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


 

GARRICK THEATRE


THE MISER (play)
Ends 10th June 2017.

Matchmaker Harpagon wants to hang on to his fortune - by marrying his kids off to folk who won't expect him to provide a penny..

Moliere's classic is adapted by Sean Foley and Phil Porter as a vehicle for Griff Rhys Jones.


 

 

Theatremonkey Opinion:

(seen at the afternoon performance on 18th March 2017).

If the producers of this year's Palladium panto are looking for a star cast, they need look no further than Griff Rhys Jones, Lee Mack, Mathew Horne, Katy Wix, Ryan Gage, Andi Osho, Saikat Ahamed, Michael Webber, Simon Holmes and Ellie White. This team extract all the panto they can from Sean Foley's adaptation, and almost manage to breath life into a total corpse of an afternoon.

Make no mistake, what they have to work with isn't very much. Long segments are becalmed, there's a horrible 1970s "let's have a joke about the ethnic" stunt - twice - and an excruciating, inexplicable "curtain call" just when the monkey hoped to escape. The barest bones of the story are there, and underneath the panto dames the clever caricature characters sometimes emerge, but it's not often.

As Harpagon, Rhys Jones has little to really say, but plenty of opportunity to say it. The result is running out of material around 40 minutes before the play runs out of juice. Fitfully funny rants at the audience fall flat without a killer punchline, but he's amiable enough. Thanks to improvisational skills (and a fair bit of "false corpsing") Lee Mack fairs rather better thanks to an ability to go off-script.

Strong performances from ambitious hooker Andi Osho (Frosine) and sidekick Marianne (Ellie White), and a good anchor from Matthew Horne (Valere) keeps things almost on track, but ultimately, there's little satisfaction, even as the cast spoof their own resolution.

As a hymn to the dangers of parsimony, this lacks pace rather than cash. Worth catching for the cast (and, if on the front row, don't catch...) but that's about it. Disappointing, feels the monkey.


 

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

(1 review)

Went to see this last night (5th March 2017). Was treated to premium seats (boo to premium seats!), Stalls F12-14. Just about acceptable legroom. No rake means there’s a bit of head dodging but it’s good to be close to the action in this show.

This was essentially a pantomime with all the (exceptionally gifted) comic actors hamming it up to the extreme. We laughed a lot and enjoyed the theatrical in-jokes. The pace lagged a couple of times in the second act but the whole thing was so good-humoured and silly that I’d still give it 4 stars.

The front row looked like a fun place to be for this play – no spoilers – I’d recommend giving that a shot!


 

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

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

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

Runs 2 hours 30 minutes approximately.

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

Stalls:
Rows BB to V: £65 except
"Premium Seats" row F 8 to 15; G 7 to 14; H and J 8 to 15: £85
"Restricted view" seats E 1 and 21, F 1, 2, 22 and 23, H 1 and 23; N 1, 2, 22 and 23; O 7, 23 and 24; P 7; Q7; S to 7, 18, T to V 6, 7 and 18; W and X 6 and 7: £25
Rows T and U 19 to 21, W and X: £45
Row AA: £15 to under 25's

Dress Circle:

Rows A to E: £65 except
"Premium Seats" rows A and B 11 to 16: £85
"Restricted View" seats row B 1, 2, 26 and 27; C 1, 2, 27, 28: £45

Upper Circle:

Row A 3 to 18; B 3 to 20; C 3 to 24; D 2 to 22; E 5 to 20: £35
Row A 1, 2, 19, 20; B 1, 2, 21, 22; C 1, 2, 25, 26; D 0, 1, 23, 24, 25; E 1 to 4, 20, 21, 22: £25

Boxes:

D and E: £65
F, G, H and J: £25



Row AA is sold to under 25's in advance at £15. In person at the box office only, with valid I.D. The monkey was informed in March 2017 that almost no seats remain under this offer, however.


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


 

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

Buying Tickets Online:

Other Box Office Information

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

Booking fees per ticket for online bookings:
£2.50 on all seats, except £1.50 on £25 tickets and no fee on £15 seats.



 

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, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), offers £65 tickets with an £11 per seat booking fee (£14.50 on £85, £7.50 on £45, £6 on £35, £4.25 on £25 seats) - moderate by agency standards, though higher than box office fees, worth trying as they often have an alternative choice of seats available! Note that this system will confirm exact seat numbers prior to purchase. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases.

Another alternative is www.seetickets.com / telephone 0870 830 0200 which offers £65 tickets with a £9.75 per seat booking fee (£12.75 on £85, £6.75 on £45, £5.25 on £35, £3.75 on £25 seats) and £2.75 per booking (not per ticket) postal charge. (FREE call if using BT.com Calling Plan at your chosen times).

Ticketmaster.co.uk offers £65 tickets with a £7.15 per seat booking fee (£9.35 on £85, £4.95 on £45, £3.85 on £35, £2.75 on £25 seats) per ticket. A £3.20 per transaction (NOT per ticket) service charge also applies for collecting tickets at the box office / £3.20 for postage if required and time allows. This system allows you to select your own seats.

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offers £65 tickets with a £19 per seat booking fee (£24 on £85, £13 on £45, £10 on £35, £7 on £25 seats). A postage charge of £1.45 per booking, not per ticket may be applied to bookings made from UK addresses more than 5 days before the performance. The "Flexiticket" Exchange Service, allowing FREE transfer / cancellation (credit note up to 12 months) of your booking up to 3 days before the performance is also available for £1.99 per ticket. Meal and show packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

Londontheatredirect.com offers £65 tickets with a £13 per seat booking fee (£17 on £85, £9 on £45, £7 on £35, £5 on £25, £3 on £15 seats). There is a £1 per booking, not per ticket, transaction fee for collecting tickets from the box office before your performance. Alternatively, if time allows, there is a postage to your home option, costing £2.95 (£4.95 to non-UK addresses) per booking, not per ticket. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.


