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

THEATRE ROYAL, HAYMARKET

 
 


THE ROYAL SHAKESPEARE COMPANY PRESENT
IN REPERTOIRE:

LOVE'S LABOURS LOST (play)
Ends 18th March 2017.
Captioned performance: 1st February 2017 at 2.30pm
Runs 2 hours 30 minutes approximately.

AND

MUCH ADO ABOUT NOTHING (LOVE'S LABOURS WON) (play)
Ends 18th March 2017.
Captioned performance: 1st February 2017 at 7.30pm
Runs 2 hours 30 minutes approximately.

A Bill The Quill Double Bill.

Love's Labours Lost: The King and his court decide to avoid women for three years... the Princess of France and her court decide to visit in the summer of 1914...

Much Ado About Nothing (Love's Labours Won): World War 1 soldier Claudio falls in love with Hero; his friend Benedick, meanwhile renews sparky acquaintance with Beatrice...


 

Theatremonkey Opinion:

"Love's Labour's Lost:" (seen at the afternoon performance on 14th January 2017). As English a setting as one could get, and a comedy as funny as only the British know how. A remarkable roof-top scene for lovelorn men is a highlight, with William Belchambers (Longaville) and Tunji Kasim (Dumaine) in particular playing the heck out of it. Lovely comedy - "Bobby Ball" style - from Nick Haverson as a postally confused gardener and Chris McCalphy as a dry Dull police officer, John Arthur (Sir Nathaniel) and Steven Pacey (Holofernes) the perfect foils. Oh, and don't miss Peter McGovern (Moth) and his routine.

For the ladies, Emma Manton is an eye-catching dairymaid, with the French court of Leah Whitaker (Princess), Lisa Dillon (Rosaline), Rebecca Collingwood (Katharine) and Paige Carter (Maria) a bunch of witty women whose entrapment of the Navarre Court could never be in doubt.

Add Christopher Luscombe's smooth direction and Simon Higlett's Charlecote Park based setting, and the result is a little bit of magic. The monkey can't wait until it sees the "second half" of this talented ensemble's work.

"Much Ado About Nothing (Love's Labour's Won): Not yet available.


 

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

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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.

Performance Schedule:
Love's Labours Lost:

7.30pm: 23, 26, 31 January 2017; 3, 6, 9, 11, 14, 16, 17, 20, 23, 25, 28 February 2017; 3, 6, 7, 9, 14, 17 March 2017.

2.30pm: 28 January 2017; 1, 11, 15, 25 February 2017; 1, 11, 15, 18 March 2017.


 


Much Ado About Nothing:
7.30pm: 24, 25, 27, 28, 30 January 2017; 1, 4, 7, 8, 10, 13, 15, 18, 21, 22, 27 February 2017; 1, 2, 4, 8, 10, 11, 13, 15, 16, 18 March 2017.

2.30pm: 25 January 2017; 2, 4, 8, 18, 22, 24 February 2017; 4, 8 March 2017.
 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

Stalls
Rows B to V: £67.50 except:
"Premium Seats" row F 3 to 16; G 3 to 19; H to K 3 to 20: £87.50
Rows W and X: £57.50
 

Dress Circle
centre block

Rows D to G: £62.50
"Premium Seats" rows A to C: £87.50

side blocks
All seats £67.50 except
Row A 3 to 7, 25 to 29; B and C 1 to 4, B 24 to 27, C 25 to 28; D 1 to 3, 25, 26, 27; E 1, 2, 26 and 27; F 1 and 26; H 1 to 3, 22 to 24: £57.50
two pairs of restricted view seats on the edges of row A 1, 2, 30, 31: £35


Upper Circle
centre block rows A to F: £45 except:
restricted view row A 15, 16, 23, 24; B 10, 11, 20, 21 and C 8, 9, 19, 20: £25
Row G: £35

Upper Circle Restricted View side blocks rows A to D four seats nearest centre aisle and all of rows E and F: £25
Upper Circle Restricted View side blocks all other seats: £15 if sold.


Balcony
All seats: £15

Boxes
Not on sale.




"Day Seats": A small number of seats are available to personal callers at the box office before the performance on the day from 10am, priced £10 each. May be limited to 1 or 2 tickets per person. If any are left, then they will be sold by phone from 10.30am on 020 7930 8800. A £1.50 per ticket booking fee will apply to phone transactions. The monkey always advises taking both cards and cash in case one is preferred over the other. Check with the box office before travelling if this policy is still in operation.

"Day Seats" for those aged 16 to 25 ONLY: A VERY limited number of tickets go on sale at 10am on the day of performance to personal callers at the box office priced £5 each. First come-first served, these are limited to 1 per person, and may be paid for in cash or by credit card, they are subject always to availability. PROOF OF AGE IS REQUIRED, and the booking must be done by the person who will be using the ticket. The monkey always advises taking both to be safe, in case one is preferred over the other, and also calling the theatre in advance to check that the "day seat" ticket policy is in operation.


Packages including use of the "Oscar Wilde Room" are available, priced £40 per person, added to the price of your ticket. Available for STALLS seats ONLY.

Restricted view seats are not normally sold by telephone. They can normally only be purchased from the theatre box office by personal callers.

All prices include £1 per ticket theatre restoration levy.

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:
The theatre's own website www.trh.co.uk provide the service for this theatre.
It allows you to choose your own seats.

 

Booking fees per ticket for online bookings:
No fees.


 

A £1.50 restoration fee is included in ticket prices shown here, but shown separately on the Haymarket's own booking page.

