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

WYNDHAM'S THEATRE



 

KING CHARLES III (play)
Ends 31st January 2015.

What happens when long-serving trainee King, Prince Charles, gets the top job?

Mike Bartlett's play, first seen at the Almeida Theatre in Spring 2014, comes to the West End for a season.

 

Theatremonkey Opinion:

(Seen at the afternoon performance on 20th September 2014)

This really is the "supermarket premium ready-meal" of plays. The description sounds good, the packaging looks inviting, it's obviously designed to be "classy for people on a budget," and you can't wait to 'tuck in.' And so you do. And find that it really isn't quite as satisfying as it all looks. A clever sauce has been used to disguise ersatz ingredients, and the overall texture is surprisingly mushy.

The sauce in this case is the use of Shakespearian "Iambic Pentameter" to make proceedings sound as though they carry the same grave weight as "King Lear," even though the play's tongue is so clearly in its cheek as to make chewing impossible. That's lucky, as the consistency doesn't really require it. Every time it looks as if an idea is going to be explored, it veers off in a simpler direction, refusing to mine the fascinating political points it raises with any depth. Only one compelling narrative twist binds us over the interval, and the ultimate resolution of the play has been used by others, and feels like a "cop-out."

The ladies fare better than the men in terms of performances. Margot Leicester's Camilla is beautifully judged, and Katie Brayben makes the best of all three of her roles. Lydia Wilson is ill-served by the script, but makes the very most of her nastily sexist moment in the spotlight. The writer and director's fault, absolutely not hers.

Tim Pigott-Smith is a Charles without gravity from the start, and so lightweight by the end he practically floats from the stage. Oliver Chris looks like William, and given a stronger role would probably have made greater impact. Richard Goulding and Tafline Steen do better as Harry and his lover, but are, like the rest, a plot left to flounder in the end.

It may all "feel" fine in the theatre, but the monkey felt itself rejecting the experience more and more as it went on. Precocious and pretentious? Getting that way. If that's your thing, it's a piece of "event" writing to be seen. As a challenging and intelligent commentary on the "state of the Head of State," "Handbagged," for one, did it better on stage earlier this year.

Disappointing.

 

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

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

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

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

No 7.30pm performances on 24th and 31st December 2014.
No performance on 25th December 2014.
Extra performance at 2.30pm on 23rd December 2014.



Runs 2 hours 35 minutes approximately.


 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form



Stalls
Rows C to P: £57.50 except
"Premium Seats" row F 12 to 19, G and H 11 to 20 and J 10 to 19: £87.50
Rows B, Q and R: £37.50

Dress Circle
Rows A to F: £57.50 except
"Premium Seats" row A 7 to 25 and B 10 to 20: £87.50
Row G: £37.50

Upper Circle
Rows A to D: £37.50 except
restricted seats rows A to D: £17.50

Balcony
all seats: £17.50

Boxes
Box 2: £57.50 per seat.
Boxes 3 to 8: £37.50 per seat.

 

"Day Seats": A very limited number (as few as 9) in row A (plus elsewhere, at box office discretion) are available to personal callers at the box office before the performance on the day from 10am, priced £10 each. Two tickets maximum per person. The monkey always advises taking both cards and cash in case one is preferred over the other. Check with the box office before travelling if this policy is still in operation.
 



Some details may change, the monkey will update when available.



 

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

Buying Tickets Online:

Other Box Office Information

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
www.delfontmackintosh.co.uk provide their own service for this theatre.
This system allows you to select your own seat numbers.

Booking fees per ticket for online bookings:
£2.25 per ticket - 25p cheaper than by phone.
 

Other Online Choices (with S.T.A.R. genuine ticket agencies):

When the theatre does not have tickets you'd like available, it is also worth trying the Theatremonkey Ticketshop agency, which offers £57.50 seats with an £8.70 (£13.20 on £87.50 seats) booking fee per ticket - moderate by agency standards, high by box office ones, but worth trying as they often have some choice 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 offers £57.50 seats with an £8.62 (£13.13 on £87.50, £5.62 on £37.50, £2.62 on £17.50 seats - plus a £2.75 per booking (not per ticket) postal charge. (FREE call if using BT.com Calling Plan at your chosen times). Note that this company has not yet changed pricing to reflect the increase on 19th June 2014 - could happen at any time, though. The monkey will update as available.

Ticketmaster offers £57.50 seats with a £6 (£9.20 on £87.50, £3.95 on £37.50, £1.85 on £17.50 seats). An extra £2.85 per booking (not per ticket) to cover postage is also charged. This system allows you to choose your own seats from the selection the company has available.