 




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

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: 0330 333 4811
Operated by Quay Tickets Agency 9am to 9pm daily, on behalf of the venue. Outside these hours, See Tickets can sell seats on 0870 830 0200. Booking fees will apply on this number.

 

Booking fees per ticket for telephone bookings:
Quay Tickets Agency for Nimax Theatres: £2.50 on all seats, except £1.50 on £25 tickets and no fee on £15 seats.

 


For personal callers or by post: Charing Cross Road, London, WC2H 0HH
No booking fee for personal callers.

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

 

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

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

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Notes
STALLS 

Layout:
The Dress Circle overhangs the stalls at row G. The top of the stage is not visible from row N back.

Rows A to L are a single block. From row M, the rear stalls splits into a centre and two side blocks.

Not much rake (sloped floor to help see over rows in front) before row G. Row X is on a step.

One side block extends from the centre aisle to the wall. The other has fewer seats due to a large storage area / cupboard / office / the monkey doesn’t know! occupying the space.

Legroom:
Fair in most of the stalls, tight in row C and tighter for those over 5ft 11 or so from O back. T 7 has more, though there's a pillar in front.

Best in row N seats 1 to 6 and 18 to 23, which have an aisle in front of them. One reader in row N warns, "N16 and 17: watch the toes with passers by."

A 1 and 14, C 1 and 16, D 1, 18 and 19, E 1 and 21, F 1 and 23, H 1 and 23 and T1 have space in front for at least one leg to stretch. F1 often has most - sometimes nothing in front at all.

Seats O 7 and T 18 have less room due to pillars in front.

Choosing Seats in General:
Rows AA and BB are removable. When AA is used and cheaper it's about fair, feels the monkey, who prefers it to rear stalls or upper circle at the same price. At top price, unless proximity to the star is a requirement, it's always worth sitting further back for comfort. The stage is high enough that anyone under 5ft 5 or so will see little, and even those less than 6ft will be looking upwards and probably miss action towards the rear of the stage.

Row BB is not "off-set" behind row A, so you will look up rather than between anyone in front. Row BB is higher than AA, though, and A is higher than BB, so that does help.

Behind, rows BB, A and B provide a fair view, though you should be willing to put up with neck ache and sometimes a limited view of the rear of the stage if it is very high. Accept that you'll look sharply upward from them - not great at top price, feels the monkey, who tries to skip them if the stage is high.

If the stage is particularly high, even those as far back as row E will have a slight issue looking up.

Moving outwards and back, the first and last three seats in rows C to L should be avoided as the viewing angle is not acceptable value from a top price seat.

E21, F 22 and 23 and H 1 and 23 are usually designated restricted view due to box walls cutting views of the nearside stage. You lose around 50cm down the side. If sold at reduced price they are very much worth consideration, when sold (as usually happens) at top price, avoid. Outermost seats in rows N and O may be discounted for similar reasons. Not bad once those further forward have gone, if you prefer to miss a stage edge over having a pillar in view. The monkey isn't fussed, though notes you can lean around a pillar - though have nobody in front of you in row N... go with your luck on if you are the short type who gets tall heads in front, perhaps.

Pillars at the ends of row G affect the view of the seats in rows H to L directly behind.

When the stalls splits into three blocks, the central one has acceptable views except in seats behind pillars.

At top price (usually all except the back two or three rows) it’s your choice whether you prefer the Stalls or cheaper Upper Circle at second price. The monkey goes for the rear stalls for comfort, Upper Circle slightly for view compared to row W back, perhaps; but at the point stalls prices drop to second, the monkey rather prefers being downstairs. Comfort to view only...

Pillars occur in the centre of the stalls next to seats N7 and 17, and R 7 and 16. This makes seat 7 in rows O, P, Q, T, U, V, W and X, seat 18 in rows O, P, Q, T, U, V and X restricted view. The pillars directly in front of seats 7 and 18 in row O and T restrict legroom in all but T7 somewhat, but the view (for those willing to peer round them) isn't bad, with the pillars lining up pretty much with the edge of the stage. You may miss action taking place there. Take those in P, Q and O first in that order, as they only have one pillar in view, and it affects a line from 1 metre in to around 1.3 metres in from the stage edge (lean into the aisle to find out what's going on there!). From T back, the second pillar doesn't obscure anything extra, but it's noticeable. U and V have the best of the views.

Simply, restricted view centre block aisle seats in rows O, P and Q are not that bad and are an alternative to the upper circle at similar prices... at top price, though, the monkey would look elsewhere.

Side block seats Row N 3 to 6, 18 and 19 are also are acceptable, offering reasonable value for money, though central stalls are preferable. The ends of row N in the side blocks now curve very slightly towards the centre. Side block seats do not have aisles at the far ends - claustrophobics may prefer to sit elsewhere.

Pillars affect W and X 6 - two of them in view. One takes out some side stage action, the other lines up about a metre away from centre stage. If willing to accept this, they are decent enough at the price, feels the monkey. X6 has about 2% of view clear down an aisle, if willing to lean out.

Row X 7 to 9 is slightly raised on a step, but it doesn't improve the view much.

General Hazard Notes:
Row BB is not "off-set" behind the row in front, so it is harder to see around anyone. The stage is usually high, though, which cancels out most of the issue.

Pillars at the ends of rows G, N and R affect views from seats behind.

Top of stage missed from row N back.

