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

SAVOY THEATRE
 

DREAMGIRLS (musical)
LOUD. CONTAINS FLASHING LIGHTS AND SOME STRONG LANGUAGE.


1960s Chicago, three girls pursue their dreams of music fame. "The Dreams" find showbiz tougher than it looks.

Amber Riley takes the lead in this musical featuring songs including "An I'm Telling You" and "One Night Only."


Amber Riley does not appear at Monday Evening performances. Amber Riley will also be on holiday on: 25th and 26th April 2017, 30th and 31st May 2017, 29th and 30th June 2017, 1st, 4th and 5th July 2017, 1st to 5th August 2017, 26th and 27th September 2017 and 13th, 14th and 17th October 2017. Amber Riley leaves the show on 21st October 2017.
Cast holiday details are given for information only, and Theatremonkey.com CANNOT take responsibility for any issue arising from the accuracy or otherwise of these details, nor guest use of this information.

The official statement reads,
"THE PRODUCERS CANNOT GUARANTEE THE APPEARANCE OF ANY PARTICULAR ARTIST(S). AMBER RILEY IS CURRENTLY SCHEDULED TO PLAY THE ROLE OF EFFIE WHITE FOR 7 OUT OF 8 PERFORMANCES PER WEEK, WHILE ONE OF THE ALTERNATES WILL PERFORM ON MONDAY EVENINGS. THIS IS SUBJECT TO CHANGE AND MAY BE AFFECTED BY HOLIDAY, ILLNESS, OR EVENTS BEYOND THE PRODUCERS’ CONTROL."
(Capitals are theirs, but you have been warned, notes the monkey).


www.dreamgirlswestend.com is the official website.

 

Press Night:


 
 

Theatremonkey Opinion:

(Seen at the afternoon performance on 17th December 2016).

The monkey had waited years for this. Since 1981, in fact. It's never seen the film, never heard more than two of the big songs... and was a ready-made fan of Amber Riley (Ellie White), Lily Frazer (Michelle Morris) and Durone Stokes (Ensemble) before the curtain went up; so expectations were high...

... sadly, time has passed. The stories of Black entertainers struggles have been better and more recently catalogued in the fabulous "Memphis" and "Ma Rainey's Black Bottom" to name but two, and (at the time the monkey saw this), "The Bodyguard" sets the highest bar for true achievement in that field. By comparison, "Dreamgirls" sung-through sub-"Evita" styling and simplistic "In / Out / Back Better Than Ever" book seems both dated and even laughably trite at times. You could lose an entire hour of the show and still get the story over, in fact.

Still, the songs are reasonable, though there is a reason two have become standards - there isn't another "classic" to be had in the show.

Two howlers aside, it's nicely, and a little minimalistically, staged, too. Tim Hatley inexplicably fails to disguise modern lighting in a set that makes a feature of being "period." Choreographer Casey Nicholow also drops a major clanger early on, having dancers fake playing instruments in a visually horrible routine. Still, once past this, and Richard Brooker's noisy (bring ear-plugs) but balanced sound design, the whole is entertaining enough.

Ms Riley delivers the songs as expected, but without particularly "Beverley Knight" impact. Her acting too, is adequate but the facile script limits out emotional involvement with her cause. Performances truly worthy of note are Liisi LaFontaine (Deena Jones) whose voice has a beautiful soft edge, Tyrone Huntley (C.C. White) whose acting has a soft heart and Joe Aaron Reid (Curtis Taylor Jr) who measures his key role perfectly so as not to disturb the emotional curve of the whole show.

Both Ms Frazer and Mr Stokes do nicely in their smaller ensemble roles, and there's a lot to be said for the well-drilled team around them. If only the show had reached London so much earlier, the monkey is certain it would have been far more enthusiastic than a tepid "3 star" verdict. As it stands, for young people (like the idiotic whooper sitting in the row behind) who loved the film and have nothing to compare it with, it'll no doubt satisfy. For those who love musical theatre, and have long memories, this is alas more diversion than destination, as time has built longer roads.


 

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

(4 reviews)

Stalls M 10/11. WOW what a show! This is the show that London has been waiting for. Amber Riley delivers. 4 standing ovations in the first preview. This seat was fantastic, could appreciate the choreography whilst also feeling close enough to feel connected to the performances. I purchased at the bargain online error rate of £5.95 but even if I'd paid the full amount I would have felt it to be money well spent.
__________________________________________________

30th December 2016: sat in the freezing Savoy theatre, stalls seats B 5 and 6. Good seats, clear view of everything except the actors feet. Legroom adequate so long as I sat up dead straight- once again, with apologies to the people sat behind. However, for this show I would say being further back would be better to fully appreciate the staging and choreography but then again the prices start to rise as you do this. Overall, good value but wouldn't advise sitting any further forward unless a deal can be had or luck with the today tix lottery. But back to the temperature - unacceptably low even for winter. I do not expect to pay over £70 for a seat and feel too cold to take my coat off. My wife was frozen, thank goodness Starbucks was still open for a hot drink straight afterwards!

So last night we had alternates / understudies for all four Dreams. Let's start with Marisha Wallace. She is absolutely superb as Effie, brought the house down on a number of occasions including a standing ovation before the end of AIATYING. My problem with this is in my opinion it's not a great song, but as it gets louder and louder she absolutely delivers. For me, I much preferred "I am changing" , a better song, more dynamics and less hysterical. Clearly X factor style applauding and whooping at any powerful or high note was the order of the day here but much as I dislike this trend, she delivered with such conviction it was hard not to be swept along with it. Jocasta Almgill was excellent as Lorrell and was possibly my favourite of the night. Sadly Lily Frazer didn't really cut it as Deena for me. She acted very well but her singing wasn't strong enough. I thought that maybe in act one this was the point but she was sadly shown up during Listen where she sounded wobbly and a little out of tune. Maybe an off night for her.

Other standouts were Joe Aaron Reid as Curtis treading that fine line between ambition and menace very well and also Adam J Bernard who was simply stunning as Jimmy. Such a multilayered performance from him.

Overall, I would say that this is a 5* production of a 3* musical. I really can't imagine any production of the show being any better, and despite my gripes, the cast were absolutely superb overall. If big singing is your thing then it's an absolute must.
____________________________________________________

We got two single seats in stalls rows L and M for at £75 each, bought two days before performance. We liked the show, but it was a shadow of the original cast and production. Guess if I hadn't seen the original production 10 times I would have liked it more. All the cast was there! I know that at some performances a few weeks back all 3 Dreamgirls were out, so we were thankful.
____________________________________________________

Dress Circle C24-27: Seats were comfy and offered a great view of the stage, albeit slightly off centre.

Amber 'always indisposed' Riley was yet again not performing, but this didn't bother me as not sure who she is and the understudy was a knockout. Think she's going for the Heather Headley award for headline act never to appear lol.

Having never seen the film I came to this from a completely open perspective. I actually really enjoyed it for the most part.

Some of the dialogue was rushed making it hard to understand what they were saying at times. The other thing which knocks a star off for me is the fact some of the bits that were sung would of been better in the spoken word as don't get the whole singing through a conversation when it's supposed to be a standard musical. The script is so minimal I don't know why they bothered with it. Saying that I'd of hated it then lol

I did enjoy it and the performances were outstanding so it has won me over, just!

7/10 for me.

Graham.
__________________________________________________

Went on Wednesday 5th April 2017, Matinee. Went to box office 20 minutes before start; got 2 premium seats in row D, 14 and 15 for £30 each! Amazing seats, amazing show. Third time seeing it!



 

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

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


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

Runs 2 hours 30 minutes approximately.

