STALLS
The Dress Circle overhangs the stalls at row N. Pillars supporting the
circle affect the view of a few seats from row N back, though the top of the
stage is now visible in all rows except Q and R.Rows A to C normally offer acceptable views of the stage from all seats. The central seats
offer a slightly better view - thus they are the best value. The high
stage often makes rows AA to A a bit of a neck strain for the shortest. At top
price, some may wish to sit elsewhere.
A 6ft 6 tall reader says of "Cabaret" in 2007,
"Sat in seat BB5 of the stalls, second row from the front. Excellent view,
legroom adequate. Being so close to the stage means that you get a lot of eye
contact with the performers. This could be a positive or negative point givien
the nature of parts of this production, particularly when the Emcee (James
Dreyfus) is on stage. Some people around me were clearly horrified to be
addressed directly from the stage, others appeared to love it. You take your
choice!"
Another reader felt BB was tight, but,
"I had one of the runners up in Britain’s Fattest Man contest next to
me, and the out-and-out winner just one seat along on the other side.
Heaven knows how uncomfortable both of them must have been feeling!"
Reader Anthony comments,
"We sat in row A of the stalls, which, strangely enough, is actually the third
row from the front. The view was good, we did not have to crane our necks to see
the floor of the stage and although it might have been better to sit further back I am glad we did not because of the poor rake
at this theatre.
One further thing worth mentioning is that from where I was sitting the sound
balance was undoubtedly the best of any musical I have even seen in the West
End."
Reader Paul says,
"I sat in row B the first time in seat 9 and 10 and the second time 6 and 7, and
both were great. Did not miss a thing!"
One reader also noted that in row C she had a larger person in front...and
thus missed some "centre stage" happenings. Though the monkey hasn't had the
same problem, it feels that some may wish to know that the rake here isn't
perhaps as good as it could be!
Reader Liz, on the other hand, remarks:
"I was sat in the stalls, row C, and it felt like the TV had come to life."
Another felt that C15 was a "little too close to the action."
Reader 'rz' says for "Thriller Live,":
D18 was great for seeing the cast and choreography, but some of
the side lightboards were cut off by the actual lights. I would
note,
also that the show is very loud and that patrons in the front
stalls may wish to bring earplugs."
The first and last
three seats in rows E to M are outside the proscenium and the view directly
ahead is of the wall. If asked to pay top price for these seats, choose
those situated more centrally in the row.
One reader says,
"seats E12 and E13 in the stalls: perfect view, good leg room compared to many
other West End theatres, and just about the right distance form the stage."
Further along the row another reader reports,
"E18 and 19. The legroom was good (best I’ve had in a while), but the fabric of
the seats became annoying on a hot summer evening. The view was good (for
"Cabaret") but set pieces sometimes obstructed my view."
Reader Lynne Hill notes:
"I was at the end of row F. Good, but slightly sideways, view of
stage, although having to look upwards doesn't help the experience!"
Reader James observes,
"K10 and K11. Was lucky not to have anyone sat directly in front as a fairly
shallow rake would have meant an obscured view. However, I was fortunate and
could see clearly. I could see the whole stage clearly without turning from side
to side and the sound was great too."
Another reader felt K17 was good, with excellent sightlines.
Reader Anne comments,
"our friends in the centre of row N had difficulty seeing over the heads of
those in front."
The following seats in the rear of the auditorium have a commanding view of pillars: Row O 3, 4, 14 and 15; Row P 1,
2, 12, 13; Row Q 1,2, 11,12 and row R 1,2, 4, 12,13. If considering a seat behind a
pillar, choose the stalls first for greater legroom, the price is fair for
the view BUT accept the view is not as great as it could be.
A reader says,
"Row O of stalls backwards are most certainly not worth £42.50. At all.
Good legroom though."
For "Thriller Live" (January 2009) rear stalls are the same price as
front ones, with the back row a mere two pounds cheaper... skip the
interval ice-cream for a seat further forward, is the monkey feeling.
Legroom is about adequate in all seats, better in row AA and (with a
compromised view) in row E seats 1 and 24, since these seats have nothing
directly in front of them.
Stalls Boxes
Either side of the stage offering a moderate view with only the nearest
corner not visible. Just average value. Choose Dress Circle boxes L and E first.
Boxes seat 3 people.
DRESS CIRCLE
The Upper Circle overhangs the Dress Circle at row C. The view from row F
back is compromised by pillars supporting the circle above.
A clear view of the stage is offered from most seats in rows A to E. It is,
however, worth avoiding the first and last three seats in rows B and C, first
and last four in row D and first and last five in row E because they are angled
toward the stage, with a lesser view of the edges for the same price!
