped for legroom."
"E11 and 12:"Oliver" (December 2008). I thought these were really good seats for the view but not
for legroom. I was very uncomfortable and most others also appeared to
have their knees crushed up against the seat in front. The sound from
here was also very poor and at times could hardly make out what was
being said."
"E21 and 22: Excellent views from E21/22. Only one gripe, the seats are rock hard
and at a strange angle."
"G29 and 30: "Shrek" (June 2011). Nothing wrong with these seats at all, a very good view of
the stage. Not masses of leg room but I didn't hear any complaints from
my partner who is 6'4" so it can't have been that bad!"
"H 29 and 30: (N Ansari). Our budget was limited so we went for these and were not
disappointed for £35. The view was great and I made use of the
binoculars to get close ups of the actors faces. The scenery is really
bright and you don't miss anything from this view. My only bug bear is
that the higher (and cheaper) seats seem to attract families, so be
prepared for some added noise and rustling of sweets."
"J21 and 22: "Oliver" (December 2008). I would avoid these seats in the future. Although these
seats are classed as the second highest price bracket, I would recommend
paying the extra! These seats are just too far back, the atmosphere is
lacking, and the leg room is more cramped than the dress circle. The
only plus side to these seats was view of the stage, and even that was
limited."
"K 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".
Upper Circle Boxes
Called the "Grand Circle Boxes" in this theatre.
Layout:
Boxes D, E, DD and EE are above boxes B, C, BB and CC at the sides of
the theatre; high up at a level between the Upper Circle and Balcony.
Legroom:
Good as all seats are movable chairs.
Choosing Seats in General:
Boxes E and EE are the better of the bunch, but should only be a first
choice for those wanting more legroom at Upper Circle prices - the actual
view is restricted slightly.
Sold cheaper, they represent particularly good value if priced at near Balcony price for extra
legroom and lack of ironwork spoiling the view. Then, these are a good
budget option.
General Hazard Notes:
Side stage is missed from all boxes.
Spotlight operators may be billeted in some boxes, providing a
distraction and perhaps blocking views.
Changes for the current production:
Boxes D and DD are not used.
E and EE are about adequate for those wanting a little privacy away from the
younger / noisier crowd and can accept a slightly side restricted view.
Reader Comments:
None.
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.
Layout:
The balcony overhangs the Upper Circle at row E.
Like the other circles 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".
Legroom:
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."
Choosing Seats in General:
Remember that this is the Balcony, and even £25 will not
provide the same (or even close to the same) view as a £65 stalls seat might.
Row A and B seats are sold at bottom price to make amends for safety
rails restricting views. If you can stand the legroom, sit in the centre
block of row A for a very cheap and surprisingly close view.
Centre Block:
Best seats otherwise are rows D to F 13 to 27. Row A loses marks for legroom comfort
and view,
rows B and C because inconsiderate folk leaning forward could be a problem -
though B may still be worth a try at bottom price, feels the monkey...but only
if you can intimidate folk in front to behave. The rear two rows offer
very distant views from all seats, being far
from the stage. Skip them when they are the same price as rows in front - the
comparison makes them a "red" warning rating to the monkey mind.
A last choice or as an option if you don't fancy paying less to lean through
bars or peer round pillars.
Side Blocks:
If priced the same, go centre block before side blocks naturally, in
true Theatremonkey style!
Then choose seats as close to the centre aisle as possible, rows D to F
first.
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 the extreme ends of rows C to E
(if discounted) are excluded -
because they potentially offer little extra legroom from the aisle, combined with being sold at bottom
price to compensate for a slightly restricted view of one side of the stage. General Hazard Notes:
It is a VERY long walk up about 90 stairs to this balcony... and that's
after waiting outside (under a portico, admittedly) as the entrance is from
the street, not through a foyer.
A metal bar runs across the front of this circle, triple height at the ends
of the aisles in the corners.
Folk leaning forward to see over rails, blocking views for those behind.
Changes for the current production:
The central seats 11, 12, 28 and 29, and the end two seats in rows C to E are the same price as rows A and B.
Take the seat 'one in off the aisle' for view, the one directly on the aisle
for legroom, and take those off the centre aisle first. NOT a particular recommendation, but a way to get an aisle seat
and sit further forward in the Balcony - plus save a few extra pounds - for
the least picky, feels the monkey.
The whole of row L, and the side block seats in row K are the same
price as seats in row C. A last choice. If left with rear balcony seats,
the monkey would take K then L 6 to 12 or 18 to 34 (moving outwards from the
most central seats of course) over the more expensive seats in front.
Same view, fewer bananas, it feels.
Reader Comments:
"Balcony: ( Chris May). 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".
Row A: (Astrid - regular reader). 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."
"A 23 and 24: "Shrek The Musical" (June 2011), (Luke). I paid £15 quid for front row at a preview performance.
The seats are 'what you pay for,' so you can't really complain. You
really do have to lean forward, although with the show not been too long
it doesn't cause major back pain problems."
"A23 and 24: "Shrek The Musical" (June 2011). 11th February 2012 - £20 each. These seats were awful, I
will never sit here again because my back was hurting SO much after from
the leaning forward. Okay, I paid £20 but I would still not expect to
have such a bad back after the show after paying money. I also missed
some vital parts of the show as the people behind us kept asking us to
move back so they could see. Also the trek up to the balcony was mad and
I simply would never do it again."
