Theatremonkey®.com

 

Cookies: to find out more or learn how to changing your settings, click here. We are pleased to accept your consent to our policy if you are happy to continue without doing so.   

London Theatre & Music Venues' Expert Seat Reviewer and Discount Deal Hunter.
The Trusted Independent Insider Listings Guide since 2000.

SEE ALL DISCOUNT LONDON THEATRE TICKET SPECIAL OFFERS
Home Page
Buy the Site Book
Buy Tickets
SEARCH THE SITE
By Venue Name
By Show Title
For Best Seat Info
For Seating Plans
For Show Time Schedule
For Day Seat Information
CHECK OUT THE
Latest Special Offers
Tips, Hints & Features
Top Five Charts
GUEST SERVICES
Theatremonkey Ticketshop
Buy CDs, Books etc
Hotel plus Show Deals
Venue Access Guide
Theatre Dictionary
FAQ's & About Us
Contact Us
Blog and Book Extracts
Take The Site Tour
Join Our Mailing List
Links To Other Sites
Other Gifts
Tourist Attraction Ticket Shop




 

 

 

 


Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

BRIDGE THEATRE

 
 



A MIDSUMMER NIGHT'S DREAM (play)
Ends 31st August 2019.

Bill the Quill story of fairies and lovers, actors and kings. Titania, Puck and drastic cosmetic surgery thrown in.

A "promenade" version for those at pit level, building on the success of last year's "Julius Caesar" at the same theatre.




 

 

Theatremonkey Opinion:

(seen at the afternoon performance on 15th June 2019). For this one, the action is firmly emphasising the fairies. Puck David Moorst) steals the show with some witty asides certainly not in the script. For the other winged folk, the acrobatic work is spectacular - come back 5 minutes early at least from the interval. Rachel Tolzman (Bedbug) leads, with Charlotte Atkinson, Lennin Nelson-McClure, Jay Webb, Charlotte Atkinson and Chipo Kureya astonishing - and they can all act too.

Tessa Bonham Jones (Helena) is easily the best of the enchanted mortal couples. Sympathy for her plight, her confusion is truthful and painful. Former friend Isis Hainsworth (Hermia) has her moments too, the pair working well together. Suitors Paul Adeyefa (Demetrius) and Kit Young (Lysander) do pretty well - mean guitar but terrible song - but are slightly defeated by the size of stage and movement required in creating the intimacy the show deserves. The strange use of beds doesn't help. Sure, it's a "dream" but it take the metaphor too far for the monkey's liking.

Proper comedy comes from the Rude Mechanicals, a group from the local community centre under terrific Felicity Montagu (Quince). There's amazing humour from Hammed Animashaun (Bottom) with Jamie-Rose Monk (Snug) also having impact.

Hytner as usual re-works text, with odd lines going to unexpected people and scene orders varied. The modern interjections are smart - "immersive" getting the biggest roar, and rightly so.

The main problem is that outside of the comedy and circus, there are odd muddy moments. Already mentioned, the "bed hopping" doesn't really work, and oddly, neither do Gwendoline Christie and Oliver Chris as Hippolyta / Titania and Theseus / Oberon respectively. Hytner puts them much on the side-lines, so that there is never a real impression that they are the puppeteers of the whole. Sure, they may glower over events literally, but the connection seems a little tenuous.

Still, it's fun - and the children in particular who were in the pit promenade audience seemed never less than engaged, a wonderful thing to see. Not close to the "Chav Dream" which the monkey felt definitive, but better mostly than the more recent Law / Smith West End run, this is a solid 4 stars that is very entertaining whether choosing to stand or - as the monkey did this time - sit and watch the fun unfold.

 

 

Your Reviews: Add your own by clicking here.
Important: Some reviews below can contain "spoilers" - please don't read if this bothers you!

.




 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Performance Schedule:
The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Monday to Saturday at 7.30pm
Wednesday and Saturday at 2.30pm and 7.30pm

Runs 2 hours 45 minutes approximately.

