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 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.
Legroom:
Just acceptable in rows A to D, slightly better for all but the tallest
throughout the stalls.
Row Q and seat R15 have more, with aisle space in front.
Note that some seating plans show R16 as also having space in front – it
doesn’t.
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 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 those
first... why pay the same as somebody 20 rows ahead of you, is the
monkey feeling, unless legroom is a factor.
There is a little more space for someone in the aisle seat of central
row R behind, but it is not as much as the width of two sets as the gap
in some seating plans indicate (one of those unavoidable computer
distortions alas!).
Cheap standing places at the back of the stalls 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:
Low stage for this one, so a decent view from the front rows.
Central seats in rows E to H at "premium" prices. Attractive options
are available beside these or behind from row J back, for less cash, feels the monkey.
Only rows Q and R cheaper. Take Q before more expensive O or P in front.
Same view, lower price.
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."
"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."
"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."
"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 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."
"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. 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.
Anybody standing in the stalls will also block views.
Fairly stuffy and claustrophobic location for some.
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 row A.
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.
Just adequate in row G.
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 -
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 and B 11 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.
Even though row G is cheaper, skip it for far more comfortable stalls
row Q at the same price, feels the monkey.
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."
"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:
None.
Reader Comments:
"Box 4: (Annie Gross). Excellent view for 'Clybourne Park' (March
2011)."
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.
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.
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:
Seats G 3 and 28 are normally at "restricted view" price - not this
time... a last choice, feels the monkey.
Reader Comments:
None.
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:
None.
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 triangle of padded seat (now the official
seat, 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!"
"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.
|
