Seating Plan Diagram

The front Stalls rows A to J are arranged in a curve in front of the stage. Rows K to X behind them are split into two blocks by a centre aisle.

For "Joseph" (July 2007) an orchestra pit means a conductor may be in view for some in central row A... it didn't bother the monkey last time this arrangement was in place, but purists may wish to avoid this area!

Regular reader Zena comments that
"thankfully my front row seat had lots of legroom and a nice view."

Reader Daniel Vincze says,
"My seat was A13 in the Stalls. Excellent view, enough legroom and feels like being in the action. The intimate scenes are really effective because you're not that far away as you'd be in the Dress Circle or Upper Circle."

The reason the monkey always likes the front row in theatres too...

Rows B to E have noticeably less legroom than rows behind, and the rake is non - existent. Fortunately the high stage compensates for this, though neck ache is a possibility in rows A, B and C, it is less of a problem then it once was, according to many: 

One reader comments,
"Row A 9 to 12 were too low down – a lot of neck craning. Would recommend from Row J and back. All round, well worth the ticket price"

Another reader says, though,
"saw Evita (2006) on the front row and it was fine as the orchestra is big. No neck ache and PLENTY of leg room."

From row B reader Karyn reports,
"sat in seats B24 and 25 and enjoyed an excellent view of the action, although we did get a bit of neckache towards the end. No matter, what we lacked in neck comfort was made up for in legroom...we had LOADS!! Why do people complain of there not being any legroom from row B back? We had plenty and we're what you'd call short. They must be made up of Peter Crouch proportions is all I can think!"

Reader Tracey says,
"Stalls B24 and 25 - almost felt like we were on the stage - right in the action!"

and as for C, one reader comments,
"We sat in the stalls Row C 15 to 18 and the view was good - big heads in front do obscure slightly but that is the luck of the draw. Leg-room was plentiful too. No neck ache at all and you certainly feel in with the action - sweat and spit can be clearly seen."

Reader Richard Bradbury also notes for "Evita":
"Sat in seats D24 and 25 in the stalls. Great seats, superb view most of the time. The only faults with these seats are that some of the action on the left is obscured and the back wall of the set is difficult to see with the heads in front of you (nobody in front of us was particularly tall but it was a struggle to see)."

For "Joseph" things have improved, as reader Celia reports,
"We had terrific seats, D 19 to 22 stalls, almost dead centre and with a clear view of the stage. No problem in getting a booster seat for my son and despite some rather large heads in front of him he had a really good view of the action."

Seats D 14 to 19 and F 23 to 28 are "premium" seats - your call if you feel them worthwhile, feels the monkey. Reader Paul says,
"purchased 'PREMIUM TICKETS' - F27 and F28, can't quite see what makes them special except the price!!! The rake was poor and a young girl of average size sat in front and obscured some of the view to left of stage."

Another reader in the front stalls reports:
"Was seated in stalls row C18, a great seat with great views but alas, the seat looked like it was in need of a good steam clean it was filthy."

Reader Victoria reports of her seat, E15:
"I found that I had plenty of leg room and felt the air conditioning - people further back mentioned that they were roasting. However, the seat in front of me was not at all staggered and so I struggled to see past the head right in front of me when someone was on the floor - and did have to crane my neck a bit to see the balcony scenes, although I'm only 5'1."

From row F back, legroom improves, and from row J back, the rake is much more noticeable.

One reader says,
"Found the Adelphi to be a cosy theatre with very comfortable seats, especially for the smaller person. Our seats were numbered F 9 and 10, in the Front Stalls. We had a good view and there was of plenty of leg room."

Another reports,
"F20 in the stalls: Great seat, plenty of legroom, and very close to the action. Also being bang in the middle of the row meant that there was minimal disruption from people leaving / returning to their seats, so I’d highly recommend a seat in this area."

Another reader notes:
"We booked row G, and the view was superb. Not too close to crane your neck but close enough to feel part of it".

