Old Vic Theatre
The Cut, Lambeth, London SE1 8NB 0344 871 7628
- Where to buy tickets
- Best seat advice
- Seating plan/s
- Getting to the theatre
Buying tickets online
www.oldvictheatre.com the theatre's own website provide the service for this theatre.
This site allows you to choose your seats from those available.
NOTE: When buying tickets in the side slips of the circles, you may need to use the "zoom" function to make the main block of seats smaller to see the side blocks, or else scroll sideways to reveal them.
Booking fees per transaction for online bookings:
£1.50 per booking, not per ticket, transaction fee is charged. Cheaper than by telephone.
About the show:
The Brightening Air
A Christmas Carol
Other Online Choices (with genuine S.T.A.R ticket agencies):
This theatre sometimes offers tickets via ticket agencies. If so, choices appear below.
Ticket agencies offer an alternative way to buy tickets, with booking fees differing from those charged by the theatre box office itself. They may have seats available or special offers when theatres do not.
Ticket agency prices vary in response to theatres implementing “dynamic pricing” - which alters prices according to demand for a particular performance. Current prices are advised at time of enquiry.
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.
TheatreMonkey Ticketshop
The Brightening Air
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), charge £16 on £100, £11.20 on £70, £9.60 on £60, £7.04 on £44, £6.28 on £33, £3.52 on £22 seats Monday to Wednesday / £17.60 on £110, £12 on £75, £10.40 on £65, £7.20 on £45, £5.60 on £35, £4 on £25 seats Thursday to Saturday seats / £11.20 on £70, £9.60 on £60, £7.04 on £44, £6.28 on £33, £3.52 on £22 previews to 23rd April 2024 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.
Ticketmaster
The Brightening Air
Alternatively, Ticketmaster charge £19.50 on £100, £13.75 on £70, £11.75 on £60, £8.75 on £44, £6.50 on £33, £4.50 on £22 seats Monday to Wednesday / £21.50 on £110, £14.75 on £75, £12.75 on £65, £9 on £45, £7 on £35, £5 on £25 seats Thursday to Saturday / £13.75 on £70, £11.75 on £60, £8.75 on £44, £6.50 on £33, £4.50 on £22 preview seats booking fee per ticket.
Encore Tickets
The Brightening Air
Encore Tickets charge £19 on £100, £14 on £70, £12 on £60, £9 on £44, £7 on £33, £5 on £22 seats Monday to Wednesday / £21 on £110, £15 on £75, £13 on £65, £9 on £45, £7 on £35, £5 on £25 seats Thursday to Saturday booking fee per ticket.
Discounts and "Meal and Show" packages may also be available.
London Theatre Direct
The Brightening Air
Londontheatredirect.com charge £24 on £100, £17 on £70, £15 on £60, £11 on £44, £8 on £33, £6 on £22 seats Monday to Wednesday / £27 on £110, £18 on £75, £16 on £65, £11 on £45, £9 on £35, £6 on £25 seats Thursday to Saturday booking fee per ticket. Optional Ticket Insurance is also available.
Discounts may also be available.
Box office information
Telephone: 0344 871 7628
Operated by the Old Vic Theatre group's appointed ticket agency, Ticketzone.
Booking fees per transaction for telephone bookings:
£2.50 per booking, not per ticket, transaction fee is charged. This is more expensive than booking online.
For personal callers or by post:
Waterloo Road, London. SE1 8NB
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 0344 871 7628.
www.oldvictheatre.com is the official theatre website. A very good auditorium photograph is available here.
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.
- Stalls
- Stalls Boxes
- Dress Circle
- Dress Circle Boxes
- Upper Circle
Stalls
Layout
The Dress Circle overhangs the stalls at row T. It doesn’t affect views of the stage... this theatre has pillars to do that instead.
The edges of the circle extend over the outermost two stalls seats down to row J. They remove a top corner of the stage for these seats from row P back.
A single block of seats face the stage.
Rows A to D are removable, with the stage extending into the space.
Pillars at the ends of row N and interspersing row S disrupt rows and views.
Rows A to H slope down from the stage rather than rise above it.
The rake (sloped floor to help see over rows in front) kicks in at around row J, is greater at L and gets really noticeable around row P.
The front row may be set with seats leaning back to help see up to the usually fairly high stage.
Legroom
Acceptable for all but the tallest. The monkey found the end of row Q generous, someone 5ft 11 or so may be happy here.
Depending on the production ends of some, if not all, rows back to G may have some seats with nothing in front. N35 usually has nothing in front either.
Further back, where there is a pillar among the seats, the row behind has a gap, meaning the row behind that contains a seat with nothing in front of it. That's usually Q34 and U 6 and 31. V31 also usually has nothing in front.
Choosing seats in general
Sold cheap, the front row – be it A, B, C or D is always a bargain. Stage height varies by production, though, so those wishing to see feet (musical dance fans / fetishists) may wish to sit several more rows back.
If used, both rows A and B lean back to allow folk to see up to if there is a high stage. Average value at top price, it thinks.
The fact rows B to H also slope backwards from the stage means that these may not be suitable for shorter people.
Rows K back to M arguably have the best views in the front stalls, considering the rake and height of the stage.
The monkey normally likes central row H back to K, though, for viewing comfort. It could even go further back too, with A in use, to row N to avoid the dip...
Row N has an OK value end of row wheelchair space, with a slight ramp to help see over seats in front.
Rows P to V offer only fair value, being the same price but further from the stage.
Alterations in 2019 re-located some seats to better avoid the pillars. While some bargain discount seats have been lost, those that remain have retained their attraction.
Q3 now has a pillar taking out a strip around 75cm from the side edge of the proscenium arch. Moving the head isn't sufficient to see around the loss, the monkey feels. Additionally, with the wheelchair space in use, a little more may be blocked depending on chair height.
Q35 (successor to the monkey's beloved Q34 - which now has a totally clear view and nothing in front for a row and is thus priced accordingly), hasn't changed much. Still has nothing behind, so moving to beat the pillar is possible without disturbing anyone. You get around a metre of stage, then a 50cm black pillar through your view, then the rest of the stage. Moving your head slightly to one side enables you to follow action behind the pillar. It prefers that to Q3, but accepts it's a personal choice.
Pushing back, there's now no obstruction from pillars in central seats in other rows. Ends of row U still have pillars in view, but are cheap enough to be a bargain.
At top non-premium price, the monkey would still not sit this far from the stage, though, given a choice. Still, take these over Dress Circle row A for comfort if long legged...
If in use, purists may wish to avoid U 15 and 23 and V 15 and 22, with a sound desk nearby. Most won't notice, though.
General hazard notes
Booking before a production opens means you may not be in the front row, as they add them at short notice.
Rows A to D don’t have a rake to speak of, and that negative slope behind them.
Sound in central seats around row J has been known to be less than perfect.
Be aware that P35 is on its own. S 6 and 7, S 33 to 35 and T 32 to 34 are satellites with a gap between them and the rest of the row. Likewise there is a gap between V 13 and 14 and 23 and 24.
Pillars, as discussed above.