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

Monday to Friday
Stalls

Rows A to R: £72.50 except
"Premium Seats" row E 9 to 14, F 10 to 15: £125
"Premium Seats" row C 5 to 16, D 4, 5, 16, 17, E 5 to 7, 15 to 18, F 6 to 9, 16 to 19, G 7 to 20, H 8 to 21, J 8 to 22, K 8 to 23, L 8 to 23, M and N 8 to 22: £99.50
"Gift Package Seats" row D 6 to 15 and K 24 to 29: £87.50
Rows S to U: £59.50
Rows V and W: £49.50

Dress Circle
Rows A to M: £72.50 except
"Premium Seats" row A 11 to 20: £125
"Premium Seats" row A 7 to 10 and 21 to 24, B 5 to 26, C 7 to 24, D 3 to 19: £99.50
"Gift Package Seats" row C 25 to 30 and E 7 and 8: £87.50
Row M 1 to 7: £59.50
Rows N and O: £59.50

Upper Circle
Rows A to E: £49.50
Rows H and J: £39.50
Rows F to L: £20

Box
Not on sale.
 



Saturday
Stalls

Rows A to R: £75 except
"Premium Seats" row E 9 to 14, F 10 to 15: £145
"Premium Seats" row C 5 to 16, D 4, 5, 16, 17, E 5 to 7, 15 to 18, F 6 to 9, 16 to 19, G 7 to 20, H 8 to 21, J 8 to 22, K 8 to 23, L 8 to 23, M and N 8 to 22: £99.50
"Gift Package Seats" row D 6 to 15 and K 24 to 29: £90
Rows S to U: £59.50
Rows V and W: £49.50

Dress Circle
Rows A to M: £75 except
"Premium Seats" row A 11 to 20: £145
"Premium Seats" row A 7 to 10 and 21 to 24, B 5 to 26, C 7 to 24, D 3 to 19: £99.50
"Gift Package Seats" row C 25 to 30 and E 7 and 8: £90
Row M 1 to 7: £59.50
Rows N and O: £59.50

Upper Circle
Rows A to E: £49.50
Rows H and J: £39.50
Rows F to L: £20

Box
Not on sale.


 

"Day Seats": Two choices.
At MONDAY TO FRIDAY PERFORMANCES ONLY: A VERY limited number of tickets, number and location at box office discretion, go on sale at 10am on the day of performance to personal callers at the box office priced £20 each. First come-first served, they are subject always to availability and are usually limited to 1 or 2 per person. They may be paid for in cash or by credit card, the monkey always advises taking both to be safe, in case one is preferred over the other. It also always advises calling the theatre in advance to check that the "day seat" ticket policy is in operation.

AT ALL PERFORMANCES: Available via TodayTix only, by online lottery. 15 seats on front row BB in the stalls. Download the App from www.todaytix.co.uk, unlock the "Rush Ticketing" feature by sharing on Facebook or Twitter, and that will allow you to enter the daily draw to be allowed to buy tickets.

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:
Ambassador Theatre Group, the theatre group's own website provide the service for this theatre.
This site allows you to choose your own tickets from those available.

Booking fees per transaction for online bookings:
A £3.50 per booking, not per ticket, handling fee applies.
 

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 £72.50 tickets with a £16 per seat booking fee (£32 on £145, £22 on £99.50, £16 on £75, £13.25 on £59.50, £11 on £49.50, £8.75 on £39.50, £4.50 on £20 seats) - moderate by agency standards, though higher than box office fees, worth trying as they often have an alternative choice of seats available! Note that this system will confirm exact seat numbers prior to purchase. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases.

Another alternative is www.seetickets.com / telephone 0870 830 0200 which offers £72.50 tickets with a £15.50 per seat booking fee (£15 on £75, £9.90 on £49.50, £4 on £20 seats) and £2.75 per booking (not per ticket) postal charge. (FREE call if using BT.com Calling Plan at your chosen times).

Ticketmaster.co.uk offers £72.50 tickets with a £6 per seat booking fee (£11.90 on £145, £8.20 on £99.50, £6.20 on £75, £4.90 on £59.50, £4.10 on £49.50, £1.70 on £20 seats). A £3.20 per transaction (NOT per ticket) service charge also applies. This system allows you to select your own seats.

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offers £72.50 tickets with a £20.50 per seat booking fee (£41 on £145, £28.50 on £99.50, £21 on £75, £17.50 on £59.50, £14.50 on £49.50, £11.50 on £39.50, £6 on £20 seats). A postage charge of £1.45 per booking, not per ticket may be applied to bookings made from UK addresses more than 5 days before the performance. The "Flexiticket" Exchange Service, allowing FREE transfer / cancellation (credit note up to 12 months) of your booking up to 3 days before the performance is also available for £1.99 per ticket. Meal and show packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

Londontheatredirect.com offers £72.50 and £75 tickets with a £14.50 per seat booking fee (£20 on £99.50, £13 on £59.50, £10 on £49.50, £5 on £20 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. Discounts and Meal and Show Packages may also be available.



Other Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.

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


 

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: 0844 871 7631
Operated by the Ambassador Theatre group's own phoneroom from 9am until 10pm (Sundays 10am until 8pm). Outside these hours the Ticketmaster agency answer calls on their behalf.

Booking fees per transaction for telephone bookings:
A £3.50 per booking, not per ticket, handling fee applies.
 

For personal callers or by post: The Strand, London. WC2R 0ET
No booking fee for personal callers.

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

 

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

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

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Notes
STALLS 
Layout:
The Dress Circle overhangs the stalls at row J, the view from row O back is slightly affected - the top of the stage not visible.
The rake in the stalls is good, notably from row E back.
 

Legroom:
Acceptable in all seats for all but the tallest. An odd curve of the floor in front of each row prevents easy stretching out of feet under the seats in front.

H1 and H28 have nothing in front.

The monkey noted that the aisle seats in B to D allowed 1 leg to have a little space, too.

Tall reader Paul observes: "J9 and 10: Leg room was OK. If I sat up dead straight it was fine, but no room for movement - which meant severe knee lock. However, the view more than made up for this, and for people of a more average size I would highly recommend them. My wife thought they were great!"

Another six foot person agrees in row N, while a six foot tall man in row C just found legroom tight.
 

Choosing Seats in General:
The front row can vary by production. It is often row BB or AA.

Remember that the stage may be high for musicals and at them the conductor may be in view from some seats in the first rows (which can annoy the odd purist, the monkey finds). To date, nobody has complained, but sitting further back minimises the issue.

It is worth avoiding the first and last four seats in rows BB to P. In rows BB to C the viewing angle from these seats is uncomfortable for the price. From row D to P the angle of the walls as they narrow towards the stage is the problem.

Best seats in the stalls are rows G and H 7 to 20 and J 7 to 23. Then take seats around this - rows K, L, M, N, O, E, D in that order.
When Row Q are top price, try for the furthest forward you can at top price, there's circle overhang back here.

At top price, row S seems a bit far back for the cash.

The rake (sloped floor to help see over rows in front) in the rear stalls is good but the theatre is large and the last three rows feel far from the stage... not quite as far away as the equivalently priced seats in the back of the dress circle, though.

Rear stalls rows also have better legroom than equivalent Dress Circle seats, another reason for making them worth considering.
Discounted, row T is OK, but row U, right behind it, has the same view and may be cheaper still... The monkey would happily hand over a banana or two for those. More comfortable than the upper circle at the same price too.

A sound desk is often present in the centre of rows T to W. Purists might want to avoid T6 to 16, plus U to W3 and 11. Most won't mind, though.
 

General Hazard Notes:
Extreme end seats often have lesser views due to walls and light fixings.

Sound desk in the rear stalls.

It is a long walk and many stairs down to the stalls entrance from the main foyer.

The new seats are pretty hard, and have low backs, a reader felt.

Changes for the current production:
The front row is row BB, as cheap "day seats," a total bargain, the monkey feels. Do be aware that the stage is very high, though, and you won't see legs of those at the back of it. Also, the outermost two seats - 1, 2, 14 and 15, have the highest wall in front. Legroom is acceptable to 5ft 9 or so.

Prime central seats in rows C to N are set to "premium price," central E and F at "super premium." Monkey advice is try for seats at the front in A and B, before O back - unless you really don't mind paying the extra. They are absolutely fine, it feels.

The end of row K is sold with a "package." Don't take the last 4 seats, feels the monkey, as the view doesn't justify it.

The outermost 2 seats of rows J to  Q are not discounted - try for more central seats at top price. Good news, though is that from around row D back, there really isn't a sightline issue even at the ends of rows. So, if you can only get an outer aisle seat, you'll be OK for this one, the monkey feels. Even the infamous "speakers in view" don't obscure the action.

