Buying Tickets Online:	Other Box Office Information
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: www.donmarwarehouse.com or Ambassador Theatre Group, the theatre group's own website provide the service for this theatre from both sites. This system allows you to select your seat from all those available on an online seating plan.   Booking fees per transaction for online bookings: £2.50 per transaction (not per ticket) fee. Other Online Choices (with S.T.A.R. genuine ticket agencies): Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.

Box Office Information:

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: 0844 871 7624 Operated by the Ambassador Theatre group's own phoneroom from 9am until 10pm (Sundays 10am until 8pm). Outside these hours the Ticketmaster agency answer calls on their behalf. Booking fees per transaction for telephone bookings: £2.50 per booking, not per transaction. For personal callers or by post: Earlham Street, London. WC2H 9LX No booking fee for personal callers. "Barclays Front Row" Seats Scheme: Stalls row A seats 1 to 5, 16 to 19, 24 to 27 and 36 to 41, plus Dress Circle row A seats 2 to 12 and 35 to 45 will go on sale each Monday, for performances in the week beginning two weeks later EXCEPT for Press Night performances. Priced £10 each, they will be available online, by telephone or in person at the box office. There is no booking fee by any method. When a production is SOLD OUT at the theatre box office, the Donmar Warehouse do hold 20 STANDING PLACES in the rear circle are available at £7.50 each at all performances EXCEPT on Press Night. Standing places are normally only sold only to personal callers at the theatre box office, maximum two tickets per person. Occasionally if there is no demand, they may sell to telephone callers later in the day - but that is generally unlikely and visiting the theatre is far safer feels the monkey. In September 2011 a reader notes, "1) Payment is only accepted by card and even then you have to go back to collect the tickets half an hour before the performance. I think it is to discourage touts, but it also meant several disappointed people in the queue I was in. They had been in the queue since around 8.30am and someone only came out to mention this policy at 10am, half an hour before ticket sales started. 2) It is worth turning up at least two hours early (i.e. 8.30am at the latest) to be sure of getting a seat or standing ticket. I queued on a matinee day (Thursday) and anyone who got there after about 9am that day would be disappointed. 3) The standing tickets don’t allocate you a specific place at the back – it’s first come first served. So if you want to stand in the middle rather than towards the sides, you should get there sharp." The monkey always advises taking cash as well as cards in case the policy changes, and to check with the venue that the policy is in operation before travelling long distances.   Special Access Needs Customers: Wheelchair users and other registered disabled theatregoers can book their seats on 0870 060 6624 or 020 8544 7424 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the theatre chain central phoneroom in London during working hours. Ask to be transferred to the theatre if they answer. See Notes. Signed / Captioned / Audio described performance bookings must be made by either post to the box office address above, by telephone to 020 7845 5813 or email to access@donmarwarehouse.com. PLEASE NOTE THAT THIS PARTICULAR TELEPHONE NUMBER AND EMAIL ADDRESS ARE ONLY FOR ASSISTED PERFORMANCE USERS, AND ARE NOT TO BE USED FOR GENERAL PUBLIC BOOKINGS. www.donmarwarehouse.com is the official theatre website.

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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.