Changes for the current production
The Brightening Air
The front row is not yet confirmed, the monkey will update as available.
The first row on sale is D at top non-premium price. Normally worth taking, feels the monkey, central seats first. The stage is usually about eye-level to a 5ft 7 monkey, so no sharp looking up. Legroom is normally fine up to 5ft 11 or so at least in all seats in row C. It will update as available.
Note that (when not removed for wheelchair users) seats D10, 11 and 27, E28, F29, G 5, 6 and 32 and N36 have nothing in front of them.
Premium seats run G to Q in the middle, with some central seats in G to L carrying the "super premium" package including a drink and programme for an extra £20 or so (worth it if you plan to buy both anyway), and a few with a charity donation extra Thursday to Saturday. Go for seats in front in F to D or next to them in G to N.
Prices drop at row S and again at U. Take S over R / U over T for similar views at lower prices.
U 5 and 32 and V 5 drop to £33, U 4 and 33, V 31 and 32 drop to £22 (£35 / £25 Thursday to Saturday respectively), all well worth a look once the £22 (£25 Thursday to Saturday) seats on row Q have gone, feels the monkey.
A sound desk by U and V 15 / 26 shouldn't bother anyone.
A Christmas Carol
In a change to the previous seasons, the theatre will use its “in the round” format, rather than the special one of previous years.
The following is based on the previous use of this layout, and the monkey will update more as it has it.
A stage in the centre of the auditorium, with two large blocks of seats, plus four short rows either side, back into the space where the stage boxes usually are.
The main seat block is a grandstand style arrangement, split into two by an aisle, rising from stage level to just below dress circle height.
The other main block is on the original stage, again a grandstand – but in a single block with no aisle.
Rows C and D are flat on floor, parallel to the sides of the theatre, facing the stage. Behind them, rows E and F are slightly raised on steps.
Rows C and F are low padded benches with no arm rests.
Seats G 10, 19 and 28 are wider and have removable arm-rests.
Legroom:
The front row usually has nothing in front except the slightly raised floor of the stage. In previous years N27, 28, 52 and 53 had nothing in front. K45 had space for one leg to stretch.
Rows C and F are very low to the ground, if used, D and G not much higher.
Behind the front row, almost all others usually have legroom acceptable to all but those over 6ft or so. Rows D and E have a little more. Row N 29 to 51 had considerably less legroom than the rest, just comfortable for a 5ft 7 monkey... A reader noted central row K around seat 38 was also a little more cramped for those over 5ft 9 or so.
Seats M37 and M41 had pillars three-quarters of the way along in front of them. You will need to put your legs to one side of them.
Choosing Seats in General:
Central rows K and L 10 to 19, and J 28 to 40 are the ones to aim for. In the main block, at least you probably will see more of the actors' faces than elsewhere.
Around them, seats beside, in front and behind are almost as good. Just be aware that the outermost seats in the main block, from row H back, have no aisle next to them and may feel claustrophobic - also the side rail at the front of the block may catch the eye. It isn't view-blocking, just present.
Seats on rows C and F may have the legroom advantage but, they are bench seats - so a larger person may make your investment seem squeezed. The row behind is not raised - again, the larger theatregoer could affect your evening.
At the sides of the stage, the four rows here recede into the original box space. Fair views if nobody too tall is in front - there wasn't a lot of raise (rake) to any row, though. At top price, the monkey would look to the main blocks first, it feels.
The wheelchair space beside the main block had an excellent view.
In the new block, where the stage was, the rake is fine and all rows except N have decent legroom. Go as central as possible as all seats are usually the same price.
Pillars produce restricted view seats in rows M and N. Good value all, the monkey would take, if taller than 5ft 7, M31 then M47 then N31 then M37 in that order. If taller, it would take all row M seats before N. On N take N32 then N46 first, then N39 and N40. Again, be aware if taller than 5ft 7 that your legroom isn't great - check out similarly priced seats in the dress circle rows C or D instead perhaps. Not E, though, as the legroom there is similar.
General Hazard Notes:
Rows C, D, F and G don’t usually have a rake to speak of.
Sound in stage block seats has been known to be less than perfect - too quiet with actors facing away from it.
The stage block is a wood and metal construction. Anyone moving about in the rows above makes an echoing distracting noise.
Pillars, as discussed above.
Changes for the current production:
Almost all stalls seats are “premium,” “premium plus” or “premium package” price. If going for these, the monkey would take F28 to 37 first and risk the bench. Take central rows K and L 10 to 19, and J 28 to 40 if you must.
Top non-premium price choices have to be rows F and C. No point taking D or G – you will be flat behind somebody tall, sure as Scrooge is mean. Row M is your next alternative, but it is a long way back for the bananas.
Premium seats on row G have the legroom advantage, for those willing to pay. If you must go "premium" take seats in G then H, K or L.
The only other option are third price pillar seats in rows M and N. As the monkey noted above, it feels them good value all. It would take, if taller than 5ft 7, M31 then M47 then N31 then M37 in that order. If taller, it would take all row M seats before N. On N take N32 then N46 first, then N39 and N40. To underline, be aware if taller than 5ft 7 that your legroom isn't great - check out similarly priced seats in the dress circle rows C or D instead perhaps. Not E, though, as the legroom there is similar.
Previews
During previews, all clear view seats are a single top price, with restricted view seats at third price. The monkey would take central rows K and L 10 to 19, and J 28 to 40 at full price first, row M restricted view over N if going for those seats. It would take rows D and G last due to the risk of taller people in front.
Reader Comments:
From previous "In The Round" seasons. Some details may change, but the monkey is adding these for extra information.
"Rows F and G: These are not raked; so when you are lucky enough to have the cast facing you, you have to dodge around the person in front."
"Row F: "High Society" (May 2015). We were seated in row F which unfortunately didn't have much rake so we did spend a lot of the time craning to see round the heads in front but it didn't spoil the experience too much and we still had a great night."
"Row K: I was lucky to be in row K well near the front of the stalls twice and once in C - right up next to the round stage - total immersion and a great theatre experience."
"K38: "High Society" (May 2015). As ever, sitting in first few rows of the stalls in the Vic you feel very close to the action. I sat in seat K38 : Middle of row K at (technically) the rear of the stage. As it's in the round the view is still great. One to note is that the middle 5 seats of row K have a couple of inches less leg room than the end seats of the same row K and also the row in front. This is due to the way the base that row K is sitting on is curved very slightly differently than the curve of the actual seats the row in front. Due to this the middle seats in row J eat in to the leg room a little. If you're under 5'09'' it's ok. I'm 5'11'' so found it a little hard. Luckily I had a couple of free seats to my right so I slid along one and managed fine. On a busy night you may not be so lucky."
"L11 and 12: "The Crucible" (July 2014). Those seats were great. The view of the stage was excellent, especially for act II. Act I is better from the other block, but it doesn't mean that actors are facing away all the time, just that the props are closer to the other block. However, you are in the right block to see Richard Armitage take off his shirt and some actors will go up the stairs next to you during act I. I would recommend this block rather than the other. The theatre is the most comfortable I have visited so far, the play is very long but the seats were perfect and there was air conditioning."