Monkey regular and seat connoisseur James in Finchley says,
"Sat in G20 in the Stalls for "Joseph" - couldn't have had a better seat in terms of being close to the action but not too close that you have to move your head from side to side to see the whole stage. I had to crane my neck a little but the person in front was particularly tall so I don't reckon it would usually be a problem. Given the choice I'd have probably gone a couple of rows further back just to be safe."

From the same seats, reader Adam notes,
"We sat in stalls row G seats 19, 20 and 21. I am 6ft 2ins and the legroom was terrific and I had plenty of room to stretch out. My view was also excellent but my wife and daughter (being somewhat shorter than me) had there view slightly obstructed by heads in the row in front, the rake at row G being very shallow. The lack of a centre aisle meant a bit of a trek from the side aisle over bags / coats / refreshments and other people despite us arriving early."

Reader Tracey agrees,
"Stalls G27 and 28 - great view (especially as the row was curved) and on our preferred side of the theatre"

The ends of row G are an issue, though. Reader Matthew Wright says,
"Stalls row G seats 30 to 34. I agree with your 'value' guide to these seats as the view was good but just too off-centre I think for full price"

Reader Nicki says:
"Seats 29 and 30 in Row H were perfect - didn't have to look up or down, close enough to see everything. A little off to the side, but not a restricted view."

Other side seats may have drawbacks, according to one reader,
"I sat in F4 in the stalls. The view was not bad, some of the action lost on the right hand balcony and right at the back of the stage in the arches."

The first and last four seats in rows B to R are outside the proscenium opening. This prevents those seated here from seeing into the far corners of the stage. The monkey quite liked the thought of B30 at a restricted view price, but notes they are not really a bargain - just a way to be closer to the stage for less money.

Readers generally report that central rows F to J are providing best views overall. Those wishing to see most, or who are shorter, seem to find H and J preferable too.

Reader Gill says of "Joseph,"
"We were in row J seats 29 and 30 which gave us a good view, only part of the staircase where the children sat was partially obscured."

Behind Gill, regular monkey seat connoisseur James says,
"Sat in Stalls K19 and K20 for "Joseph".  Having sat in row G last time I preferred being a few rows back as I could see the whole stage without turning my head from side to side.  The view was perfect (especially as there was no-one sitting in the row in front) and the sound is great here too."

Reader Jay reports,
"Row L, 11 to16. We all enjoyed a fine view, as well we should at £55 a pop (for "Evita in 2006)!"

One reader notes that:
"We got three seats together in the side stalls on row N (which are red on the theatremonkey plan but I didn't find them a problem at all) - I think any further back and you do get a restricted view at certain points in the show". 

Another feels that,
"M23 and 24 weren't great because a rather tall men sat in front of me, so I had to lean to the side every time anyone moved. The rake is dreadful in the Adelphi."

Reader Sara Levene says,
"We sat in 017-18. The overhang of the balcony did nothing to spoil the view. The stagger let us see well despite the absence of a rake. There was plenty of leg room"

Reader J.D. reports of row T,
"row T seats 21 to 24. The view was excellent (you can't account for big heads though).The only time our view was restricted, is right at the end when (look away now if you don't want to spoil a surprise) Joseph is extended to Circle level on a hydraulic platform that reaches out over the stalls."

The view back from row T is poor as the rake is very shallow. Seats here seem a long distance from the stage, and the sound control desk tucked around rows U to X offers a noisy distraction. W 11 and 12 are cheaper for the inconvenience - still probably worth a skip by purists, feels the monkey. A drop in prices here recently make these seats average value - row X at £22.50 (£25 at weekends) might well please a vertigo sufferer who is satisfied with losing the top of the stage. Choose the bottom price rear Stalls over the front Upper Circle based on better legroom only. For the view, however, rows D and E in the Upper Circle do have the edge.