Rows S is at second price and very fair value. - even U isn't bad (aside from purists wishing to avoid sitting in front of the sound desk, need the monkey say more?).

At third price, rows V and W are about fair. You'll miss the top of the stage (nothing happens there, beyond a projection that you will see most of anyway), and put up with the sound desk, but save a bit. The desk is about 10cm from all seats except V10, so shouldn't bother anyone but purists. Skip cramped V10 and you will be fine.
 

Reader Comments:
"Stalls: (Taljaard): I got a £60 front row of the stalls seat for £25 and it was not bad at all."

"Stalls: I went down and looked at the front few rows where I normally sit by choice, and (as others have commented) for this particular production the whole of the front couple of rows look awful and may merit red, not just the sides. The problem is the substantial height of the stage but also they’ve got a very shallow orchestra pit between the front seats and the stage, literally three feet max. I’m amazed that they’re selling these front rows at full price as your diagram suggests. (The monkey felt it one for fans more than anything, really).”

"Row BB: "Funny Girl" (April 2016), (Glen Morranjie). Stage was a little high and you could see the conductor’s head and arms, but otherwise fantastic for the money. You didn’t miss anything."

"Row BB: "Legally Blonde” (June 2010), (Matt). The issue with the orchestra pit appears to have been resolved; there is a generous drop (4 to 5ft); along with a 3ft barrier in front of row BB (the previous comment on this might have been a 'preview thing'?). However, this change has necessitated the use of monitors perched on the circle so that the performers can see the conductor -- ordinarily this is fine, but during one particular scene in the second act where there is minimal lighting on stage, the flickering from these monitors may be annoying to some in the Stalls."

"BB7: "Funny Girl" (April 2016). Got front row BB7 for £15 as a "day seat". Decent legroom, good view, except the stage is ridiculously high. Even sitting completely upright I couldn’t see the floor. Had a nice chat with the conductor though, who was very visible throughout the show. But since the view from the next few, much more expensive, rows is hardly any better, I’d do it again in a heartbeat."

"BB8:  "Funny Girl" (April 2016). Which was perfect, although the stage is higher than usual because of the conveyer belts! Also, the band kept whispering to each other during dialogue, which became a little distracting... But for £15, can you really complain?"

"Row AA: (Danielle). When sold cheap, I thought this was amazingly good value as I have seen other shows in the West End on the front row at top price. Once I got to my seat I was surprised there was so much room between me and the stage! You do have to look up a bit, and can only see the cast from the knee upwards when they are towards the back of the stage, but this isn't often. You do get a few drops of water on you during one scene but nothing major. The seats were great value for money!"

"Row BB: When cheap, these were good; on the tickets it did say about the stage so high, and when I sat down I was worried about this as it was high... however it was fine -. you can see everything. What a great view, to be sooo close to the four good-looking leads."

"BB1 to 4 (when AA not in use): (FB). As the price was reduced for this row and one at the back circle at the show we attended. We were told this row was second from the front, but was, in fact the front row. We watched the orchestra rehearse, and did have to stand up several times to let orchestra latecomers gain access through a gate! We were concerned that the noise level might be excessive, particularly when we saw lots of speakers, but we needn't have worried. The acoustics were perfect, and we had a good view of the stage. This is at eye level so we were looking up, but this didn't give us neck ache. I wouldn't have selected these seats at full price, but at a discounted £20 they represented very good value for money."

"BB 1 to 4: (George). I sat in BB2 and, in my opinion, these were possibly the best seats in a show I've seen. The action was all very close to me and all the way through Amy Lennox who was on as Elle looked at us and was waving and blowing kisses at the end to us!" (Remember that a) these seats were heavily discounted, raising the value and b) there is no guarantee that Ms Lennox will be there to shower them with as much favour at other performances of course, notes the monkey...).

“BB10: "Legally Blonde" (2009). Entered the preview performances lottery and was put in row BB 10 for £10!!!! WOW! (£25 for performances from January 2010 - Editor). What a view. You miss the tiniest little bits of the show, but for £10 it was the bargain of the century. On a second visit we won BB7 stalls! PERFECT!"

"BB 13 and 14: (George). The front row at the Savoy Theatre is very good with the lottery offer! The stage isn't high, and you don't really need to crane your neck to see the stage!"

“BB14: Won in the lottery system and £25 could be considered extortion given the incredibly poor view of the stage. My neck was craned back so far that it hurt; the stage was so near and so high that I couldn't see any of the dogs when they were on the stage floor, nor could I see the performers from their waists down when they walked toward the back of the stage. A stack of speakers were right in front of this seat and make such a noise that the man next to me was almost in my lap at times. Given that offers were available in which a top-price ticket could be purchased for £20, I find it inconceivable that the producers should dare charge £25 for lottery tickets when the view is so appalling."

"BB14 and BB15: (Neil). £15 each through the lottery system. The show itself was worth the £15 but if I’d spent the £60+ asked for some seats I’d have felt mugged for what was offered. The stage was a bit too high for the first few front rows meaning that neck-craning was essential during many scenes (even for a 6ft 7” tall bloke like me), where performers' waists upwards are only visible from the back of the stage. Some minor details on the floor were out of sight from audiences in the front few rows altogether which meant that I had to just curiously listen to the audience reaction and guess what all the “awww”’s were about. We could also clearly see the orchestra pit directly under the stage which often caught your eye, consequently taking away from some of the show’s impact. (The monkey was surprised about the "not seeing from the waist down" comment, but not about the speakers. One for fans more than anyone else, it thinks).”

“BB13 (and BB8 and L3): "Legally Blonde", (Mark). I AM ADDICTED. Saw the show 3 times last month. Have sat in BB13, BB8 and L3, all of which I got from the ticket lottery wins. Personally for me, BB8 was the best seat a fan of the show could ever want. I felt like I was at a private viewing, the amount of eye contact and connection I had with the actors. Just amazing. On another visit, in BB3 I decided that seriously, all fans of this show need to experience it from the front row. It is amazing!"

"BB15: "Dreamgirls" (December 2016). Definitely a GREEN along with the rest of the row. Amazing to be so close."

"Row A: "Fiddler On The Roof" (2007). I also would not recommend seats in row A. The stage is very high and I felt I was missing some of the action particularly during the wedding scenes. I was surprised to see so many empty seats but it did mean that I was able to move back a couple of rows at the interval and the view was excellent from row D."

"A16 and 17: "Legally Blonde" (December 2009). Far too close to a fairly high stage, and right next to a very big speaker, but I have sat in worse places. I don't feel that I missed anything, and I didn't suffer too much with neck ache so it can't have been that bad."

"Row B: "Gypsy" (April 2015). "Hearing the front row of stalls is an excellent view due to lowered extended stage."

"B5 and 6: "Dreamgirls" (December 2016). Good seats, clear view of everything except the actors feet. Legroom adequate so long as I sat up dead straight - with apologies to the people sat behind. However, for this show I would say being further back would be better to fully appreciate the staging and choreography but then again the prices start to rise as you do this. Overall, good value but wouldn't advise sitting any further forward unless a deal can be had or luck with the today tix lottery. But back to the temperature - unacceptably low even for winter. I do not expect to pay over £70 for a seat and feel too cold to take my coat off."

"B6: "Legally Blonde" (December 2009). Excellent view."

"Row C: Ideally three or four rows back would have been a little better as you can't see the feet of the performers in row C even though I am 6'2," but who is complaining as this time I wasn't paying!"

"C3: “Legally Blonde” (December 2009), (Sophie). I was worried beforehand that it might be too far to one side - I was completely wrong! I had a perfect view, and didn't miss one thing. It was definitely worth £40 preview price for a ticket."

"C5: I paid £35 through the GILT ticket offer (runs January to March each year). I'm 6ft tall and felt I had satisfactory leg room and could even stretch out a bit under the seat in front of me. Being so close to the stage means you have to look up resulting in a slight neck ache, plus you miss the the performers feet at times, but otherwise I had an excellent view."