 

Ticket Prices:  
View this information in diagram form

THIS THEATRE USES "DYNAMIC PRICING" WITH PRICES CHANGING ACCORDING TO DEMAND. THE BOOKING SYSTEM WILL INDICATE THE EXACT PRICE OF YOUR TICKET AT TIME OF ENQUIRY.

All performances EXCEPT Wednesday Afternoons:
Stalls:

A promenade standing area: £25

Dress Circle:

Rows AA and A: £95
Rows BB and B: £69.50
Rows CC and C: £39.50

Upper Circle:

Rows AA and A: £95
Row BB: £69.50
Rows B and CC: £55
Row C: £39.50

Balcony:

Row A: £39.50
Row B: £25
Row C: £15



Wednesday Afternoons:
Stalls:

A promenade standing area: £25

Dress Circle:

Row AA and A: £80
Row BB and B: £57.50
Row CC and C: £35

Upper Circle:

Rows AA and A: £80
Row BB: £57.50
Rows B and CC: £45
Row C: £35

Balcony:

Row A: £35
Row B: £25
Row C: £15

"Day Seats": A small number of seats - usually 15 STANDING PLACES IN THE CENTRE PROMENADE - are available to personal callers at the box office before the performance on the day from 8.30am, priced £15 each. May be limited to 1 or 2 tickets per person. The monkey always advises taking both cards and cash in case one is preferred over the other. Check with the box office before travelling if this policy is still in operation.


RUSH TICKETS: App Todaytix are offering £15 "Rush tickets," STANDING PLACES IN THE CENTRE PROMENADE, for all performances. Released for the performance on that day, first-come, first-served. Download the App from Todaytix, unlock the "Rush Ticketing" feature by sharing on Facebook or Twitter, and that will allow you to buy tickets.


 

UNDER 26: The Bridge £7.50 scheme allows those aged 16–25 to purchase two tickets for £7.50 each for selected Bridge Theatre shows. To book, simply create a Young Bridge account on the www.bridgetheatre.co.uk website and fill in your date of birth. The rate will apply to any two tickets for one performance of specific productions. ID may be required on collection of the tickets.
 

Some details will change. The monkey will update as available.

 

 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Buying Tickets Online:

Other Box Office Information

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems.
Theatre Box Office:
www.bridgetheatre.co.uk - the owners' site, provide the service for this theatre.

This theatre allows online seat selection.

 

Booking fees per ticket for online bookings:
No fee for print-at-home tickets or box office collection.


 

Other Online Choices (with S.T.A.R. genuine ticket agencies):

Will appear here when available.
 

Other Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.


 

Theatre Box Office:
Telephone: 0333 320 0051
Operated by Quay Tickets on behalf of the venue. Free call from landlines and packages that allow it.

Booking fees per ticket for telephone bookings:
A £2.50 per booking, not per ticket, handling fee applies.
 

For personal callers or by post: One Tower Bridge, London, SE1 2SD
Open from 8.30am.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats and enquire about concessionary prices that may be available to them on the box office phone line. 0333 320 0051, or bridgetheatre.co.uk/accessibility/

www.bridgetheatre.co.uk is the official theatre website.
 

 
 
Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Theatre Seat Opinions:
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.

This is a new venue, with the monkey opinion based on "first impressions." Feel free to send your own: contact us.

For the monkey, it felt it was a cross between the sophistication and comfort of the Barbican Theatre, and the adaptability and friendly intimacy of the Dorfman Theatre. Trust it, the proximity to the stage from anywhere in the house is amazingly close.

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Balcony Notes
STALLS 

Layout:
Flexible, stage at one end, or with seating on three or four sides.

Seats are divided into a centre and two side blocks by aisles. Back to row G, outermost side block aisle seats are angled towards the stage.

No aisles at the outermost ends of rows from D back.

In "End Stage" layout there are steps between all rows. Combined with good "offset" to see between the seats ahead, and a fairly high stage, the view is excellent from all seats.

Seats E, G, J, L, N and Q 10 and 24 are "fold out" seats, identical to those at the Dorfman Theatre. No arm rests, but nothing in front of them either.

Legroom:
"End Stage:" Excellent in all seats, for those up to 6ft 5 or more.