"L30, 31 and 32: "The Crucible" (July 2014). These seats are on the far side, so we had to cross the stage. Not a problem, but it's not obvious or signposted so we had to ask the way. Legroom was plentiful, and the seat was comfortable. Considering the length of the play, this was much appreciated. This is done in the round, but in this case it works. Though some seats have restricted views due to the set. My seat was fine, but my friend on the aisle did have to lean over a bit to see action on the far left of the stage - the set includes narrow staircases at the left and right of that side of the set. But apart from that, the view was great. And the staging meant that nothing was missed."
"M31: "The Crucible" (July 2014). I still can't get over that seat only cost £21. The view wasn't really restricted in my opinion. Ok, there's a thin rail (I wouldn't even call it a pole!) directly in front of you, but it didn't get in the way of my experience at all."
"M41: "High Society" (May 2015). "Behind slim pillar" is a great bargain at £21. The pillar does not obscure the view at all and leg-room is not affected either. By contrast M37, also "behind slim pillar", has pillar right in the centre of view, making it much harder to see and obstructing leg-room. (Slight differences in seat positions make a huge difference)."
"M44, 45 and 46: "The Crucible" (July 2014). Good seats. The act I is perfect from this block. But you will miss a few things in act II, not much though. And a lot actors are coming and going by the aisle of this block. I prefer the other block but this one is pretty good as well. It is true that if something fell on the floor in the circle above, it's quite noisy, but it only happened once. The seats are very comfortable but it is a little hotter than the other block because there are lights just above."
Stalls Boxes
Layout
Two large boxes either side of the stage at stalls level.
Legroom
Good on movable chairs, and on the (uncomfortable) ledge.
Choosing seats in general
Normally, it is reported that boxes will not be sold. Should they be available it will only be to personal callers at the box office, where any drawbacks can be explained to them.
Value is poor at top price, not much better at second price, better if at bottom price. Choose the centre stalls – or any other central seat in the main auditorium - first.
General hazard notes
The view from all boxes is angled.
At the very least, the rear quarter of the stage not visible.
Lighting / sound fixtures may further affect views.
Changes for the current production
The Brightening Air
Not yet on sale.
A Christmas Carol
Not on sale.
Readers comments
"Olivier Box: I was sold four tickets for "The Philadelphia Story" (summer 2005) in the Olivier Box. I was told it seated five so was pretty sure we wouldn't have anyone with us. We were sold seats 4 to 8. When we arrived we were surprised to find another couple with us in the box who had been shown to the only two seats with any decent view at all by the usher. I went to find her and it was all sorted out OK and they were moved to the front of the box with a very sideways view of the stage.
We then found that only one of us got any sort of decent view (seat 8). One of us had to sit on a very uncomfortable ledge behind and the friend in seat 7 had a very restricted view. My poor boyfriend couldn't see a thing as there was a pole in front of him - he ended up sitting behind the other couple and we wished we had kept quiet and taken the (supposedly worse) seats ourselves.
My point is that there is no way this should be sold as a box for six people. Four at the maximum. At a price of £40 per seat I would rather have had the discomfort of the rest of the theatre. I only took the box because it was a sell-out. When I rang the box office to complain I was told that they normally don't sell the boxes and only opened them up because it was a sell-out. However I wasn't told this on booking. Just warn your readers to steer clear of the box if they possibly can".
Dress Circle
Layout
The Upper Circle overhangs the Dress Circle at row C. Row E misses the top of the stage.
A central block, interspersed with pillars in row B, faces the stage.
Three rows of seats extend along the sides of the theatre between the circle and stage.
Legroom
Fine in almost all seats for all but the tallest (over 6ft) in rows B, C and D; uncomfortable for those over 5ft 7 or so in rows A, E, S and X for everyone.
Choosing seats in general
Centre Block:
In the central block row B seats 12 to 25 offer the best view and comfort, followed by row A 9 to 27, and C 13 to 17 and 21 to 24. It is worth choosing prime stalls over the Dress Circle however for comfort, view and proximity to the stage.
Central block seats designated restricted view are row A 7, 8, 28, and 29; Row B 7 to 9 and 28 to 30; row C 5 to 8, 11, 19, 26 and 29 to 32; row D 4 to 8, 9, 10, 17, 18 and 25 to 32; row E 4 to 11, 18, 19 and 26 to 34.
Of these, row B seats are least affected - looking through a safety rail or three - and are worth considering if the Dress Circle is a must and you need more than one seat on a budget.
Restricted view row C 19 and 29 and E 4 and 26 seem slightly expensive, and the monkey gives them an "avoid" rating as a result – cheaper, the view would have made them a bargain.
D9 is average value at least, as unlike the others, you don't have to pay AND lean in this one. The other pillar restricted seats in C to D are also pretty good (as are those in E for the under 5ft 6 brigade) but do remember seats on the stage with similar issues are closer to the action for the same money.
Row E is expensive in unrestricted seats between 10 to 28. Cramped, and the back row at top price, it isn't a total "avoid," but it isn't great value. E 13 to 16 and 21 to 24 are pretty much the pick here. Consider rear stalls for comfort or front Upper Circle for closer view (with bar, though) at the same cost.
Side Blocks:
Rows X, Y and Z are designated restricted view due to a combination of pillars and a viewing angle that makes between a fifth and a half of the stage invisible.
Theatremonkey likes to mooch in Y seats 17 to 20.
Row Z 16 to 21 are the same price as Y, and are both second price and second choice as these are fair rather than bargain value alas. On the other hand, there's a pair of cheap seats right next to them in row Y - fair or just about, for view if not comfort.
The short legged will also find row X 15 to 22 good value after Y and Z. The view in these seats, and comfort is not great, but the value is good enough to justify the choice.
General hazard notes
Supporting pillars affect the view from some seats in row C back.
Row E cannot see the top of the stage.
Double height bars at the ends of the aisles obstruct the view of the first three seats in each row of the centre block.
Changes for the current production
The Brightening Air
Central rows A and B seats are at premium price, with the middle of A and two central seats on B at "Super Premium" price - getting you a programme and drink. Go beside them in row B, then ends of A or B, and remember that stalls premium seats have more legroom and are closer to the stage.
Seats at the ends of rows A to E are much more expensive than previously, and very average. Still, a side front dress circle view for the same price as an upper circle seat can't be bad, and the view is slightly better (even through bars) than from the same price rear stalls, and more comfortable than the upper circle.
Prices drop at row D in the middle, so take D over C for similar views for less cash.
A Christmas Carol
In a change to the previous seasons, the theatre will use its “in the round” format, rather than the special one of previous years.
The following is based on the previous use of this layout, and the monkey will update more as it has it.
An extra stage block has been added where the stage usually is. The stalls are also usually built up to usual circle level, thus placing circle users almost in the "rear stalls."
In the original section, main block, the monkey would take stalls at the same price first for a closer view for the same bananas. Still, the circle is elevated and does provide a pleasing overall look at the stage.