"C9 and 10: "Gypsy" (April 2015). Perfect view, the low stage really helps, but not the best option if you are small as your view is dependent on who is in front. Legroom is just about manageable but not much room for manoeuvre."

"C10 and 11: “Legally Blonde”. These seats are absolutely amazing! You don’t miss a minute of the show, no part of the performance is obscured! Well worth the ticket value. If I was every offered these tickets again I wouldn’t hesitate. After seeing the show twice, once from the stalls and once from the dress circle, I would recommend the stalls between row E and L."

"C10 to 14: (Jayne, Loz, Caileigh, Leanne and Natalie). Brilliant view of the stage, we age from 12 to 50 and all 5 of us thoroughly enjoyed it. The theatre is small (similar to the Aldwych) but there is a fair amount of legroom in the stalls, though the seats could do with a bit more padding."

"C14: "Gypsy" (April 2015). This is a "top price" seat, (I refuse to pay the prices for premium seats) and from here the view is excellent. You are looking slightly up at the stage but because the walkway round the orchestra is lower, you miss nothing. A very shallow rake at this point so there is the slight gamble of someone very tall sitting in front of you ( sorry people in row D!!!) but otherwise the view was excellent. Legroom was not bad - have had much worse."

“D1 and 2: (Cathy). Were very worried, being at the end of a row, but the Savoy is such a cute, architecturally-beautiful and compact theatre it didn't matter. We still felt the whole experience and sound wasn't too bad."

"D 14 and 15: "Dreamgirls" (April 2017). Went to box office 20 minutes before start, and got 2 premium seats in row D 14-15 for £30 each! Amazing seats."

“Row E: Brilliant seats.”

"F7: "Gypsy" (April 2015). This was fifth row (due to Row A being removed). Close enough to feel very engaged in the action and see the actor's faces well but with a full view of the performance space. Seat 7 is slightly off centre but not a problem. The seats to the left of me, closer to the centre, were empty so I could have moved but was happy with my seat, where taller people in front of me had helpfully slumped sideways towards their companions leaving me a large clear view of the stage."

"F12 and 13: Great seats right in the centre, quite close to the action but not too close."

"F14 and 15: Good seats with a full view of the stage."

"F17 and 18: "Legally Blonde" (December 2009). Great seats, very close to the action without missing any of the stage, which was about eye-level with us. Probably best not to be further forward if paying top-whack."

"G5: "Dirty Rotten Scoundrels" (March 2014). The view from this seat was very good. I would say my eyes were at about the level of the floor of the stage. This may be my personal preference, but as it is a small theatre at time I felt sitting a couple of rows behind this would have made for a perfect view. You definitely would not want to be in the front two rows. There was plenty of legroom, but the main reason for this is that the seats don’t curve round, something to take into consideration if you are booking an end seat as you may find yourself sitting at an odd angle."

"G15 and 16: “Legally Blonde” (Chris). Great position and view of the stage. I might have preferred just a couple of rows back but certainly wouldn’t have thought they are worth the 'Premium' price tag at that show. Watch out for the air conditioning though; cold air seems to come out from under the seats so if you don’t like having cold legs wear boots or leg warmers!!!"

"G16: "Fiddler On The Roof", (James – regular reader). What a fantastic seat. There is a good rake so my view wasn't obscured at all by anyone and due to the high stage I certainly wouldn't want to be any closer. The sound was great from here and I could see everyone's faces very clearly. Definitely worth the top price."

"Row H: (Lizzie). Great view and not bad on the leg room either."

"H 10 and 11: “Legally Blonde”, (Linda O'Reilly). These were brilliant seats. The rows are ramped up so there is no problem with not being able to see behind someone tall. We had the most perfect view of the stage. Lots of legroom too, which surprised me."

“H18: "Legally Blonde" (December 2009), (Matt). I think it's very hard to get a bad Stalls seat in this theatre, other than due to overpricing. I was in (top bracket but not premium) yesterday (13th June 2010), and the view was stunning. There are still occasionally sound issues with the production -- yes, even in middle stalls! -- but positionally for stage view, absolutely excellent."

"H 19 and 20: (Brian and Margaret). Excellent seats. Other comment: the Savoy is a small theatre, and I would say the view in the stalls is good from any row, remembering that the stage is raised, so you will be looking up if you sit in the first five rows."

“Rows J and K: We had superb seats in rows J and K central stalls and with the seats angled so you are looking between the two seats in front it wouldn't matter if there was a tall person in front. If only all theatres did that and not just in the best seats."

"J9 and 10:”Legally Blonde” (December 2009), (Paul – regular reader). A fantastic view and right next to the premium seats. Save yourself £20 and go for these instead! Leg room was OK. If I sat up dead straight it was fine, but no room for movement - which meant severe knee lock. However, the view more than made up for this, and for people of a more average size I would highly recommend them. My wife thought they were great!"

"J22 and J23: “Fiddler On The Roof” (Chris). Having previously sat further forward, I preferred sitting here as the stage is quite high. Again, a good rake and staggered seating ensures that people in front do not ordinarily cause any viewing problems."

"J28 and 29: "Gypsy" (May 2015). Saw Gypsy last night and sat in these reasonably priced seats. The view was perfect, and apart from one scene when one of the cast was obscured for less than 30 seconds, had a marvellous view. The legroom was a lot more generous than other theatres, although the seats were a little uncomfortable. All in all, I would highly recommend."

"K19: "Funny Girl" (May 2016). Booked stalls seat K19 via the ATG site a couple of weeks ago - seemed a few seats must've got released as I'd assumed anything decent had sold out months ago. I was lucky and it'd been reduced from the £125 premium (a crazy amount!) to the next price band at £71.50. Definitely worth the money - the perfect distance from the stage, just under the edge of the circle, and nicely raised over the row in front. The seat felt very high and had a particularly firm cushion so I had a perfectly clear view over heads in front (I'm 6ft and had two small ladies in front of me so got lucky - although I'm guessing I wasn't too popular with the ladies behind me). So I would definitely recommend, although I'd pass at £125! Legroom wasn't bad, there was a bit of a raised lip/edge under the seat in front so could rest my feet on there fairly comfortably. Not much room for getting in and out of row, quite a squeeze to get into and back out of my seat!"

“Row L: “Legally Blonde”, (Mark). Sitting in Row L was great too for a different reason in that I got to see the show on a more production level than when sitting right up close and was able to enjoy the choreography for Whipped into Shape a lot more. A later visit from P28 at group discount rate is fine - it didn't even matter that the seat was to the side. However, you definitely want to be closer to the front if you are paying full price."

"L 5 and 6: Were excellent. The front four rows are on the level and from the fifth row back the rake is quite pronounced so the row in front of you is considerably lower than most other theatres. It is also the first theatre I can recall that has a raised foot-rest level to counteract the slope. I had two quite tall men sitting in front of me but had no problem at all in seeing all of the stage (mind you I am 6' 2" myself). The seats are firm but quite comfortable although it was good to stand in the interval."

“L6: Great view and plenty of legroom.”

"L 13 and L14: "Gypsy" (April 2015). These are premium-price seats and, as you would expect from seats in the middle of the middle of the stalls, the sightline to the stage is level, performer's faces near enough to be clearly visible and the whole of the stage is complete from top to bottom and side to side. The surprising flaw is that the head of the person sat in row K in front appears directly in the middle of one's sightline, so one has to crane from left to right to see through the gap. This was the case for me (5ft 6in) in L14 and also for my companion (6ft) in L13. Somehow the seats at this particular point are not staggered effectively."

"L14: "Dreamgirls" (December 2016). Reduced down to £39.50 about 2 hours before the show on a Wednesday Matinee - Great seat great sightlines."

"M1: “Legally Blonde”. Discounted £35 Get Into London Theatre ticket: I had expected it to be a pretty bad view due to the odd layout of the front of the Savoy Theatre; but for this show it was great. Can’t see the right hand side of the stage at all, but for most of the action is on the front of the stage so it takes place inside a large moving frame that quite often created a proscenium over on the left two-thirds (from the audience point of view) of the stage anyway. Great legroom in all these mid stalls rows, and M was at a nice elevation above all the other rows to see without any obstructions.(Note, as the monkey does, that the reader was on a cheap ticket and didn't mind missing part of the show... at full price there are still better seats, it feels...).”