A sound desk is placed at the back of the theatre for musicals - worth skipping W 9 and 16 and X9 for purists.

Changes for the current production:
The front row is AA, sold at lowest price to under 25s. Outstanding value. Be aware that there is much interaction with those seated, there, though.

The outermost seat in rows A, C, D, E and F have nothing in front, and the seat next to it in row D is also 50% clear.

“Premium" priced seats take up the centre of rows F to J. Monkey advice, if you have to take them, is take the ones on row F.

There's plenty around them, cheaper, though. Central rows E to C, or K and L are also fine at top non-premium price, the monkey feels.

Top non-premium price goes back a long way - skip anything from T onwards in the centre block, and take W over V if possible for the same view at a lower price.

Rows V and W 8 to 17 are just average at second price, but expect to get the view you pay for - not much over heads in front, basically. Aisle seat T19 may also be worth a look for the same cash.

Don't bother with top price seats in the side blocks from row O - and N 20 and 21 - back (pillars really cut into views). If you have to sit here, the aisle seat gets the worst of the restriction.

Rows W and X side block at second price is a tricky buy, not great for the cash, but they will be far more comfortable than the upper circle alternative for the same bananas, feels the monkey.

That said, rows from W back are where the monkey would sit for comfort alone, compared to anything at the same price in the dress or upper circles. Only those under 5ft 5 or so should consider circles over these seats, it feels.

Similarly, restricted view row E1 and 21, F 1, 2, 22 and 23, H 1 and 23, N 1, 2, 22 and 23 and O 23 and 24 are cheaper. Compared to what else is available at the price, all are a very decent grab, the monkey feels. It would take H first, then N and O, then F and E. There's also "behind the pillar" seats in row O back at the same low prices. Again, not bad at all, the monkey feels. Grab P then Q then O first, or save by going for T, S and U centre block in that order.

For this show, the better view from "restricted view" seats is on the "low numbers" side, notes the monkey.
 

Reader Comments:
“AA5 to 8: “Zorro” (closed March 2009). I booked front row seats, when extra row were available for £37. I was a bit apprehensive as people have said about the stage being high. The stage is high and people prone to neck ache, I suppose, will get it. I am only 5ft and I did have to look up, but I loved it - well worth the money. I would sit here again but will not pay full price. It did not bother me in the slightest. Sitting in the front row you are on the edge of your seat. A great experience."

"AA11 and 12 with row AA as the front row: "Chicago" (November 2011). On 8th February 2012 - £30 each - These seats were brought as part of the 'Get Into London Theatre' offer and came with a workshop. These seats were amazing and I cannot fault them, even got chucked one of the roses at the end :D"

"AA12: "Romeo and Juliet" (May 2016) – Loads of legroom here as it the end seat of the front row so nothing in front or to the left side. You have to look up a bit as the stage is quite high and you can’t see people if they’re lying down on the stage which does happen at times! However if you like to be close to the action, this is really good seat as you’re the very front row and have a great close up view!"

“Row BB: “A Little Night Music” (April 2009). We always like to sit front row so booked row BB, appreciating that sometimes stages can be high. My daughter and I sat down (we are 5ft 1inch tall) and all I will say is that we could not see anything: no stage, no scenery except the very top where the scenery finished. It was as if somebody had turned off the light!! My Husband, who is 6ft, could see the last little bit of the scenery at the top. As it was impossible to stay there, we went to the box office and they exchanged them after a slight disagreement - so obviously nobody has told them there is NO view and that you would only hear the music. Nobody sat in the row. As they have extended the stage, why has nobody sat there and realized and taken out row BB? It's the first time we were all actually speechless!!!!. (second visit) They had completely removed row BB. Behind it, row A was fine for us (but then we are front rowers); at one small point when they laid flat on the floor you couldn't see them, but that didn't bother us. We had a great night and are booking same seats again before it finishes."

“Row BB (when second row) (Bas). The pitch was fine. You had to look up but were close to the action - recommended!"

"BB1 and BB2: (John Lafferty). My view was unobstructed and there was plenty of leg room for seats in the stalls."

"Row BB: "Scottsboro Boys" (October 2014). Day seats (£20, front row). The stage is very high but I don't think I missed out on much but did have a stiff neck by the end."

"BB6 and 7: "Scottsboro Boys" (October 2014). Day seats (£20, front row). The stage is extremely high. So high, if I stand up in my front row seat (I'm 6ft) I can just about see the back of the stage. The box office didn't advertise these seats as restricted view but they really should. There is tap dancing footwork, the full depth of the stage is used, and the floor. You miss these things. I think the seats are worth £15 maximum.  Having said that, the (normal) cheapest seats are £25. So they are the cheapest seats in the house. Also, the acoustics are wonderful and you can really appreciate the fab singing! Also, the things you miss because of the restricted view aren't very important in this show. But in my opinion, especially since the performances are so broad and exaggerated, it's worth paying an extra £5 for an upper circle ticket. I imagine your view is restricted in a much friendlier way. To be honest, the theatre seems so badly designed I'm not sure any stalls seat would be worth paying for!"

"BB8: "When We Are Married" (November 2010), (Taljaard). For £20 as a 'day seat' in the middle of the second row was perfect, with the low stage there."

"BB10: "When We Are Married" (November 2010). Was perfect.”

"A8 and 9: “Chicago” (May 2012), (Chris B). This is actually the third row back for Chicago. Excellent legroom and an amazing view, you certainly feel part of the show and fully immersed in the action. You don’t feel too close either and it does feel quite intimate."

"B2 and 3: The Garrick is an amazingly intimate theatre and these seats felt truly part of the action. There was a family seated in row AA, but the children couldn't even see the stage so they were luckily moved to row BB, which seemed to be OK."