Much of rows A and B are "premium" or “super-premium” price. Good seats nearby, but may suit the wealthy in pocket and shorter in leg. If wealthy and tall, take stalls, though - just not the ones in front of the monkey, please...
Seats at the ends of rows B to D are decent at third price, it feels, those on E at second price are also fair for the angle without the aisle end rails interrupting too much.
The long rows X, Y and Z now look down on the playing area, and are premium, top non-premium, second and third price.
Those closest to the main seating block in Y and Z are always a fair bet at top non-premium and third price respectively, and still one now, the monkey feels.
At premium and top non-premium price row X can be considered expensive, as the legroom isn't good, but at least they are close to the stage. Behind it, second price Y 6 to 14 / 30 to 23 are worthwhile – some of the best second price seats available, if accepting the “leg dangle.”
Further along the first / last six third price seats in Y are cheaper third price - more legroom than the more expensive seats in front, and about the same view, feels the monkey.
In the new stage block, central rows P and Q are “premium” and “super-premium” prices - for the wealthy diamond-mining dwarf with a head for heights only, feels the monkey, as they usually have no legroom for those over 5ft 6.
Row R is usually another "bar bench" with ample legroom for those willing to either half stand or dangle their legs. If you can’t get top non-premium price seats elsewhere, they are worth considering. Just be prepared to climb and strap into your spot on the benches.
A reader says of them, from last time they were installed there,
"Rows P, Q and R of the Dress Circle give you a view of the stage through the regular proscenium arch. EACH of these rows have the safety rail that obscures the vision of people with average size torsos, meaning that you have to lean right forward to watch the action. You also have to look down at quite an angle which is doubly tiring. If you are unlucky enough to sit in row P you have the added discomfort of no leg room and the joy of the row behind using the back of your seat as a foot rest because they are having to lean forward too. All this discomfort means that everyone is fidgeting to get comfortable and the nature of such a temporary structure means that the struts and girders creak with all this movement."
The monkey adds, for 2015 that row Q is as bad for all issues above. Row R, being those raised benches, is at least slightly more comfortable. Do avoid end seats in all rows, as the safety rails are in view.
Finally, be aware that to get to rows P to R, you go through the stalls, behind the new stage block and up steep flights of stairs to your seats. On the plus side, there are often extra toilets at the foot of those stairs that only those seated in P to R will know about...
During previews, all seats in the main block, except the restricted view ones, are a single price. The monkey would take central row B first at top price, then C or A depending on whether legroom is required. All cheaper seats are well worth it.
At the sides, it would take the cheaper seats on Y and Z before X.
In the new block, it would take R if nothing else is available at the same top price elsewhere. Take P and Q only if legroom is not an issue, it advises.
Readers comments
“Row A: "Mood Music" (May 2018). The huge thrust staging causes big problems with sightlines.... we were sat in circle row A and the hand rail and lighting bar are a huge issue, we moved to row B after the interval and it was still an issue you would need to be in rows D back to avoid it I think."
"A20: "Present Laughter" (June 2019). This is my favourite seat in the Old Vic. It is central in the front row with reasonable leg room and gives an excellent view of the stage."
"Row B: (Julian Taylor). Plenty of leg room and an excellent view of the stage."
"B8 and B9: "Hedda Gabler" (September 2012). ‘Restricted view’ £21. We were really pleased with the seats, I was a bit worried as they are less than half the price of the £50 tickets next to us but despite the small bar we thought they were very good value for money and I would definitely sit here again. The seats feel really close to the stage and the central block of the theatre doesn’t have much of a curve so we weren’t to the side at all. The view of the front left part of the stage (about 10-15%) is partially obstructed by the small bar however not much of the play takes place here and occasionally we just had to move our head slightly to get a full view."
"B28: "No's Knife" (October 2016). One of my favourite seats in all of London theatres. An absolute steal at its usual £21. The safety rail is so thin and becomes practically invisible. Only prominent over a tiny corner of the stage. I never sit anywhere else at that theatre."
“C18 and 19: “Richard III,” (Chris B). The circle feels quite distant from the stage but does offer a very nice raised up overview of the whole performance. As with most of the seats at the Old Vic, there is legroom to spare. C18 is classed as restricted but in reality there is roughly a 5 inch wide pillar in front of your seat that is very easy to see around, especially if you can lean slightly over to the person next to you. And you get a discount on the ticket price.”
“C26 and 27: “Kiss me Kate,” (Chris B). The view is excellent from C26, clear and almost uninterrupted (a very small slice if the very right hand side of the stage is missed, although this doesn't detract from Kiss me Kate), if a little far from the stage to truly engage. And only marginally restricted from C27. There is a pillar in front of that seat, only about 6 inches in diameter that is quite easy to see around if you lean slightly. And the vastly cheaper price certainly sweetens the deal. There is plenty of legroom too, as with most of the seats at the Old Vic.”
"C30 and C31: (David Bone). As well as the pillars in the circle, at the front of the access aisles there are metal crash barriers, I guess put there as a safety measure to prevent the late comer who is running down the steps to get to his seat at the front of the circle from slipping and ending up in the stalls (!). Anyway, from our seats one of these crash barriers was right in front of us, breaking up our view of the stage. It wasn't a prohibitive problem but I wouldn't have accepted these seats at the price had I known."
"D9: "Noises Off" (December 2011), (Taljaard). At £15 it was a real bargain. About 2% of the right hand side of the stage was blocked but very little of the action takes place there so it was not a problem."
"D10: "Groundhog Day" (August 2016). Really great view despite a very slim pillar, didn't feel that I missed anything at all. My sisters seat D9 was even better, the pillar didn't give any obstruction at all! Would definitely rate this one as green for value, and even D10 because at £16 they are an absolute bargain."
“D17: At second price. It is rather interesting place. The Pillar is in the view, but not in front of you (It would be if you sit in D18). To avoid it, you have to lean to your left little bit. If the play is not "action based" and the set is extremely simple I thought I got a good deal. Not sure though if there was some action to your right how you would feel. Anyway, to sum it up. Annoying rather than fatal. So, don't dismiss it, and give it a good thought. The legroom is good/very good. I am 5' 10""
"D25: "Sylvia" (September 2018). Billed as restricted view due to a slim pillar, I paid £25 for this seat for Sylvia. I see for the next show it is priced £30, and the seat one over priced double that at £60! I know you can't link to pictures on your website, but the stage isn't actually obstructed by the pillar in normal stage setup. I think the red rating is unfair, and for a clear view should be neutral or green! I'd definitely sit here again."
"D25 and 26: "Rosencrantz and Guildenstern Are Dead" (March 2017). Pillar was more obstructing in D26, but view good overall."
"E18: "The Constituent" (June 2024), (Taljaard). Comes with a pillar warning but it hardly distracted and was very well priced."
"E22: "King Lear" (November 2016), (Taljaard). Good seat but it was quite warm in the theatre."
"E24: "The Caretaker" (April 2016), (Taljaard). Very good view and most comfortable."
"E34: "Oedipus" (February 2025), (Taljaard). Has a slight pillar obstruction but didn't impact on the play."