"M10 and 11: Dreamgirls (December 2016). This seat was fantastic, could appreciate the choreography whilst also feeling close enough to feel connected to the performances. I purchased at the bargain online error rate of £5.95 but even if I'd paid the full amount I would have felt it to be money well spent."

"M14 and 15 "Gypsy" (April 2015), (Geoff Jones). The rake in the stalls isn’t great. I sat in M14 - This seat is directly behind L14; I could just see over the lady sitting in front and I am 5 foot 10 inches tall. If you were sat behind a tall person who was in front, I think you would struggle to see everything without leaning from side to side. Other than that the view was clear and could see everything clearly on stage - sound was fine too. M15 is better than M14 as it is offset from the seat in front, so you can see down the gap between seats."

"M15 and 16: (James F). View excellent but the floor curls up so you can’t put your feet under the seat of the person in front, despite the step (lots of knee room though). The seats looked good but became uncomfortable after 45 minutes as the arm rests and the backs of the seat in front are just wood with no cloth on for comfort."

"M23 and M24: "Legally Blonde" (December 2009), (James – regular reader). Although they're a bit off to the side, the view was excellent and a great rake certainly helps. One problem though is the sound. Row M is not exactly the back of the theatre, but it all sounded very distant from here."

"N 1 and 2: "Funny Girl" (July 2016). Good view, legroom OK."

"N 17, 18 and 19: "Gypsy" April 2015). The Savoy Theatre is lovely. It's the first time I've visited this theatre, which is gorgeous with its art deco furnishings. They were great seats situated about half way back in the auditorium and pretty much at the centre of the stage. We had a great view of the whole stage, with no blind spots anywhere. There is some rake on the seats, but not a lot, so if you have a tall person in front you may well find that you have to lean to either side to see clearly. The seats are quite snug with not a great deal of leg room, but this certainly didn't spoil the show."

N17: "Legally Blonde" (December 2009). Had a fantastic view. I would not recommend 'premium price' seats if central seats in other rows as far back as R were available, as I cannot think how the view could be any better. This is a fairly intimate theatre anyway."

"N18: The seat was fairly comfortable but you feel like you’re sitting bolt upright. Being 6ft 3” I always feel sorry for anyone behind me and I often try to lower myself in the chair a little but it was impossible in this seat! So, if you were behind me I apologise for my big head blocking your view, although the rake is quite good."

"N29: "Guys and Dolls" (December 2015). Being at the end of the row did not present a problem to see the entire show. The limited rake would have been a problem, as my neighbours found out with tall people in front on them. Leg room was fine, but not much to spare."

"O8 and 9: "Legally Blonde" (December 2009), (Katharine). The view was great. The top right hand corner of the stage is (very) slightly cut off but doesn't affect the performance in any way. Any further back and the view would definitely be affected, but only for the opening number as this is performed at the top of stage. I have sat further forward before, all with perfect views (row F and row D)."
“Row Q: (Jill Dalton). Too far back to see expressions and so on, but the 3 rows in front of us were empty, so we had a great overall view."

"O8: "Gypsy" (April 2015), (Tony Locantro): This seat was fine."

"R2 to 5: (Lorna). A good view from seat 3 with OK legroom, a hard seat though (I can be fussy)."

"R8: "Dirty Rotten Scoundrels" (March 2014). Perfectly fine, especially as the seat immediately in front of me was empty."

"T1, 2 and 3: "Legally Blonde" (December 2009), (Cath). These weren't as far back as they sound and being off to the side wasn't a problem at all; during the interval we went to have a look at some seats in the middle of row T that didn't have anyone sitting in them but then we moved back to our original seats (still in the interval, we didn't disturb anyone!) because when you sit in the middle you have people's heads directly in front of you whereas if you're sitting at the side you're looking a bit diagonally so their heads don't get in the way (I don't think I've explained this very well but I know what I mean). The only problem with these seats is that you're very much under the overhang of the dress circle. It only actually gets in the way during the first couple of songs when people stand on the top of the stairs: the top of their heads get chopped off a bit and there are speakers stuck on the ceiling which get in the way a bit. This wasn't really a huge problem, but I've never sat under the dress circle before and it just made the whole stage feel a bit smaller, but if you're used to this it's no problem. I guess in a very roundabout way what I'd say that these seats are good, but if you're paying top price then obviously get some seats further forward if you can."

"T9 and 10: "Gypsy" (May 2015). When we sat down we were a bit dismayed to see that the seats all seemed to be lined up one behind the other but we need not have worried as we had a perfectly good view down the middle, despite the lady in front leaning to one side. As other people have noted, it's a long way down from street level, thought I was going to be dipping my toes in the Thames, so less nimble theatre goers need to take note."

"T17 and 18. For the second row at the back, the view is still amazing, as the theatre is quite small and it seems in the middle of the action. The sound too is perfect. The seats are comfortable, though they look hideous, and the legroom seems very little, but I actually didn't have a problem at 5ft 7 (maybe I've got use to little legroom on my many theatre trips). Recommend these seats for anyone. The overhang of the Circle above affects nothing, but it depends on the show you're seeing."

"V13: "The Sunshine Boys" (May 2012), (Taljaard – regular reader). Sat here for a bargain preview price of £15. Good view but as you can see the entire stalls in front of you. I found it quite distracting as lots of people were getting up to go to the toilet, make phone calls etc. The bars at the Savoy are woeful in size. If you are having drinks in the interval I would highly recommend you pre order.
 

 

DRESS CIRCLE
Layout:
The Upper Circle overhangs the Dress Circle at row G and blocks the view of the top of the stage from row K back.

Seats are split into front and rear sections by an aisle across the front of row G.

The front section has 6 continuous rows.

The rear section is divided into two uneven halves by an aisle.
 

Legroom:
Acceptable to many in A, and certainly adequate in B to D for all but the tallest.

Poor in row G, barely adequate in rows K to O - except H6, M7 and N8 on the aisle where the seating is staggered, with nothing ahead.


Choosing Seats in General:
Front Section:
Most seats have a very satisfactory view indeed. Theatremonkey happens to prefer the front stalls for being closer to the stage, but will still happily sit here.

Just avoid rows A to C seats 1 to 3 and 28 to 30 as they are towards the edges of the theatre and offer the least value for money. A 1 and 30 also have a rail in view.

Two wheelchair positions at F1 offer a poor value view of the stage.

Rear Section:
Rows G to J get rails in view.

Further back, the overhang of the Upper Circle doesn't do much for sightlines from row L onwards...

Basically, this is the section to skip at top price. The very first and last 4 seats, plus top price row L in full, in particular.

At second price, the monkey might particularly consider row M 8 to 21 and N17 to 21 - same view as top price row M, but slightly cheaper. Your choice if you feel missing a little of the top set is worthwhile. Alternatively, the mid-rear stalls are the same price and more comfortable, back stalls and front Upper Circle is cheaper still, and way more comfortable and with better views than row O in particular.

At third price or less, row N in the larger block offers slightly better value. The rear stalls have a slightly better view and legroom in the monkey's opinion.

Worth knowing, and avoiding, are the peculiar seats used at N 1 to 8 and O 1 to 9. Upright backs make them supremely uncomfortable at any price.

At the sides, row G seats 1 to 5 and 24 to 26, rows H to L 1 to 6 and 25 to 27, row M 1 to 6 and 21 to 23, N 1 to 7 and 23 to 25 and O 7 to 9 are all very much in the corners of the theatre and offer worst value - especially remembering those prime central seats in the front section are often the same price as rows G to J here...

H6, M7 and N8, on the aisle where the seating is staggered, have nothing ahead. The latter pair are often averagely priced too, though N8 suffers the upright seat problem mentioned above!

A female reader notes that F1 (D1 and E1 would also do it) should put ladies FIRST into the toilet line at the end of the show.


General Hazard Notes:
A metal bar runs across the front of the Dress Circle, most say it doesn't affect the view at all except from the aisle end seats.

A high metal bar runs across the front of row G, badly affecting the view in rows G, H and J.