"B14: Enjoy being on the aisle, you don't miss anything and it's a great view."

"C 7 and 8: "Rock of Ages" (2013), (Russell). Excellent for this show. Slightly looking up at the stage, but really felt part of the show. Possibly not good for a play, but as this is more of a rock concert, the closer the better. One row in front of premium so paid £65 each, as opposed to £95 one row back."

"C7 and 8: "The Hurley Burly Show" (March 2011), (Michael). Worse for leg room than charter airlines. View of the stage was fine, just cramped. The short run time of this show helped in the comfort factor. As rows here can be removed and easily replaced, it seemed that may have been an error replacing them as row B had much more leg room than C. Bear this in mind when choosing either B or C."

“C9 to C12: “Zorro” (March 2009). I felt a little too close to the stage as I think you miss some things because you can’t see the entire stage without turning your head. Also, I had to look up quite a bit as there’s a high stage. However, I did get the tickets for £30 via TKTS and at this price they were very fair."

"C15, 16 and 17: "Arturo Brachetti's Quick Change" (November 2009). Seats were good, but for this show I would recommend sitting a bit further back because we could sometimes see under his skirt and see part of the other costumes underneath, which spoils the magic a bit."

"D1: "Red Velvet" (February 2016), (Josepha Murray).  I was moved to D1 in the stalls when I commented to a kind ticket office man that my seat in the Grand Circle for 'Harlequinade' had blocked the front half on left of stage. D1 in stalls has no seat in front so very good legroom and very good view. I could see all stage. The only drawback is that its position by entrance door makes it cold and puts one in the ice cream queue. Still one can put on a coat. This seat was amazing compared to my earlier experience in Grand Circle."

"D5 and D6: "Horrible Histories" (March 2012), (Brent). The seats were fairly close to the front and my eyes were level with the stage so I was looking up at the actors. I thought they were decent seats although a little hard to judge as the audience in front of me were mainly children so my view was clear in any case. Leg room was fine for my 5 foot 7 height."

"D7 and D8: (Michael). We were pleasantly surprised that this row was "offset", whereas all the rows AA to C were placed seat behind seat. This gave us a view between bodies/heads and feel that D6 to D13 could be GREEN as your row behind is. From our row, there was a real feeling that the performers were right on top of you when at the front of the stage, a nice touch in this theatre."

"D 11 and 12: "Harlequinade" (November 2015). Perfectly alright."

"Row E: I paid more for a better seat in the Stalls and was glad that I did. A final tip is that the stage is very high, rows D and forwards are below the action and people with these tickets have to look up all the time. Row E was excellent."

"E6 and E7: When walking to the Stalls bar which is situated at the rear of the seating area we happened to look back at the stage and realised exactly what other readers have commented on regarding the rear most rows of seats. You would miss quite a bit of action if it happened on a high level above the stage. Our seats were excellent, perfect distance from the stage and enough legroom for a large lanky oaf like me."

E8: One reader felt this seat was excellent.

"E9 to 12: Excellent seats - dead central and a full view of the stage."

"E11: Got student ticket 45 minutes before for £20. E11 is a FAB seat! If you are gonna be paying full price for a ticket definitely go for something around this area of the theatre."

"F4, 5 and 6: I was sitting in F6 which had a really good view. Although I can see from the plan that for the production I saw it was a "premium" seat, I wouldn't pay more than I would for any of the surrounding seats. F4 and 5 were also good according to my friends. Even this far forward in the theatre, the rake isn’t disrupted at all. Legroom was also very good."

"F 12 to 14: "The Miser" (March 2017). Was treated to premium seats (boo to premium seats!), Stalls F12-14. Just about acceptable legroom. No rake means there’s a bit of head dodging but it’s good to be close to the action in this show. The front row looked like a fun place to be for this play – no spoilers – I’d recommend giving that a shot!"

"G 1 to 4: "Scottsboro Boys" (November 2014). Have to commend. The pillar isn’t an issue and although you miss the merest smidgeon of action from the very end seat, the leg room is a revelation. People could pass down the row without us having to get up. Hard to tell whether the generous leg room extended throughout the row but it certainly didn’t appear a squash."

“G14 to G16: "Zorro" (July 2008), (James – regular reader). I certainly wouldn’t want to be any further forward and even G16 was beginning to affect the viewing angle. It’s definitely a show that you need to be as central as possible for but if you are on a side it’s probably best to be in the higher numbers due to where the action takes place on stage. From H11 and 12: Staggered seats and a good rake meant that the view was excellent. For this show I’d probably sit a row or two further back just to see the whole stage without turning from side to side but that’s just personal preference."

"J20 and 21: "All the Fun of the Fair," (May 2010), (Frances). What excellent seats they were, and should definitely be green on Theatremonkey's seating plan. I was lucky enough to get my tickets on offer - £55.00 down to £27.00. The theatre was very comfortable as it was half empty; from my seat (J21) the next 10 seats were empty, so I had room to spread - and rows M backwards were completely empty and no one sat in front of us. Seats from M backwards were really not worth paying top price for as you can't see the back of the set or the top, and quite a few parts of the story are at the back of the set."

"K7: "The Scottsboro Boys" (November 2015) (Mary). The view was fine with the entire set visible. At 5'5" (165cm) I was comfortable."

"K12 and 13: "The Scottsboro Boys" (November 2014). Excellent seats - I normally prefer to be in the circle but I was very pleased with these seats which were central and not too near the front. The rake is quite good so my partner (who is 6'4") didn't feel too uncomfortable about people behind him."