A
reader says,
"We had A3 and A4 in the Dress Circle and the seats were excellent,
perfect views."
Just watch the two seats on the ends of A, which often have lighting
clamps in front.
On the other side of the row, another agrees,
"We got A10 and A11 in the Dress Circle. I have absolutely no complaints at all.
All I would say was that when we return to our seats after the interval not one
person got up to let us pass!! No manners at all!"
In row C a reader says,
"The seats have to be the worse we have ever sat in. C5 and C6 in the
Dress Circle. Thanks heavens we only paid half price. It was impossible
to see over the person in front."
Another reader notes,
"My seat C22 in the Dress Circle had a poor view due to the curving front of the
balcony cutting off the left hand edge of the stage. I also couldn't see the
centre of the stage due to the head of the person in front of me and had to keep
moving from side to side."
reader Cathy, further towards the centre, comments,
"C13 and 14 of the dress circle. Yes, we had a perfect view, but these have to
be the most uncomfortable West End seats ever (other than the Upper Circle at
the Palladium !). The upholstery was shot - so effectively sat on a wooden board
the whole time"
The monkey also received one comment from a reader complaining about people
leaning forward in row A and obstructing the view for those in row B.
Reader Chris May says,
"B6: Seat was fine, view was fine, until fat man in front
leans forward."
While it
is unlikely to be a problem at every performance, the monkey passes on this
information. Another reader, a couple of rows behind reports,
"Got seats D7 and D8 in the Dress Circle. I can't believe they charge £55 for
these seats. The circle is so poorly tiered that, unless you're on the front
row, you have no clear view of the stage and have to keep ducking and diving to
see around the person in front of you. However, for £25 (discount offer), I
suppose I can't complain."
Further along the row, another reader comments,
"we sat in the Royal Circle Row D 16 to 20 – not the best seats in the world but
not bad for £17.50 (discounted) I suppose. It is quite a restricted view past
about seat 19 onwards and the Royal Circle is rather an odd shape – like an
inverted horseshoe almost, so it gives the impression that you are quite a way
back from the stage, however the leg room is great."
Another reader was less than keen on row E,
"Centre of E row in the Dress Circle I had a badly obstructed view of the stage
because of the heads of two normal-size people in front if me, thanks to the
absence of a reasonable rake in the seating."
Not something the monkey has noticed, but it notes it here.
Row G seats 3 and 10 and row H seats 4 and 11 are
directly behind pillars. Other seats in these two rows are ambitiously marked as
top price. These rows should be ignored unless a real discount is offered.
If considering a seat behind a pillar, choose the stalls first for greater
legroom, although the value is not too bad here.
Legroom is slightly cramped in all seats. One
reader rated legroom in row D as "great" - the monkey felt "average," though.
Dress Circle Boxes
Four on each side of the theatre at Dress Circle level between the stage and
Dress Circle against the side walls of the auditorium. Boxes E, D and C can take
a wheelchair each. See notes.
All boxes offer good value at third price, average at second, with only the edges and back
corners of the stage not visible. These are worth choosing for comfort over the
rear stalls and Upper Circle at the same price. Pick boxes L and E first, then D
and K, I and C and B and H in that order. Wheelchair users should take box E
first, then D then C.
Six boxes seat three people each, two boxes (D and K) have either two, three
or four seats each, depending on production - being narrower, two seats is the
preferred configuration though.
At top price, the monkey would skip B and H, perhaps, unless legroom
is required.
UPPER CIRCLE
The Balcony overhangs the Upper Circle at row C. The view from row E back is
compromised by pillars supporting the circle above.
The Upper Circle is split into a central and two side blocks by aisles.
The central block offers clear views of the stage from all seats in rows A to
C. Row E seats 10, 11, 18 and 19, and rows F and G seats 5, 6, 12 and 13 are
directly behind pillars. Normally the rest of the seats in these three rows are
usually cheaper, but not for "Thriller Live" (January 2009) . Only row E 13 to 16 should be considered,
skip rows F and G and try for further forward for the same money.
In the side blocks an odd viewing angle is noticeable in all seats. Seats at
the outermost ends of the row may also have rails or equipment in view - but are
cheap for "Thriller Live" (January 2009) so just hovering into "fair value"
range, feels the monkey... but really only just. Choose
the seats closest to the centre aisles in rows D and E only if you must, and they are
cheaper than central block, but this monkey opts for a good
box then a seat in the rear stalls first, or saves money by paying less for
central Balcony seats in the level above.
Row A is
worth missing for legroom, and row A seats 1 to 12 and 36 to 47
extend along the side of the theatre, above the boxes. The viewing angle is poor
and these seats should be ignored unless you really MUST get into a sold out
performance, in which case they will be the last to go and are worth asking for.