A reader spotted another problem with row U,
"The tallest member of my group at 6'4" had asked for an aisle seat which was very unfortunate for him as I had to allocate him U17 and 18. If only he hadn't asked, any other seat back to row T would have have given him plenty of leg room. There is at least a foot difference in leg room between row T and U, at least for those seats that are immediately in front of the mixing desk. He literally could not sit with the seat down and had to perch on it in the upright position. The row does widen in the lower numbers past the mixing desk but it really is bad for those 6 to 8 seats that are immediately in front of the mixing desk. Even fairly short members of my group sitting near him had their knees crammed against the seat in front."

In row V, reader Tracey says for "Joseph,"
"V32 and 33 - might have been a problem if we had taller people in front, but we were lucky and only down side is that you don't get to see the 'uplifting' part of the encore"

Two wheelchairs can suffer a rotten view in the rear stalls, but users can transfer to any other seat. See Notes. How about making some decent seats removable for wheelchairs or even... let users sit in the centre aisle row K space. Think about it guys.

A set of stairs leading to a door is on the right hand side of the theatre (looking from the stage). For some reason, this annoys Theatremonkey, as it seems distracting. Compensating for this, the bar is also on this side (as are toilets).

Legroom is acceptable in all rows, tighter in rows B to E (except the first and last seats in B and C where nothing is in front of them), much better from row F to T unless you are exceptionally tall. A reader reports a problem in row U - see above.

DRESS CIRCLE 
The Upper Circle overhangs the Dress Circle at row C. This, plus the very shallow rake makes the view from row C back disappointing for the price.

Reader Gary feels that the rake is perfectly adequate though. On the other hand, reader Siobhan feels,
"Do not pay full price for the dress circle (have noticed the monkey has marked the whole seats RED there) because the person's head in front of you blocks the view and you have to lean either side of the head in front to see, despite being close to the action."

The central seats face the stage. The first and last ten in each row are turned in toward the centre to enhance their view. This is disconcerting, especially in the last seat; since the angle gives both a view of the stage and fellow Dress Circle audience members equally! As a reader points out, this an exaggeration - the angle isn't that severe, but the seats don't face the stage "front on" as the rest do.

 Row A seats 6 and 7 are tucked into a corner beside the boxes, so you lean around them to see the stage, as well as having the awkward angle to consider.

No seat is recommended here due to poor legroom wiping out the benefit of the quite adequate views from the centre seats of rows B and C. Believe the monkey, you will not notice the stage as you squirm for comfort.

Reader Paul Nicholls reports,
"Sat in Dress Circle Row B19 and 20. Excellent view. Rather cramped but not a problem as I'm not very tall!"

Reader Claire Crome echoes this,
"We sat in the dress circle, row C, seats 26 to 31. These were good seats (a little cramped, if you are taller than 5”6), but allowed you to see the whole stage very well."

Reader Mark Lane says of A13,
"As I'm only 5'6 this caused me no problem at all and the view was great."

Reader Stuart notes that,
"I sat in the Dress Circle about 3 rows back. The seats were appalling - very cramped and uncomfortable. The theatre was stiflingly hot. 

I had decided to leave at the interval, but was persuaded to stay and managed to get an aisle seat which had a bit more room. Noticed that there were several empty seats which had previously been filled.

Complained by letter to the theatre - reply said ' Thanks for comment - shall pass them on..''

That says it all, feels the monkey!

Of the restricted view seats at the edges of the circle, reader Tracey reports for "Joseph,":
"B33 and G34 - restricted view seats which we thought great value for money (we are both short and had a perfectly acceptable view - only missing the action from the very far left of the stage which was mainly the interaction with the children's choir)"


Seats C 13 and 14 are "premium" seats - your call if you feel them worthwhile, feels the monkey.