Nothing in front of row B 2 and 32, with 50% clear in B 3 and 31. No seat directly in front of E 6 and 28 and G 6 and 28. Note that these seats "turn in" to the seat beside them, though - E 7 and 27, G 7 and 27. Romantic if you are into it, otherwise knees may touch for largest occupants.

Nothing in front of fold-out seats rows E, G, J, L, N and Q numbers 10 and 24.

Choosing Seats in General:
The view is pretty outstanding wherever you sit. With the slightly thrust stage that AA and the sides of A and B wrap around, the very ends of AA to B may find the set in the way a little. Beyond that, rows C to L in the centre block are probably the first prime seats to aim for - with the cheaper "fold out" ones the very first pick for discount bargain hunters.

Side block seats feel connected to the stage too, take centre aisle seats first - and claustrophobics may wish to avoid the outermost seats against walls. There's the next balcony beside them, so they don't feel too enclosed, but the monkey notes it anyway.

It's worth going side block for seats closer to the stage if the centre block is unavailable, then work your way back as required.

Wheelchair space views from the area around B1 may not be the greatest if the set is in the way. The balcony 2 places probably give a better overall view of the production in these cases.

General Hazard Notes:
Outermost side block seats may feel claustrophobic for a few.

Outermost side block seats in row B may have a somewhat restricted view, depending on the set.

No seat directly in front of E 6 and 28 and G 6 and 28, but these seats "turn in" to the seat beside them, though - E 7 and 27, G 7 and 27. Romantic if you are into it, otherwise knees may touch for largest occupants.

Those seated in the front rows or side rows will take far longer to leave the theatre (up to 10 minutes) due to lack of exits.

Changes for the current production:
Removed and replaced with standing space for 250, who follow the actors throughout the play. The monkey tried this last year. This time, it observed from the seats. So:

Tip 1:  Arrive early for the cloakroom check-in line.

Tip 2: The best viewing place if you don't wish to move and follow the action is to stand on either of the long sides of the theatre, against the wall in front of the seating.

SPOILERS

You may get moved even from there at one point in act 1 to follow action - but you can avoid it by standing well back. You WILL get moved at the final bows, that isn't escapable.

At the end, there is no point drifting towards being very near the exit to be first in line at the cloakroom on the way out (or suffer for 20 minutes to get your coat back). The production makes you move around until after the bows are taken. Only at that point in the final "party" sequence can you make a quick move if you want to, and miss the ball being thrown. Frankly, the monkey would move. You miss no further action, just music and pushing a ball if you are close enough.

SPOILERS END.
 

Reader Comments:
"Stalls: "Young Marx" (October 2017). I nearly bought a stalls strapitan seat but decided against it until I knew exactly what they were. I saw a couple being used and they are a little like a cabin crew jump seat that completely folds away once you stand up. They seemed quite small, no arms but they do have a back which folds away as well. From what I could see, they are probably best for very small/thin people."

"Stalls: "Nightfall" (May 2018). Unfortunately tonight my wife and I left at the interval. Although in a good seat in the stalls, we couldn’t pick out the words. The theatre is terrific in most ways but for us acoustically it doesn’t work. We’re older, so that must be a contributing factor, as also must have been the accents and deliveries employed, but we haven’t experienced this anywhere else to the same extent. It was wonderful to see such a young audience, but laughter, when it came appeared from isolated pockets rather than more generally suggesting we weren’t alone in failing to appreciate everything being said. It would be interesting to find out if we are alone in finding this a problem."

"Promenade:"  "Julius Caesar" (February 2018). I was promenading and thought it was excellent value for money and actually probably the best way to see it as you are right in the action. It should be advised that if you are shorter you should try and get in earlier to be closer to the front. But be warned - the front row of people may be slightly showered in the spit of projecting actors!"

"A64: "A German Life" (April 2019). Got Day Seat A64. First row, left-hand side - best view in the house for first half, but slightly restricted view during the latter parts of the performance.

"C38: "My Name Is Lucy Barton" (January 2019), ("Thrust Stage" layout). The rows of seats have very decent leg room – it’s possible for people to squeeze past without those already seated having to stand up to let newcomers by. Each seat has its own arm rest too. C38 is to the left of centre of the stage, and the fifth row back; but a good rake means it was extremely unlikely to have your view blocked by heads in front. It is in the ‘premium seat’ category but does give a very good view of the stage."