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer £57.50 seats with a £15.50 (£23.50 on £87.50, £10.50 on £37.50, £5.50 on £17.50 seats). A postage charge of £2.25 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 £2.50 per ticket. Discounts and "Meal and Show" packages may also be available. Quality and value hotel / theatre ticket packages are also available.

Lastminute.com offer £57.50 seats with a £7 (£10 on £87.50, £4.50 on £37.50, £2.50 on £17.50 seats). NOTE: Seat numbers are NOT available in advance from this company. All seats booked in the same price group will, of course, be together or at the very least be in front or behind each other in the theatre. In the very unlikely event of this not being possible this company will call you and give you the option of cancelling your booking. However if booking in two or more price bands, you will not be sat together. Please DO NOT purchase if this is unacceptable to you, as all tickets are sold subject to this condition. Discounts and "Meal and Show" packages may also be available. Quality and value hotel / theatre ticket packages are also available.

LondonTheatreDirect.com offer £57.50 seats with a £12 (£9 on £37.50 seats) booking fee per ticket. Collecting tickets from the box office before your performance is free, OR, if required and time allows, there is a postage charge option of of £2.95 (£4.95 to non-UK addresses) per booking, not per ticket applies to all bookings. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.



 


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

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


 

Box Office Information:
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
Telephone: 0844 482 5120
(020 7812 7498 if you cannot use the 0844 number)
Operated by the owners, Delfont-Mackintosh Theatres. At busy times / outside working hours - 9am to 8pm, See Tickets may answer on behalf of the venue.

Booking fees per ticket for telephone bookings:
£2.50 per ticket - 25p more than online.
 

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

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 0844 482 5137 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the Delfont-Mackintosh Theatre Group Helpline in London. See Notes.

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

 

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

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

This venue was refurbished in September 2008. Arrive early to admire the newly-cleaned ceiling art in the foyer, and the other tasteful pictures and architectural embellishments.

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Balcony Notes
STALLS 

Layout:
The Dress Circle overhangs the stalls at row K and cuts off the view of the top of the stage from row N back.

Row R is set on a step in an alcove at the back of the theatre, fenced in by row Q in front - quite a cosy arrangement, thinks the monkey.


Rows A to D are not raked
(sloped floor to help see over rows in front), the rake is reasonable from row E back and really elevates seats from row M back.
 

Legroom:
Variable in row A, depending on the stage size. Just acceptable in rows B to D, slightly better for all but the tallest throughout the rest of the stalls. K27 is clear for around 10% of its width. The only other exceptions are O25 to 27 and P3 to 14 which all have less than other seats.

Row Q and seat R16 and 17 have more, with aisle space in front.

Choosing Seats in General:
The viewing angle of the first and last three seats in each row is a little annoying, so take more central seats first for the same price, but value for money is at least acceptable in all seats.

Neck ache allergy suffers may want to sit further back, as might children if the height of the stage is a problem.

Rows A to D are not raked, but the proximity to the stage makes them a favourite of Theatremonkey’s.

The stage corners are sharp in front of the end seats in row A - ending around or just above the average person's eyeline. This means looking steeply upwards, but no actual restricted view. Still worth avoiding for the shorter, perhaps.

Central rows E to O offer the best overall view of the stage, with a fairly decent rake.

If sold below top price (as some productions so), rows O to R are fair value, with any discount compensating for the distance from the stage and missing the top of it - though be aware that the price always reflects that fact. Just average at top price, though.

If only rows Q and R are cheaper then take Q before more expensive O or P (particularly O25 to 27 and P3 to 14) in front. Same view, lower price....

... plus row Q is always worth thought for legroom, if the upper circle at similar cost doesn't appeal. Do be aware you may miss something happening at the top of the stage, though... usually not much beyond set design, luckily.

Should Q and R ever be the same price as other rows, take rows further forward first... why pay the same as somebody 20 rows ahead of you and get trodden on by clumsy clowns moving along the row to their own seats, is the monkey feeling, unless legroom is a factor.

For those who don't like seats being kicked from behind, Q8, 9 and 10 are in front of a wall. Q8 is also by an exit door so you are first out - but can hear traffic noise (and get a blast of cold air during winter) from the street.

There is a little more space for someone in the aisle seats of central row R behind.

Cheap standing places at the back of the stalls in the corners of the theatre are not bad either in the monkey view.