 

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 for both productions: £67.50 tickets with an £15 (£19.50 on £87.50, £12.75 on £57.50, £10 on £45, £7.75 on £35, £3.50 on £15 seats) booking fee per ticket - 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.
CLICK TITLE TO PURCHASE. PLEASE CHOOSE CAREFULLY, AS MISTAKES CANNOT BE EASILY RECTIFIED.
Love's Labours Lost, Much Ado About Nothing.

 

Another alternative is See Tickets which offers for both productions: £67.50 tickets with a £13.50 (£17.50 on £87.50, £11.50 on £57.50, £9 on £45, £7 on £35, £3 on £15 seats) per seat booking fee and £2.75 per booking (not per ticket) postal charge. CLICK TITLE TO PURCHASE. PLEASE CHOOSE CAREFULLY, AS MISTAKES CANNOT BE EASILY RECTIFIED.
Love's Labours Lost, Much Ado About Nothing.
OR Telephone 0870 830 0200 (FREE call if using BT.com Calling Plan at your chosen times).



Another alternative is Ticketmaster, which offers for both productions: £67.50 tickets with a £10.15 (£13.15 on £87.50, £8.65 on £57.50, £6.75 on £45, £2.25 on £15 seats) per seat booking fee and £2.75 per booking (not per ticket) postal charge. A £3.05 service charge is also made for postage if required and time allows (£2.95 for box office collection option). This system allows you to choose your own seats from the selection the company has available.
CLICK TITLE TO PURCHASE. PLEASE CHOOSE CAREFULLY, AS MISTAKES CANNOT BE EASILY RECTIFIED.
Love's Labours Lost, Much Ado About Nothing.



Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offers for both productions: £67.50 tickets with an £19.50 (£24.50 on £87.50, £16.50 on £57.50, £13 on £45, £10 on £35, £5 on £15 seats) booking fee per ticket - moderate by agency standards, though higher than box office fees, worth trying as they often have an alternative choice of seats available! 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.
CLICK TITLE TO PURCHASE. PLEASE CHOOSE CAREFULLY, AS MISTAKES CANNOT BE EASILY RECTIFIED.
Love's Labours Lost, Much Ado About Nothing.


Londontheatredirect.com offers for both productions: £67.50 tickets with a £13.50 (£17.50 on £87.50, £11.50 on £57.50, £9 on £45, £7 on £35, £3 on £15 seats) booking fee per ticket. 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. CLICK TITLE TO PURCHASE. PLEASE CHOOSE CAREFULLY, AS MISTAKES CANNOT BE EASILY RECTIFIED.
Love's Labours Lost, Much Ado About NothingDiscounts 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: 0845 481 1870
( 020 7930 8800 if you cannot use the 0845 number)
Operated by the theatre: opening hours are Monday to Saturday 10am to 7.30pm. Outside these times, the 0845 number is answered by agency See Tickets, with the same booking fees as the venue. An extra 'handling fee' may also be payable. The 020 number is not answered outside theatre opening hours.


 

Booking fees per ticket for telephone bookings:
No fees.


A £1.50 restoration fee is included in ticket prices shown here, but shown separately on the Haymarket's own booking page.


 


For personal callers or by post: Theatre Royal, Haymarket, London. SW1Y 4HT
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.

www.trh.co.uk is the official theatre website.

 

 
 
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 Balcony Notes
STALLS 

Layout:
The Dress Circle overhangs the Stalls at row M. The view from row V back is noticeably affected by this.

Seats are in a single block facing the stage.

The walls at the front of the auditorium narrow at row G. The first and last four seats in all rows H back should be avoided as the direct view forwards is of a wall.

Legroom:
Good in almost all seats for all but the very tallest.

Row A 1 and 13 have far less.

Outstanding are seats F1 and 18, which are at the ends of the row, have nothing in front and offer the luxury of a good stretch, F1 and W1 have 9/10ths nothing in front. Readers Lisa and Richard Bradbury both note less room at the ends of row B when A is in use. Lisa attributes this to the curve of the row as there is more in the centre than at the ends. Reader J Hockley adds, "I did notice seats B4 and 5 had more legroom (and B10 and 11 I think), as the angle of the curve widens at these points."

Another reader comments: "Row R back: the one problem was for anyone over about 6 foot was the seats are very tight. I was afraid I was going to get cramp with my left leg stuck against the seat in front but fortunately the interval came in time for me to get up and move about."

Choosing Seats in General:
Most offer good views and fair value for money, with only a very few notable exceptions. These miscreants are pilloried below.

If rows A, B or C are sold as "Day Seats" they can be a bargain, feels the monkey - fairly cheap even if it is restricted view.

Be aware that row A has a neck aching view of the stage. A reader notes that it has been kept empty for some plays. Another person moved back two rows for similar reasons. The monkey usually marks row A red when top price to note this (though view and comfort, neck ache apart, are OK for many) and marks row B red only for potential legroom and some neck ache properties too. These seats may be unsuitable for the shorter visitor.

The monkey saw "Marguerite" (May 2008) from C1 and agrees that front rows may be close for some.

The walls at the front of the auditorium narrow at row G. This means that the first and last four seats in all rows from H back should be avoided as the direct view forwards is of a wall. This does not mean the seats are designated restricted view, because the stage can be seen, just at a very strange angle. If you pay full price then why not expect the best without compromise.

Rows V, W and X in the rear stalls suffer the Dress Circle overhang cutting off the top of the stage, along with feeling far from the stage. If offered V back at top price, you might want to sit elsewhere.