"N5: "Allelujah! (July 2018), (Josepha). A large stalls with good leg room. I had an excellent view with good leg room from N5 in the stalls. I am not sure how good the view would be from the gallery levels as they are at ninety degrees to the stage eg like at Cottesloe or slips at Covent Garden."



DRESS CIRCLE 
Called "Gallery 1" in this theatre.

Layout:
Curved around behind and beside the stalls on three sides - four if "in the round" setting is used.

A rail divides row R from the stalls in front. Another rail gives row T (and S at the sides) something to lean on. Neither affect views.

Seats at the sides can be angled to face the stage as required.

Legroom:
Front row R comfortable for those up to around 5ft 6 in the centre, 5ft 5 in the first and last 5 seats. The front wall bows out slightly to give extra leg space.

Row S to around 5ft 9 from 6 to 69, and for most in the "high" seats 1 to 5 and 70 to 74.

Row T "high seats" are acceptable to all who don't mind "legs dangling" and resting feet on a rail.

Choosing Seats in General:
The facing blocks don't feel too far from the stage, so choose on legroom - central S has more than R, and "high seats" in central T are cheaper and even better. The monkey would probably go for stalls first, then save bananas and take T over R and S.

Moving outside the centre, the next seats are angled to the stage, with decent views, any safety rails are low and inconspicuous. The angle of each seat towards the stage dictates the discount, but the views are good.

At the sides, the very cheapest seats nearest the stage are bargains, row S in particular is more comfortable on "high seats" for the taller monkey over 5ft 5.

General Hazard Notes:
Those seated in the further reaches of  the side rows will take far longer to leave the theatre (up to 10 minutes) due to lack of exits.

Changes for the current production:
Rows are extended around the whole of the theatre. Best views are the sides 6 to 19 / 57 to 59. The "new" facing block has identical seating and sightlines to the others, but for this play, much of the action happens to face the sides. The monkey would go for the cheaper seats as they are best value, though nothing wrong with paying more if you feel like it - you will see over the promenade crowd at all times. Those in row C at the sides won't quite see all the airborne work, but miss nothing much.

Reader Comments:
"AA36: Booked on a whim and bagged a £15 ticket. Front row, facing the stage, absolutely cracking seat!! The leg room is exceptional (a good four or five feet between seat and stage) and, even at just 5' 5", the edge of the stage was just under my eyeline. There were minimal bits of action that were missed but hardly worth mentioning. Fantastic value for money."

"A65: "A German Life" (April 2019). On the side but great view."

"R1: "Young Marx" (October 2017). £15. View restricted in that you miss the back corner of the set and from what I gather a repeated visual gag. However that's all you miss. Great value good view of everything else. BUT you do have to go along the row from seat 20 down to 1 which was causing a lot of tutting from people today - there's no way to know that before you get in and no other way in or out. My seat mate and I did pass that on to staff as feedback though."

"R9: "Young Marx" (October 2017). Front row, very comfortable seat, plenty of legroom. Stage was pretty high, had to sit upright to see the floor, but no problem."

"R 70 and 72: "Allelujah!" (July 2018). Just wanted to say that £15 tickets row R Gallery 1 are excellent value. For Allelujah, sitting in R 72 I could see most of the stage. R 70 was even better."