Seating Plan Diagram

Stalls

Dress Circle

Notes

STALLS  Layout: The Circle overhangs the stalls but does not affect the view from any seat. Four rows of raked (seats on steps to help see over rows in front) benches surround a large square stage on three sides. Legroom: Cramped throughout the stalls, best in row B (centre block) A (side block) and seats B 8, 13, 29, 41 C 9, 11, 30 and D 10. Choosing Seats in General: Centre Block: The seats are raked and so close to the stage that the atmosphere created is incredibly intimate. Every seat has a good view of the stage. Choose those seats with maximum legroom first: otherwise, anything central should give you a decent view. The £10 seats row A 16 to 19 and 24 to 27 are a real bargain for the quick... Side Blocks: Those seated in a side block nearest the back of the playing area will see a rear view of the actors most of the time. Seats closest to the "centre block" end are top price in rows A and B, second price in C and D... the monkey would go for the second price seats first as they are cheaper for the same view. Once they have gone, consider taking row B in the side circle instead. The aerial perspective compensates better for the side view in the monkey's opinion. If you prefer stalls, then take remaining second price seats except those at the furthest end of the row next. Then take top price tickets before the very end of row seats. Again, the £10 seats are a real bargain, take A 3 to 5 and 36 to 40 first, then the others once all the best dress circle seats at the £10 price have gone. Wheelchairs can replace Stalls seat D31, a fair view and value in Theatremonkey's opinion, better than the space in the Dress Circle General Hazard Notes: Since the seats are benches, only a number stuck on the edge of the bench designates your bit of seat. Arrive a half-hour before the performance to stake your portion out. The benches are fairly short and this eliminates the need to publicly admit your broadness of beam by asking fellow members to move up and make room. Theatremonkey finds in any case even if you do have to ask, you will be ignored or at best find only someone five seats away will move a millimetre - no real help. Alas appealing to the ushers is your only recourse in this situation. Reader KJ Hailes provides the illustrative detail, "The theatre stresses me out because it's all bench seating. I tend to adopt the attitude that everyone will muck in and shuffle along until we all find a happy medium and we're all comfortable but it doesn't work like that in these theatres. All of a sudden people become selfish. They desperately cling on to their piece of the bench until their fingertips bleed. The ironic thing is, I arrived first and worked out which part of the bench was mine and claimed it. But when everyone else arrived - we all kinda squeezed up - and I lost ground. Then I looked around and it seemed like everyone else was sitting comfortably with their legs stretched out and their arms by their side and I was the only one like a sardine in a tin. Grrrrrrrrr." The box office never sell "restricted view" tickets until sightlines are confirmed, so never worry that you will get a seriously bad ticket if booking way in advance. On the other hand, when the quried seats are released, there may be bargains to be had... Changes for the current production: None. Reader Comments: "A5 : because the Donmar stage is below the stall's audience's knees the actors are really just performing to the stalls not to the theatre space as a whole. From now on it's stalls or nothing at the Donmar for me. The actors never looked up when I was in the circle, but then the theatre critics probably all sat in the stalls anyway." "A 37 and 38: a great view of the actor in the last scene only about 6ft away. If I could only get the side stall seats again I would go a few more rows back, so it would be a bit more eye level to the actors, rather than getting a view of them just above the knee when they are close." "B39: "Spelling Bee" (February 2011). good seat but would have preferred to be a bit more up the aisle to get a more central view. This was a free Donmar discovery ticket though (for students) so I couldn't complain! Also sat in A36 and A44, very good seats for the £10 preview price!" “B40 and 41: “Julius Caesar,” (Chris B). This theatre, as always, feels incredibly intimate. However, this is heightened further for Julius Caesar as the entire theatre is made out to look like a prison, with a definite attention to detail. These seats offer a completely clear and unobstructed view of the while stage area. The usual benches have been replaced by grey individual chairs so you do get a little more space and plenty of legroom.” "B41: (Vicki). there was ample leg-room and the padded bench was surprisingly comfortable."  “C14 and 15: “Richard III,” (Chris B). If you are used to the main West End theatres such as Her Majesty’s, Wyndham’s or Queen’s then this will be quite a shock .This was my first time in this theatre and I was amazed at just how small and intimate it is, with only a couple of rows each of the three sides around the stage, and an even smaller circle above. Pretty much wherever you sit you feel close enough to reach out and touch the actors, especially as in this production they were walking in and out down the aisles. So therefore I think these seats are great, you get a ridiculously close, unobstructed view, and as the stage is the floor of the theatre you don’t miss a thing. This section of the seating does look straight on to the stage too, although they look around at all sides, so even if you are not technically face on, you won’t miss much. After a while you’ll start thinking of yourself less as a spectator and more of an extra in a working production!” "C20: Great seat and could see everything perfectly, very different atmosphere than sitting in the Circle." "C23: "Spelling Bee" (February 2011), (James, regular contributor) - great seat, no complaints!" "D23: "The Weir" (May 2013), (Faris), Tt was fantastic - just as the green rating suggests. I have no problems with the Donmar benches. I'm actually quite fond of them and plenty of space to get in and out of seats."   DRESS CIRCLE  called the CIRCLE in this theatre. Layout: Two rows of raked benches face the stage, with a further three rows of benches to either side of the playing area. Legroom: Adequate throughout the circle, best in row B and, because of the fun design, row C, where six-foot persons could comfortably stand if they wished. Choosing Seats in General: Centre Block: Centre block is best in the circle. The rake is good, and this monkey prefers row B to row A as the bar on the front of the circle is less annoying. The usual rules on arriving early apply. Most do prefer centre block stalls row A over these, though, for proximity to the actors. Still, the monkey mantra runs row A centre block first though, followed by circle centre block, then circle sides rows A and B or stalls rows B to D (if legroom is not an issue), and then stalls sides before circle row C. Standing space behind row B is also fine for those with strong legs. Side Blocks: The £10 seats in row A, particularly 4 to 11 and 36 to 43 are a steal. The seats next to them are also worth nabbing - 12 an 35 first, despite any bars nearby. Row B, at second price, is again a decent perch - the monkey prefers it over stalls at the same price, though some readers like being that bit closer downstairs. Each to their own, feels the monkey on this one. And then there is row C... ... Row C is located on the sides of the circle behind rows A and B. It is a bench, but some sadist has screwed it half way up a wall and put a wall in front of the row to lean on. Gymnastics are involved to get onto and stay on the bench, and the row is so narrow that you get to know fellow members of the audience very well while clambering to your seat.  At the same price as row B in front of it...well, any sane monkey knows which to choose first if possible! Amusingly, the bench is half a person space too short, so hope for slim companions. Reader Alison Classe says: "Incidentally, grateful thanks to the Monkey for his ever-reliable seating advice. After reading here that the bench on which I'd booked five seats was half a seat short, I was able to get an extra place at the last minute. Otherwise we'd have had to form a human pyramid, which would have been even more distracting." Notwithstanding these comments the view is very good and offers exceptional value for money. Theatremonkey notes, however that some esteemed members of the silverhaired community do sometimes have real problems sitting here. Brian McKinney, former publisher of Goodshow, the now sadly closed American Theatre Ticket Agency notes, "I've been uncomfortable in B, and bothered by the bar you mention in A, but C is the absolute worst." Following a return visit, he reflects, "Note to self: Never accept another balcony seat at the Donmar. Whoever designed those seats, which all pitch slightly forward, was not on speaking terms with whoever planned the human body". A wheelchair can also be given space in the Dress Circle, but the view is not good, so choose stalls C31 instead. General Hazard Notes: A thick bar runs around the front of this circle, which like the stalls, surrounds the stage on three sides. This bar is treble height at the corners affecting the view  from row A seats 12,14,33 and 35. A further bar runs across row B, but does not affect the view significantly.  Folk leaning forward blocking views from rows behind. The comedy location and length of row C. Changes for the current production: None. Reader Comments: "Row A: "The Recruiting Officer" (February 2012). We sat at the low numbers end of row A. Admittedly it's not totally comfortable but leg room was fine, and we didn't feel we lost much due to the rail. At £15 they were a bargain really, worth a bit of bottom wriggling towards the interval!" “A8 and 9: “Berenice,” (Chris B). This theatre is incredibly intimate and atmospheric and the circle is very close to the stage area. These front row seats offer an incredible unobstructed view, close enough to practically touch the actors. They are officially side on but as the actors face all four sides of the theatre this doesn't detract at all. The legroom is plentiful too. It's worth noting that there are no armrests and individual seats aren't clearly defined as the seating is padded benches.” "A9 and 10: on the side but a pretty decent view and no real problems space-wise. In fact they were the most comfortable bench seats I have ever sat on in a theatre." "A 14 and 15: (HB). The seats offered good value for the £22 paid but the view is restricted when the cast are at the front of the stage." "A 20 and 21: "Anna Christie" (September 2011). Central row seats.  