 

General Hazard Notes:
If there is a high stage, then both that and a lack of rake in rows A to D sometimes bother a few folk.

Row R may be bothered by a sound desk in the box behind.

Rear stalls may be stuffy and have sound problems, according to one reader.
 

Changes for the current production:
The stage is high, with the action taking place on a higher plinth, three shallow steps up. Row A looks very sharply up, as does B. Both are good value at "day seat" and second price respectively.

Rows A and B are shorter than usual. A12, 13, 19 and 20 are just tolerable for those 5ft 7 and below, legroom is far more generous in all other seats in that row.

Row C 8, 9, 10, 23 and 24, plus D 6 and 25 have nothing in front, thanks to this arrangement. A staircase leading to the stage may distract some, though.

Ends of rows back to F will have actors coming and going through the show, with C9 and 23 having the view blocked for a few moments during one scene in the show. No other side seats miss anything during the performance, as action is staged centrally.

Central seats in rows F to J at "premium" prices. Take G then F at the price. Attractive options are available beside these or behind from row K back, for less cash, feels the monkey.

The stage floor isn't visible forward of around row L, the monkey found.

A sound desk replaces O23 onwards and P23 onwards. Skip O22 and P23, and be aware that those on the "high numbers" side of rows Q and R will also notice the desk a bit, as will those in front from N25 onwards.

Rows Q and R are cheaper. The view is excellent, a big bargain, saving plenty over the seats in front, with an identical view. The elevated row R centre seats with nothing in front are not bad at all - and row Q with extra legroom is good value, feels the monkey.

Be aware that those in row Q need to keep the gangway in front of them clear for the first half of act 1, and that Q8 and 20 will have the doors beside them opened noisily near the end of act 2.

 

Reader Comments:
"Stalls: From my seat near the back of the stalls, under the overhang of the Dress Circle, I found it quite difficult to hear some of the actors on stage in ‘Ivanov’ and 'Twelfth Night,' although others were perfectly audible. Also the seat was rather uncomfortable and the theatre was very stuffy."

"Row A: Being 6 foot, I still found this too close and would rather have been 4 or 5 rows back. However, at £15 (what I paid for the show I saw in 2009) it was great value."

“Row A: “The Shawshank Redemption” (September 2009), (Mark). Got a cheap student standby. Great seat and could see everything, the stage was quite low so could see everything very clearly."

"Row A: "Much Ado About Nothing" (June 2011). At a late date an extra row was put in at the front and we managed to get seats in the middle of row A - in the neck ache zone, but so fantastically close to the actors that we felt intimately involved in the production."

"Row A: "Relatively Speaking" (June 2013). Got a centre day seat in the first row (which was brilliant since the stage is very low)."

"A9 and 10: (Craig). Seat 9 was marked as red on the seating chart, and I can kind of understand why. The stage rises slightly in front of this seat and A8 but to be perfectly honest the view from this seat was still superb with much of the action taking place literally two feet from me. You can see all of the stage from this seat apart form the back right, where nothing happens anyway. The seating in the stalls was great compared to other theatres - with the obvious sea of leg room in row A. Even though I had a (seemingly obligatory these days) very rotund person sitting next to me, the seats were wide enough for it not to be a problem."

"A11 and 12: GREAT seats. Right at the front of the stalls, and had great view! Only limited view is when the televisions come down, you have to really crane your neck up to look... But the actors, and actresses are dead in front of you - and all the looks and winks are amazing! Definitely worth the £20 I paid in 2009 per ticket!!"

“A17 and 18: (Alun). Had front row seats but with the Wyndham stage not too high, it was OK."

“A19: (Mark). A bargain as a cheap day seat.”

“B13 and 14: “Driving Miss Daisy” (October 2011), (Chris B). These centrally located seats are obviously very near to the stage, being the second row back, but this works really well for a show with only a couple of actors. You feel close enough to reach out and touch them and this makes it feel incredibly intimate and personal, a wonderful way to fully appreciate world class actors up close and personal. However for a busier show such as a musical it may be too close as you don't get a good overview of the entire stage. There is plenty of legroom too which is a bonus.

"B 22 and 23: (HB). The view and sound were great. You had to look up a little as the stage is high but you are extremely close to the cast."

