You've probably heard that there "isn't a bad seat" in a Broadway house. Usually, that's just marketing fluff designed to sell the dusty corner spots. But with the Ethel Barrymore Theatre seating chart, that cliché actually carries some weight. Built in 1928 for the legendary Ethel Barrymore herself, this place is intimate. Honestly, it's one of the few theaters where sitting in the back doesn't feel like watching a play through the wrong end of a pair of binoculars.
But "intimate" doesn't mean perfect.
If you're dropping a couple hundred bucks on a ticket for a show like Joe Turner’s Come and Gone or whatever big drama is currently occupying the stage, you don't want to be the person leaning six inches to the left for two hours because a golden-age pillar is in your way. Understanding the layout is basically the difference between a magical night and a massive cramp in your neck.
The Orchestra Breakdown: Proximity vs. Perspective
The Orchestra is the biggest chunk of the house, holding 582 seats. It’s split into Left, Right, and Center.
If you want the "premium" experience, you're looking at Center Orchestra, Rows F to O. Why not the very front? Well, the stage at the Barrymore is somewhat high. If you’re in Row AA or BB, you’ll spend the night staring at the actors’ ankles and wondering if they have a good chiropractor. Rows F through K give you that perfect eye-level connection where you can see the spit flying during a dramatic monologue without needing an umbrella.
The sides are a different story.
Left Orchestra uses odd numbers (1, 3, 5...), and Right uses even (2, 4, 6...). If your seat number is in the double digits—say, seat 22 on the far right—you’re going to lose a sliver of the stage. Specifically, the "stage right" corner (which is the left side from your perspective) might be invisible.
Pro Tip: In the Orchestra, the Mezzanine overhang starts at Row K. It doesn’t cut off the stage, but if the show has a massive, two-story set, the top might feel a bit "squished" from Row P or Q.
📖 Related: The Wrong Box 1966: Why This Victorian Death Comedy Still Slays
Accessibility and the "Step-Free" Myth
The Barrymore is one of the better old-school houses for accessibility, mostly because the Orchestra is entirely step-free from the sidewalk. There are about five dedicated wheelchair spaces and a handful of transfer seats with folding armrests. If you have mobility issues, stay in the Orchestra. Period. There are no elevators or escalators in this building. To get to the Mezzanine, you’re hiking up 30 steps.
The Front Mezzanine: The Secret Best Seats
A lot of regulars actually prefer the Front Mezzanine over the Orchestra. There are only 196 seats here, making it feel like its own little private club.
The rake—that's the technical term for the floor's slope—is steep. This is great news if you’re short or if a guy with a giant head sits in front of you. Because of the elevation, you get a "God’s-eye view" of the choreography. For a play, it helps you see the spatial relationships between the characters in a way you just can’t from the flat floor of the Orchestra.
Row A of the Center Mezzanine is often the most expensive seat in the house, and for good reason. It overhangs the Orchestra at Row K. You are surprisingly close to the action, but with the clarity of being 20 feet up.
📖 Related: Rick Astley Song Lyrics: Why We Still Get Them Wrong After 40 Years
- Row A & B: Perfect views, but legroom is notoriously tight.
- The Boxes: There are six of them. They look fancy and "Old Hollywood," but the view is side-on. You'll see the actors' profiles and the backstage wing more than the actual set. Great for being seen; bad for seeing the show.
The Rear Mezzanine: Budget Without the Blues
If you’re looking at the Ethel Barrymore Theatre seating chart and trying to save money, the Rear Mezzanine (256 seats) is your destination.
People get scared of the "Rear" label, but since the theater only holds 1,058 people total, you’re still closer to the stage than you would be in the middle of a massive house like the Gershwin.
One thing to watch out for: it gets hot. Heat rises, and the ventilation in these 1920s buildings is... well, it’s historic. If you're seeing a show in July, the back of the Rear Mezzanine can feel a bit like a sauna. Dress in layers.
Legroom: The Harsh Reality
Let’s be real—the Barrymore was built for people in 1928. People were smaller then. If you’re over 6'0", you’re going to struggle in the middle of a row.
👉 See also: Jotaro Kujo: Why Most Fans Actually Get Him Wrong
Your best bet is an aisle seat. Specifically, the "inside" aisles (the ones flanking the Center section). This gives you a bit of "lean room" without blocking the view of the person behind you. Avoid the very last row of any section if you like to lean back; those seats are usually flush against a wall or a partition.
Your Barrymore Cheat Sheet
To make this simple, here is how you should pick your spot based on what you actually care about:
- If you want to feel the spit: Center Orchestra, Rows C-E.
- If you want the "perfect" view: Center Mezzanine, Row A.
- If you're on a budget but want a clear shot: Center Rear Mezzanine, Rows A-C.
- If you need legroom: Any aisle seat in the Orchestra.
- If you want to avoid a "partial view": Stay below seat number 10 on the sides.
Next time you're looking at a map of the theater, don't just grab the cheapest thing available. Look for those Center Mezzanine "value" spots in Rows D and E. They often cost significantly less than the rows right in front of them but offer basically the same view.
Once you've picked your section, double-check the seat numbers. Remember, odd is Left, even is Right, and 100-series is Center. If you end up in Seat 24 on the far right, just be prepared to miss whatever happens in the far corner of the stage.
Check the official Shubert Organization website or a trusted secondary mapper like SeatPlan to see actual photos from the specific seat you’re considering before hitting "buy."