"Row X: "Noises Off" (November 2011). Two seats were £35, the others £20 because they were apparently restricted view, though there was nothing to spoil anyone's enjoyment. My one complaint though is that my hearing is starting to deteriorate and a missed a lot of the dialogue - partly through the laughter and partly because the acoustics were not that great. If your hearing is poor, sit near the front or buy a hearing aid!!!"
"X19 and 20: "Sweet Bird of Youth" (August 2013): We moved to these after the interval because they were empty. These have a better view than the seats further along the side, as you don't need to lean forward to see the whole stage, although it's still slightly to the side. They're not a bad cheaper alternative to more central Dress Circle seats. The view is better than the ones at the back of the stalls in the same price band."
"X22 and 23: "Sweet Bird of Youth" (August 2013): Bought these as under 25 tickets so only paid £12, for which they were great value. *But* if you sit normally in your seat, about a third of the stage is obstructed by the barrier. There is a cushioned arm rest on the barrier, so you can lean and see the full stage, but it's obviously not ideal. *We moved up to X19-20 after the interval because they were empty*"
“Y1 to 3: the view from the seats is ok, but a little moving about was needed. I wouldn't suggest those seats (we actually had Y2/3) for a play etc as about half the stage is 'missing' but for cabaret happening centre stage, they are great value.”
"Y16: £20 plus £2.50 booking fees. I wanted to buy a better seat, but this was the best available. I have to say that I was very pleasantly surprised with the seat. I am not sure how things might be for other plays with too many actors and/or bigger set, but for my one, the view is very clear. It is true that you sit little bit sideways, but not really a big deal. However, a word of caution. I think the lower you get, the worse will be, because the angle gets smaller. The worst will be those near the pillar. Legroom is O.K. (I am 5ft 10/11). Overall, taking the price into account, very good seat."
"Y28 and 29: "Hedda Gabler" (September 2012). These are amongst the strangest theatre seats we have ever experienced. They are akin to bar stools, sitting very tall (they have an inbuilt footrest!), meaning that if you are a shorter theatregoer (like my wife who is 5ft 1/2in tall), your feet cannot touch the ground - or indeed the footrest, meaning you have to support yourself on the back of the seat in front.
The seats also aim slightly away from the stage! This, combined with the horseshoe shape of the theatre, means you lose sight of perhaps half the stage unless you lean well forward onto the (cushioned) rail in front of you. But to do this you would need the agreement of other sufferers in that section.
For the second half, we transferred to the row in front as it was empty and the view improved considerably. But you still lost sight of about a quarter of the stage.
These seats are only to be considered if subject to a substantial discount (like the £10 per seat offer we found), but even then the dire viewing angle has to be strongly considered before purchasing."
"Z19 and 20: "Fanny and Alexander" (February 2018). High bar-stool-style seats. I know lots of people don’t like these but I find the legroom great and the seats comfortable. We didn’t lose much of the stage and the price was fantastic. And the height is great if you’re a bit short (as my companion was!)."
Dress Circle Boxes
Layout
Two large boxes either side of the stage.
Normally, it is reported that boxes will not be sold. Should they be available it will only be to personal callers at the box office, where any drawbacks can be explained to them.
Legroom
Good on movable chairs.
Choosing seats in general
Normally, it is reported that boxes will not be sold. Should they be available it will only be to personal callers at the box office, where any drawbacks can be explained to them.
Choose seats 4 to 7 in all boxes for the best of the poor angled views of the stage.
Value is poor at top price - avoid totally; much better at a heavy discount (bottom price). Choose the centre stalls – or any other central seat in the main auditorium - first.
General hazard notes
The view from all boxes is angled.
At the very least, the rear quarter of the stage not visible.
Lighting / sound fixtures may further affect views.
Changes for the current production
The Brightening Air
Not yet on sale.
A Christmas Carol
In a change to the previous seasons, the theatre will use its “in the round” format, rather than the special one of previous years.
The following is based on the previous use of this layout, and the monkey will update more as it has it.
Benthall Box is used for the orchestra. Atkins box is close to the action, but seats 1 to 5 may be very cramped for those over 5ft 6. 7 to 12 are a raised bench, so those willing to dangle or almost stand will be happy here. Skip 1 to 6 unless short - the view is fine if you are, excruciating if not. 7 to 12 look down at a sharp angle on the stage. Not a bad bet if you have to see the show and there's nothing else left, though.
Readers comments
None.
Upper Circle
Layout
Called the Lilian Baylis Circle in this theatre. Named in honour of the dynamic Old Vic manager. This lady believed in bringing quality theatre to the masses at affordable prices; Theatremonkey salutes her.
This circle is high above the ground.
Like the Dress Circle a central block faces the stage.
Two rows of seats extend along the sides of the theatre between the circle and stage. These are concrete steps converted to benches by padding, and without anything except a rail to lean on in row X.
Standing places are allocated behind the side block rows.
Legroom
Stretching it to reach "adequate" in all seats for those over 5ft 6, worst in rows A and X.
Go 10 or more seats in from the aisle for maximum legroom - around an extra two inches, in all rows A to F.
Good news is that 2019 renovation work now gives rows G and H legroom adequate for those up to around 5ft 8.
Row X has least legroom. Row P is higher off the ground, so those under 5ft 6 may find feet dangling, and the taller may feel able to half stand. It is possible to turn sideways facing the stage in Y 1 and 36, creating extra legroom. Also in Y18 and 19 - except you'd be facing the wrong way...
Choosing seats in general
Centre Block:
Row A seats 12 to 30 are normally sold at third price. If the bar, legroom and height don't bother you, they are worth thinking about as the alternatives to identically prices restricted view Dress Circle seats.
Row A seats 3 and 33 are a fair restricted view choice only if legroom is not an issue; otherwise: avoid.
Behind that, Row B seats 10 to 28 offer the best view here, followed by row C 10 to 28. At third price though, consider paying a little more for the rear stalls first if legroom is a priority. The monkey picks the stalls on this one.
Rows F and G feel a long way from the stage in the monkey opinion. It would take G first for legroom. Row H, added in 2019 is also decent - the only problem being that with the stage extended to stalls row C or so, anyone leaning will block the view of those seated here. On the other hand, with nothing behind, it's possible to sit on a coat to boost height.
Side Blocks:
Row X is the front row, P the central and S the standing positions behind P.
All seats are designated restricted view with between a fifth and half of the stage not visible - and the bars don't help.
Seats 15 to 23 in all rows are a bargain bin choice - choose row P - or S for a tiny bit more comfort if you don't mind standing.
Those on tight budgets should look at side blocks if the purse is not stretching further. Rails and tight viewing angles make the last few seats in every row distinctly average value.
General hazard notes
A bar runs across the front of the circle, affecting the view slightly in rows A and X.
A double height bar is found at all aisle ends. Pedants might want to avoid the aisle seat (and two next to them) here.
Less comfortable, narrower, seating is used in the centre block of this circle than elsewhere in the auditorium.