"C 7, 8 and 9: "Skylight" (June 2014). C7, 8 and 9 are famously 'behind the fridge'. Seats C7 and 8 are just terrible - whenever there is a conversation at stage right, one person disappears from sight. These seats are not regarded by the management as restricted view, but they certainly are. When we booked our group seats, we were also given B7 and 8 but Cameron Mackintosh contacted us in advance to say these seats had a restricted view and they exchanged the tickets for other seats. No such luck with seats C7, 8 and 9. These seats remain Top Price and are sold at no reduction - unfair! Others were sitting in B7 and 8 last night (not in our group) so I don't know how much they paid and A7 and 8 were fortunately empty.
It's the damned fridge in the way and really the designer/director should be aware of this. We complained at the theatre and were asked to write to the management as the house was full and no-one could be re-seated.
I see these seats are marked in red on your seating plan but frankly they should be condemned for this production. You may like to flag up this difficulty on your website."

"C22 and 23: "As You Like It" (August 2005), (Phil Ellis). All the front stalls seats are very close to the action"

"D9 to 11: A fantastic view, you could see everything and close enough to the stage to feel really part of the action. Legroom was OK – not much room to move but not nearly as bad as many. There is a "but" though – being on floor level, you are at the mercy of who sits in front of you. I had a pretty tall man in front of me which would have been a problem if I wasn't even taller. I shudder to think what sort of view the people had behind us. My wife had a small person in front of her and therefore had a perfect view. So overall, these are great seats if being close is important to you, but be prepared for the possibility of being slightly blocked by heads."

"E 1 and 2: "Skylight" (June 2014). The end seats on the right have their view of the bathroom part of the set completely obscured by the cooker and fridge in the kitchen part. As you only miss 2 minutes of action there it probably is a price worth paying for being so close, especially as I got them as a £15 day ticket."

"E14 and 15: Offered a super view of the stage and were comfortable enough even though slightly cramped."

"G9 to 12: (Avril). Had a marvellous view. Plenty of legroom, but altogether a feeling of being very close to everyone else."

"Row H: (Simon). Quite frankly I can't imagine having seats any better."

"K22: Fine with a good view and adequate leg room."

"Row L: "Barking In Essex" (October 2013). We sat in the stalls in middle of row L. Great seats."

“Row N: (James – regular reader). I would have preferred to have been a bit more central, but it didn't feel too distant from the stage."

"Row P: Centre seats in row P are in the rear row of the Stalls main block, good seats albeit near the back."

"Row Q: "Skylight" (June 2014). Lots of legroom, but watch your feet when people start moving."

"O24: "Relatively Speaking" (May 2013). A good seat with adequate leg room. Despite being slightly towards the end of a row, this theatre isn't that wide so you don't feel "off to the side" at all. Rake seems to increase at a position a few rows in front of this so the view is very good, with the stage not being that high."

"Q16: The legroom and view were fine (I don't think anything was missed by not being able to see the very top of the set), although you do get streams of people filing past you at the interval (and spilling the occasional drink on you in my case!)."

"Q19 and 20: “Much Ado About Nothing (June 2011). Nice seats, plenty of legroom, not too close to the stage, but a good view and well worth second price."

"Q19 and 20: "Driving Miss Daisy" (September 2011). Plenty of leg room and a reasonable view."

 

Stalls Boxes
Layout:
Box A is behind row R in the Stalls, set into the theatre’s back wall.

A pillar splits the box into two.

Legroom:
Acceptable, as movable chairs are used.

Choosing Seats in General:
This offers a central view but without the top of the stage. Try boxes 1 to 8 at Dress / Upper Circle level first.


General Hazard Notes:
Top of stage is missed due to circle overhang.

Pillar splits views into two.

Anybody standing in the stalls will also block views.

Fairly stuffy and claustrophobic location for some as the front wall is thick and the box recessed.
 

Changes for the current production:
None.

Reader Comments:
None.

 

DRESS CIRCLE 
Called the ROYAL CIRCLE in this theatre.

Layout:
The Upper Circle overhangs the Dress Circle at row C - a reader notes no loss of view, except for row G.

Rows A to F are a single block, curved at the ends towards the stage.

Row G is in a rear alcove, separated from the main block by an aisle and rails.

Seats have a decent rake on steps.
 

Legroom:
Just acceptable in rows A to F for those over 5ft 7 or so, but particularly tight for the tall in rows A and F.

One 6ft 1 reader disagreed, and found the end of row A acceptable, though a shorter reader found an inner seat in the same row tight. The monkey checked again, and felt that rows B to E had more legroom and it would depend on leg length in row A as to how comfortable you may be.