A wheelchair can replace stalls seats X 6 and 7 or 10 and 11. See notes. Sadly, a better seat isn't removable. Theatremonkey rates the view from here poor value at full price.

General Hazard Notes:
Neck ache in row A.

Walls of boxes narrow the auditorium at row G, giving seats in row H back a view of wall as well as stage.

For musicals, a sound desk replaces W and X 7 to 12, making W and X 6 and 12 and V 6 to 12 worth a miss for purists, perhaps.

Changes for the current production:
The front row is B. The stage is at eye-level for those of 5ft 5, and the early scenes have scenery in front for those in the central seats. Otherwise, the view is fine. Just expect to be covered in spit by the actors, though.... eewww...

"Premium" seats run from F to K... there's excellent seats in central rows D, E and L at normal top price instead...

At second price, rear rows W and X are decent value too, it feels.

A sound desk is beside W 6 and13 and X 5, and won't bother anyone. A large wheelchair space is available beside X15.
 

Reader Comments:
"Front Row: "Breakfast At Tiffany's" (September 2009). Rang up and got 2 day seats in the front row paying £15 plus £2 booking fee each (a service available if there are day seats unsold after the box office personal callers line is satisfied - Editor). I agree with another reader that some characters did speak quietly but we were OK being in the front row."

"Row A: "How The Other Half Loves" (March 2016), (Glen Morranjie). Seats at each end of this row had no legroom at all."

"A4 and A7: "Sweet Charity" (April 2010), (Mark). Possibly the best day seats in town. View is perfect, you miss NOTHING, and get to see the wonderful performance of Tamzin Outhwaite up close and personal."

"A7 and 8: "Fatal Attraction" (March 2014). The seats were good, central to the stage with only slight neck-craning to see the stage in it's entirety (my friend commented that it would have been ideal to be a few rows back, perhaps row C). Actors are standing directly in front of you at times and on occasion you can see right up their nostrils!"

"B1 (when row A in use): (Zena). My seat was fine - there was the orchestral pit in between us and the moderately high stage and legroom, so I never felt too oppressed. But it deserves its discount as you do have the usual restricted view (nothing below the mid-calf visible...). You may also want to note that the conductor stands quite tall and therefore the middle seats in the row will have some obstructed view. Row C may also be too close for some too"

"B1 and 2: (Lisa). Despite being in stalls row B (1 and 2) we suffered no neck-ache and enjoyed a brilliant view of the stage, feeling part of the whole drama. However, the legroom on these 2 seats seems much less than on the row behind (or front but row A has plenty!) It may be the curve that causes this as looking down the seats in the centre appeared better".

“B3 and B4: (Richard Bradbury). Excellent seats and like Lisa (above) we suffered no neck ache. Row B is the front row as A is kept empty and you are really close to the actors and in certain scenes they literally tower above you. Have to agree again with the previous reviewer - legroom in these seats is limited."

"B6: "Sweet Charity" (April 2010), (J Hockley). perfect view (though probably not if you have neck problems). The seats were not the largest, and the legroom was minimal - and I'm only 5'3" - but I did notice seats 4 and 5 had more legroom (and 10 and 11 I think), as the angle of the curve widens at these points."

"B13: "Flare Path" (March 2011), (Taljaard). I got this as a day seat for £21, and the view was excellent."

“Row D (when row A in use): (Bobbi). We were in row D and it was too close to the stage. We had to look up the entire time and it hurt our necks greatly. I’d recommend rows F and back since it is a small theatre. "

“Row D: I was really struggling with the uncomfortable narrow seating in this 285 year old theatre (I thought people all them years ago had large bottoms as well?). Anyhow, I was in row D of the stalls and now know what it feels like to be in a straight jacket".

“Row D: (Mila). Our seats in row D of the stalls were superb - We were caught up in every emotion and could see every nuance. I don’t know if it would be so good from further away."

“D5 and 6: (Matt and Sam). We had good seats stalls row D5 and 6, any closer to the stage would have been uncomfortable as this is a very high stage indeed."

“D13, 14 and 15: "Breakfast At Tiffany's" (September 2009). We had excellent seats. Theatremonkey’s seat assessment appears spot on.

"E1: Good seat, but a little too close for my personal preference."

"E4: "How the Other Half Loves" (March 2016), (thespyinthestalls.com). This was press night so house was pretty much full, this is a lovely theatre, beautifully decorated, which has decent size bar and toilets. E4 was a great seat - leg room OK and the view perfect."

"E5 and 6: "Flare Path" (March 2011). Fine. Granted, a row or two back would've been more panoramic, but I was equally happy to be closer, especially at the reduced £35 price I paid!"

“F5 and 6: (Mila). Close enough to see detail in individual performances.”

“F6 to F8: “Marguerite” (July 2008), (James – regular reader). Row B as front row, and a high stage in use. A fair rake ensures a good view and the sound is great here, but I would have preferred to have been a row or two further back to see the whole stage without turning from side to side."

“F17 and 18: “The Tempest,” (Chris B). These are at the far left of the stalls (as you look at the stage) but feel very close to the stage and you can still see the stage without obstruction. You might miss the very left hand side from F18, but this doesn’t detract from the experience. For this performance they used the little box just to our left to enter and exit the stage so we were close enough to touch the actors (including Ralph Fiennes) as they walked past, an incredible experience. The seats feel comfortable and there is plenty of legroom too.”