Spotlight equipment can replace G 14 to 20. Purists might like to avoid G 21 and F 13 to 20. Most won't notice, though.
Side seats are "bench style" without backs - arrive early to stake out your portion!
Changes for the current production
The Brightening Air
Central rows B and C are third price. Decent view, but less legroom than stalls for the same cash, and more distant than restricted view upper circle.
The monkey would probably take the cheaper seats next to and behind in row D, rather than these.
Row E 14 to 24 is fifth price. The monkey would skip it as seats on G are cheaper and have more legroom as well as a similar view for fewer bananas.
A Christmas Carol
In a change to the previous seasons, the theatre will use its “in the round” format, rather than the special one of previous years.
The following is based on the previous use of this layout, and the monkey will update more as it has it.
With the stage "in the round" row A and the ends of rows B and get a restricted view where the circle edge cuts into the stage.
Central B to D are second price. The monkey would take B 10 and 28, C and D 10, 11, 27 and 28 next to them first, same view, cheaper.
At third price you can safely take row E, but the monkey would go F 9 to 26 instead, as the price drops and you get the same view again, fewer bananas.
Row A for the short is also worth a glance, feels the monkey.
The side bench seats get improved views, looking down onto the stage rather than totally sideways. Still very uncomfortable, but at least a decent budget choice this time, as they feel closer than usual, opines the monkey.
During previews, at fourth price the ends of row B are also a decent option, it feels.
Readers comments
"Upper Circle: "Pygmalion" (September 2023). Hurt my shins cause I have long legs which kept bashing on the seat in front of me. Bad lighting also washed out the actors' faces so I couldn't see their expression easily from the upper circle."
“A16 and 17: "The Crucible" (August 2014 - "In The Round" layout, though seat location did not change). Do not consider these seats if you are over 5 feet six. The leg room is non existent. These seats are directly facing the stage, with the safety rail in front. This wasn't an issue for us as we could watch the action underneath the rail but it might be for someone taller. Also the seats were just too high and too far from the stage."
"B14 to 17: Perfect seats.”
"B19: 'Cause Celebre' (April 2011). Right in the middle, I was quite happy with the seat. Leg room was adequate, and the seat comfortable. You get an excellent view of the stage --- of course, one is a bit far away from the stage, but I didn't feel that distracted from my enjoyment in any way. I would choose that seat again. I certainly don't think the front row of the upper circle is worth the extra £10 GBP charged! In short, Theatremonkey's coding of B19 as a green seat was spot on."
"C13 and 14 "Groundhog Day" (July 2023). Great view, although legroom was tight, even for 5' me."
"C16 and 17: "Rosencrantz And Guildenstern Are Dead" (March 2017). We thought they were fantastic seats for the price. (£30, not cheap, I know, but the Old Vic costs a fortune!) Clear view, right in the centre, no obstructions, easy to see and hear everything. (My partner thought the seats were a bit snug but I think that says more about him than them...)"
"C33: "Electra" (October 2014 - "in The Round" layout, though seat location did not change). Glad I chose this seat rather than the rear stalls one offered by the box office at the same price - there was a great big tree 'planted' right where my eyeline would've been! I'm not a fan of the Old Vic in the round and in this case I found that those in front row slips who chose to lean forward over the rail blocked even more of your view of the right hand side of what's now 'the stage'. But for the more centrally placed action and that on the left, this seat was fine. There's also a bit of space to your right to dump your bags if you need to - useful where the legroom is a bit tight!"
"C33: "The Master Builder" (February 2016 - standard stage layout). It's an end of row, which was a real bonus as the leg room is really really tight (even for me at 5' 5'') - but I was able to sit sideways quite comfortably. You only lose the very bottom right hand corner of the stage and, as the action entered mainly from the back of the stage, you didn't really lose anything. People around me were courteous with no leaning forward, so I was quite happy. Not much to add as a seat review for the website that hasn't already been said by another reviewer. Yes, room next to and behind seat to stash coat/bag etc. and excellent for a quick getaway at the end!! (was actually on the tube within 5 minutes of the final curtain call)."
"D5: "Pygmalion" (September 2023). It is at the end of a row so good leg room. You can see the whole stage. And the theatre is air conditioned!"
"F5 and 6: "Groundhog Day" (May 2023). At the back. Legroom is quite limited, but a great view for a very reasonably priced ticket (£22 during the previews)."
"X 13 and 14: "The Caretaker" (March 2016). I tried seats X13 and 14 in the Upper Circle. With a little leaning I had a good view of the whole stage and it didn't seem as high as I've experienced in other theatres. However, these were the most uncomfortable theatre seats I've ever sat in. It's a bench seat with no seat back just a thick metal bar that the row behind might use to put their feet on (my husband even got kicked in the back at one point). Our feet didn't reach the floor (my husband is 5 ft 9) so it's leg aching as well as back aching and it's so cramped there's no room to pass, so the line has to evacuate to allow latecomers to sit down making it pointless to arrive early and grab your portion of the seat. Some around us left at the interval and some opted to stand as it was "too painful to sit"."
"X 15 and 16: "Rosencrantz and Guildenstern Are Dead" (March 2017). The seats are advertised as restricted view, but we often go for these sorts of cheap seats in the West End, often finding them fantastic value for money. The seats are small (with no backrest) but the view of the stage was initially what we’d expected - fairly decent, with part of the floor out of sight. However, once the play started, the people to the stage-side of us leaned so far forwards, with arms extended that it blocked our view entirely. We could not see the stage AT ALL and had an audio performance only. Not what was advertised, nor what we paid for. If you have normal theatre goers in those seats, who are respectful of those around them, I suspect the seats would be OK. As it was, we didn’t see anything of the play and we were gutted. Personally, I’d pay a bit extra and not take the risk - the Old Vic weren’t particularly interested in our experience when we contacted them. I’d appreciate something being put on Theatre Monkey as a warning to others. At least then they can make an informed choice about these seats. (We’d checked with you prior to buying too!)."
Notes best seat advice
Total 1067 seats.
Air-conditioned Auditorium.
Guide dogs can be dogsat by staff.
Sennheiser infrared. Wheelchair users have access via a side door on Waterloo Road, to decent seats in the stalls. Also down to the theatre cafe / bar and an adapted toilet cubicle. Access to another adapted toilet is also available through the corridor leading into the stalls boxes. More information from the theatre box office on 0844 871 7628 / 18001 0844 871 7628 (textphone) / 18002 0844 871 7628 (hearing person). Operated by the Old Vic Theatre group's own phoneroom from 9am until 7.30pm Monday to Friday, 9am to 4pm Saturday and 9.30am to 4pm Sunday.
Limited basement cafe menu, plus ice cream and confectionery in the auditorium.
Three bars; Stalls, Dress Circle and Upper Circle.
6 toilets; Stalls basement 1 containing 2 cubicles and 7 urinals, 1 containing 11 cubicles and 1 changing space, 1 unisex disabled, 1 containing 1 cubicle; Upper Circle 1 gents 2 cubicles, 1 ladies 7 cubicles.
www.oldvictheatre.com is the official theatre website.