Row G has space for those willing to put legs under the bar in front. Seats G17 and 18 have nothing in front, while 16 and 19 can get creative by manoeuvring legs around the posts - three quarters of both seats have nothing in front, though.
 

Choosing Seats in General:
Rows A to F seats 7 to 24 offer the most central view of the stage.

One reader notes the good view from row A, worth the slightly tight legroom!

The rest of the seats at the ends of each row offer less value at the same price. Two new rails on the stairs beside rows A and B assist the less able to manage, and, along with aisle end rails, do not affect the view.

A good rake ensures reasonable sightlines in all rows, though rows D back are hovering at the average mark at top price. If rows E and F are top price, the monkey would try for stalls or seats further forward first.

If rows F and G are at second price, the monkey prefers F 11 to 22 if short - decent view and no rail in the way.

Row G, on it's own at the back of the circle offers a fair - if distant - view at a reasonable price... when there is a discount or it is low priced. It can also be considered over the Upper Circle for comfort. At top price, go elsewhere. Be aware that there is a rail in front of these seats, except those most central, which will feature in the sightlines of the shortest.

Cheap standing places at the back of the Dress Circle are not bad either in the monkey view.

Theatremonkey cannot get excited about the Dress Circle here. Row G aside, the stalls at all prices beats the Circle on comfort and view in its opinion.


General Hazard Notes:
The rail in front of row G will affect sightlines for the shortest.

Changes for the current production:
Row A 7 to C 25 and B 10 to 20 are at "premium" price. The monkey would take seats behind them rather than pay the extra if a bit strapped for cash. Premium stalls also have more legroom if taking a tall corporate client, too.

Row G is cheaper at second price, and worth a look only for the extra legroom in 16 to 19, the monkey feels. Stalls row Q has a better view for the same money, it feels, if you are over 5ft 6 or so. Be aware that action may be missed at the top of the stage from these seats. It would skip row F for the same reason, as that is top price.

 

Reader Comments:
"Row A: My friend is quite small and she said that legroom was dreadful up there!"

A9 and 10: “Abigail's Party” (August 2012), (Chris B). This is one of the more ornate and beautifully decorated theatres in the West End and you can really appreciate it from the raised position, more gold leaf than you can shake a stick at! Fairly centrally located seats on the front row of the dress circle, you cannot fault the view. This circle feels close to the stage and affords a nice clear overview of the entire stage. No need to worry about any tall folk in front or safety rails either as there are none. However the legroom is just ok, fine for me being 5'8" but you'd probably struggle being much taller.”

"A 27 and 28: "Clynbourne Park". From the end of the front row we could see all the stage perfectly with adequate leg room (I’m 6’1”). As we have an interest in getting the best seats for our members I took time to try other seats in the circle (except the ‘extra’ row G) and could see the entire stage to the full height even from the back row F."

"C15 and 16: "Abigail's Party" (May 2012). The seats were dead centre of the dress circle and a perfect view of the stage and all the action. Would highly recommend these seats."

"C16 and 17: "Avenue Q" (March 2010). Thought they were excellent seats. I know that I'm going to cause controversy here by disagreeing with the monkey that the 'Circle is nothing to get excited about here,' because I actually preferred it to the stalls, and didn't feel quite so squashed in and my knees weren't trapped either. The view was perfect from these seats and the sound couldn't be faulted, so you've probably guessed that I really rate these seats, although I would accept that all seats are pretty tight for room."

"C 20 and 21: "The Shawshank Redemption" (August 2009). A good rake and slightly staggered seating towards the end of the row gives clear unrestricted views of the stage. I would happily sit here again."

"Row D: Centre of row D. Excellent seats and view if slightly tight on legroom...."

"D3, 4 and 5: These seats were really good and you didn’t miss anything even though you were to the end of the aisle."

"D15 and 16: Were central (I like that), comfortable and warm but I understand the problem people with long legs would have - I tossed my head back at one point and encountered the knees of the guy sitting behind."

"E21: "Quartermaine's Terms" (January 2013). Excellent view and no obstructions at all. Feels a lot closer than I expected it to do and I had no problems registering the subtleties in the facial expressions and acting."
 

Dress Circle Boxes
Layout:
Boxes 1 to 4 arranged in pairs either side of the stage between it and the Dress Circle.

Box 3 can take a wheelchair.

Legroom:
Acceptable, as movable chairs are used.

Choosing Seats in General:
Be prepared to move your chairs around and lean for the best view possible here.

Value at second price is acceptable; at top price take these after stalls, and before Dress Circle only if legroom is a factor.