“H5 and 6: (Celia Robinson). These were great seats"

"H21 and 22: "The Libertine" (September 2016). Nice comfortable seats with a good view."

“Row J: Offered a good view of the stage.”

"K9 to 11 (discounted): Perfect seats, though oddly the seats in the next row are directly in front of you, meaning you have to do a bit of head-dodging!"

“L2 and 3: “The Lion In Winter”, (Chris B). These seats are on the far right (as you look at the stage) but allow a good view of the stage. You only miss the very right of the stage but little action takes place there anyway. The seats are close enough to the stage to see facial expressions and get a good feel of the atmosphere of the play. The legroom is very good in this theatre which is an added bonus. I would have preferred to be more central, but can’t fault these seats really.”

“M4 and 5: "The Rivals" (November 2010). Although these are off-centre, the view from both seats was fine for this production and sound quality was good too. Incidentally, I cannot comprehend why anyone would want to pay extra for 'premium' seats in row K!"

"M16 and 17: “Breakfast At Tiffany's" (October 2009). Despite being towards the rear and on the side, these seats gave us excellent views of the stage. There is only a very gentle rake to the seating but for some strange reason I felt slightly elevated in my seat. I think it might be because the stage is high. In addition, the slight curve at the end of the row allows you to see between heads in front of you. I would happily pay top price to sit in these seats again."

"O5 and O6: "The Elephant Man" (May 2015), (Linda O'Reilly). Both excellent, leg room was good, the stalls are quite small so no matter where you sit I think would be good. There is a raised stage though, for this play, so I would not recommend the first 3 rows. You would be way too close to see what was going on at the back of the stage."

O7: "Bad Jews" (March 2016). The row is a bit further back than I would like, but the view is good and the rake allows for not too much from those in front (unless they are too tall!). Legroom is OK, though not generous."

"R5: "Taken At Midnight" (February 2015) (Mark Lane). £29.75 from TKTS. Only my second ever visit to this beautiful theatre. That time I was sat in the Dress Circle. I have to say that given the choice now I would go for stalls next time. The view was excellent from here. The rake is deep, the seats offset and comfortable - but a bit tight on leg room. With this production the thrust stage helps with the sight-lines from here; if it had been a traditional proscenium setting then it may have been a little too far to the side, possibly about 2 or 3 seats off."

"R17 and 18: Were in a very good location and looking around the stalls in general I don't think anyone would have had a problem with a view of the stage and the seats (although not the most comfortable) were OK and enough legroom for this 6'+ beast and not the usual problem of Mr Pumpkin head sat in the way and wouldn't have been either had he decided to come along for this show."

“V3 and V4: "Marguerite", (James). I was a bit concerned about being so far back, but it really wasn't a problem. I still felt very involved and could see and hear everything perfectly. The only reason I can think of to be further forward is so that you can see the full effect of the wonderful sets which you miss slightly from the overhang but other than that, great seats. However, I did get freebies and would perhaps be reluctant to pay top price for them."

"V 4 and 5: "One Man, Two Guvnors" (March 2012). Three rows from the back, towards the right hand side and the view was fine. The rake is not bad but, again, if I could have got the Dress Circle then I would of gone for that instead."

"X1 to X6 (discounted): “Sweet Charity”. These are clearly not the best seats in the stalls but were very acceptable for what we paid and actually afforded a perfectly fine view except for a slightly reduced sight of the performers in the scene set on a fairground ride in the air. There was a gap between the sound booth and seat X6 and the person using that seat found it fine. The only negative comment I have is rather a strange but important one; seat X1 did not exist!! (The monkey is reliably informed that the seat has now been re-captured and firmly chained into place once more...).

"X 12 to 14: "How The Other Half Loves" (March 2016). We sat here (though this will apply to the whole row) - comfortable seats, excellent view, airy feel, not claustrophobic at all even though well back under circle overhang, plenty of roomy space behind seats so don't feel cramped in at all, loveliest auditorium in the West End.
 

Stalls Boxes

Layout:
A and C are beside the stage. 3 seats in each.

Legroom:
Acceptable as seats are movable chairs.

Choosing Seats in General:
These seats offer JUST average value, having a fair view; but at top price should be only be considered if prime Stalls / Dress Circle are unavailable.

The monkey would normally skip these boxes unless discounted, as they are otherwise expensive for the view offered.

Dress circle boxes have a better viewing angle to the stage than these.

These boxes are sometimes used by VIP guests. If you don't fancy sharing with a famous actor, try elsewhere. Actually, you'd have to, come to think of it, as they won't share a box of course.

General Hazard Notes:
The far corners at the rear of the stage not visible.

Views can change depending on the layout of the set - the box office will advise if this is the case.

Changes for the current production:
Not sold.

Reader Comments:
None.

 

DRESS CIRCLE 
Called the
Royal Circle in this theatre

Layout:
The Upper Circle overhangs the Dress Circle at row C; this does not affect the view from any seat.

The seats are split into three blocks, centre and two sides by aisles. Two extra pairs of seats have also set up home at the outer ends of row A.

Legroom:
Not keen on
row A (a 5ft 10 reader was just comfortable, though) and probably adequate - even quite comfortable - for all under five foot nine tall in the other seats. A little extra comfort can be had from sitting in the aisle seats of the centre block (rows B to H), where the seats are not directly in front of each other.

A 1, 2, 30 and 31 are "islands" in the corners. 1 and 31 are adequate up to 5ft 6 or so, with space for someone of 5ft 7 to put a leg to the side. The wall curves in, in front of 2 and 30, though, and those over 5ft 4 will be cramped here.