"S8: "Young Marx" (October 2017). I paid £35. This was a seat angled towards the stage, rather than a high chair. I had a very clear view and no one in front leant forward, and even if they did the rake would have taken care of that. It is a side view but I thought it was good value for money and each seat is individually angled so the view is taken care of. I would say for a new theatre the seats are quite small in width, however the legroom was fine for me (I am 5ft nothing). The slightly angled seats do mean you can lean in the space behind the seat you are beside so you don’t crowd your neighbour on the armrest. Next time, I would choose Gallery 1 left, because they seem to have another entry and exit point halfway down the section (between seats 69 and 70 from the plan) which made it easier for people to get in and out. Gallery 1 right has a door in that corresponding area, but it is ‘fire exit only’ so all the rows and seats have only one entry and exit point. The room to manoeuvre up and down the rows is limited so don’t arrive late as you will cause quite a kerfuffle. Like you say, it is very much like the Dorfman and it feels quite intimate, even with your fellow audience members, I had lots of chats with the people around me who were all very excited about the new theatre. I nearly bought a stalls strapitan seat but decided against it until I knew exactly what they were. I saw a couple being used and they are a little like a cabin crew jump seat that completely folds away once you stand up. They seemed quite small, no arms but they do have a back which folds away as well. From what I could see, they are probably best for very small/thin people."

"S17 and 18: "Julius Caesar" (February 2018). Did not know what to expect as these were marked as "high seats". It turned out they were superb, with an excellent view of the whole production - the staging moves around but we saw everything. At £50.00 per seat they were not cheap but I chose them because they were among the cheaper seat for this particular production. You have no one sitting behind you and I had no one to my left so at certain times I could stand without affecting anyone else's view of the stage. I am 5'2 and my husband is 6'. We both found the seats far more comfortable than we had expected - the seats have arms, a high back and a foot rest. I would have no hesitation in choosing these seats again in the future or recommending them to others."

"T21 and 22: "Young Marx" (October 2017). These are high seats, but they are proper seats with backs and armrests (i.e. not stools). Because of a railing separating row C from row B, there is little space in front of the seat, so even if you're standing up it is very difficult for someone to pass you, unlike in a conventional seat. But there is no constriction of space for knees because they are not banging up against the back of the seat in front. And thus the seats were comfortable to sit in for the duration of the show. The view was fine, and the height of the seats meant no obstruction by the heads of anyone in front. However, the overhang of "Gallery 2" cut off the view of the top of the set, and in Young Marx there is a little bit of action there that we had to dip our heads to see. Acoustics were also fine; it was not difficult to hear almost all of the dialogue despite the distance, even though there was the occasional phrase or word that got lost."




UPPER CIRCLE
Called "Gallery 2" in this theatre.

Layout:
Wraps around the central playing area / stalls on three sides - 4 if "in the round" is used. Overhangs the dress circle at row B.

Seats at the sides are angled to face the playing area.

Rails between rows give those in B and C (A and B at the sides) something to lean on. They don't affect views.

Legroom:
Comfortable for those up to around 5ft 6 in row A - the wall bows to allow a little more.

Fine for those to 5ft 9 in row B.

High seats in row C are fine for anyone willing to let legs "dangle" and rest on a bar in front. Monkey likes at 5ft 7 and above.

Choosing Seats in General:
There's nothing wrong with the centre block view. It doesn't feel that far from the stage, so if all other top price seats are gone, not a terrible pick. Take B over A for legroom if over 5ft 6, or go for cheaper row C over B, if willing to climb the "high chairs" and look below the overhang.

Moving to the outer facing block, seats start to angle towards the stage. B 19, 20, 21, 53, 54 and 55 lose up to a quarter of stage to pillars, but are not a bad budget choice if sold.

At the sides, both rows are bargains, particularly A for the short, B for the taller. The outermost block seats again have lighting equipment in the way and may have an odd angle due to the set. Still, very close to the action and row B in particular the monkey judged a bargain as you can lean without bothering anyone and get an amazing view.

Wheelchair space views from here are behind row C 31 and not bad at all, feels the monkey. It would probably take them over the stalls ones unless wanting to be close to see faces. The overall view is less dependent on the set not being in the way, otherwise.

General Hazard Notes:
Overhang of circle above means row C may not see the very top of the set.

Pillars may affect views from ends of outer central block seats in rows A to C.

Safety rails are present but not particularly noticeable at the ends of aisles.

Side block row A may have lighting equipment in view.

Those seated in the further reaches of the side rows will take far longer to leave the theatre (up to 10 minutes) due to lack of exits.

Changes for the current production:
Rows are extended around the whole of the theatre. Best views are the sides 6 to 19 / 57 to 59. The "new" facing block has identical seating and sightlines to the others, but for this play, much of the action happens to face the sides. The monkey would go for the cheaper seats as they are best value, though nothing wrong with paying more if you feel like it - you will see over the promenade crowd at all times.
 