Reader Paul puts another side, though:
"seats, Dress Circle D19 and D20 were good and comfortable for each half. I have had much, much worse seating in other theatres". 

agreeing with him, reader Gary notes,
"I sat in D26 in July 2006 for "Evita" and had been very nervous about it after reading site comments as I am 6'2" tall, a fidget at the best of times and generally opt for an aisle seat. When I arrived at my seat, I really couldn't understand what the problem was, the leg room was very reasonable for a London Theatre, I've sat in far worse over the years. My knees brushed the seat in front slightly but certainly didn't press into it and the seat itself was well padded so I didn't get "dead legs". My only criticism was the seat width, it did feel a tad narrow but, again, I've sat in far worse in theatres and on planes. It may be a squeeze for the obese, but most people would find it acceptable.

The view was excellent, I could see all the action on the stage perfectly."

another reader says,
"We were sitting in Row D seats 29 to 32 of the Dress Circle. The seats were slightly on the side but this didn't affect the view at all - all parts of the stage were visible and legroom was fine."

Reader Lizzie reports,
"Sat Row E of Dress Circle 27 to 32 – good view – little tight on the leg room and a bit hot too but nonetheless great seats and probably just as good a being in the stalls – especially at the end – not to give anything away!"

while reader Ben Grower opines,
"Dress Circle Seats Row F 18 and19 were perfect. Good view, enough leg room and not too hot in theatre during show."

Sounds like some comments have been addressed, notes the monkey...

...though reader Sharon notes:
"We sat in the Dress Circle G 23 to 26 and the view was fine. As we are all on the short side the lack of leg-room didn't bother us, but I could see others in our row squirming to get comfortable at times."

Another reader in row G says,
"Sat in Row G of the dress circle twice now (for "Joseph" in July 2007), once in seats 6 and 7, the second time seats 29 to 31. Both gave a great view of all the stage. I notice lots of people complain about leg room but I found there was plenty (I'm 5'6"). Have to agree with the grumble that if someone taller is in front you need to lean to the side to see though."

Reader Gail says,
"Sat in dress circle row L 25 to 29 plenty of leg room ( I am 6ft tall). Viewing only restricted when Evita and Peron sang sat on floor (once). Would recommend that the more vertically challenged sat nearer the front."

A balanced view, felt the monkey.

Row P has been grafted onto two plinths at the back of the Dress Circle. You will see very little from this eyrie - the overhang of the circle above is the reason. Take as a last resort!

Legroom throughout the circle is abysmal - worst in rows B and C, slightly better from D back - 6ft persons found D and L tolerable, for example. Theatremonkey has his knees in his ears in row C. Tall people in particular should choose the Stalls instead or find a great physiotherapist for afterwards.

Dress Circle Boxes
Two on each side of the theatre, about half way between the stage and the Dress Circle. The position of boxes C and D make viewing the rear of the stage difficult. Box C has a slightly better view, but not much.  Both are rarely used. Charging third price seems greedy, consider rear rows of the stalls for the same money. Boxes seat 4 people.

Reader Daryl opines,
"I am a avid box user and find that many get "bad press", I have seen many shows from them and few of them impair the enjoyment of a show and "cut off" much of the stage as said. Recently I sat in Box C seat 1 for the final performance of Evita on the 26th May. Seeing the show previously I had to see it one final time before it closed. This box provided a very good view at 3rd price and none of the show was missed (yet if in Box B opposite - Peron's Mistress's song "another suitcase in another hall" would have been quite difficult to see). Overall I was highly pleased with the view the legroom (as well as having a box to myself :) ) and the sound quality. I think this will have some use in the those booking for Joseph and I personally will be experiencing that show in the same seat."
 

UPPER CIRCLE
Very high and suffers the same poor rake and legroom as the Dress Circle.

A metal bar runs across the front of the circle, cutting into the view from rows A to C. There are also short rails in front of the last seat at either end of row B.

The circle is split into front and rear sections by an aisle in front of row J. Again, there is a rail at the front of the section, behind row H, plus a further rail in front of row K seats 12 to 22. Seats in the rear section are also older and narrower than those in the front block.