"L5: "The Painkiller" (March 2016). Can thoroughly recommend this seat, an excellent view of the action, nobody sat behind to complain about their view being blocked, and even had space between my knees and the back of the seat in front! This in itself was a minor miracle based on recent experience. If ever I find myself back at the Garrick I would try and sit here again."

“L13: (James). Great seat but worth noting that from row J backwards to row N the seating is bizarrely not staggered - so you will have someone's head directly in front of yours. Would definitely agree about needing to see the top of the stage if using its height."

"M9: Seat was very good."

“Row N: (Steve Chalmers). Good view.”

"N6: "The Scottsboro Boys" (November 2015). Great for legroom as aisle runs in front. Fair view of the stage from here as well. Watch your feet, drinks and bags as it’s a bit of a thoroughfare."

"N16 and 17, good seats, plenty of leg room, but the bloke in front was built like a, well shall we say he was a big lad. I spent the entire performance pressed up against the pillar, which to be honest was not uncomfortable."

"N18: "Harlequinade" (October 2015). It's a bit over to the side but no problem with heads in the way. I'd choose that seat again."

"N18 and 19: Good view, acres of legroom, but watch the toes with passers by."

“N20: Just the top corner of the view is cut off by the balcony. This is often irrelevant for a play, and - with no row in front - the extra leg room more than made up for this. So though this is a red seat on the monkey chart, I think I had my money's worth with a heavily reduced ticket."

"O10 to 13: (Clive). The seats were comfortable, the view fine but the rake is quite poor. While we had no problems shorter patrons with the wrong people in front could have an impeded view."

"P19 and 20: "Potted Potter" (August 2011), (Clive). These seats felt a little remote from the stage. However despite this and being to one side there was a good view of all the stage and the legroom was also good. It was however impossible to see when one of the performers drew something and when in a card trick a card was held up for everyone to see. These really didn’t interfere with the enjoyment of the show however."

“Q5 and Q6: “A Little Night Music” (April 2009), (James – regular reader). The view was good but they felt a little far from the stage for top price. For this show the overhang doesn’t cause a problem, but I can see it doing so for other shows. Legroom is also not great here."

"Q17: "A Little Night Music" (March 2009). Since the actions of this show were mainly at the stage level and the set was designed accordingly, I am happy to report that the view from my seat that is considered at the back section of stalls was not obstructed by the Dress Circle hanging at all."

“R1 and 2: "Lance Horne: First Things Last" (February 2011, (Clive). A good view except for the very near side of the stage which was not visible. Elbow room was tight, leg room poor and there was no rake."

"R12 and 13: "The Winter's Tale" (October 2015). Our section was not staggered, so we had heads immediately in front of us blocking our view. I think this may have been exacerbated by the fact our seats were almost dead centre of our row. I imagine if you are sitting nearer the end of the row you could look at an angle between the heads in the rows in front. The fact that the raking in those rows is minimal obviously doesn't help. Neither of us could see more than small patches of the stage. We could just see a little bit of what was happening on the left, or a little bit on the right. I was sitting behind a woman about my height and she blocked my view. And my friends who is tall was sitting behind a woman no taller than her who blocked her view. At the end of the first act the people in front of us, the people next to them, the people behind me and the two of us all apologised to the people behind as we were aware we moving our heads to the left and right so much because we were all having so much trouble seeing. The main problem was that in that section the seats are parallel, that is they are immediately behind each other. Had they been staggered we would have been able to see the stage through the gap between people's heads. It was so bad that the woman in front of my friend didn't return for the second act, which at least made it better for my friend - though not really for me. Also, it was unusually hot where we were sitting which added to the discomfort."

"R14 and 15: "When We Are Married" (December 2010), (Graham). Fine - although the rake is non-existent. Would have liked to have been slightly closer, but was OK."

"Row S: Unfortunately the view is not quite so good from back here as the dress circle roof cuts off the top of the stage ,so you miss a bit of the action. I'd say pay a little bit more and go for row L or forward."

"S7 to 10: "HIT ME! The Life And Rhymes Of Ian Dury”, (Clive). Perfect view of the performers and all of the set, however the view of the screen used infrequently for film images was obscured at the top by the overhang of the Dress Circle. Seats were comfortable and legroom adequate. The spoken (but not sung) words were sometimes difficult to make out. The lack of amplification by itself would not have been so much of a problem, but for an exceptionally noisy audience, very creaky seats and noise from the sound booth behind."

"S11 and 12: "Pygmalion" (May 2011). Supposedly this is a full price seat, but the circle overhang means that the top of the stage is obstructed - but that wasn't the problem. The seats aren't fully staggered to 50/50 to see through the row in front. I had a woman with very big hair in front of me, and in front of her a man with a very big head. Subsequently during the first half I could only see the right third of the stage, if often felt that some of the actors were a monologue, or that I was listening to a radio drama. During the interval the man swapped with his partner (I didn't ask, so wonder if there had been other comments). I was now able to see the left hand third of the stage. I was never able to see anything in the centre of the stage which meant I didn't get to see Eliza (Kara Tointon) until about 3 scenes in. Check if Marge Simpson is in town before booking here, feels the monkey...”

"T 1 and 2: "The Painkiller" (March 2016). I hadn't checked Theatremonkey's diagram beforehand... in Stalls seats T1 and T2 you couldn't see the whole stage (some of the action on the right of the stage) even though they told me when I was buying these at £50 each that they were good ones! Perhaps I'm being a bit precious, but I wasn't that impressed! Theatremonkey is right in these seats not being great value."

"U6: "This House" (November 2016). Dreadful, not sure quite how they can even sell these seats with how bad they are. Luckily I was able to move due to a quiet house."