Choosing Seats in General:
Centre Block:
At top price, the centre block is the best value, choose row B then C first for the prime view.

Side Blocks:
The side blocks offer reasonable value, but again if all seats are the same price why sit in the side blocks?

The outermost ends of the Dress Circle are sometimes discounted. Monkey feeling is choose carefully, avoiding the extreme ends of row - first and last seats in, though only eight seats in this circle have a truly poor view of the stage.

Row G 1 and 25 and row H 1 and 24 are designated restricted view for losing a little stage to the curve of the circle - the front corners of the stage are lost, plus the front stage if it extends over row A stalls; but most of the rest of these seats are really pretty decent for less cash. The monkey would take seats in row G or H closest to the central aisle first, then the rest of those rows, before C then B then A, in that order. The view from the first three rows isn't as good, though the ends of rows (except A) have a little bit of extra legroom to compensate.

At other times, if not reduced, these corners may prove disappointing – especially knowing others have paid the same for more central seats. The monkey would pick centre aisle seats in these rows over Stalls row T back at the lower price, but would take into account being in the extreme corners of the circle.

Without discounts, avoiding the first and last four seats in each row in the side blocks is particularly worthwhile to improve your view of the stage.

Row A 1, 2, 30 and 31 are at the ends of the row, behind the boxes projecting from the walls of the auditorium. The viewing angle makes sitting in these seats annoying - though they are cheaper. Reader David Farthing felt of them:
"(the) two pairs of £26 seats on either of the balcony in the Royal Circle looked like good positions even if you have to lean forward to see all of the stage on your side!"

General Hazard Notes:
The loss of view to the curve of the circle at the sides is pretty hard to take at top price.

Those in the centre block may feel a bit “posh” sitting here, an attitude which may not go down well on the bus home...

Changes for the current production:
Row A 12 to 20, B 9 to 19 and C 9 to 20 are at "premium" prices. The monkey would honestly take cheaper seats around them - centre row D or the pairs of seats next to the centre aisle in side block B, C then A first. Same view, so why pay more?

Side block outermost 5 seats in A and B, 4 in B and C, 3 in D, 2 in E, plus 1 in F are now at second price too. Take D 3 or 25 if you must, but centre block seats further back are better. Skip F 2 and 24, as they are normally reduced, but not this time... On the other hand, the ends of row H are second price, with decent legroom, so a very fair choice, the monkey feels.


 

Reader Comments:
"
A3 to 7: Poor seats especially A5 to 7 who only saw about one third of the stage. A3 and A4 had the bottom corner of the stage cut off and so missed a substantial amount of the action. I think it is very cheeky how the theatre would normally charge you £60 for these seats and do not mark them as restricted view. These seats should be marked red and probably the ends of the rows behind us and are to be avoided."

"A 3 and 4: "One Man Two Guvnors" (2013). Had seat A3 and 4 in the royal circle at second price. Based on the comments on your pages and that they are Red (I didn’t buy them) I was concerned that they may not be up to much. However, I thought the comments others have made on your pages are a bit OTT – for this production anyway. Most of the action takes place centre stage in the front half/third of the stage so the little bit of the front right stage that was missing was only a factor for about a minute in the first half (when the dustbin was used) and with no seats behind could lean forward without risking annoying anyone. Seats next to us were empty so we moved into A6 and 7 for the second half which obviously afforded a slightly better view. I didn’t notice the legroom being poor (I’m 5’10”). I think they are just about fair value at this price, but perhaps I am just getting too used to West End prices."

"B7: "Fatal Attraction" (April 2014). At 5'3", I had a perfect view with plenty of legroom, and felt as though I got my money's worth; any more than that and I would have been unhappy."

"C5 to 8: "Sweet Charity" (May 2010), (James – regular reader). View was good, but C5 and 6 are certainly not worth top price as they start to cut off a significant part of the stage."

“D7: "Sweet Charity" (May 2010), (Mark – regular reader). Good seat, but I'd say go for the stalls at top price or at least central dress circle."

"D17 and 18: "Daytona" (July 2014), (Bob Pickett). In terms of view, great seats with a clear view of the entire stage, close enough to pick up on all expressions and nuances (important when seeing a “straight” play rather than a musical). Other reviewers have mentioned the curve of the theatre and this does tilt you slightly at the corner of the stage. Leg room was acceptable without being generous. But the thing no-one seems to mention is that they are not the most padded of perches; we felt the need to fidget as did others around us."

"D21 and 22: 21 is on the aisle, which definitely helps with legroom, although room was not lacking in 22 either (both occupants around 5' 9"). The circle has a substantial curve, which means that the viewing angle in the side block is rather odd - if you sit straight in either seat you're naturally looking towards the SL side of the proscenium arch, if not the box seats. As such, you watch the whole show sitting slightly squint in your seat. Not a massive problem, but probably worth knowing.

Also, a reasonable chunk of the Downstage Right corner (left front corner as the audience looks at the stage - editor) is cut off by the circle rail, but very little action took place here in Godot (January 2010), so we didn't really find this to be an issue. These seats are apparently top price, and if I had paid full price I would have been decidedly unhappy, however if they're available at a discount then they may be worthwhile."

“Row E: "I was in the circle row E right side which was OK, and seats comfortable with sufficient leg room (I am over 6') but Stalls, and close to the stage, would probably have been better as there is less distraction and you can feel more involved with the action."

