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COTTESLOE THEATRE |
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IN REPERTOIRE:
EARTHQUAKES IN LONDON (play)
Ends 22nd September 2010.
Runs 3 hours 10 minutes approximately.
Audio described performances: Friday 3rd September 2010 at 7.30pm and Saturday
4th September 2010 at 2.30pm (touch tour 12.45pm)
Captioned performance: Thursday 9th September 2010 at 7.30pm
NOTE: If seated or standing in the performance area, audiences must be in place
no later than 7.25pm (Evening) or 2.25pm (Afternoon) performances. All bags,
coats etc must be left in the free cloakroom as only small shoulder bags are
permitted inside the auditorium in order to keep the playing space clear.
OR YOU COULD KISS ME (play)
Previews from 28th September, opens 5th October 2010
Captioned performance: Tuesday 19th October 2010 at 7.30pm
Earthquake In London: Three sisters, the daughters of a mad
scientist father, zip between 1968 and 2525 encountering bad dreams,
burlesque, paranoia, social breakdown and more in their fractured
lives. A National Theatre / Headlong Theatre Company production,
directed by Rupert Goold.
Or You Could Kiss Me: Port Elizabeth, winter 2036. Two old
men try to say goodbye. Port Elizabeth, summer 1971. Two young men
pluck up the courage to search for love. On a bare stage, Handspring
Puppet Company present a National Theatre co-production.
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Theatremonkey Opinion: |
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Earthquake In London: Not available. Reports are that this is
a spectacle, a bit of a muddle and a long evening that rewards
visually if nothing else. The sisters' stories are felt to be
uninvolving in themselves, but there is no denying the staging
covers many of the gaps. An ecological theme grates with those who
don't consider it an issue as strongly as the author clearly does -
and some ridicule the more preposterous lines. An inventive, if over
long experiment, seems to be the conclusion professional reviewers
draw.
Or You Could Kiss Me: Not available.
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Important: Some reviews below can contain "spoilers" - please don't read if this
bothers you!
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The monkey advises checking performance times on your tickets and
that performances are happening as scheduled, before travelling.
Earthquake In London:
7.30pm: 30, 31 August 2010;
1, 2, 3, 4, 6, 7, 8, 9, 10, 11, 13, 14, 15, 16, 17, 18, 20, 21, 22
September 2010.
2.30pm: 2, 4, 7,
11, 14, 18, 21 September 2010.
NOTE: If seated or standing in the performance area for "Earthquakes
In London," audiences must be in place no later than 7.25pm
(Evening) or 2.25pm (Afternoon) performances. All bags, coats etc
must be left in the free cloakroom as only small shoulder bags are
permitted inside the auditorium in order to keep the playing space
clear.
Or You Could Kiss Me:
7.30pm: 28, 29, 30 September 2010; 1, 2, 4, 6, 7, 8, 9, 11, 12, 13,
14, 15, 16, 18, 19, 20, 21, 22, 23, 25, 26, 27, 28, 29, 30 October
2010.
7pm: 5 October 2010.
2.30pm: 9, 12, 16, 20, 23, 27, 30 October 2010.
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View this information in
diagram form when usual
layout is in use. All productions
FROM PRESS NIGHT ONWARDS:
Most seats £32
Limited number of seats, with side or semi- restricted views for some
productions £20
Restricted View seats £10 ALL PREVIEWS EXCEPT THE FIRST TWO FOR EACH
NEW PRODUCTION:
Most seats £28.50
Limited number of seats, with side or semi- restricted views for some productions
£18.50
Restricted View seats £10 FIRST TWO PREVIEWS ONLY:
Most seats £23.50
Limited number of seats, with side or semi- restricted views for some productions
£18.50
Restricted View seats £10
For "Earthquakes In London" there are front row raised bar stools at
£25, semi-restricted view bar stools on a raised platform at £20, and standing
space in the performance area for £10. Banquettes in the pit area, plus normal seating is at the sides of the
main pit level and level 1 for £32, both clear and restricted view levels 1 and
2 raised and standard seats for £20 and £15 and restricted view level 2 for £10.
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Theatre Box Office:
www.nationaltheatre.org.uk
operated by the venue itself.