General price band information
Theatres use "dynamic pricing." Seat prices change according to demand for a particular performance. Prices below were compiled as booking originally opened. Current prices are advised at time of enquiry.
Based on paying FULL PRICE (no discount!) for tickets, site writers and contributing guests have ALSO created the colour-coded plans for "value for money," considering factors like views, comfort and value-for-money compared with other same-priced seats available.
For a full discussion, opinions, reviews, notes, tips, hints and advice on all the seats in this theatre, click on "BEST SEAT ADVICE" (on the left of your screen).
On the plans below:
Seats in GREEN many feel may offer either noticeable value, or something to compensate for a problem; for example, being a well-priced restricted view ticket. Any seats coloured LIGHT GREEN are sold at "premium" prices because the show producer thinks they are the best. The monkey says "you are only getting what you pay for" but uses this colour to highlight the ones it feels best at the price, and help everybody else find equally good seats nearby at lower prices.
Seats in WHITE, many feel, provided about what they pay for. Generally unremarkable.
Seats in RED are coloured to draw attention. Not necessarily to be avoided - maybe nothing specific is wrong with them, other than opinions that there are better seats at the same price. Other times there may be something to consider before buying – perhaps overpricing, obstructed views, less comfort etc.
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.
By value for money:
The Brightening Air
Some details will change, the monkey will update as available.
A Christmas Carol
Some details will change. The monkey will update as available.
By Price:
The Brightening Air
Some details will change, the monkey will update as available.
Preview performances:
At the first four preview performances, half the theatre will be sold at £10, at noon, around 5 weeks before the date of performances beginning to those registered on the mailing list. Seat locations will be allocated all over the auditorium, with remaining seats at normal prices.
To register, see www.oldvictheatre.com/your-visit/pwc-10-previews/
A Christmas Carol
Some details will change. The monkey will update as available.
Notes
Preview performances:
During previews, half the theatre will be sold at £10, at noon, 5 weeks before the date of performances beginning to those registered on the mailing list. Seat locations will be allocated all over the auditorium, with remaining seats at normal prices.
To register, see www.oldvictheatre.com/your-visit/pwc-10-previews/
The Upper Circle is called the "LILIAN BAYLIS CIRCLE" in this theatre.
Some details may change. The monkey will update as available.
Please note: The seating plans are not accurate representations of the auditorium. While we try to ensure they are as close to the actual theatre plan as possible we cannot guarantee they are a true representation. Customers with specific requirements are advised to discuss these with the theatre prior to booking to avoid any confusion.
51.502811, -0.10813
Nearest underground station
Waterloo - Bakerloo Line (brown), Jubilee Line (silver gray), Northern Line (black). Also a main line station.
This station has multiple exits, not clearly marked, so be careful! The best route is as follows:
From the platforms, follow signs for the "Waterloo Road" exit.
On leaving the glass doors, turn right. You can see the corner of the theatre - it is on the opposite corner of the next crossroads you come to. Just cross the road and walk to your right.
______________
If, in error, you left by the "South Bank" and / or "Shell Exit" and / or "York Road Exit" from the platform to the surface, you will be on York Road.
Cross the road and turn to your left. Walk to the corner and take the next turning, a grotty street called Morpeth Road. Walk up it. At the very end, turn right. Walk on and you will come to the station exit you wish you had taken!
You will now be able to see the corner of the theatre - ahead and on the opposite corner to the left of the next crossroads you come to. Just cross the road and walk straight on to reach it.
For mobility impaired audience members, the Society of London Theatre provide a "photo map" - illustrated walking route to this venue from a near landmark and also Waterloo Station (the nearest fully accessible station) on their website www.officiallondontheatre.co.uk, via the theatre's listing page on that site.
Buses
1, 4, 68, 176, 188, 501 all stop nearby.
Taxi
Easy to hail outside, or turn left out of the theatre, cross the road to Waterloo Station and use the rank there.
Car park
Parking on street after 6 pm, or hike from Coin Street. From this car park turn left. If you come to the back of the National Theatre, wrong way.
Change side of the road and at the corner, turn right. Change side of the road. Keep walking until you come to a large roundabout with a circular building in the centre of it. Follow the pavement around and take the first turning on your left, Waterloo Road.
Walk straight down it, crossing a traffic access road in front of St John's Church, then crossing Exton Street, Alaska Street and Sandell Street.
The theatre is on the opposite corner of the next crossroads you come to. If instead you come to the front of Waterloo Station, wrong way.
Legal
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Readers comments
“Row A (when in use): These seats are an amazing bargain at a discount, with absolutely no sightline problems. In fact they offer a significantly better view than any of the boxes, slips, side circles or even the rear stalls."
"C19: "All My Sons" (April 2019). Day Seat was front row, centre. The stage has been lowered to around a metre high; every inch of the stage and set are visible, with plenty of legroom for you and ample under seat space for stuff."
“E15 and 16: “Hedda Gabler,” (Chris B). I can't recommend these seats highly enough. They are central offering an amazing clear, up close view whilst bring far enough back to appreciate the whole stage. And there is as much legroom as you could wish for, which is a welcome treat. Top class seats.”
"F22 and 23: "King Lear" (November 2016). Perfect view and leg room. The front row (row E this time) would have been even better as it had much more leg room and you could get to/from your seat without disturbing others in the row. The stage is low, so no having to look up."
“G21: (November 2009). Fine seat, good view, but could be problematic if someone tall sits in front of you. I never knew that the Old Vic had such a deep stage - it almost stretches as far as Elephant and Castle."
"G23 and 24: for "Design For Living" (September 2010), (Clive – regular reader). Perfect view of the whole stage and very good legroom."
“G26 to 28: "A Flea in Her Ear" (December 2010), (Clive – regular reader). Comfortable seating with good legroom and a good view of all the stage."
"J4 and 5: "Noises Off" (December 2011), (Annie). Good seats, lovely view, reasonable leg room."
"J14: "The Duchess of Malfi" (March 2012). Have to say that the poor rake of the theatre meant I was craning all over the place (as was everyone in front of me) to try to see the many speeches being performed while kneeling or lying near the front of the stage in the final parts of the play. I'm not short and those in front of me were not tall, so there is no excuse but the rake. Normally I suspect J is quite a good row, especially for seeing the full stage and yet seeing faces etc, but tonight I wished I was somewhat further back where the rake seems a little steeper."
"J17 to 21: "Empire State of Mind" (2011). Perfect view of the whole stage and good legroom."
“J19 and 20: “Six Degrees of Separation” (January 2010), (James – regular reader). Good view from here, but without the first few rows in use, I would have preferred to sit a couple of rows further back."
"J32: "All My Sons" (April 2019), (Taljaard). Really good seat with a great view and loads of legroom as it's on the aisle."
"Stage seats J61 to 63: "A Christmas Carol" (November 2022). As recommended."
“K21 and K22: "Speed The Plow," (March 2008): Excellent view again."