"E16 and E17: "Rosencrantz and Guilderstern Are Dead" (June 2011). (Laura). On the left hand side (looking towards the stage) of the centre block. Plenty of legroom (but then we are only 5'2" and 5'3", not sure how it would be for those lucky enough to be taller), and excellent view of the whole stage. It also felt like a very intimate space which added to the production. There may have been a slight bit of overhang but it genuinely wasn't noticeable, although due to the set construction most of the action seems concentrated in the first half of the stage but that could change for other shows."

"F4 and 5: (David Farthing). Are fair value as suggested"

"F6 and 7: "One Man, Two Guvnors" (March 2012), (Graham). Thought this Dress Circle was great and the seats were excellent, offering a very clear view of the stage in a comfortable seat. These seats (well F6) is on the aisle so great for leg stretching! The rake is such that it's practically impossible for anyone to block your view. Not sure I'd want to sit in the side blocks but they looked OK to me even if they were off centre."

“Row F17 to 21: (Lizzie). Love the theatre. Sat in the Royal Circle and all had a really good view – the legroom was fine too.”

"G3 and 4: "Great Britain" (October 2014) (Laurence T). Under the National Theatre's Entry Pass scheme I got two seats for £12.50 altogether. I was sat in the circle, row G seats 3 and 4. These were great seats with no restrictions on our view and just close enough to see the actors expressions. Anywhere in the circle, apart from the very outermost two seats would have great views it seemed."

"G4: "The Elephant Man" (May 2015). Described as excellent value, and I can concur with that as I had a marvellous view, a really decent seat and plenty of leg room. It was close enough for me to feel part of the action but also able to take the whole show in. For £52.50 - probably the higher end I'd spend on a ticket as a part time student on a not fantastic wage working full time! - I was really pleased!

"G19 to 21: "One Man, Two Guvnors" (March 2012). We paid £118 for the three tickets, I think the standard price is around £58 each.The seats were absolutely fine, we could see the entire stage without any obstruction. Legroom was acceptable for me, might be an issue for someone taller than 5'7" or 5'7". The seats were good value at the price and I'd reckon them to be fine even at full price. Couldn't see any real drawbacks with these seats."

"G22: "Taken At Midnight" (February 2015) (Mary). I had room to stretch (because I was on the aisle) and a great view of the stage. The stage itself seemed to have been built outwards and in my direction so I was often watching the play straight on."

"G24 and 25: Really good view. I think G25 is unfairly marked red on the Theatremonkey website. I swapped seats at interval as G25 had more legroom and the view was the same. I think these are fairly priced at second price, and are good if you want a little extra room."

"H16: The overhang of the upper circle pretty much lines up with the top of the proscenium so nothing is missed. However for a (usually) top price seat I would go for something further forward."

 

Dress Circle Boxes

Layout:
Either side of the stage, above the stalls boxes.

3 seats in each.

Legroom:
Acceptable, as movable chairs are used.

Choosing Seats in General:
These seats normally offer average value if cheap, but at top / second price should be only be considered if prime Stalls / Dress Circle are unavailable.

Choose Dress Circle level boxes over stalls level ones as the height improves the view.

Do be aware that this can change depending on the layout of the set - the box office will advise if this is the case.

General Hazard Notes:
The far corners at the rear of the stage are not visible.

Box D is used as a sound desk. What they can see on their TV may be more interesting than the play...

Changes for the current production:
Not yet on sale, but usually average, feels the monkey.

Reader Comments:
"Box B: "Flare Path" (February 2011). Not the best box I have ever used, but a long way from the worst."



UPPER CIRCLE

Layout:
The Balcony is behind this circle and the view is not affected by it.

The seats are split into three blocks, centre and two sides by aisles.

Side block seats curve tightly towards the stage.

Legroom:
Average in all seats (except row A) for all but the tallest. Row A is poor for everyone.

Choosing Seats in General:
Centre Block:
Rows A to C feel close to the stage, pick row C then B, then D; then A if legroom and seeing over the bar is not a factor - avoiding the ends of the row unless you wish to take advantage of the restricted view discount.

All seats in rows B to E except the first and last four in each row normally offer a fair view of the stage without architectural problems intruding - plastic safety screens excluded.

Sadly, ill-manners of the theatre opposite's Upper Circle customers has spread to the Haymarket, with folk in row A leaning to block the view of those behind. The monkey can only advise taking row C before row B in order to minimise the problem - sad as row B offered a good view of the stage when audiences behave themselves.

Restricted view seats C 9 and 20 are also worth a look feels the monkey. Central seats, and cheap.

Rows F and G feel far from the stage. These are rated average rather than fair value by Theatremonkey. Once the cheaper aisle seats in the side block have gone, the monkey would consider paying more for centre row G rather than the outer side block seats for the more central view. Also worth thinking about is that central row F is more expensive than central row G... so take G over row F in front for the same view at lower cost...

Side Blocks:
All side block are designated restricted view as the sides of the stage are obscured. All these seats represent fair value only where sold at bottom price - rare. Choose row E, F then D over A to C as the distance improves the view. A to C are last resorts if the rest are sold.

These outer seats, both bottom and second to bottom price are more comfortable than the centre rows of the Balcony. If you can get a seat nearer the centre aisle (as opposed to on the extreme ends), probably worth it, feels the monkey, particularly if wishing to pay second to lowest price and the front row of the Balcony has gone.

General Hazard Notes:
A metal bar runs across the aisle ends of this circle. The view from the ends of row A is affected slightly by it.