For most productions, the system also allows you to select an exact
seat in the theatre, and also view the auditorium via photographs taken from
various positions within it. The "choose a seat" facility isn't available
immediately if the auditorium is re-configured, however. In that case the
computer simply allocates "best available" seats, without allowing you to choose
yourself. Note that the tickets offered may differ between phone and online
sources.
Also for
most performances you can buy a voucher online for a programme too -
exchangeable at the theatre on the day. Booking fees
per ticket for online bookings:
A 70p charge is levied per booking to cover postage. Avoid it by
booking in person or enclosing your own stamped, self addressed envelope with a
postal booking. Reader CC notes that the Box Office don't mind this, though
points out that you don't get the smart envelope, nice bit of cardboard and
pretty leaflets with tickets, well worth the extra few pence, if you send your
own.
Reader CC also notes that,
"It's worth mentioning that often, in the Cottesloe especially, some of the
restricted view seats at £10 are never offered online, only by telephone or in
person. I asked why this was and was told that in the past when they were sold
online with no involvement from members of the BO, despite stating there had a
restricted view, there were too many people booking them and then complaining
that they weren't told about the view etc, so they are now only available by
telephone where a person can describe in detail what it's like for each play.
These seats are, I think, the ones in row RR and some at the front which aren't
always available for every play."
Other Online Choices (with
S.T.A.R. genuine ticket
agencies):
www.Seetickets.com
Offer seats for many, though not all, National Theatre productions, with
a 10% booking fee per ticket and £2 per booking, not per ticket, service charge.
Independent S.T.A.R. ticket agencies
may also offer an alternative choice of seats.
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Box Office Information: |
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Tickets offered differ between outlets. Outlets also may offer
different seats via their phone and online systems. Offers may be
available click here. |
Theatre Box Office:
Telephone: 020
7452 3000. fax: 020 7452 3030
Operated by venue itself.
Booking fees per ticket for telephone bookings:
A 70p charge is levied per booking to cover postage. Avoid it by
booking in person or enclosing your own stamped, self addressed
envelope with a postal booking. Reader CC notes that the Box Office
don't mind this, though points out that you don't get the smart
envelope, nice bit of cardboard and pretty leaflets with tickets,
well worth the extra few pence, if you send your own.
Reader CC also notes that,
"It's worth mentioning that often, in the Cottesloe especially, some of the
restricted view seats at £10 are never offered online, only by telephone or in
person. I asked why this was and was told that in the past when they were sold
online with no involvement from members of the BO, despite stating there had a
restricted view, there were too many people booking them and then complaining
that they weren't told about the view etc, so they are now only available by
telephone where a person can describe in detail what it's like for each play.
These seats are, I think, the ones in row RR and some at the front which aren't
always available for every play."
For personal callers or by post:
Cottesloe Theatre, Royal National Theatre, South Bank, SE1 9PX
No booking fee for personal callers. The
advance box office is in the foyer of the main part of the theatre,
not within the separate Cottesloe Theatre foyer.
Special Access Needs Customers:
Wheelchair users and other registered disabled
theatregoers can book their seats on 020 7452 3000. fax: 020 7452 3030. Deaf
customers can use Minicom 020 7452 3009 Monday to Saturday 10 am to 5 pm too. Enquire about
concessionary prices that may be available, details of access and facilities.
The wheelchair users line connects
directly to the theatre box office in London.
See Notes.
www.nationaltheatre.org.uk
is the
official theatre website. |
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Theatre Seat Opinions: |
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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. A STUDIO THEATRE
A simple black rectangular room. Seats are at ground level, with more at
Dress and Upper Circle level. Ground level seats are arranged to suit each
different production. All ground level seats are sometimes removed for promenade
performances (when the audiences stand and follow the actors about the floor
like sheep).
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STALLS
Called GROUND LEVEL in this theatre.The normal arrangement of seats is in a single block at one end of the room.
The seats rise steeply up to Dress Circle (LEVEL ONE as they call it) height.
Almost all seats are fine with a
good view and good legroom, just take whatever is closest to the stage. The
prime ones are in the central block - normally rows B to J (though occasionally
A, B, C or D go missing), just for proximity to the
stage.
