", "L17 and 18: Great seats, you can see all of the stage and the actors’ expressions clearly and you are pretty much central along the row. This assumes the noise wasn't the theatre staff amusing themselves while the audience was busy, though one assumes they'd show some restraint in the volume department. At 5ft 7ins, I don't regard myself as tall, but the rake of that row meant that I had a perfect view of the whole multi-layered set.". There is a box directly behind so occasional feeling of someone over your shoulder. View was great! As the performance continued, the hollering and ear bleeding laughter from near-by drinkers, was clearly audible from where I sat. Rows U and V have less - fine if you can put your feet under the seats in front, but those around 5ft 11 upwards may experience a lack of knee-room.
Lighting may be placed on a platform replacing seats in the centre of row F. Those in row AA, particularly seats 12 to 8 and 21 to 27 may experience vertigo peering over the narrow balcony’s edge. The view's excellent but that's not enough. difference. The seats were comfortable and I had a great time at the show. The seats were absolutely acceptable, and certainly shouldn't be red, but for top price I would expect green seats to be a bit more central, and probably closer to the stage. The UPPER CIRCLE is also known as the GRAND CIRCLE. ", "B 7 and 8: "Dear Evan Hansen" (November 2019). ", "Slips AA12: "All About Eve" (February 2019). Smaller folk will struggle, though. From both seats there was an excellent view of the stage. I imagine the shocks and jumps are much more amplified being so much closer to the action. Not bad at £5 for previews! Discounts and Meal and Show Packages may also be available.
", "U11: "Half A Sixpence (November 2016).
A shade too close to the stage for my liking but, wow, I've never had so much leg room. The overhang of the circle cuts off the very top of the stage, but I could still see everything that went on without stooping. The view was great here; the only downside was the leg room (I have very long legs!). The only warning the monkey would add is that the alley is a dark and unsavoury place at night. Plenty of leg room and just far enough back to have the stage sight line just above the heads of the row in front.
We tell you the seats to buy, which to avoid, and how to get them at the best prices, 85-88 St Martin's Lane, The view was fine. I would recommend avoiding the rear stalls (row Q etc) as the dress overhang chops off the top half of the stage, when used for a show with high sets.
Replaced in October 2005, they are rather comfortable, and an interesting shade of pink. The view is incredible. One missed a tiny bit of of the stage at the side, but it didn't affect one really. We lost about a third of the picture due to overhang so more difficult to recognise the people shown. (This holds for many other productions too, feels the monkey). From those seats you cannot see the upper part of the stage (2 levels, even though not much happening on the top floor). ", "C15 and 16: "Avenue Q". With the play sold out for the most part, I was very lucky to get my hands on a ticket so affordable at the last minute. The balcony overhangs to row B but does not affect the view from any seat. I'd say this was about fair value for money - definitely not a first choice at full price. This is St Martin's Lane. With lots of room to stretch out it almost felt like having your own private box. It's true you don't feel far away, but I would describe rows R and S as restricted view - the circle overhang obscures the top half of the stage area. The view is superb, there is ample legroom and you are at just the right height to have relaxed neck muscles (you look straight on rather than slightly upwards in some of the more forward rows.) Was tempted to go for the slips as they seemed nearer the stage but very glad we didn't. It was also impossible to see the whole stage at once, so sometimes we'd have to choose to look at one actor of the two or three in a scene. ", "Row G: "Shakespeare In Love" (July 2014). Legroom isn't great on row F so I was very glad to be on an aisle, there is definitely a wider gap behind for row G, the lady in front of me banged my knees with her head and arm a few times last night.".
", "B 5 and 6: (Paul). ", "B27: (Pez). Prices below were compiled as booking originally opened. Those not requiring legroom and happy to accept bars may find row A also satisfactory - the central ones, not the slips, though. So you want the £5 tickets I would definitely recommend asking for AA 2 an 3, or 26 and 27 on the other side which I assume have a similar view. When in use, those sitting here cannot see a quarter of the edge of the stage nearest to them. ", “A 16, 17 and 18: The stage is a bit high but you get used to it...", "A16: (Pip). The row in front seems to be the last of a block of rows that are staggered. I think the price could be lower.
Avoid the upper Balcony like the plague. Unless you're very tall, avoid this seat. This ensures more than just the rear view of someone's head for most customers. If I had it to do over again I would book the Dress Circle, or the first front rows of the Stalls. Opted for balcony E 19 and 20 where we could see the whole stage. ", "B3: "Good People" (April 2014). It's a bit like most of the seats on the Tube - but even then I had taken off my coat and had it on my lap! The Noel Coward Theatre is ahead of you! If discounted below second price, the extreme ends of each row (and Row A for the vertically challenged) are very reasonable choices. ", "AA15 and 16: "Peter and Alice" (March 2013). Bargain!
J or K the rake suddenly becomes a lot steeper, giving a much better view. I had an excellent view of the entire stage and didn't miss any of the action. The "Theatreland Parking Scheme" may be available. No-one was in seat 20 so I moved there after half time. Do be aware that row E backrests are more upright than normal. ", "K19 to 22: (Mark). ", "D25: "Death of a Salesman" (April 2015). Even with a quite tall gentleman in front, I was able to see well. No problem with set height for this show. Very high and a very slight viewing issue to the right hand side of the stage, but otherwise clear view (with glasses!).
This quota is increased for designated performances such as signed / audio interpreted. "O22 to 24: "Shakespeare In Love" (July 2014). ", "E17 and E18: "Million Dollar Quartet”. 1903 The New Theatre opened with a revival of Rosemary by Louis N Parker and Murray Carson in which the co-directors Sir Charles Wyndham and Mary Moore starred.
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