A plastic safety screen above the bars of the front row blocks views from seats in rows A to C. A reader in C9 feels, “You can live with it, but that glass barrier is in the view, and I ended up for long stretches looking through it. It is highly annoying. I was lucky that no one sat in front of me. Legroom is OK. I guess in relative terms this might deserve a white, but with lots of red splashed on it. And at £30, it is not value for money."

The tight curve of seats towards the stage means that most side block seats lose the front corner of the stage.

To see the front of the stage, many people lean, blocking views for those behind. A particular problem in row B, according to many readers.

Watch out for the "extra" step coming down into the foyer (there's a notice warning of it).

Changes for the current production:
The centre block is third price back to F. Central row C is the best bet, with centre F far back for the money, feels the monkey. Save money by taking cheaper G behind.

In the side blocks, the box office are treading carefully, with outer edges not being sold in case sightlines are too poor - take the balcony if they are put on sale at the same bottom price. Remaining outermost seats are a single price, one above lowest. Take the most central seats you can, from row C back first. No bargains, but the best you can do for the money, it thinks.

The front row balcony is usually a better bet at the same or lesser price.

 

Reader Comments:
"A17 and 18: "Fatal Attraction" (March 2014) (Marina). Leaning over a metal bar and spent my time moving from side to side to get a view or rather to get myself comfortable. It wasn't a good value for money."

"Row B: The view was seriously compromised by row A leaning forward and obscuring most of the stage. The bar that you mentioned in your review leads to Row A leaning over it and meant I spent my time moving from side to side to get a view, this seriously undercut my enjoyment of the play."

“Row C: (A Morgan). The view from the first two aisle seats in the centre block is partly obscured by a plastic safety screen above the bars of the front row - but it only probably interferes with the seats in rows A and B. It does not really spoil the enjoyment of the show."

"C6 and 7: "Waiting For Godot." (January 2010), (James – regular reader). Sitting upright in the seat you miss almost half of the stage. Leaning forward helps considerably, but doesn't usually please people sitting behind you. At least the actors project well, so sound isn't an issue here."

"C9: You can live with it, but that glass barrier is in the view, and I ended up for long stretches looking through it. It is highly annoying. I was lucky that no one sat in front of me. Legroom is OK. I guess in relative terms this might deserve a white, but with lots of red splashed on it. And at £30, it is not value for money."

“C12 and 13: “One Man, Two Guvnors,” (Chris B). I’m quite disappointed with these seats. They are nicely located on the third row of the upper circle, towards the right (as you look at the stage) but as there is a steep rake (as with most upper circles) if anyone in the rows in front lean forward your view is heavily obstructed. I had to ask the person in front to sit back because I couldn’t see a thing past their head as they insisted on leaning forward. If you’d like the cheaper tickets and choose to sit in the upper circle I’d suggest the front row is your best bet. OR else chance your luck further back. It’s a shame because the upper circle doesn’t feel that high up they have the potential to be good seats. The legroom is rather restricted too.”

“D 4, 5 and 6: "One Man, Two Guvnors" (March 2012), (Liz). These were £25 - a fair price I thought, for the view. The aisle seat was OK, but seat 4 had about a quarter of the bottom right side of the stage obstructed so a few bits of the play were missed (though didn’t ruin it). Many people in front were leaning forward in order to see properly, and people closer to the wall were sitting on the top of the back of their seats. I would probably recommend paying a bit more to sit in the central block as it is such a fabulous play."

“D7 and D8: I sat in the fairly uncomfortable D7/8 and for the price it's passable. I would like to have seen this from the stalls."

"D11: "Sweet Charity" (April 2010). Not a bad seat, view was quite good, although there was nobody in the two rows in front of my seat so I think that helped. It did feel a little bit far away, I would have liked some binoculars but they didn't seem to have any."

"E12 and 13: "The Libertine" (September 2016). Very good view and we missed only a thin slice of the front of the stage, nothing to moan about. Highly recommend buying these bargain seats."

"G3: (Jon Bemrose). Slight imposition of glass/plastic screen at bottom of stairs, circle edge, but this only impacted on a very small stage front area and didn't cover any action on stage.)"

"G11 and 12: “Last Five Years” (October 2008), (Hannah). £30 for and I think that was a fair price. We were quite far away, but very central and the view was excellent due to the steep rake. So not bad!"

 

BALCONY
Called the
Gallery in this theatre

Layout:
This is behind and above the Upper Circle. A low bar runs across the front.

A single block of benches with fixed arm rests face the stage.

Legroom:
C
ramped in most seats, a 6ft reader now reports it better in row A, but cramped in other seats.

Choosing Seats in General:
The view is distant from these seats, but if tickets are under £15 then consider them when on a budget. At £16 or more though...beware.

Row A is sometimes sold at a slightly higher price than rows behind. Probably worth springing for the extra for a bit of legroom, feels the monkey - though upper circle seats at the same price will be closer to the stage.

As balcony seats go, anything here really isn’t bad value IF sold cheap enough. Pick the closest row to the front that you can, though if the back two rows are cheaper, take F over E for the same view at a lower price.

The monkey was torn between keeping the 'red' warning or upgrading to 'white' when rear rows are cheaper. Though still concerned on comfort grounds, glowing reader reports have upgraded its opinion to white.

No bargains, though, just a place to see the show from if you have too and are on the tightest budget.

General Hazard Notes:
It is a long climb upstairs to these seats. Consider your health before buying (the stairwell is quite narrow for getting paramedics and/or coffins to the spot).