Reader Comments:
"B9 and 10: "Allelujah!" (July 2018). £35.00 within group booking. A lot of the action was focussed on stage left, nearest to us. Back corner of stage left was not visible. Biggest problem was the safety rail. It was at our eyesight level, obscuring the stage, particularly stage left. There were two alternatives. Lean on the safety rail and block the view for the people sitting left of us. Crouch down and view the stage through underneath the safety rail, which is what we did. I recommend avoid these seats and nearby ones, and the equivalent seats near stage right."

 

BALCONY
Called "Balcony 3" in this theatre.

Layout:
Wraps around the central playing area / stalls on three sides - 4 if "in the round" is used. Overhangs the upper circle at row B.

Seats at the sides in row C are angled to face the playing area where possible.

Rails between rows give those in B and C (A and B at the sides) something to lean on. They don't affect views.

Legroom:
Comfortable for those up to around 5ft 6 in row A - the wall bows to allow a little more.

Fine for those to 5ft 9 in row B.

High seats in row C are fine for anyone willing to let legs "dangle" and rest on a bar in front. Monkey likes at 5ft 7 and above.

Choosing Seats in General:
The centre block views are the total bargains in this theatre. Frankly some dress circles in other venues feel far further from the stage, so don't think twice about booking in here.

Those to 5ft 6 can take row A if they like, but B is cheaper and suitable to 5ft 9... and row C "high seats" are cheaper still and total bargains for those able and willing to "dangle" a little.

Moving to the blocks beside the centre ones, the same applies - A is nice for the short, B cheaper and nicer for the taller. Aisle end rails won't worry anyone much.

At the sides, both rows are bargains, particularly again A for the short, B for the taller. The outermost block seats again have lighting equipment in the way and may have an odd angle due to the set. Still, very close to the action and row B in particular the monkey judged a bargain as you can lean without bothering anyone and get an amazing view.

General Hazard Notes:
Safety rails are present but not particularly noticeable at the ends of aisles.

Side block row A may have lighting equipment in view.

Those seated in the further reaches of the side rows will take far longer to leave the theatre (up to 10 minutes) due to lack of exits.

Changes for the current production:
None. Best views are the sides 6 to 19 / 57 to 59. For this play, much of the action happens to face the sides. The monkey would go for the cheaper seats facing the stage in row C, though, as they are best value, though nothing wrong with paying more if you feel like it.

Reader Comments:
"A1: "Young Marx" (October 2017). The layout is narrow and deep and very high. I didn't have trouble with legroom, but I'm short. No complaints about distance to the stage, only that the set obscured some of the action. The action onstage, that is. I instead got to worry about the safety of the tech on the ladder behind the set changing some of the dressing. They were quiet - I'll give them that."

"A25: "A Very Very Very Dark Matter" (October 2018), (Taljaard). Good seat could see everything with a little leaning forward."

"A56 and 57: "A Very Very Very Dark Matter" (October 2018). We bought these tickets early this year, after visiting the theatre for Julius Caesar - we were in the stalls standing area for that performance, so had no idea what the Gallery seating would be like but the limited reviews seemed favourable, being noted on that the seats were angled towards the stage and you didn't have to lean forward. Sadly not the case - we missed so much of the action which took place to the left of the stage and our row were swaying back and forth like waves to lean over briefly to see what was happening, then sitting back quickly to try not to obscure the view of the person next to us! The tickets should have been advertised as Restricted View, as knowing that, I would have considered paying for better seats as it was booked for a special occasion."

"A56: "Allelujah!" (July 2018), (Taljaard). Booked sometime ago so was a bit worried when I got an email the day before saying that due to the set it might be considered slightly restricted. It wasn't and with the seat being angled towards the stage one didn't even have to lean."

"B38: "Julius Caesar" (February 2018), (David Cantrell). I was up in the gods. This is a very good value seat for "normal" productions with the stage in front of the opposite wall. However, it's less than ideal for arena-style productions. There was one point where some effects were happening out of my field of view, almost directly beneath me. It didn't detract from my enjoyment but it's worth remembering. For future arena-style productions I will get seats on the lowest level and avoid the higher circles."