 

If all boxes are a single price, then choose boxes 3 and 4 first, then 7 and 8 (upper circle boxes) then 1 and 2, then back to upper circle boxes 5 and 6.

 

If upper circle boxes are cheaper, save money by taking 7 and 8 before 3 and 4, then decide between cheaper 5 and 6 or more expensive 1 and 2. The monkey might be tempted by 5 and 6 first...

 


General Hazard Notes:
About 15% of the view of side stage action is lost.

Narrow access down three stairs to wheelchair space in box 3.
 

Changes for the current production:
Box 1 houses musicians, so isn't sold. Skip box 3 beside it, as it can be noisy / distracting.

Box 2 is top price, average value. The other boxes are second price, go for 4 to 7 in that order, feels the monkey. All have a fair view.

Reader Comments:
"Box 1: "The Weir" (January 2014), (Annie Gross). You miss a bit on the right, but very comfy."

"Box 3: (Annie Gross). Very nice for 'Barking In Essex' (October 2013)."

"Box 4: (Annie Gross). Excellent view for 'Clybourne Park' (March 2011)."

"Box 4: "The Weir" (February 2014). In case it helps other users, the odd-numbered boxes are better value for this production because they give sight of the principal entrance to the bar and the fire. I know nothing's perfect in box seats, but the pricing of all at the same level puzzles me."

 

UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.

Layout:
This is far above the stage.

A single block of seats curves towards the stage.
 

Legroom:
Poor in all seats, worst in row A, for anyone over 5ft 7 or so.

The height of the seats in rows B to D creates a little more legroom. Those up to around 5ft 8 should find the outermost two seats in rows B and C acceptable - particularly the aisle seats.

Choosing Seats in General:
Lighting can be mounted on the front of this circle, potentially intruding slightly on row A views and providing another reason (other than legroom) to sit further back.

Seats are fair value here, B and C seats 12 to 18 offering a central view of the stage and priced to take account of the distance from it.

Row A seats 2 to 5 and 26 to 29, B 2 to 4 and 28 to 30, C 2, 3, 28 to 30 and D 2 and 29 are designated restricted view. Boxes and the curve of the circle take away maybe a one fifth segment of the front corner of the stage away at most from the very end seats. Most productions have these cheaper and, at balcony prices, they are worth thinking about for being closer for the same money. The monkey feels them a fair priced option – particularly if you can nab the seats directly next to the expensive ones.

Avoid D 4 to 6 and 25 to 27, though, as they are full price but still lose a corner of the stage.

Standing space is acceptable, though one reader noted slightly less audibility on one occasion.
 

General Hazard Notes:
Lighting can be mounted on the front of this circle, potentially intruding slightly on row A views.

Boxes and the curve of the circle wall affects sightlines from outermost sets in all rows.

Sound can be an issue in the very back row and standing area.



Changes for the current production:
Row D 3 and 28 are at "restricted view" price. The view isn't great, but it's a way for a couple to get into the seats at that price, notes the monkey.

Reader Comments:
"Row C: "Skylight" (May 2014). Those in the restricted view seats (particularly on the "low numbers" side may miss a little action taking place at the side of the stage. It doesn't last long, but will be noticeable."


 

Upper Circle Boxes
Layout:
Boxes 5 to 8 are above boxes 1 to 4 arranged in pairs either side of the stage between the stage and Upper Circle.

Legroom:
Acceptable, as movable chairs are used.

Choosing Seats in General:
All offer sideways views of the stage, losing around 15% or so. Be prepared to move your chairs around and lean for the best view possible here.

Be prepared to move your chairs around and lean for the best view possible here.

Value at second price is average, much more acceptable at third price. A good choice for legroom when compared to upper circle seats at the same price.

If all boxes are a single price, then choose boxes 3 and 4 first, then 7 and 8 (upper circle boxes) then 1 and 2, then back to upper circle boxes 5 and 6.

If upper circle boxes are cheaper, take 7 and 8 then 5 and 6, before more expensive 3 and 4 then 1 and 2.
 

General Hazard Notes:
About 15% of the view of side stage action is lost.

Changes for the current production:
Those in boxes 1, 3 and 5 (plus possibly 7) may miss a little action taking place at the side of the stage.

Reader Comments:
"Box 8: "Much Ado About Nothing" (2011), (Sinead). After perusing the info about which seats were best, I ended up getting last minute tickets for Box 8. These seats were great for the price! Yes, be prepared to lean forward, but it is much closer to the stage, and it’s nice to have the space! I would recommend it heartily to those who want to pay less than premium but like to be close to the action on stage."