"Row V: ”Zorro” (2008). I thoroughly enjoyed the show... from the knees down! Why? Because the clever designers have maximised the limited stage space by building vertically. If, like me, you are in Row V (or in fact any stalls seat from N back); you will spend happy minutes during the show trying to work out whose knees belong to which character... and when the rest of the auditorium gasps, you will just be sighing with relief when actors make it into view!"

“V3, 4, 5 and 6: "Zorro" (July 2008). We could only see about a third of the stage. The overhang blocked all the action taking place at the top of the stage. The pillar to the side of our seats also blocked our view of the actors to the left of the stage (audience left). We were lucky enough to move to better seats in the Dress Circle during the interval but I was bitterly disappointed in the quality of the seats in Row V. They are definitely restricted view."

"V8: "The Painkiller" (March 2016), (Taljaard). Quite distant from the stage with the top half cut off by the Dress Circle overhang. Ok view but if you were under 5'6" you would struggle as the rake is not very steep, the rows are not staggered either. Heard everything perfectly."

"X6: "The Painkiller" (March 2016). Reduced to £15 due to pillar imposition. Fair value, but I felt pretty far removed, and the pillars were more intrusive here than at other venues, like The Old Vic or Almeida."

 

Stalls Boxes

Layout:
Box A is adjacent to the stage.

Seats 2 people.

Legroom:
Good, as movable chairs are used.

Choosing Seats in General:
Acceptable at a low price only.
 

General Hazard Notes:
Side view of the stage, missing the near side.

Changes for the current production:
Not on sale.

 

Reader Comments:
None.




DRESS CIRCLE 

Layout:
The Upper Circle overhangs this circle completely but is high enough not to affect the view.

A single block of seats curves in a horseshoe shape towards the sides of the theatre.

Legroom:
Acceptable for those under around 5ft 11 in rows A and B (a reader confirms the ends of A are fine to 6ft), and outside of the central 14 seats in row E.

Central rows B and C have least legroom overall. If taller than five foot nine, try the stalls.

Central row D should be OK for those up to around 5ft 10 or so.

Choosing Seats in General:
Apart from the designated restricted view seats, plus the next five seats in each row the view from all seats in rows B to E is unobstructed and fair value. Choose A or D depending if closeness to the action or no bar in front is your higher priority. Expect to lose the edges of the stage if outside the central 10 or so seats. The curve does shave off the edge somewhat, as do folk in front leaning forward to see.

Row E isn't cheaper, though the overhang feels too low for some.

The first and last three seats in row B and two seats in row C are at lower price, designated restricted view. In all cases a view with boxes and the curve of the circle intruding to make seeing the sides / front corners of the stage awkward is the cause. Think about boxes over these (and other end of row seats in the Dress Circle) for the same money or less.

Wheelchair users (if they can get down a step from a fire exit) can park at the end of Dress Circle row E. Theatremonkey rates these seats poor.
 

General Hazard Notes:
A metal bar runs across the front of this circle. This is slightly annoying in row A for the shortest, but otherwise does not affect the view from any seat.

Lights on the front of the circle can affect views.

Some seats are not in the greatest state of repair. They are low already, and worn cushions mean your, er, rear, may well sink below the level of the front of the seat, affecting views further.
 

Changes for the current production:
The centre of rows A and B are "premium." Those up to 6ft will like row A particularly, everybody taller should take the stalls, feels the monkey.

Two outermost seats in rows B and C are discounted to second price. Just fair value once boxes and restricted view stalls (plus other stalls in rear rows from U back, if over 5ft 9 or so) are gone, feels the monkey.

Those below 5ft 9 (5ft 5 or so in central 14 seats) will like rows C and D at top price, in particular over the stalls simply because seats here are raised above the rows in front, not just relying on a slope as they do in similar priced stalls.

At top price, though, anything more than 7 seats off the aisle in C and D, plus E itself, is somewhat expensive, feels the monkey. Remember that seats next to the "restricted view" ones will lose the edges of the stage - leave at least 5 seats in row D to minimise the risk, and take a seat off that for each row in front to row B, so 5 off D, 4 off C, 3 off B. Row A... skip the outermost 4 seats... and the mathematics class, feels the monkey.

 

Reader Comments:
"A23 and 24: "Romeo and Juliet" (May 2016). Just outside the premium seats. It’s a little jewel of a theatre, but definitely a very curved dress circle and Tall Daughter and I both felt that there was a fairly strong case for these being designated ‘restricted view’. As the monkey says in your guide, you do lose the edge of the stage from there – we felt this was particularly because the seats themselves are set quite far back from the wall/rail. On the plus side, this made for masses of leg room – sorry to disagree with the awesome knowledge of the Monkey, as your comments say those under 5’9 will be fine but any taller and you should choose the stalls, but there we were, with TD at 5’11, and there was so much room that we didn’t even have to stand up to let people by. (May be different further in to the centre? - the monkey checked, and now agrees with this reader) However, this also means you are sitting further back and so you lose more of the stage unless you are sitting well forward in your seat and really, to see it all, you would need to be leaning on the rail – which would be very anti-social to the rows behind! I adopted the method of peering between rail and wall for some of it, which worked well enough and it really didn’t affect our enjoyment of the play. As it’s a small theatre, we also felt very close to the stage up there and we had a clear view from the front row, so positives outweighed any negative. I was glad not to be further back too as I felt the overhang of the Upper Circle was quite claustrophobic."