The overhang of the Upper Circle doesn't do much for sightlines from row L onwards.

Upright “joke” seats in the back row, uncomfortable evening ahead.


Changes for the current production:
Central rows A to D are set at "premiums" price - with the centre of A at "super premium" and the end of D and 2 on E at a premium package price. Take the two seats next to the premium seats instead, or go for central non-package E feels the monkey. Row A isn't clever for the tall, do remember.

At top price, skip G to avoid the rail, and indeed H and to M (L in the side block). The front block is superior.

In the larger main block, rows N and O are second price. Skip O for the horrible straight back seating, and the outermost 3 at the end of each row. Apart from that, you could do worse if under 5ft 9 or so. Rear stalls at second price are more comfortable and closer to the stage for the taller, though.

Over the aisle, the smaller side block throws up few bargains - well, the centre aisle seats of H to L are fair at top price if tall, though at top price, much of the rest of the block is expensive.

Rows M and N at the side are second price, if you can stand the seat back issue, again, it's a possible. M7 and N8 are best for the legroom. Otherwise, oh, who is the monkey trying to kid, it'd skip it for cheaper upper circle seats where at least the overhang won't get you, even if the legroom might... stalls win for legroom every time, though even their infamous board to stop you stretching under the seat in front is a limitation to contend with.
 

Reader Comments:
"A 6 and 7: "Dirty Rotten Scoundrels" (May 2014) (Graham Fellowes). We had front row dress circle seats A 6 and 7, which were fantastic with heaps of legroom and a perfect view of the stage. The back four rows were empty so I went and had a sit in one of them during the interval and have to say that I'd be happy there too if the price was right."

"A16 to 21: A marvellous view of the stage and possibly the most legroom a west end theatre is able to offer. Certainly more than I have been used to in recent visits to theatres. Be warned, do not try to put your coats over the balcony you will get told to remove them as it is a fire hazard, we all did!!"

“A22 and 23: “The Sunshine Boys,” (Chris B). You get a good clear view of the entire stage from these seats and as they are the front row, the view is completely unobstructed. There is a safety rail but as long as you don’t slouch in your seats you’ll be absolutely fine and probably not even notice it very quickly. They are slightly off centre but that doesn’t detract from the performance. I felt quite high up for a dress circle but I think it’s just the way the Savoy is and doesn’t affect the enjoyment of the show. There is legroom to spare which is a refreshing change.”

"A 23 and 24: "The Sunshine Boys" (May 2012). What a peculiar little theatre it is! Seats in the Dress Circle (£35 special reduced preview price!) were fabulous. The rail didn’t spoil the view, though at some points you realised it was there and at other times it was completely forgotten! Plenty of leg room too."

"A25 and 26: "Guys and Dolls" (December 2015). Tall Daughter and I did well in these, as we often do in the front row of a dress circle (we are 5’11 and 5’7). The metal rail just caught the very edge of the corner of the stage, but for anything to happen there, the actors would have been in danger of falling off the stage, so no issues with sightlines. We had a lovely view of it all – it’s a dinky, oddly shiny little theatre so we felt close to the action. Legroom was fine too. Once we got over the disconcerting effect of coming into the theatre by going downstairs instead of up … we were fine."

"A30: On the ticket it says, not very clearly, 'rail in view'. WELL...I'd say quite clearly 'restricted view'. The seat has a great big safety rail blocking a third of the stage."

"B7: "Gypsy" (May 2015). Great view of stage unless someone spookily tall sits in row A...!"

“B 7 to 9: “Legally Blonde,” (Chris B). Had no trouble with these seats at all, they are off centre to the right but still could clearly see the entire stage and easily over the people in front. There is more than enough legroom too which is always nice.”

"B 30: I paid £25 for this seat and for this price it is OK, but I would be disappointed paying full price as there is a restriction of about 10% of the stage missing. The restriction is felt when action takes place stage left as we look at the stage. Having seen the show from row D on the aisle I would recommend sitting slightly further back, if possible, to be able to see the full stage."

"C3: "Legally Blonde" (December 2009), (Luke). I was a bit worried about been sat towards one side of theatre, but again the view was brilliant as the width of the theatre is around about the same as the stage."

"C11 and 12: "Dirty Rotten Scoundrels" (March 2014). Thanks to an offer we didn't pay the £70 full price but got them for £30 each - a true bargain. These seats offered a very good view and were quite central - the only problem is that if the person in front on Row B is leaning forward to see over the rail, their head can impede a little of the stage - I did have to keep veering left and right at times but it didn't spoil my enjoyment."

"C12: "Legally Blonde" (December 2009), (Mark). Very good seat and excellent view of overall stage. I much prefer the stalls for this show though."

"C17: "Funny Girl" (June 2016). Worth every penny of the £93 GBP! Beware... London theatres being what they are, it is still a bit of a hike to the loo!"

"C 24 to 27: "Dreamgirls" (December 2016). Seats were comfy and offered a great view of the stage, albeit slightly off centre."

“Row D: Perfect. The sight lines were excellent even for very small children with no boosters seats."

“D5: "Legally Blonde" (December 2009). £40 being the most expensive West End ticket I've ever bought. I loved it! Worth everything just for the atmosphere of being first preview."

"D5 and 6: "Funny Girl" (August 2016).  As the Monkey suggests these are good seats with an excellent view and not at premium price ( although over £70 per seat is expensive enough!). Theatre still very hot ( as we commented a while back for 'Gypsy')...lady next to us had to go out half way though second half as she was feeling unwell, not sue if it was heat/feeling faint though."

“D7: “Legally Blonde” (December 2009), (Kirsty). It was kind of central, but I could see everything and I heard everything too."

"D12 and 13: "Gypsy" (April 2014). Excellent. Just one point on this show, the little walkway on the stalls side of the orchestra which gets used briefly by cast members on maybe 3 occasions in the entire show is not visible when seated in row D , and when performers are using it you can just see them, but only from about shoulders up, if you lean forward. That seemed to be an issue for rows A to C as well as everyone was leaning. No idea what was going on behind me!. But not a problem as it gets used so infrequently. Very hot in the theatre too, don't remember that before, maybe the aircon was playing up."

"E8 and 9: “Legally Blonde”. These tickets are sometimes sold as premium seats depending on the demand on the day. I got these tickets a couple of hours before the performance at a discounted price. I would not recommend paying the premium seat price for these seats. Although you do have an amazing view of the stage, at certain parts of the show a trapdoor opens in the stage for props and the actors to appear/ disappear and all you can see is a black hole in the middle of the stage. This gives a tell-tale sign that someone or something is about to enter the proceedings. Leg room is sufficient. After seeing the show twice, once from the stalls and once from the dress circle, I would recommend the stalls between row E and L."

"E13 and 14: “Legally Blonde” (Luke). The view was brilliant."

"F1 to 5: "Legally Blonde" (December 2009), (Hannah M). The view was brilliant because of the steep rake, and leg room was fine. Due to being a student monkey I wouldn't pay the normal £55 price for them, but if my bank balance allowed I would say the view is worth the money."

"F7 and 8: (Loma). A fine view and quite comfortable."

"F14 and F15: “Fiddler On The Roof”, (James – regular reader). The seats may be a bit uncomfortable (particularly as Act One is almost two hours) and you do feel a tiny bit distant from the stage, but the view is very clear and the sound is great from here too."

"F20: "Legally Blonde" (December 2009). This is in the last row of the front section of the Dress Circle. A reasonable rake provides a good unrestricted view from here and although the middle section would be even better, most of the action in this show takes place in the middle and front sections of the stage so you will not miss anything.

Behind is the aisle that separates the Dress Circle in two. I would avoid the back section if possible because the seats are the same price as the front but to me they seemed a lot further away. I also heard someone complain that the metal bar that runs in the front of the back section, restricted their view."

"G4 and 5: "Dirty Rotten Scoundrels" (March 2014). We were in M8 and 9, but as the dress circle was not full, in the interval we moved forward to G4 and 5 and had a much better view of the actor’s faces and better leg room."