"B41: "Young Marx" (October 2017). That's pretty much bang in the middle facing straight at the stage. I'm 6'3" and, errm, a "larger gentleman", but found the seat to be nice and comfortable. Not too narrow, and plenty of legroom. My only slight gripe is that I couldn't quite see the top of the set on stage without bending down a bit because there was a ... thing, not sure what ... on the ceiling in the way. The view of the play itself was pretty much perfect though, and it looks as if you'll have a good view and be reasonably close to the stage no matter where you sit when it is in this configuration, even in the cheap seats, but the ceiling obstruction might matter in other productions. When they have a central stage with the audience on all four sides the view from this row may not be so good. I'll find out when I go to see Julius Caesar in a few months :-)"

"C43 and 44: "A German Life" (April 2019). The theatre itself is wonderful. With a bright spacious foyer and bar area, modern facilities and comfy seating this could easily be the best theatre I have visited. We sat in seats 43 and 44 row C in gallery 3. These were on the back row of the highest level and despite these been some of the cheapest tickets on offer the view was excellent. The seats were higher more like stools but were very comfortable with a bar your feet and a railing to lean on. Would definitely sit here again although most seats looked to offer a good view."

 

 

Notes
Total of around 900 seats.

Air-conditioned auditorium.

The foyer and bar offer tea, coffee, soft drinks and fresh baked items all day, with a small lunch menu from noon until 3.30pm. Reasonable prices on opening in 2017 included Cheese Twists £1.80, Egg Mayonnaise and Cress sandwiches for £6 and Smoked Mackerel, Potatoes and Dill at £8.90.

The theatre bar also offers drinks and a light bar menu from 1 hour before performance time until 1 hour after the final performance that day. Freshly-baked madeleines (a bite-sized light diamond-shaped orangey tasting fairy cake) can be ordered in advance for interval consumption. These are collected from the numbered shelves to the left of the foyer as you enter from the street.

Free water dispensers in the foyer to the left (from street entry) by the cloakroom, and in the stalls / Gallery 1 foyer dispense ice-cold, sparkling or room-temperature water.

For access requirements, bridgetheatre.co.uk/accessibility/ has full details. Signing up to the "Access List" allows users to book concessionary £25 rate tickets for themselves and a companion - look for the wheelchair symbol when booking. Headsets or "Neck Loops" (for those who have a "T" switch hearing aid system) or audio Ipads are available from the cloakroom on the left near the auditorium entrance as you enter the foyer. Alternatively, download the app and use your own equipment and headphones. Assistance dogs are welcome in the auditorium or can be cared for by staff. Free synopsis and cast lists are available for those booked into captioned performances. Large print and Braille cast sheets are available at all performances. Wheelchair hire is available.

1 lift between levels. Level access to 2 wheelchair places in circle 2, or lift to 2 wheelchair places in the stalls. 20 steps from foyer down to the stalls / balcony 1 entrance. Level access to balcony 2 from foyer for wheelchairs, via slope or 3 steps for everyone else. 12 steps from the foyer to balcony 3.

Free cloakroom for coats, bags and large items - on the left wall as you enter, near the auditorium entrance.

Three toilets, all Male / Female / Unisex accessible. Foyer 1 ladies with 11 cubicles (1 accessible), 1 gents 3 cubicles (1 accessible), 1 separate unisex baby-changing and access toilet. Stalls and balcony 1 waiting area: 1 ladies with 19 cubicles (1 accessible), 1 gents 3 cubicles (1 accessible).

Thanks to Pauline and her team for their invaluable help in compiling this information... and allowing the monkey to go boldly where no monkey has gone before...

 

A reader's experience in 2019:
"Easy to find, practically opposite the Tower of London on the south bank of the Thames. On entry, there is a large foyer with a reasonable amount of seating; even so, it does get busy before a performance. The auditorium gives the feeling of being spacious as you enter, yet the design means you also feel you are close to the stage, wherever you are sitting.