While not particularly vertigo inducing, those really fearing heights should avoid these seats.

Seats are narrow.

A low metal bar runs across the front of the circle. Some rows may find it noticeable, and folk in row B can be annoyed by those in row A leaning forwards.

Changes for the current production:
None. Row A is a better bet than restricted view upper circle seats for the same cash, feels the monkey.
 

Reader Comments:
"Gallery: AVOID the gallery seating! God it is uncomfortable. Now off to see my Chiropractor to sort out my back after sitting in those blasted seats!"

"Row A: "The Tempest" (September 2011). Just an update on the Gallery seats. I saw 'The Tempest' with trepidation, having seen the reviews of these seats on your site. I didn't need to worry; the Theatre Royal have removed the top metal bar and the view was not restricted. The leg room in row A was great, I am over 6ft and had no problem. The sound was fine from the stage, but the other audience members up here took a while to settle. I would say the middle of the Gallery is a better bet than the edges of the upper circle. Yes the seats don't have comfortable backs, the cushions are not great and you are quite a way up, and the seat numbers are hard to see, and you are not worthy enough to go in the main entrance for the theatre..... But what do you expect for the kind of money these seats go for. Good value for money I say."

“Row C: (M Boyd).” I plumped for Gallery seats. When I arrived I was very disappointed to find all the Gallery seats are hard and my husband couldn't stand the lack of legroom. Also it gets very hot in these seats. One man nearly collapsed due to the heat and had to leave in the intermission. The view is obscured by the barrier so I ended up fidgeting in my seat all night to see the stage properly...avoid the gallery seats at all costs."

“Row C: (Ian). “I too sat in row C of the gallery and also was appalled at the dreadful view from my seat. I was not advised that it was restricted view nor that it was a bench. The Gallery rows B to F have 19 seats - (despite what the managers said when I complained) I felt that they are NOT staggered so from the centre of the rows you ARE directly behind the person in front".

"E1: (Jon Bemrose). Seat was end of row, so OK for me, being larger. I would advise anyone on the larger side (either waist or hips!) that squeezing between the seat dividers in any gallery seat is tight, and would afford very limited fidgeting on the 'bum numbing' bench seats. So, to be avoided, although the view was OK for this - but distant - and no binoculars to rent."

 

 

Notes
Total 888 seats.

Air-cooled auditorium.

Hearing loop available - both "T" type and headsets. Guide dogs may be dogsat. Level access via fire doors to a wheelchair space replacing stalls seat X18. Adapted toilet available, situated in the short corridor which runs from the disabled entrance to the rear stalls entrance. Fuller details from the box office on 020 7930 8800. Or see www.theatre-access.co.uk, Artsline on 020 7388 2227 or e-mail artsline@dircon.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.

No food except Ice cream and confectionery.

Three bars; Stalls, Dress Circle and Upper Circle.

Six toilets in all; Stalls 1 gents 4 cubicles, 1 ladies 4 cubicles, 1 disabled unit; Dress Circle 1 gents 2 cubicles 1 ladies 2 cubicles; Upper Circle 1 gents 4 cubicles, 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:
Piccadilly Circus - Piccadilly (Dark Blue) and Bakerloo (Brown) lines.

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

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

Keep walking through this tunnel and ignore the first staircase marked "Shaftesbury Avenue". Continue along the tunnel passing the "Trocadero" doors, and follow it as it curves past the another set of doors. Follow the arrow on the sign ahead of you that says "Eros" (the tunnel continues to the right). 

In this new section of tunnel, take the stairs ahead and to your right up to the street..

You will emerge near the Criterion Theatre. Walk ahead of you. If you see two roads - Piccadilly and Regent Street - with a large shop between them..., wrong way. 

You will come to a busy road, Haymarket. A large statue of horses is to your right. Turn to your right and walk down Haymarket. 

Cross Jermyn Street, continue walking downhill. Pass the Pizza Hut, cross St James's Market and Norris Street and pass the UGC cinema Haymarket. At the corner of Charles II Street, cross Haymarket and turn to your right. The theatre is in front of you.

 

Buses:
6,12,13,15,22B,38,53, 88,159 to Haymarket. Haymarket is a one way street. If you are travelling by bus from Trafalgar Square to Piccadilly Circus, leave the bus at the first stop in Lower Regent Street. Cross Lower Regent Street. Turn to your right, looking downhill towards the Crimea War Memorial column with the road either side of it. The first side street after the roads rejoin in front of the monument is Charles II Street. Walk along it, passing the side of Her Majesty's Theatre on the right. At the end of the street, cross Haymarket, the busy road in front of you. The theatre is in front of you to your right. If you come to a garden square instead, wrong way. Turn around, walk back to Regent Street, cross it, and walk down the other part of Charles II Street.

If travelling from Oxford Street or Shaftesbury Avenue you will be able to leave the bus on Haymarket itself. Do so at the second stop in the street.

 

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

 

Car Park:
Whitcomb Street. Leave the car park, turn left and walk uphill. The first street on your left is Panton Street. Turn down it and pass the multiscreen film complex. Keep going straight on. Pass the Harold Pinter (formerly Comedy) Theatre. At the end of the street is Haymarket, a busy road. Turn to your left. Walk downhill, cross Orange Street. The theatre is the imposing colonnaded building in front to your left. If you pass the Pizza Hut Haymarket, wrong way.

Spring Gardens / Trafalgar Square is also nearby and at this car park 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 these car parks, 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.ukuk.


 

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

 

 

 

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