In the front section rows D to F seats 10 to 30 offer the best view and value, combining a central position with the least disruption from the front circle bar. These seats feel a medium distance from the stage and the open theatre design makes them feel closer to it than the higher priced rear stalls. 

Seats at the ends of rows A to E suffer a slight loss of the edge of the stage, due to the angled nature of the theatre design. Row A is discounted due to legroom and bars. The monkey would skip it unless you are happy to take the trade off, and also avoid more expensive row B 10 to 28 behind as, potentially, those in row A choosing to lean forwards would block your view.

The monkey felt that B 6, 7 and 31 to 33, C 6 to 8, D 4 to 6, E 3 to 5 and rows C to E 32 to 34 the most problematic. It won't spoil your enjoyment much, but it just felt it worth noting - hence the "red" rating. On the plus side, for "Joseph," all these seats (except B31 and C8) have been discounted to allow for the problems - fair value here, thinks the monkey...who also notes that D7 is also cheaper with less drawback than the others...

A reader says of "Joseph,"
"We were in row B of the Grand Circle (comfortable seats and a great view although very tight leg room for anyone like me at over 6 feet) and to be eye to eye with Lee as he rose from the stage was just great"

Reader Rochelle adds to that,
"B15 to B18: I had my doubts about being in the Upper Circle after reading some reviews but we couldn't have asked for more for the amount we paid! (Discount used).

You couldn't see the very front of the stage unless you leant forward but you don't miss much of the action as most of it goes on further back. Otherwise we had a great view - especially of Lewis at the end when he rose up on a platform (much to my friend's delight!). The people in front of us leant forward most of the time but a few minutes into the show, we didn't notice them and they didn't really get in the way. I didn't feel that there was bad legroom (and my legs are too long for my own good!) but, to be honest, I was concentrating more on the show."

Reader James comments,
"Upper Circle C12 – felt very far away and people in front kept leaning forward to see which obscured my view too. Didn’t seem great value for money."

In the restricted view seats, a reader noted:
"I saw 'Joseph' in seat C36 of the Upper Circle. I didn't feel too far from the action at all, but my view of about a third of the stage on that side was obscured, partly by people in front and those on the side leaning forward. This seat is definitely worth avoiding if you want to see 'Close Every Door,' as I was only able to see the last couple of lines, when the action moved closer to the centre of the stage."

Moving back, the rest of the central block offered just about fair value in the monkey book - though horribly expensive in real money terms, of course. It quite liked the money saving opportunities from the discounted ends of rows from F back, though. Considering these discounted first and last four seats in these rows, it would choose the ones in G first, then H then F - taking first the particular seat numbers closest to the start of the central more-expensive seats.

In the rear section Row J seats 2 to 37 are on a gangway, and Row N seats 11and 23 have stairs in front. 

Row J has a safety rail in front of it, on the opposite side of the gangway, behind row H. Decide if you can tolerate this before buying either J or K side block. The rail lines up with the stage about a fifth of the way back, and some of the "uprights" holding it in place are also a nuisance for many. The centre of row K, seats 13 to 22 at the same price, offer a little extra legroom and an uninterrupted view of the stage without the back of a persons' head directly in front - though there is a rail...

Reader Kyrsty Mewett notes that,

" was sitting high up - row K in the Upper Circle, and though I didn't miss much from that position, I felt as though I was outside the action, and the actors were all performing to the lower levels, which is in complete contrast to other shows such as " Saturday Night Fever" and " Les Mis". Also, the fire exit sign was really bright, and the curtains leading out of the auditorium were left open."

In row K a reader feels,
"K7: End of row, with bar by left side - but only comfort intrusive rather than view which was good."

Further along row K, another reader notes:
"I am 5ft 6" and the rail was in my eye line in row K seat 21, the only way to see properly was to lean forward. The rail cuts through the legs of the performers. I would totally agree with your readers comment ' felt I was outside the action".