"B4 and 5: "Oliver" in January 2011. Now... These seats would have been perfect if it hadn't of
been for the inconsiderate 'Ex cast members' sitting in front of us, All
of which were children. This annoyed me immensely because none of them
had any theatre etiquette. But as a result of this bad experience, I
will not be sitting in the Balcony for Shrek when it opens. Sitting in
the balcony also meant we had to enter the theatre through a special
side entrance as the balcony isn't accessible from the main theatre
entrance, This made me and my friend feel kind of a bit like peasants,
Which isn't something I feel you should when you go to theatre as we had
still paid £20 for a seat."
"B19: "Shrek The Musical" (June 2011). I decided to get balcony " must lean forward" tickets to save money. The Drury Lane is a huge theatre but you are not as far away from
the stage as I expected. The sound is clear and enjoyable. You wont miss
anything from the massive stage design and the best thing is, SPOILER
ALERT you're able to be eye to eye with the dragon at the end of act 2.
SPOILER ENDS.
A word on the 'lean forward' note. I am a smaller person (5ft 5") but it
wasn't necessary for me to lean forward. I got the whole picture. It's a
fair offer if you don't mind being seated in the balcony. The climb up to my
seat was exhausting, but that was only because I got a quarter pounder
before the show...(That quarter pound makes all the difference, notes the
monkey, who uses Kendal Mint Cake instead)."
"C2: I specifically asked the Sales advisor if the seat had a restricted
view as I would not have bought it and was told that it had not. In
reality there was an hand rail running a couple of rows in front of me
at the same height of my eyes. I complained and was very disappointed in
receiving a very general standard letter back saying that following a
review of the seating by the producer before and after the show they
were advised that the seat did not warrant a restricted view
classification or a seating notice advising about the safety rail at the
front of row A. I did not quite completely understand what this meant,
but I know that the safety rail partly obstructed my view. I recently
noted that your website rightly describes this seat as restricted view.
Unfortunately I discovered your very useful website only recently. I
must say that since musical theatre tickets in London are not exactly
cheap, I was very disappointed by what happened."
"Row D: (James). 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." "D 29 and 30: (Adam
Walker). 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)."
"D27: 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."
"E 13 to 20: ("Oliver). as the lovely lady a the foot of the stairs told us "you'll
need to take a big breath to get up there but we've got a great show
waiting for you once you've made it!" Only problem with being so high up
was that, on occasion, you could see the heads of people onstage who
would otherwise have been obscured from the audience's view by the set."
"F 25: "Shrek" (June 2011). I checked with my West End guru (Theatremonkey website and
book
– if you haven’t got a copy – BUY ONE now as it’s superb!) and this seat
was in the green so went for it! I paid £25 from Seetickets as there
were no discounts anywhere to be found on stalls seats.
It is high up but I held like grim death to the rail and was OK! Once
seated I was pleasantly surprised at the view. I could see more or less
the whole stage and everything really well. 'A result,' I thought! THEN
the tallest woman in Britain arrived with hair to match. Cheryl King
Cole’s (or whatever her name is) recent hair do had nothing on this. The
ozone layer must have been damaged with the amount of spray holding it
up. So, throughout the show she ALSO kept leaning forward, a phenomenon
I’ve heard of but never experienced before, thus almost blocking my
view. Fortunately (not for her!) the lady to my right was getting
vertigo and we held on to her as she escaped to stand at the back! I
could then move my head around to the side to avoid the ‘hair’. I was
conscious however, not to lean forward or move around too much due to
those behind being blocked. I’m 6ft 3” myself so a smaller person
wouldn’t have stood a cat in hell’s chance of seeing much with giant wig
woman in front!
Then to top it all, after the interval she came back with the obligatory
Shrek ears attached to the top of her head resting on the very top of
the hair, that’s how stiff it must have been (I did not indulge in a
pair myself!) Now, at this point I was getting ‘bad thoughts’. I
consider myself to be a compassionate/kind/loving/friendly/peaceful,
Baptist Church attending Christian who would do anything for anyone BUT,
I was having fantasies of getting a giant pair of garden shears and
firstly shredding the Shrek ears into a million pieces, then moving onto
the hair!!! Following this psychotic fantasy I went onto thinking how I
could stop all this EXTREMELY selfish leaning forward behaviour, what
about a SEVERE electric shock if someone’s back leaves the back of the
chair I thought ;) Anyway at least I loved the show."
"Row H: 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"
"J13 and J14: "Shrek" (June 2011). Long way up but seats (14 being an aisle seat) were well
worth the money we paid. The view to the stage was not obscured by heads
in front, and we could see virtually every part of the stage. Leg room
minimal, I am 5'9" and was just about okay. Row J, centre block,
probably one of the best places to be on the balcony."
"J24: 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!"
"Row K: "Lord of the Rings" (in May 2007), (Zoe). 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." "K3, 4 and 5: "Oliver". 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." "K20 to 22: (Teresa Gustafsson). 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!"
"Row L: 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!)"
"L 22 and 23: "Shrek" (May 2011). They were in green on the seating plan so I knew they
would be OK. Really good view, even when the odd person leant forward.
Very cramped but didn't mind as the view and sound made up for it :-)"
Notes
Total 2200 seats approx.
Air-conditioned.
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.
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...
|