Reader Sam says:
"I just wanted to comment on seat A32 Upper Circle in the Lyric theatre. I know
this site is strongly recommending against them, but I just wanted to add a
first hand experience.
I am 174cm tall (around 5' 10''). If you are around that height DO NOT
sit in those seats AT ANY COST. The view is not awful, but the legroom is
CATASTROPHIC!!. I survived the show only because the seats near me were
empty, so I sat the whole show sideways".
Another reader notes of D10 that not only is there little legroom, but also
the seat width (in common with the rest of the seats in the Upper Circle)
cannot accommodate a fuller figured person. Indeed, the reader writes,
"Just thought I'd let you know about my recent experience. It was hell! I purchased seat number D10 in the Upper
Circle for a performance of "Smaller" (April 2006). Oh the irony at even mentioning the
name of the play! Unfortunately, the seat I sat in was not the one I had
paid for. I found that I had to sit sideways, not only due to the non-existent leg room, but also due to the seats being extremely narrow.
As a
slightly broader theatre-goer (size 18 and 5ft 8), I never expect to be
sitting in a seat that is vastly wider than myself, but i do expect to be
able to fit into the seat. Imagine my mortification to find that I
couldn't! I initially tried by sitting sideways, but found this unbearable
as there was no leg room and both seats either side of me was occupied. in
the end I spent the first half of the play standing at the back, and managed
to find an unoccupied aisle seat to sit in for the second half, which I
still had to sit in sideways but was able to stretch one leg out into the
aisle. However, I now find that I have bruises on my left leg which was
unfortunately wedged against the seat in front.
As the two leads of the
play I saw were both role models for the larger lady, I would be amazed to discover
I am the only person with this complaint. It is debatable whether Alison Moyet would be able to squeeze into the seat, while Dawn French wouldn't
have a hope! I have been told that if I had purchased a seat in the stalls
or Dress Circle I wouldn't have had this problem. Unfortunately, I couldn't
afford these, so am in effect being punished for being overweight! Isn't it
about time theatres realised they need to update their seating arrangements
for the 21st Century audience?!"
In the side blocks there are no aisles at the extreme ends of the row. Claustrophobics
may like to avoid these!
Legroom is confined in all seats, worst in row A. A little more space is
offered in row B seat 11 and row C seat 10 which have the seat in front slightly
offset, leaving a small gap. A reader observes,
"Upper Circle row E is perhaps not the best seat to comfortably enjoy a show
from especially when knees are jammed hard against the seat in front."
BALCONY
Seats here are high above the ground, but not vertigo inducing.
The balcony is split from row E back into three blocks, centre and two sides.
Views from almost all seats are clear, but row F back feels a very long way from the
stage - skip G back if possible. When all seats are the same price, choose
centre block over sides for the best view and value - many feel this is
worthwhile for the view, though the monkey does quite like the side blocks when
discounted. Worth skipping too are the first and last two seats in rows B and C. C2 and 24 are
officially "restricted view," the others are just to be safe. The monkey doesn't
condemn particularly, just notes
that other options might be better...
One reader reports that,
"D7 has a safety rail in front (running around the back of row C and
turning into a handrail to go down to the steps to row C) making it a
quite restricted view splitting the stage in half, I imagine its the
same for D20 the other side."
For "Thriller Live" (January 2009) monkey feeling is that rear
central rows are just about "fair" value, sides a little more expensive
considering the view. Not for the vertigo sufferer or comfort seeker,
though.
In the rear side blocks there are no aisles at the extreme ends of the row. Claustrophobics
may like to avoid these!
Poor legroom in all seats with rows in front, row A the worst.
Notes
Total 959 seats.
Air-conditioned auditorium.
Infrared headsets available, Guide dog sitter available, or dog can remain
with owner if the owner is seated in a box - boxes E, D and C can
take a wheelchair each. Accessed via level ground through a fire exit, the
'Royal Entrance' apparently. The adapted toilet is next to the Royal Entrance. A
fair stab is made at the Lyric. Specific information from
www.seetickets.com
or 0844 412 4648 or e-mail customer.relations@rutheatres.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.Four bars; Foyer (for Dress Circle), Stalls, Upper Circle and Balcony.
No food except Ice-cream and confectionery.
9 Toilets; Stalls 2 gents 3 and 1 cubicle respectively, 2 ladies 2 cubicles
in each; Dress Circle 1 gents 1 cubicle, 1 ladies 6 cubicles, 1 Unisex Disabled;
Upper Circle 1 gents 2 cubicles, 1 ladies 2 cubicles
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