The monkey felt that this was reasonable comment for a shorter person, though it considers this row to be the best of the seats at that price in the circle, as only a sliver of the front of the stage isn't seen.

Row M seats 8, 9, 25, 26 and 27 are behind a wall of bars above a stairwell. Taller people get the best view here, but poor legroom. Avoid unless long of body or addicted to dropping things on the heads of stairwell users in the dark.

For "Joseph" a reader says,
"Upper Circle row M23 - had to lean forward but that's only because I had someone rather tall in front of me and I didn't want to miss a moment of Lee!!"

Of the rest of the rear section pick rows K to M seats 14 to 20 first for the most central view. New pricing makes row N seats 11 to 23 worthwhile at bottom price in the monkey book.

Reader Tracey says for "Joseph,":
"N24 and 25 - had a safety rail in front of us which did not impede our view - we were far away from the stage but dead centre, so did not miss any action, nothing to block your view but stairs are steep and probably not good if you suffer from vertigo!"

Row O is a last resort, tucked at the rear of the theatre, but it is among the cheapest seating in the venue. Go for seats 4 to 7 first. Seats 37 to 39 could have offered an opportunity for a little back seat romance, if they had restricted it to only two seats. Perhaps that is why they didn't.

A reader says, for "Joseph,"
"We sat in the Upper Circle seats row O, 5 to 7. Until a tall big man sat in front of us the seats were amazing value for money, however with a large person in front of you they're not worth seeing the show for. We sat in seats 7 and 6 and stood at seat number 5 and swapped between us throughout the show to make it fair. Would have been great value for money if it wasn't for the restriction from the large person in front. The theatre did also not offer booster seats for anyone in the Upper Circle."

The monkey has since heard that the theatre has been made aware of the "booster seat issue" and have noted it.

Another reader comments,
"We sat in seat O 37 to 39 Upper Circle. These tickets are so high and far from the action as to be not worth doing, even when using opera glasses! The height made 2 of us feel extremely queasy for most of the show as your eye has to keep adjusting between looking at the ceiling (which we were perilously close to) and the stage miles below. Everyone seemed to have a big head which blocked the stage and we spent the whole performance craning our necks and moving from side to side for better views. The actors never included us in their gaze and it all became a bit boring... I am surprised the seating hasn't had a revamp as its not worth sitting in the last half of the Upper Circle at all as views are terrible."

Reader Peter Kirby reports,
"We were in the back row of the Upper Circle for "Evita" (2006) and the only criticism is that "Don't Cry For Me" started too far upstage. The bonus was that we could see all the superb chorography patterns which you would not see from the stalls."

Reader Christina Brooks feels,
"Make sure you do not sit in the circle at the back - very poor and not worth compromising a good show."


Row B seat 5 and 34 and row D seat 3 place a little further forward than in other seats at the same price. People on a tight budget might consider these over row J and K restricted view seats above. Other restricted view seats in the section - C to F seat 35 may also prove good hunting for some willing to miss about an eighth off the side of the stage.

Legroom is poor in almost all seats, best in row J, row N seats 9 to 11 and 23 to 25 and also row D seat 3 - though the floor slopes sideways here.   

Notes
Total 1500 seats.

Air-cooled auditorium. Not as effective as proper air conditioning, so be prepared for a hot and uncomfortable time in the height of summer, alas. To minimise the effects, seating in the front stalls is normally coolest as heat rises - and is also trapped in Circle overhangs. Just a bit of advice from someone in the theatre industry who has a grasp of physics...

Reader Victoria noticed that in June 2006 she was fine in Stalls E 15, and could feel the cool air, but people further back "mentioned that they were roasting." Possibly an authentic Argentinean summer experience, but not for everybody, the monkey guesses. The better news is that by July, reader Gary reports that,
"I found the bar area a bit stuffy, but that was in the middle of a heat wave (the London papers actually reported it as a "5 day heat wave") and the theatre had an almost full house.  The auditorium (row D, Dress Circle) was at a perfectly comfortable temperature and I think, perhaps, air conditioned."