BALCONY
Layout:
Situated behind the Upper Circle and very slightly above it.

Seats are split into two blocks by a central aisle.

Seats A 5 and 26 are also split from the main blocks by aisle space.
 

Legroom:
Tight in all seats for the taller over 5ft 9 or so, worst in row A (except A 5 and 26, if slim and creative - as one 6ft reader found).

Rows B to D seats 15 and 16 offer the central aisle to stretch one leg out into.

Row C seats rest on a ledge rather than being "flip down" variety, and are a bit deeper than average (but happily won't actually quote philosophy at you).

Row D seats are slightly wider than those in front.
 

Choosing Seats in General:
All seats here offer a view in direct proportion to the price paid, the back rows looking downwards 'under the ceiling' of the theatre below. Value for money for those on a tight budget is very fair - you can see the stage through the bars and are not so far away as to require oxygen.

A safety rail across the front of the balcony affecting the view slightly. Rails also run across the fronts of rows B and D, but don't affect the view.

As a general rule, take rows B to D seats 9 to 22 first, then the others... but be aware that pricing makes a difference:
Seats are usually priced one of two ways up here. When all seats are the same price, take B first, then C or D - leaving A unless legroom isn't a consideration.

If row C is cheaper than B, those offered row B may like to ask if cheaper C is available instead - similar view for less bananas, feels the monkey. It would also consider boxes 5 to 8 for the same money.

Also always consider cheap “nests” A5 and 26, an observation the monkey is now (in)famous for making. These are single seats in the front corners of the balcony, split from the rest of row A by aisle space.

They are literally miniature padded private "nests" - as the monkey has christened them. Facing the stage is still a narrow ledge seat with a straight back (originally, that was the official seat). However, to the side of that is a deeper padded seat (now the official seat, with a slightly lower than average (but very welcome) proper back-rest, and also side-rest, added partly a result of monkey observation, it thinks). If willing to look sideways at the stage, you could sit here (if of average hip width) and stretch your legs horizontal with the circle wall. The monkey rather likes this new arrangement but management have informed it that any sign of permanent residence (i.e. banana skins, cable TV installation etc) will result in an indefinite ban from the venue.

A reader also observes that they are the nearest seats to the ‘ladies’ and bar too... putting her first in line at the interval.
Cheap standing places at the back are not bad either in the monkey view, but try for stalls / Dress Circle ones first at the same price.
 

General Hazard Notes:
A safety rail across the front of the balcony affecting the view slightly. Rails also run across the fronts of rows B and D but don't affect the view.

There are several flights of stairs up to this circle, and it is fairly high up, so consider health and vertigo at time of purchase.
 

Changes for the current production:
All seats are the same price, so take row B first unless legroom isn't an issue for you, feels the monkey.


 

Reader Comments:
"A5: "Much Ado About Nothing" (June 2011). I booked it for the 31st August 2011 performance, and it was a huge bargain. I am 6 feet tall, so while, admittedly, I sometimes did need to move around to keep the blood going, my view was of more than 90% of the stage, I had some privacy to myself, and got to lounge in that oddly shaped seat! Recommended to anyone who is fit and able!"

"A10 and 11: (2009). I am a regular theatre goer, and I regularly sit in the 'cheap' seats. In fact I always choose the front row of the balcony or upper circle despite the monkey’s advice that usually they are a bad or restricted view!! I like to be in the front and have nobody else in front of me, plus I can rarely afford more expensive seats!! Hence I felt compelled to write after sitting in the Balcony at the Wyndham’s theatre, Row A, seats 10 and 11. All I can say is that never have I sat in more uncomfortable seats than these! The backs are so upright that you simply cannot relax. Plus, there is leg room, however there is no space under your chair, so if you have a bag with you, as I did, there is then no leg room as your bag takes up the space. I sat with my feet on top of my bag!! OK, we only paid £10 for the tickets, but even at this price, I wish I had splashed out an extra £15 for better seats. Or if nothing else, that I'd sat in Row B, as they had space under their chairs for bags, though they still have the upright straight backs to the chairs, and so are probably still quite uncomfortable, but they cannot have been as bad as Row A! I just wanted to write to advise readers that I would honestly advise NOBODY to sit in Row A of the Balcony at Wyndhams, and this comes from somebody who regularly sits and doesn't mind sitting in Row A of the balcony!!!!"