"B5 and 6: "The Winter's Tale" (October 2015). Second row of the Circle at £110 each. The seats were very, very low - so low that I believe they must be quietly collapsing. As a result our view was almost completely blocked by the couple in front and they were only ordinary sized people, not particularly tall. We had to shift from side to side to see no more than half the stage at a time; when action took place at the very front of the stage we couldn’t see it at all. It was very disappointing and spoiled our evening which we had been excited about –and they were the most expensive tickets I have ever bought."

"B6 and 7: “Zorro" (December 2008), (Rich). Good seats but go central because the front of the circle cuts off a little of the stage when sitting near the edge."

“B10 (Mark). Great clear view of the stage."

"C17: “The Scottsboro Boys" (October 2014) a fabulous seat."

“E17: "Zorro" (July 2008). This would ordinarily be a good seat with plenty of leg room but the Upper Circle overhangs just enough to block the heads of the actors when they are on the top level of the stage set."
 

 

Dress Circle Boxes

Layout:
Boxes B and C are at Dress Circle level next to D and E, halfway between the main seating block and the stage.

Deep cubby hole type boxes, with angled walls towards the stage.

Boxes seat 2 people..

Legroom:
Good, as they are movable chairs.
 

Choosing Seats in General:
A fair value view is offered when sold a lower price - expensive at top price, though.

Boxes J and H (in the upper circle, above these) have a slightly better angle on the stage.
 

General Hazard Notes:
Sides of the stage are missed.

Boxes sometimes share space with lights and noisy speaker units.
 

Changes for the current production:
Top price, about average, feels the monkey.

Reader Comments:
Box E: "Twelve Angry Men" (December 2013): Most of the seats in the stalls were the same price as the boxes, so we had Box E (Dress Circle level) with loads of leg room, a perfect view of the stage, and space to wriggle about with moveable seats – highly recommended.
"
 


UPPER CIRCLE
This circle is known as the "Grand Circle" in this theatre.

Layout:
A disused balcony overhangs this circle but does not obstruct the view from any seat.

Two blocks of seats, split by a centre aisle.

The longest rows curve noticeably in a horseshoe shape towards the edges of the theatre and slightly forward towards the stage.

Legroom:
Uncomfortable in almost all seats, worst in row A, with central B and C not having much more either. Generally, as you move towards the centre of each row, legroom gets less in A to D.

Centre aisle seats offer a bit more, if you are prepared to compromise on the view.

Row C 1 and 26 have nothing in front.

The first and last 3 seats in row E have a little more, and row E in general seems reasonable up to around 5ft 7 for most.

Choosing Seats in General:
Row A is often reduced in price in the past to allow for the bar in front. Decide if legroom is important before buying a seat here, and if it isn't, it's not a terrible place to be if cramped conditions don't worry you. Look at the seats just off-centre if you are shorter and after a bargain.

Behind row A, if you decide on the Upper Circle rather than similarly second priced rear stalls, take D then C or B (legroom is least in B and C) as the way to go for comfort.

As you go further to the sides in all rows, prices drop to third and legroom increases slightly. The view isn't that noticeably different either in the seats right next to the most expensive ones, so think about that too. Put another way, the second and third priced seats here are all fair value (unless third price is over £30 or so), but the legroom is variable - so choose according to leg length as much as pocket, feels the monkey.

In general, the circle is fairly high up, but the view is clear enough to make the unrestricted view seats average value for money.

General Hazard Notes:
A metal bar runs across the front of the centre aisle. This particularly affects the view from seats A 10, 11, B 11 and 12, C 13 and 14, D 12 and 13 and E 11 and 12, annoyingly.

At the extreme ends, the first and last few seats in rows A to E are designated restricted view. In all cases a view with boxes and the curve of the circle intruding make seeing the sides of the stage awkward is the cause.

Changes for the current production:
All third or fourth price. If you must, take B than C then D for view, but outer seats in D, C, B for the most of the tight legroom. Save a few pounds by taking the two cheaper seats right next to them - an inch of legroom for less cash and similar views.

Row A is not reduced to allow for the bar in front. Give it a miss at all times. It would also pass on other bar blocked seats, and E 5, 6, 17, 18 and 19 for views that are just fair at third price in judge Monkey's opinion.

At bottom price, the monkey would look at C 1 and 26, simply because they have nothing in front of them and would be comfortable.

It would also look at lowest price E1 to 3 and 20 to 22 for a little comfort too. Accept that you will miss action from all these seats, though, and that these are observations rather than recommendations.
 

Reader Comments:
"Row A: "Scottsboro Boys" (October 2014). Not sure what the problem is with the “bar” running along the top. It is no more than 1 inch high and half an inch diameter (I’m guessing about this, unlike being able to count chairs without a calculator, I didn’t have a tape measure with me!) and didn’t get in the way at all. I thought legroom was OK (I’m 5ft 10). A3 should be classed as restricted view in my opinion though as you cannot see parts of downstage left/Stage left without leaning forward and the shorter you are the greater the impact presumably. However, for this show the vast majority of the action avoids this area so this doesn’t detract. I agree though that these would not be fair value at full price (you quote £55 for Saturday); I’m sure there would be better seats elsewhere to go for first at that price."

"B10 and 11. "Twelve Angry Men" (November 2013). View fine for this production, seats are cramped but acceptable. Partner sat in B11 and is 6'3'' so small front bar didn't affect the view and managed with leg room."