"Row H (centre): (Katie). The view was great but was too far away and too high up from the stage and the performers all look out to the stalls, so it is difficult to feel involved or engaged with the show. At £60 for that seat, it is daylight robbery - fortunately I only paid £25, but still felt short-changed!"

"H12: "Legally Blonde" (December 2009). Got this in lottery for £25, good value for that price. Nice clear view, However at full price definitely go for something closer to the stage."

"J1: "Dreamgirls" (December 2017). The view was great and very little restriction."

"M8 and 9: "Dirty Rotten Scoundrels" (March 2014). Had reasonable leg room and although only three rows from the back we had a good central view of the stage. However, the dress circle was not full and in the interval we moved forward to G4 and 5 and had a much better view of the actor’s faces and better leg room."

"M16 and M17: "Dirty Rotten Scoundrels" (March 2014), (Bob Pickett). Good, central location. Close enough to pick up on all expressions, but we were able to see the whole of the stage floor. The seats are well laid out giving a clear view over those in front and they are comfortable; not on fidget for the whole production. On the minus side, the Upper Circle overhangs losing view of the top of the stage: Not a problem for this show, but if you were seeing something like ‘Kiss of the Spiderwoman’ or ‘Cirque du Soleil’ here it would be an issue."

"N7: (Will Cooper). Theatremonkey readers will be interested to know that the rear row of this circle is not so much a collection of seats, as a long line of unnecessarily compact instruments of torture. The seats are right up against the wall, so the seat backs are flat rather than curved. This meant that the only way I (5'10") could find comfort was to sit perpendicular to the seat in a most unorthodox manner, this meant I had to strain my neck in order to see the stage and went home with quite bad neck pains.
Normally, I am prepared to put up with discomfort if I really want to see a show or the seats are particularly cheap but I found that, not seeing the show would be preferable if these were the only seats available. I also think that these seats were fairly expensively priced considering the view they gave and the discomfort suffered, even with a 33% under 16's discount."

“Back Row: (Nigel Sitwell). A bit too high up and far back, so we were glad we brought our binoculars. We are planning a return visit later in the autumn, when we shall aim for near the front of the Dress Circle or midway back in the stalls. Hang the expense!"

“Back Row: They are very high and a long way from the stage and inevitably the actors are looking at the Stalls audience not right up above their heads where we were."

 

Dress Circle Box

Layout:
Between the stage and front of the Dress Circle.

Set into the side wall that slopes outwards from the stage towards the back of the theatre.

Two seats.
 

Legroom:
Acceptable as movable chairs are used.

Choosing Seats in General:
Very expensive at top price, for little view. Avoid - easy to do as they are often not sold to the public - lighting etc is positioned here instead...

If you do take them, expect to see about a third of the stage without leaning.
 

General Hazard Notes:
Angled away from the stage.

Need to lean to see more than a third of the stage.

Lighting and sound equipment may block views / make things noisy.
 

Changes for the current production:
not on sale.

Reader Comments:
None.

 

 

UPPER CIRCLE
Called the "Grand Circle" in this theatre.

Layout:
This is high above the stage, and the rear section feels distant from it.

The Upper Circle is divided into front and rear sections by an aisle in front of row F.

The rear three rows are split into two blocks by the architecture. This means that there are no aisles beside the central seats in rows J, K and L.
 

Legroom:
Cramped in all seats, worst in row A. Row F has an inch or so more, but the high rails are in view.

Choosing Seats in General:
Front Section:
Row A is sometimes discounted to allow for the rail in view. If it is, and you are short, the view is pretty good.

Other seats in this section are mostly about fair value.

Rows A to E seats 1 to 4 and 23 to 26 offer least value for money being at the edges of the auditorium, so pick B to E 5 to 22 first. Value for money is fair in the centre seats of these rows.

Rear Section:
Rows F to H seats 1 to 5 and 24 to 28 are at the edges of the circle, and rows J to L are isolated blocks either side of walls.
Row F's bar may well annoy some people in row G too.

If priced the same as the front section, rows F to J offer poor value in terms of both view and remoteness from the action.

When better seats are unavailable, accept the sides of row H then G (unless bars bother you) before J for at least being closer to the front.

Usually, rows K and L have only a little wrong with the value for money, feels the monkey, but don't expect any miracles. These are often the cheapest seats in the theatre, and there is a good reason - distance and view.

On the other hand, if there is a price difference and you are offered only row J, you may as well save an extra few bananas as the view is fairly similar. If all seats in the rear circle are at a single price it would skip them, L in particular, though.

The view in the rear section, as mentioned by the readers, is interrupted by the bars, and some may well feel that the price (despite being lower than elsewhere) does not compensate sufficiently
 

General Hazard Notes:
Metal bars across the front of rows A and F affect views.

Rear section rows are a vertigo inducing distance from the stage for many.
 

Changes for the current production:
Row A is not discounted. If you are shorter and happy to accept the legroom issue along with perhaps a rail in view for the absolute shortest then these are well worth a look, otherwise take rows B or C first.

Rows F, G, K and L are lowest price. Skip row F for another rail; but G isn't terrible if willing to put up with the rail - and is a lot cheaper than row H behind... If rails will bother you, then K is the row to try for. The price difference between H and J, and the other rows really does make that pair a last choice, feels the monkey, as the view to price difference ratio really can't be easily justified unless genuinely purist about rails in your view... in which case you'd try the stalls anyway, thinks the monkey...

 

Reader Comments:
"A10: “Legally Blonde” (Mark). The view somewhat shocked me. I thought the bar would be more of an intrusion than it was - but no, I could see everything very clearly without leaning forward, although I am quite tall. I would say for the price it is probably better to sit here than the very back of the upper circle, and maybe even the very back of the dress circle."

"A12, 13, 14 and 15: "Legally Blonde" (January 2010). Even though these are "restricted view" seats, the restriction is very small - and if you sit up straight it doesn't really exist. A12 had a slightly greater restriction because there was a light or something attached there, but it still wasn't really problem. You don't feel too far from the stage, I would personally go for these rather than seats at the same price at the back of the upper circle, and I actually preferred the view from here than from the back of the stalls where some of the stage was cut off. Leg room wasn't too bad, not loads of it but quite standard for upper circle I thought."

"A20: Rail in the view. It's a nice theatre and the seats are ok, sadly a little bit far away from the stage. You have to be a short person because the legroom is not really comfortable. It's a necessity to lean forward; otherwise you will miss the front stage action! It´s so much better to lean forward. When I was leaning backwards in my seat I found myself very close to the testis of the Irish man behind me. Not the best way to introduce yourself. The sound was clear but a little bit too gentle for my taste. The seat on my left hand side was empty, and the Irish group behind me used it as a footrest. This is not a living room dudes, this is a theatre, and nobody wants to sit near stinky feet! If you don't mind sitting in the grand circle, these seats are a good chance to get a fair deal on a lovely evening at the Savoy!"

"A25: (Jon). Minimal "rail" intrusion to vision, a slight lean forward to see total front of stage and the orchestra entombed below. Whilst direct front legroom is tight, as this is the end seat it gave the opportunity to swing legs to the left with no problem.”

"Row B: "Dirty Rotten Scoundrels" (March 2014), (Laurence T). This was problematic as even though the view was decent and not too high up, the people in row A were constantly leaning forward to look over the rail in front of them which meant my view was slightly obstructed by their head at times. So, if you are going to go for the Upper Circle (Grand Circle), choose central seats in row C. There are also cheap seats available on row BB of the stalls which would probably be more worthwhile for the same price."

"Row C: "Legally Blonde”, (Neil). Whilst the seats are high, they offer an excellent view of the whole stage with adequate leg room, for £35 they offer great value for money."

“Row D (centre): Found the height above the stage made me feel quite vertiginous, although the actual view of the stage and all the action was fine."

"D10: "Legally Blonde" (December 2009), (Luke). The view was great, although I did feel a little high, but there were people in worse seats then me so I couldn't really complain."

“Row E: (James). The difference between rows E and F of the Upper Circle is huge - the theatre design seems to emphasise the distance from the stage. Rows K and L seem a long long way away. However, would recommend row E heartily."

