The Balcony of the Lyceum, without question, for me.
The Shuberts need to renovate that theatre, but the entire building is a landmark. I keep hoping it'll be the next theatre they do-over, assuming they've started navigating the redtape long ago, because yikes that building is a (historically rich) discomfort.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
I was in the last row of the rear mezz of If/Then and thought it was fine. The facial expressions were not always clear, but I still enjoyed the show just fine. As big of a theatre snob as I am, I am not picky about seats. As long as it's a full view and I can see the entire stage and set and hear, I am happy.
"There’s nothing quite like the power and the passion of Broadway music. "
Besides every seat at the Broadhurst, the box seats at the Hirschfeld are the worst. They do say they're partial view, but when that "partial" view you get is maybe 30% of the stage, those seats should not be sold. Ever.
Interesting. I sat in the right box at the Hirshfeld for Kinky Boots but I could see the entire stage. The balcony at the New Amsterdam is so far up you can feel your ears pop from the high altitude.
"The city seen from the Queensboro Bridge is always the city seen for the first time, in its first wild promise of all the mystery and the beauty in the world." - F. Scott Fitzgerald, The Great Gatsby
The balcony at the Kerr is the drop of doom. The mezzanine is like watching a show from a helicopter, you get to look down throughout the show and look at the top of the performer's heads!
Listen, I don't take my clothes off for anyone, even if it is "artistic". - JANICE
Worst leg room: mezzanine and balcony at the Kerr; mezzanine at the Schoenfeld; mid-and-read mezzanine at Studio 54. I think I'd give 54 the nod for absolute worst.
Worst, as far as view is concerned: balcony at the Palace. Sitting up there made me feel like I was trying to watch television through the window of the apartment across the street.
"You travel alone because other people are only there to remind you how much that hook hurts that we all bit down on. Wait for that one day we can bite free and get back out there in space where we belong, sail back over water, over skies, into space, the hook finally out of our mouths and we wander back out there in space spawning to other planets never to return hurrah to earth and we'll look back and can't even see these lives here anymore. Only the taste of blood to remind us we ever existed. The earth is small. We're gone. We're dead. We're safe."
-John Guare, Landscape of the Body
I remember sitting in the box seats when Forum was playing with Nathan Lane at the St. James and he even made cracks during the show about how bad the seats we were in... I remember vividly him saying at one point "Missed that did you? Well that is what you get for sitting in the crappy box seats"
"Whenever I get gloomy with the state of the world, I think about the arrivals gate at Heathrow Airport. General opinion's starting to make out that we live in a world of hatred and greed, but I don't see that. It seems to me that love is everywhere. Often it's not particularly dignified or newsworthy, but it's always there - fathers and sons, mothers and daughters, husbands and wives, boyfriends, girlfriends, old friends. When the planes hit the Twin Towers, as far as I know none of the phone calls from the people on board were messages of hate or revenge - they were all messages of love. If you look for it, I've got a sneaky feeling you'll find that love actually is all around."
Remember: box seats were designed for the upper classes to go to theatre, where it was more important that they be seen by the rest of the audience than actually be able to see the show they were attending.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
The balcony at the St. James is awful. The bar in front of the first row obstructs the view for the people sitting in it, which leads to them leaning over and consequently, blocking the view of everyone behind them with their heads.
Disagree since most shows do not start until 8:10 and they still cannot make it. They do not care if they annoy people. I have commented to a few really bad ones over the years. I like it when an actor on stage calls them out.
I think there's a difference between people with horrible time management skills, and wanting to be seen at a theater. They're both awful either way, though.
People previous called out the mezz and balcony of the Kerr, but as someone 6'0" with long legs, I had to twist into the second row, aisle of the orchestra last night. Even if I sat with perfect posture, my right knee was crushed into the seat in front of me. Thankfully my left knee was to the left of the seat in front of me so it was safely in the aisle.
It did add insult to injury that the short guy in the front row in front of me had acres of room, crossed his legs, etc., heh. That row wasn't on sale when I bought my ticket.
Orch T7, Eugene O'Neill Theatre, Book of Mormon. The staff is nice and they offer you a cushion. There's your sign. You'll only see half the stage and you'll feel squished.
I actually don't mind the balcony at the Palace either, except for the front row. There is a bar there that is in the way. I hate leaning forward, but I would not have seen anything if I didn't. The front row orchestra there is not great either because the stage it high. At least for most productions those get sold as lottery seats, so I don't complain for that at all.
I also found the extreme sides of the front mezzanine at the Ambassador awful. I felt like I was watching Chicago from high up, backstage. What I mean with that comment is that it felt like I was watching it from the side and could not see very well because of that. Plus, the seats are crap too. I actually had to work to fold the seat up and down to let people in and out or to leave myself.
"I don't want the pretty lights to come and get me."-Homecoming 2005
"You can't pray away the gay."-Callie Torres on Grey's Anatomy.
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As a fairly petite woman, seat size isn't much of an issue, but I have many tall friends and family who come with me. My 6' 6.5" father has gotten stuck in seats in nearly every theater, but the Kerr was about the worst.
The balcony of the Kerr, definitely. Those two rows shouldn't even exist. For Grey Gardens, I sat on top of my chair with my arm around the pole. It was terrible. Sitting front row for Gentleman's Guide, I looked up and couldn't believe there were seats up there. You can barely see them.