Another reader says,
"It was so hot in this theatre last Thursday matinee (24 May 2007) that my husband and I had to leave at interval - hugely disappointing but he was just not feeling at all well in the atmosphere.  My advice is to avoid this theatre during summer matinees - perhaps all summer?"

The theatre is air-cooled still, but more effective in some parts of the theatre than others, according to the venue.

Food: Ice Cream and confectionery available. Also bookable in advance (redeem voucher on day of performance to collect) is a food container called a "Royal Box" (nothing to do with sitting in a box in the theatre!) containing a selection of canapés for consumption in the bar or at your seat. A half bottle of champagne is also available as an optional extra with the box too - for those over 18 only, subject to usual licensing laws. Click here for more information.

Four bars. Side and rear stalls, Dress Circle and Grand Circle. One reader notes that if seated in Stalls row AA: 
"The front row seats give you easy access to the bar at the front of the theatre on the left, which was little used at the interval, and much more civilised than getting crushed in the main bars."

Infrared loop for the deaf. Headsets can be rented for this. Some signed and audio described performances. Guide dogs can be dog-sat. Wheelchair spaces in stalls with a restricted view. Wheelchairs also have their own slope up from the street to the foyer, with automatic doors at the top to allow the user inside easily - and a low box office counter for chair users is also available. Fuller details www.theatre-access.co.uk. or Artsline on 020 7388 2227, e-mail artsline@dircon.co.uk.

10 toilets in all; Side Stalls bar 1 Gents cubicle 5 ladies cubicles, Rear stalls bar 1 Gents cubicle. Ground floor foyer 3 Ladies cubicles and a disabled unit, Dress Circle bar 1 Gents cubicle 6 Ladies cubicles, Grand Circle 1 Gents cubicle 6 Ladies cubicles in 2 restrooms.

This theatre is haunted by the ghost of Mr. William Terriss, an actor tragically murdered in 1897. The gentleman also haunts Covent Garden underground station.
 

Plan your tube journey to this station using the button below:

Leave the station by following signs from the platforms to the STRAND street exits. Walk straight ahead into the underground shopping arcade and keep going straight on into the light. If, underground, you pass Davenports Magic shop, turn around and walk the other way.

Take the left-hand staircase up to street level. In front of you is a very busy road, the Strand. Brook Street Employment Agency must be on your right as you face the road.

If you see a sidestreet, with Brook Street Employment Agency on your left, turn around and walk towards the busy road instead - you took the wrong stairs.

Turn to your right and walk past Brook Street Employment Agency, keep walking towards the pedestrian crossing. The theatre is on the other side of the road and clearly visible as you walk.

If you pass the main station and see a large space full of taxis, you are going the wrong way. Turn around and head for Brook Street Employment Agency.

For mobility impaired audience members, the Society of London Theatre provide a "photo map" - illustrated walking route to this venue from a near landmark and also Waterloo Station (the nearest fully accessible station) on their website www.officiallondontheatre.co.uk, via the theatre's listing page on that site.
 

From the car park, turn up the road on the left to bring you on to Trafalgar Square. Face Nelson's Column and turn to your right. Cross Whitehall and Northumberland Avenue (you'll pass a branch of Tesco and a bookshop), and walk on towards Charing Cross Station, passing more shops on the way.

Once past Charing Cross station forecourt, cross at the next pedestrian crossing. The theatre is on the other side of the road and clearly visible as you walk.

The "Theatreland Parking Scheme" may be available. Call Westminster City Council car parks on 0800 243 348 or see www.westminster.gov.uk/carparks 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 72 hours using this scheme and it is endorsed by the Society of London Theatre.

For a full list of car parks that participate in the 50% off theatreland scheme here see www.westminster.gov.uk/carparks/theatreland.cfm, and for a full list of theatres that participate in the scheme see www.westminster.gov.uk/carparks/theatres.cfm.