"C1 and 2: "All on Her Own and Harlequinade." These seats are sold at £15 each as ‘restricted view’. We were unable to see much of All on Her Own at all, so I’m not sure there was a view to restrict. I probably caught sight of Zoe Wanamaker for less than five minutes in total, and that was only when she was at the left side of the stage. (We could see about 20 per cent of the stage as this piece is placed just at the front of the stage, with a backdrop hiding the scenery for the subsequent piece). The people around us in rows B and D were mumbling and grumbling and looked pretty fed up so I suspect the views from their seats were no better! These were probably the worst seats we have ever had in a theatre. We snuck into the empty box next to our seats to watch Harlequinade, where the view was much better. "

"C1 and 2: "The Painkiller" (April 2016), (Tina). Booked seats C1 and C2 as C1 has more leg room. Tickets marked as 'Restricted View,' but I did not realise that this would mean only seeing half of the stage and therefore only half the play. Did not see Rob Brydon at all until we moved after about 15 minutes and were allowed to stand at the back behind Row E. The people behind us in seats D0 and D1 also moved to stand at the back. I think the tickets should clearly say, you will only see the Stage Left action as it's not a restricted view if you can't see anything at all!"

"E20: "The Entertainer" (September 2016), (Taljaard). Restricted view but for £15.00 well worth it as the play was mainly set centre stage."


Upper Circle Boxes

Layout:
At the sides of the theatre, between the circle front and the stage.

Deep cubby hole type boxes, with angled walls towards the stage.

Boxes seat 2 people.

Legroom:
Good, as movable chairs are used.

Choosing Seats in General:
The view is adequate from all boxes, and pricing about acceptable to slightly high.

J and H have the best angle to the stage, then take Dress Circle box D or E, as they are closer to the stage - though with a less favourable angle to it - then upper circle G or F.

General Hazard Notes:
Sides of the stage are missed.

Boxes sometimes share space with lights and noisy speaker units.
 

Changes for the current production:
Fairly priced for legroom lovers wanting an upper circle view, feels the monkey. These are at least fairly comfortable and closer to the stage than anything else at the price. Second price, and do be aware you get what you pay for.
 

Reader Comments:
"J1: "Romeo and Juliet" (June 2016). It's a box seat, with a limited view, at a reduced price (£50 GBP). I had to lean over the rail to see better, but it was nice to have so much room."



 


Notes

Total 650 seats.

Not air-conditioned, so avoid the rear stalls and circles on hot days as heat gets trapped here.

Infrared system requiring headsets for deaf patrons. Best from row D back in the stalls. Those deaf and partially sighted get an extra, fun, choice to make here. Occasional signed performances. Occasional audio described performances for the blind, guide dog sitter available. Wheelchair users (if they can get down a step from a fire exit) can park at the end of Dress Circle row E. Adapted toilet is now available in the form of being able to use the women's toilet if able to leave chair. Fuller details from Nimax Theatres on 0844 482 9677 (10am to 6pm, Monday to Friday) or email access(insert the @ symbol here)nimaxtheatres.com. A "venue access guide" from the team who created book "Theatremonkey: A Guide to London's West End," is available to download in PDF format by clicking here.

No food except Ice cream and confectionery.

Three bars, Foyer, Stalls and Upper Circle.

Six toilets in all; Foyer 1 gents 4 cubicles, 1 ladies 4 cubicles; Stalls 2 ladies 3 cubicles, 4 cubicles respectively; Upper Circle 1 gents 1 cubicle, 1 ladies 4 cubicles.

 

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

Getting to this Theatre
Find this theatre on a Street Map
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Leicester Square - Northern (black) and Piccadilly (dark blue) lines.

 

The escalator from the platforms deposits passengers into a circular space with a number of staircases leading to the surface. Beside each staircase is a vast white panel listing the places accessible from that exit. So look for the one showing the Garrick theatre. It is marked "Charing Cross Road South" and is to the left when you leave the ticket gates. Go up the staircase. At the top, in front of you will be Charing Cross Road. On the opposite corner, notice the Hippodrome Nightclub and a wide pedestrianised street. Turn to your left. Wyndham's theatre is there. Walk past it and follow the curve of the road along to the Garrick Theatre.

If at the top of the underground stairs you see a narrow street with only a row of small shops and offices in front of you, this is Cranbourn Street. Turn to your right and change to the other side of the road. Walk to the end of the street. If you see the Hippodrome Nightclub on the opposite corner across a busy road, good. Do not cross the road to it! Turn to your left. The underground exit you should have used is on your left. Walk past it and you are in front of the theatre.

 

Buses:
24, 29 and 176 stop on Charing Cross Road by the Garrick Theatre.

 

Taxi:
A rank for Black taxis is at Charing Cross Station - a fair distance from the theatre. Best chance is hailing one in the street outside.

 

Car Park:
Trafalgar Square Spring Gardens:

From the car park, turn up the road on the left to bring you on to Trafalgar Square. Face Nelson's Column and cross the road towards it. In front of you is the National Gallery. You require the road to the right side of it - Charing Cross Road. Do not enter the Trafalgar Square area itself, but follow the pavement round towards the right corner of the National Gallery. Continue along so that you pass the National Gallery on your right and so that you enter Charing Cross Road. Cross Charing Cross Road where you can, the Garrick Theatre is visible to you on the other side of the road, to your right.

Another alternative is Newport Place, China Town. On leaving, use Gerard Street to get you onto Shaftesbury Avenue. On Shaftesbury Avenue look to your right. The brown brick building to your right is the Palace Theatre. Don't bother crossing the road, but turn to your right on Shaftesbury Avenue and walk in the direction of it. When you come to the main road intersection in front of Shaftesbury Avenue, cross Charing Cross Road at the traffic lights. Now turn to your right and walk down Charing Cross Road, crossing Litchfield Street as you go.

Next is Newport Street. Cross that too and head on, crossing Cranbourne Street towards Leicester Square Underground Station. Wyndhams Theatre is just beyond that on your left. Walk past it and follow the road as it curves round - The Garrick Theatre is just beyond the curve, to the left.

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

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

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


 

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