The only seats to consider before taking are in row A seats 12 to 16 and 36
to 40. At the side of the playing area, these seats are also sometimes placed
behind a low black wall. This can annoy shorter people and those seeking greater
legroom.
Row P
has space for wheelchairs, row R for transferees. These are fine. See notes.
One reader says of row P:
"Can I just mention that there is confusion about row P in the regular
format of the Cottesloe. The theatre technically lists it as 'Level 1'
but the Box Office still say it is in 'The Pit' and I feel this is
misleading.
It appears to be immediately behind the last row of The Pit (which you
refer to as Ground Level) but there is one of those Cottesloe / Donmar
annoying metal balustrades that means you have to lean forward to get a
clear view. Relaxing in your seat is not an option and despite the fact
that they charge to top price for these seats IMO for anyone with a
delicate back, they are restricted view like the elevated front row
of Level 1 and Level 2."
The stage quite often is at waist height to the front row. When this
happens, it is sold more
cheaply and is worth considering if you can live with the problems, thinks the
monkey. For those wanting to see a little more of the stage, take row F back for
the best views.
From row B, a reader reports that at "The Pitmen Painters" in May
2008,
"I will never sit front row at the Cottesloe again though (although I
appreciate they do change the staging). Although there is a lot of
legroom it’s a long look up. This row is sold cheaper however so at
least they took that into consideration when selling this row."
At "Love The Sinner" (March 2010) reader Mark adds,
"B23: Front row! Definitely too close to the stage, would liked to have
been further back."
Behind, a reader says for "The Observer" in September 2009,
"The space was in its standard layout. A friend and I sat in C29 and
C30. My first comment was that these are probably the most narrow seats
that I've sat in in the theatre for quite some time and were really
quite uncomfortable. My friend and I are probably both classed as
'Underweight' on the BMI scale, so I would hate to see how larger
audience members cope when the theatre is full. It's certainly not built
with the larger person in mind.
Row A had been taken out, so we were second row from the front. We were
about level with the stage, which I'm comfortable with, but some people
may wish to take seats slightly further up the rake. Also, 29 and 30 are
slightly further to stage right than is optimal - cutting off the very
Up Stage Right corner - however we didn't miss out on any action
onstage, even with the complex staging used in this show. Sightlines
were absolutely fine, as you would expect from a reasonably modern
studio theatre.
Overall these were decent seats, and I was quite happy with them as I
like to be close-up to the actors and have no issue with turning my head
to follow the action. Additionally, we purchased discounted tickets, so
were not expecting the best seats in the house - those who are paying
full price, or who prefer to be a bit further from the action might be
advised to look for tickets centrally in rows F backwards."
Monkey regular seat connoisseur James reports,
"Sat in F23 and F24 for “Chatroom / Citizenship” (November 2007) – nice
and central, although I would have preferred to be a couple of rows
further back to see the whole stage without turning my head. The rake is
pretty good here too and I had a clear view."
at another production he says,
"Sat in seats G29 and G30 for “Harper Regan”. Excellent rake, great
view and even action that takes place on the upper level is easily seen
without having to crane your neck."
Note that
sometimes - with the normal layout - row B is held off-sale until production details are confirmed, with the front row confirmed during previews.
Any variations in seating plans for other forthcoming productions are
confirmed during the preview period as the monkey gets details. Layout
for "Earthquakes In London" (August 2010) is seating in the usual
positions in levels 1 and 2, with bar stools and standing space in the
pit area (there's places to lean there, which are needed as this is a
long evening). The monkey hasn't got a full plan yet (and is trying...)
but a basic outline puts stages at both ends of the auditorium, with a
raised catwalk stage in an "S" shape between. Hugging the catwalk are
the raised bar stools, while behind those are "U" shaped rails for
standees to lean on. Banquettes and other raised stools are dotted
beyond them. All seating is numbered, which is a relief for those not wishing to
fight for spaces, but do be aware the play is 3 hours long if taking
standing positions. Reader Paul says of it,
"VV3 and 4 (raised restricted
view): I thought these were perfectly good value. There was a small bit
of the S-shaped runway that we could not see; but our view of the two
stages was good and if you only want to pay £10 and don't want to stand
for 3 hours, I would recommend it." "Or You Could Kiss Me" (September 2010) is also
likely to have a variation. Details will follow as available.