"A26: Marked both on Theatremonkey and by the box office as "restricted view" due to the lighting rig that obscures part of stage right (audience left), so I only paid about £20 for it. That was a great price for the view I got - I could see some facial expressions (not too well but some) and the lighting rig didn't take away from ANY of the action as most of it takes place on stage left anyway and the light only took up at most 1/10 of the stage. I was next to the safety pole so that wasn't a problem, and I had the balcony rail right in front of me that didn't obscure the view at all, only gave me a place to put my programme and ice cream and to lean my elbows on as I watched the show. I was sad that at times some of the actors had their backs to me as I was in the curved to the left section of the balcony, but otherwise it was a great view."

"A26: "Much Ado About Nothing" (June 2011). I just wanted to thank you for the information posted on your site about the balcony seats in Wyndhams Theatre, especially the details about the two "nest" seats. The seat was just great! I wasn't disappointed. I had a clear view and was pretty comfortable in that seat (I'm slim, average height, and pretty flexible, so I was able to find a number of creative ways to use the space, and had a lot of room to put my stuff)! Well worth the £22.75 to see the production. Also, it's a quick hop at intermission to the loo or the bar -- bonus!"

"B12: "Skylight" (June 2014), (Taljaard). Great view and value for money."

"B22 and 23: "Driving Miss Daisy" (October 2011). Even though quite a height, these still gave a decent view; so offered value for money."

“Row D: (Lesley). We were seated in the seats furthest away from the stage - Balcony seats row D - and could hear everyone except for one person who obviously hasn't been trained to throw her voice as the other actors managed to do. Balcony seats were excellent value for money at £10."

“D3: "Clybourne Park" (February 2011), (Taljaard). Went to the box office at 5pm and was offered a seat in the front row of the stalls at £25 or the back row of the balcony at £20.50. Took the latter (D3) and it was fine. Clear view and not too high for me. Could hear every word crystal clear and missed 90 seconds due to sight lines."

"D10, D11 and D12: "Much Ado About Nothing" (June 2011), (Laura). OK view for the price (the bottom of the left hand corner of the stage was cut off slightly but if you lean forward slightly it's OK - although based on the steep rake if you're not good with heights these may not be the best seats for you), but legroom not great - my friend and I are under 5'4" but we still felt squeezed in. Plus in comparison to other theatres in the area £25 a ticket seems a little steep, but if the price jump is too great to the next level - and frankly it feels like it is - then they are tolerable for a couple of hours if you stretch your legs in the interval. Were I a little earlier in getting tickets I might go for row C next time though."

 

Notes
Total 780 seats.

Air-conditioned auditorium, but the balcony still gets very hot in summer according to many.

Infrared system using headsets for the deaf, plus some signed performances. Some audio described performances for the blind, and guide dogs allowed in theatre or dog sat outside. Narrow access down three stairs to wheelchair space in side box. The box has a very restricted view and is poor in theatremonkey's opinion. It has a private toilet, too narrow to take a wheelchair, but better than nothing, which is the usual alternative in the adapted toilet department. Tries hard, given the constraints of the building. The "registered disabled" concessionary price policy here is generally (though can be subject to change) for a quota of accessible best seats to be made available at the lowest regular price charged. This quota is increased for designated performances such as signed / audio interpreted. Check with the box office at time of booking. Fuller details from the theatre group dedicated phoneline on 0844 482 5137 or www.delfontmackintosh.co.uk or Artsline 020 7388 2227 email artsline@dircon.co.uk. A "venue access guide" from the team who created book "Theatremonkey: A Guide to London's West End," is available to download in PDF format by clicking here.

No food except Ice cream and confectionery. Bar snacks also available.

Four bars; Stalls, Dress Circle, Upper Circle and Balcony.

8 Toilets; Foyer 1 gents 1 cubicle, 1 ladies 4 cubicles; Stalls 1 gents 1 cubicle, 2 ladies; Dress Circle 1 gents 1 cubicle; Upper Circle 2 ladies; Balcony 2 ladies 2 cubicles.


 

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

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

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

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

 

Buses:
24, 29 and 176 stop on Charing Cross Road by the Wyndham's 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 or walk down to Trafalgar Square.

 

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

Next is Newport Street. Cross that too and head on, crossing Cranbourne Street towards Leicester Square Underground Station. Wyndhams Theatre is just beyond that on your left.

An alternative car park is Trafalgar Square Spring Gardens.

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

The "Theatreland Parking Scheme" is in use in both car parks. 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.

 

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

 

 

 

 

 

 

 

 

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