"E3: "Gypsy" (June 2015). Great view of the whole stage from here, missed a tiny bit of action at the very front of the stage at one point but otherwise could see everything. I sat here with my disabled grandmother and these seats were great for disabled access, the upper circle is at street level and I think there were only one or two steps to get to this seat once in the upper circle. We got these seats by phoning the box office and I think they were unavailable to book online so definitely worth phoning if accessibility is an issue."

“Row G: "Legally Blonde" (December 2009). After sitting in row G I would say that this row should be a last resort row - and any row in the upper circle is better than G. There are 2 bars in the way, and I did not appreciate that it is the bar behind row F which is about 2 metres away that is the huge problem. Loved “Legally Blonde” but the seats couldn’t have had a much worse impediment and the theatre ought to offer them free to under 18s."

"G26: "Funny Girl" (May 2016) – The view from here is not great due to the bars in front of row F, they blocked the view of the stage so you have to lean forwards if you want to avoid having them in view. It was worse for the row in front but even the people behind us were complaining of the bars being in sight! Also it’s near the end of the row so you do get a bit of a side view."

"Row H 15 and 16: "Dirty Rotten Scoundrels" (March 2014). Right under the spotlight box which was very distracting with the light beams moving about and catching the tops of people’s heads in the rows beneath. Because the row was so high up many people leant forwards obliterating our view of the stage. It was also quite hot and the seats were cramped. The seats were not offset on our row and the row beneath otherwise we might have been able to see some of the stage between people’s heads. We left in the interval. Pay more and get better seats."

"J11: (Jon). This is just to the side of the spotlights booth, but wasn't "tight" ( I'm 20 stone and xxl 5'11"), there was enough room by the right hand side of this seat next to the booth for not only my coat but also the couple sat next to me, rather than stuff under the seat. Leg room O.K. (feet room tighter!). The view is good, but I would question seats 11 in rows behind and 12 through 15 as you go back, and the front of the stage is unseen."

"J14 and J15: (Tom). As others have mentioned in their reviews, I think rows G and H would have serious bar issues as from our seats the bar ran directly along the edge of the stage, meaning that our view wasn't blocked. Seats in rows K and L shouldn't also have a problem because the circle is so steep, meaning a good view for everyone (even though it was pretty high up!) Also, the seats are staggered so you just peer through the shoulders of the people in front and don't need to lean! I thought that these seats were very good value for money - you only pay less because of the height...but even from where I was sat I could see the actors' facial expressions with no problem as the theatre doesn't go too far back; plus most of the action takes place behind where the initial opening curtain is, so you can see clearly without the need to lean forward! In addition, the sound is very good in these seats - not loud - but powerful enough for it to have an effect, and the voices can be heard clearly.

One thing that surprised me was the theatre itself! I thought I would have to climb loads of stairs to get to "the Gods", but after entering the theatre at street level and only walking up 2 steps, I was already on the top floor! So, obviously, it shows how the main auditorium is actually underground, so it was nice to rest my feet in my seat after walking round London all morning instead of climbing loads of stairs!"

"K16 and K17: The view seemed quite good. My friend got a bit dizzy but we were able to move forward to row G which was fine although the bar was a minor nuisance."

"L1 and 2: "Legally Blonde" (December 2009). These seats cost us £20 each from TKTS on Leicester Square on the day. I thought they were fair value for the highest row in the theatre. The row is a short one and L1 and 2 are up to a wall. You have no problems with people needing to get past you. So this is good. My husband is 6 foot 4" and usually struggles for leg room, but he had plenty. I felt a little removed so high up from the action, and think the sound could need tweaking, but it was OK; and I was pleased we got to see the show. Don't sit here if you have any fear of heights. It is very steep and you can touch the ceiling! However, if you want a cheaper night out or just want to see this show then go for it."

“L2: I would warn that you need oxygen at this level and vertigo sufferers should stay clear. Otherwise the seat was a good buy - high enough to give a clear view above the horizontal bars that affect some lower rows. In addition the sound system is heard to wonderful effect with one's head against the back wall."
 

 

Notes
Total 1157 seats.

Air-conditioned auditorium.

An infrared loop with headsets available. Guide dogs are allowed in auditorium or dogsat by arrangement. Two wheelchair spaces in the Dress Circle. Only problem is steep hill outside to push a chair up. The adapted toilet is nearby. For fuller details, call the box office on 0844 8717 677. 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; Stalls, Lounge, Dress Circle and Upper Circle.

Reader Matt says, in 2010,
"A quick bar tip as well for those in the Stalls -- if you are in the front of the stalls, far better to use the much quieter Mezzanine Bar than the main Stalls Bar, both before show and interval! This monkey was able to walk straight up to the Mezzanine Bar 15 minutes before show time and get served immediately, in comparison to the three-deep queue at the main Stalls Bar."

Reader Taljaard, a regular seat commentator on this site says at "The Sunshine Boys" (May 2012),
"The bars at the Savoy are woeful in size. If you are having drinks in the interval I would highly recommend you pre order."

The adjacent Savoy Hotel offers the famous Grill and other restaurants. Ice cream and confectionery only in the auditorium.

7 Toilets; Stalls 1 gents 3 cubicles, 1 ladies 9 cubicles; Dress Circle 1 gents 2 cubicles, 1 ladies 9 cubicles, 1 unisex disabled; Upper Circle 1 gents 5 cubicles 1 ladies 6 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:
Charing Cross - Bakerloo (brown) and Northern (black) lines. Also Main rail network terminus.

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.

Leave the station by following signs from the platforms to the STRAND street exits. Walk straight ahead into the underground shopping arcade and keep going straight on into the light. If, underground, you pass Davenports Magic shop, turn around and walk the other way.

Take the left-hand staircase up to street level. In front of you is a very busy road, the Strand. Brook Street Employment Agency must be on your right as you face the road.

If you see a sidestreet, with Brook Street Employment Agency on your left, turn around and walk towards the busy road instead - you took the wrong stairs.

Turn to your right and walk past Brook Street Employment Agency, keep walking. The theatre is on this side of the road, past Australia House, and beyond the Vaudeville theatre (visible on the other side of the road). It is a longer walk than expected. Do not worry, you will get there.

Cross Adam Street and ignore the stairs down to Carting Lane. The next turning is the one you want. Savoy Court is the driveway of the hotel. Looking down it you see the green Savoy Hotel sign ahead of you. The theatre entrance is to the left of this sign.

Note: Savoy Court is the only street in London with traffic flow in the opposite direction. This helps taxis set passengers down near the Savoy door, makes American and most European tourists feel at home, and allows everyone else to get mown down. Look both ways when entering or crossing this street.

If you pass the main station and see a large space full of taxis, you are going the wrong way. Turn around and head for Brook Street Employment Agency.

 

Buses:
6, 9, 11, 13, 15, 30, 77A, 176. All stop almost outside the theatre.

 

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. A reader adds in 2011,
"now of course the Hotel has reopened, there are occasionally one or two taxis right outside the theatre after the show finishes now. It's an "if you get lucky" option -- and by far the most common option is to hail a cab either on the Strand, or from outside the Lyceum at the Aldwych (!) -- but probably worth noting."
 

 

Car Park:
Trafalgar Square Spring Gardens.

From the car park, turn up the road on the left to bring you on to Trafalgar Square. Face Nelson's Column and turn to your right. Cross Whitehall and Northumberland Avenue (you'll pass a branch of Tesco and a bookshop), and walk on towards Charing Cross Station, passing more shops on the way.

Once past Charing Cross station forecourt, keep going. The theatre is on this side of the road, past Australia House, and beyond the Vaudeville theatre (visible on the other side of the road). It is a longer walk than expected. Do not worry, you will get there.

Cross Adam Street and ignore the stairs down to Carting Lane. The next turning is the one you want. Savoy Court is the driveway of the hotel. Looking down it you see the green Savoy Hotel sign ahead of you. The theatre entrance is to the left of this sign.

Note: Savoy Court is the only street in London with traffic flow in the opposite direction. This helps taxis set passengers down near the Savoy door, makes American and most European tourists feel at home, and allows everyone else to get mown down. Look both ways when entering or crossing this street.

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

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

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