DRESS CIRCLE
Called LEVEL 1 in this theatre.
A single long row of seats on either side of the theatre, with an extra few
seats behind. A thick metal bar and
boards in front of the seats give sitting here the feel of sitting on a tower
block balcony. The view is unspectacular. Sit here if you cannot get better
seats, or prefer to sit down during promenade performances.
When row "RR", a second short row of seats is used, they are often
"bar stool" type affairs with footrests awkwardly positioned. The
shorter may wish to avoid them.
One person observes that when the "end" stage is in use, views
decline the closer you get to the stage.
UPPER CIRCLE
Called LEVEL 2 in this theatre.
The same applies as for level one, with the further disadvantage of being
higher up. Rows S and T in the centre are adequate (but placed with the
"control room" window in the centre of the row). Thick bars mean you
may have to lean forward, and the seats can often be classed "restricted
view." Many seats here are
sold "on the day" only; so you will often be seated here just for the
sheer luck of at least getting in. For others booking ahead, it will save a few pounds, but as an
actual free will choice….
Reader Bis notes for "Landscape With Weapon,"
"My £10 ticket on Level 2 had a good view, although I was able to sneak a bit
nearer to the stage a few seconds before the start. If one is buying tickets it
should be noted that the stage is in the middle of the auditorium and so the
"bar seats" in the wings should be avoided."
Another says,
"T28: First off, the seat was not restricted view. I could see
everything. If anything it is comparable to a rear dress circle seat in
a standard theatre, so very good value for £5 (Entry Pass ticket)."
Note that the "restricted view" classification varies with staging,
says the monkey.
During an "In The Round" performance, one reader noted,
"V17 - This really was a birds eye view of the performance but once I
got used to it I thought it was fine. I was quite central and close
enough to see all the facial expressions still."
For "Beyond the Horizon" - an "end stage" production, a reader says,
"V33: Terrible seat, can see about 60% of the stage when you lean on the
bar (necessary) otherwise you can only see maybe 10% of the stage. I
move to T29 at interval for a completely unobstructed view. If you are
going to sit upstairs at the Cottesloe, sit in this middle section
rather than along the sides." For
"Earthquakes In London" (August 2010) reader Paul says,
"VV3 and 4 (raised restricted
view): I thought these were perfectly good value. There was a small bit
of the S-shaped runway that we could not see; but our view of the two
stages was good and if you only want to pay £10 and don't want to stand
for 3 hours, I would recommend it."
Notes
Seats 300 approx.
Air conditioned auditorium.
Audio described and signed performances regularly. Headset system available.
Guide dog sitter available. All printed information available in large print, on
tape and in Braille. Minicom at the box office. Access to Cottesloe is level.
Free car parking in centre car park for orange badge holders (get endorsement
stamp at information desk). Lifts from car parks to all levels.
Adapted toilets (unisex, sadly)
throughout theatre. Fuller details from www.theatre-access.co.uk,
the theatre on 020 7633 0880, Artsline 020 7388 2227, email artsline@dircon.co.uk.
A "venue access guide" from the team who created book "Theatremonkey,
A Guide to London's West End," is available to download in PDF format
by clicking here.
Bars throughout the complex.
Restaurant, Buffet and Coffee bars in centre. Ice cream and confectionery in
auditoriums. Theatremonkey rates the chocolate ice cream highly.
Adequate toilets throughout the centre.
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Nearest Underground Station:
Waterloo - Bakerloo Line (brown), Jubilee Line (silver gray), Northern Line
(black). Also a main line station.Plan your tube journey to this station using the button below:
A PHOTOGRAPH ILLUSTRATED VERSION of this walking route is available by clicking
here.
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.
This station has multiple exits, not clearly marked, so be careful! The best
route is as follows:
Follow the exit signs marked "South Bank" and / or "Shell
Exit" and / or "York Road Exit" from the platform to the surface.
All lead to the same place! Leave the station and you will be on York Road.
Turn to your left, and walk past the Lloyds / TSB Bank. Ahead to your left is
a huge silver steel rectangle. No, the monkey does not know what it is either.