"K 27 and 28: "Present Laughter" (June 2019), (Ronan B.). Got both at £65 although I see on your site that K27 is in the £90 category so maybe I got lucky. Would definitely choose these seats again, the view was perfect and could hear everyone clearly. The most surprising thing was the legroom: it was massive! I'm 6'3" and in the older theatres usually have my knees rammed against the seatback in front (hence always the need to check your site for seat opinions). Here I was able to fully stretch out. My Dad was with me, his legs aren't what they used to be, but he didn't even need to stand up to let people pass, there was that much room. Had a look around and the other rows in the vicinity seemed similar. Well done Old Vic!"
"L 4, 5, 6 and 7: "Six Degrees of Separation”. Seats should be red, possibly also equivalent seats at the other end of the row. The sound in these seats is variable: if the actors turn to the centre or to the other side of the stage they become inaudible. (Not something the monkey has noticed for other productions, but it strongly advises readers to bear it in mind).”
L11: "Machinal" (March 2024). There's a bit of a rake and the seats are staggered so it's not the worst view unless there's a tallish person in front of you. The stage at the show I saw (Machinal) was a bit low, which didn't help, but it's a seat I'd buy again I think."
"L11 and 12: "Present Laughter" (May 2019). Excellent - the rake is sufficient here for most people to see and you are close enough to see facial expressions clearly."
"L11 to 14: "Groundhog Day" (August 2016), (Taljaard). Great seats."
"M6 and 7: "Present Laughter" (May 2019). Good view, quite comfy."
"M9: "The Constituent" (May 2024). No problems with this seat, though the stage is low and tall people in front might be annoying. In retrospect I would have chosen the 'on stage' seats which are mostly closer with a better rake.
There's a big bit of acting from James Corden near the end that is better seen from house right in the main stalls, or house left in the stage seats I guess."
"L13 to 15: "A Monster Calls" (July 2018). Great (bought at a heavily discounted price)."
"M8 and 9: "The Real Thing" (March 2010), (James – regular reader). As always, a good rake and staggered seating ensures an excellent view, even if a little bit to the side."
"M12 and 13: "All My Sons" (May 2019). Paid £90 a ticket, but it was definitely worth it. Brilliant show and the view was excellent - about the right distance from the stage, although the rake still wasn't great here - no big heads in front though so wasn't a problem."
N18 and 19: “A Very Expensive Poison” (August 2019). Bang on centre and excellent leg room. Normally I’d like to be closer, but given the strange angle of the rake in the Old Vic, these seats were perfect.
"N26 and 27: "Cause Celebre" (March 2011). These were very good seats. I'd like to have been a couple of rows closer ideally, but then you're at more of a mercy if taller folk are in front of you; so row N limits the damage from such - but it's marginal."
"N30: "A Flea In Her Ear" (December 2010). Had a perfect view of the stage”
"P14: "Oedipus" (February 2025). The small rake helps, though it would not be pretty if someone sizeable sits in front. No way to slouch down a bit to help the people behind."
"Row Q: It looked as if (when used) Rows A, B and C were slightly raised, then dipped down from D to about H, then rose again. If you have someone in front of you either very tall, or trying to avoid someone very tall in front, constant head bobbing will spoil your own view".
"Q6: (James – regular reader). Fine view as (for the first time in my theatre-going life) had someone really short in front of me. As the seat off-setting is optimised for the middle of the rows, heads in front could be a problem for all side seats here."
" Q14 to 16: "Noises Off" (December 2011). Provided a pretty good view with the offsetting, and we were far enough back to take in the whole panorama without feeling too remote. For this production, where the cast run up and down and the action is rarely central but occupies the whole width and height of the stage, I wouldn't have wanted to be too close."
"Q15 and 16: "Rosencrantz and Guildenstern Are Dead" (March 2017). Good view. Not as far back as they sound and raked well enough to see over heads in front."
"Row R: We had problems seeing. The theatre is poorly raked and £45 priced seats is a lot to pay to look at someone's head!"
"S6 and 7: "Rosencrantz and Guildenstern Are Dead" (March 2017): My favourite seats in this theatre. The legroom is very good, and the pillar separates you nicely from your neighbour. Highly recommended."
"S9: "Fanny and Alexander" (March 2018). I was initially a little worried about whether I and my bottom would survive for three and a half hours! However I was pleasantly surprised, in no part due to the fact that I thoroughly enjoyed the play! I didn't need to "stretch" my legs at all as the legroom from my seat was excellent, possibly the best (apart from some front rows) of any stalls in any theatre I have attended. You could even tuck your feet under the seat in front of you even if no-one was actually sitting in the seat. Well designed seating by the Old Vic is all I can say! I see that a few other people have also commented on the excellent legroom in row S!
Seat comfort was also good and my bottom survived the evening! One thing I didn't like is the absence of a centre aisle in the theatre. I didn't like this at all as people sitting in the middle of the rows had to clamber pass many others to get to their seats. Perhaps just a small point but one I felt worth mentioning."
Regarding the view from the seat, it was fine though distant - I generally prefer to be up close to the action! The theatre (the stalls at least) was full but I had no difficulty in seeing over the heads of the people in rows in front of me - the rake in this part of the theatre is pretty good. The row starts on seat S6, but despite being towards the side of the auditorium you had a good view of the stage only missing a tiny amount at the edge, hardly noticeable for this play!"
"S15 to 17: "Kiss Me Kate" (December 2012). Row S is a fair way back, but we had bought discounted GILT promotion tickets, so 'only' £35 each, and the rake was sufficient for a decent enough view at the price. But, most notably, I thought we had an amazing amount of legroom in these seats. Probably because the backs of the seats didn't extend down close to the floor, I was able stretch out my legs fully under the seat in front of me, and also cross my legs without resorting to contortionism - a rare treat."
"T16: "Six Degrees of Separation" (January 2010). Seemed quite distant, and at top price I would recommend going for something further forward. Was a steal at what I got it for though”.
"T26 and 27: "The Tempest" (July 2010). The rake this far back is good, the view was fine and I did not find it at all distant. The legroom in this particular row is excellent."
"T 30 and 31: “As You Like It” (July 2010), (Clive – regular reader). The legroom was good and the view also good, if slightly obstructed by a tall theatregoer in one of the seats directly in front. However as this was only one seat it was easy to adjust the view slightly to one side."
"U5: "Girl from the North Country" (October 2017), (Roger). This was classed as a restricted view seat, as there was a slim pillar, which cut the centre of the stage in two parts, but not a problem, if you did not mind moving your head from side to side occasionally. Another benefit with this seat was it was on the aisle and near to the back of the theatre, which meant it was very easy to get out in the interval to use the toilet, a very important point as they are limited and there are often long queues. There was a good very of the stage and plenty of leg room, if you don't mind getting up for people to walk along the row. Another real benefit was the cost of the seat was only £16. A real bargain for a stalls seat in a West End theatre"
"V 22 to 24: "Groundhog Day" (August 2016). What a wonderful website! Thank you. I absolutely always consult the guru theatremonkey before I buy a ticket. Stalls seats V22-24 were spot on. No pillars, nice rake, top and bottom of stage visible. £30 tickets worryingly cheap (for this show) but actually fantastic."