The theatre seems to have put a lot of thought into their design and ‘customer experience’. The ladies lavatories downstairs have a separate exit door which means you don’t have to awkwardly shuffle past the inevitable queue of people waiting. Having said that, the design of the loos themselves means that sinks and mirrors in the centre of the room block the view of some of the cubicles; it’s quite possible some cubicles will remain empty with people queuing as no-one spotted a previous occupant departing.

The pre-theatre experience was well organised – thought had even gone into the ticket printing at home, so your ticket could be folded into four with the map of the theatre on one quadrant, the bar code on another, and the title of the performance on another. An email the day before the show confirmed the start time, when doors opened, the running time, and whether or not there was an interval (and the inevitable promotion of their food and drink facilities). A text on the day itself included a link to my ticket as well. All in all, I think this will rapidly become one of my favourite theatres."
 

 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Getting to this Theatre
Find this theatre on a Street Map
Nearest Underground Station Buses Car Park
Nearest Underground Station:
London Bridge - Northern Line (black), Jubilee Line (silver) and main line.

From the ticket barrier, follow signs for "Tooley Street," "City Hall" and "Tower Bridge," the theatre is around 10 minutes walk.

It's a gloomy start but this is the street:
Cross the road to the orange building ahead, Emblem House.

Cross Bridge Yard, Cotton Centre,

Pass Hay's Lane,

Cross Battle Bridge Lane,

Walk past More London Place,

Pass the Hilton's entrance,

 

Cross Morgan's Lane and Braidwood Street towards Tesco,

Cross Abbot's Lane,

Pass Fire Station Square and the Unicorn Theatre,

Cross Vine Lane,

Cross Weaver's Lane,

Turn into Potter's Field Park: IF YOU DO NOT WISH TO WALK THROUGH THE PARK, CLICK HERE FOR ANOTHER ROUTE.

________________________________________________________________

ALTERNATIVE ROUTE, AVOIDING POTTER'S FIELD PARK.

Walk past the park, and towards the orange hotel building ahead.

Cross the service road and pass the hotel.

Walk on, crossing 1 Tower Bridge - the gap with the posts, by the yellow building.

 

At the next set of posts and gap, turn left, into Duchess Walk, where the lady with read hair is walking (she won't be there, the barriers probably will be).

 

Walk right to the end - Tower Bridge is in the distance, and pass the Stage Door of the Bridge Theatre.

At the end of the street, turn left.

The Bridge Theatre is under the red sign, to your left.

 

 

Buses:
RV1, 47, 343 and 381 to Tooley Street, or 42, 78 and 188 to Druid Street. Both are 5 minutes walk from the theatre.

Taxi:
Those with access needs should be dropped at the end of Potters Field.

 

Car Park:
Tower Bridge. QPark operate this, and using code "BRIDGE20" provides a 20% discount if spaces are booked in advance.


 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

 

 

 

 

 

 

 

.

 

 

 

   


Buy Tickets



Site © Theatremonkey.com 2000 to 2019. "Theatremonkey"® and "Theatermonkey are a Registered Trade Mark. Buy your tickets with confidence here: Theatremonkey.com is an Affiliate Member of STAR - The Society Of Ticket Agents and Retailers - please do feel free to confirm its membership by clicking the verification system graphic (left). All rights reserved. Information on this site may not be reproduced in any form, by any distribution media, in whole or in part, without permission. This means that you MUST NOT copy graphics or text for posting on another website. Opinions expressed are those of the site owner and / or contributors, and are not those of the site host or service providers. Tickets sold from links on this site - and any other information given - are the responsibility of the supplying company, not theatremonkey.com.
Comments about this page are welcome Contact Us. No responsibility is taken for accuracy of information, No liability can be taken for loss relating to individual use of data contained on this site. 'About Cookies' and 'Our Website, Your Privacy': The theatremonkey.com website DOES NOT use "cookies" on its website at any time. It does link to sites which do use "cookies" to track sales / site navigation information. Click Here for more information - as required by the 2012 UK E-Privacy Directive. Use of this site constitutes agreement with the above. E&OE. Last Update: 15 June 2019 19:58