To the left of it, and behind, is a pedestrian passageway called "Sutton
Walk"; which goes under a bridge. Take it, at the end is a fountain ahead of you.
You are now on "Concert Road
Approach". Turn to your left. The Royal Festival Hall is ahead of you. Walk
towards it. You are in an area of grey concrete called Belvedere Road.
Turn to your right, walk along this street under the bridge, and note that
the road name changes to "Upper Ground".
The Royal National Theatre is ahead of you to the right. The entrance to the
Cottesloe Theatre is at the far end of the building, so walk on past the scenery
entrance and along to a signpost pointing along a roadway with the entrance to
the National Theatre underground carpark in it!
The entrance to the Cottesloe Theatre is at the far end of this roadway, so
turn left into this street, walk along and there, behind a column is the theatre
on your left, about two thirds of the way down.
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If you have the misfortune to leave the station by the "Waterloo
Road" exit, fear not. You can either walk through the Waterloo mainline
station to the York Road exit, or take this route - CONSIDER YOUR PERSONAL
SAFETY when choosing.
On leaving the glass doors, turn left. Walk to the corner, and turn left into
"Mepham Street". Walk all the way to the end of it, avoiding the
temptation to go under any bridges.
At the end of the street is York Road. Cross it. Ahead of you, to the left,
is "Sutton Walk", the pedestrian road under the bridge. Take it.
You are now on "Concert Road
Approach". Turn to your left. The Royal Festival Hall is ahead of you. Walk
towards it. You are in an area of grey concrete called Belvedere Road.
Turn to your right, walk along this street under the bridge, and note that
the road name changes to "Upper Ground".
The Royal National Theatre is ahead of you to the right. The entrance to the
Cottesloe Theatre is at the far end of the building, so walk on past the scenery
entrance and along to a signpost pointing along a roadway with the entrance to
the National Theatre underground carpark in it!
The entrance to the Cottesloe Theatre is at the far end of this roadway, so
turn left into this street, walk along and there, behind a column is the theatre
on your left, about two thirds of the way down.
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Another visitor suggest this route: Take the tube to the Embankment station
and walk across the Hungerford footbridge to the south bank, then walk
past Festival Hall complex and under Waterloo Bridge.
The Royal National Theatre is ahead of you to the right.
Walk past the stage door and the car park entrance, and the Cottesloe Theatre
entrance is in a recess on the right.
Noted are the "Gorgeous views both up and down river on a good day or evening.".
The monkey endorses this comment, especially at twilight!
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Buses:
1, 4, 68, X68, 168, 171, 176, 188, 501, 502, 513 to Waterloo Bridge.Get off on the Bridge and look for the large advertising board on the roof of
the National Theatre, facing the Thames. Take the stairs on this side of the
bridge down to the ground. A safe crossing of the bridge can be made by taking
the stairs down to first level and walking under it on a walkway linking the
staircases either side of the bridge.
On the correct side staircase, leave it, turn to your right. The theatre is
ahead of you to the right.
The entrance to the Cottesloe Theatre is at the far end of the building, so
walk on past the circular floor sculpture and past the centre doors of the
theatre and at the end of the building turn right.
Walk past the stage door and the car park entrance, and the Cottesloe Theatre
entrance is in a recess on the right.
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Car Park:
Under the theatre. Take the elevators in the centre of the car park to ground
level.Leave the elevator and exit the building by the glass doors between the
elevators. Once outside, turn to your right, and at the end of the building turn
right.
Walk past the stage door and the car park entrance, and the Cottesloe Theatre
entrance is in a recess on the right.
Theatremonkey advises parking near the exit ramps for a fast getaway after
the show, and strongly recommends you note the compass point, colour band and
number of the nearest pillar you park by. Banquo's ghost has nothing on the
haunted souls who wander the underground space, wailing for their transport each
night. Some have been there since the place opened in the 1970's.
April 2007: Save on evening car parking with a 'Saver Carnet.' Buy six car
park tickets in advance for the reduced price of £35 (normally £42). Valid for
one year, each ticket allows entry and exit from the Car Park from 5pm Monday to
Saturday, or at any time on Bank Holidays. To purchase a 'saver carnet,' contact
Olu Akinyemi on 020 7620 0397.
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