Sounds perfect, but in reality the bar, the wire mesh panel and the lights rigged in front of us meant we were constantly having to shift around to get an unobstructed view of the first third of the stage. Really wish Donmar would install clear glass/plastic panels to make viewing easier. As always with upstairs seating at the Donmar, uncomfortable and with a very long first half quite a lot of numb bums by the interval. Side stall seats are better value for money." "A26: (Mark). Got this through the student free ticket scheme at the Donmar. I prefer the side circle row B for the money you save, especially as now they are only £10. This seat was good though, wouldn't mind sitting here again." "A38 and 39. Apart from the actors' bow at the end we never saw the actors' faces. Second time I sat in the stalls, it was like seeing a different play." "A44: Good view in general but the bar is so annoying! Much prefer Row B where (for some reason) you can see things a lot better." "Row B: "Anna Christie" (August 2011), (Gary). Excellent view from row B centre circle." "B5: (Mark - regular contributor). Great seat and what a lovely venue. You miss little bits of the action but then in a space like this every seat does." "B7: (Mark - regular contributor). Was pretty comfortable, being only 5'6 I could make good use of the rails in front of me and sit with feet up or down, mainly the up option. From this side of the playing area you get a very good view of Mr Thaxtons amply filled underwear in the first scene. (worth the ticket price alone). (Not always an extra that will be available, the monkey notes)." "B8: "Spelling Bee" (February 2011), (Mark). As always excellent value for money, with a great clear view." "B23 and B24: plenty of leg room, the back rest was too upright for me, we was last to be seated and the people on each side had left enough room. A good view of the stage, apart from the front end was blocked by the bar that you mention. but, there was not much happening there, so it did not spoil the play I saw. I would recommend the Domar to anybody that would like to see their favourite actor close up. A very nice intimate theatre!"   "B 38 and 39:  'Passion' (September 2010), (Lee). If you are going for Circle seats and have to take a side block, an important scene took place right below the circle on the side we were sitting. We were in the Circle row B seats 38 and 39 which for most scenes was an excellent view but for this scene the people on Row A leaned forward blocking some of the action." Reader agrees, "B43: (David Hurrell). is fine." As a day seat, another reader says, "B45 (paid £15). Note this is the furthest seat on the edge, but I didn't feel I missed out. At one or two times through the play my ears kind of zoned in on a slightly annoying buzzing noise (lighting, thinks the monkey) coming from my left, sounded like some sort of air cooler but could only really hear it in the very quiet parts. If you have a bizarre sense of hearing I can imagine it becoming quite annoying. It didn't really bother me though." "Standing: (Taljaard). The standing at the Donmar is in the circle and there is a rail to lean on, so it was fine and an absolute bargain!" "Standing: "Anna Christie" (August 2011). The £7.50 standing tickets are the bargain of the West End if your bladder and your legs can last. The standing tickets don’t allocate you a specific place at the back – it’s first come first served. So if you want to stand in the middle rather than towards the sides, you should get there sharp."     Notes Total 252 seats. Some standing places also sold at box office discretion. 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... Induction loop system. Signed performances regularly, occasional audio described performances. Guide dogs welcome in auditorium or dog sitter available. Wheelchairs have  level access is through the shopping mall, near a store called Quicksilver. The mall closes at 6.30 p.m. Users should pick a matinee or pre arrange the access to be opened if they want to leave after the evening show. Failing that, a ramp offers access to the narrow foyer corridor, with a lift to all levels. The adapted toilet is in the circle when the most used adapted seat / wheelchair space is in the stalls! www.artslineonline.com has comprehensive details. 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. No food except confectionery and Ice Cream. Two bars, Stalls and Circle. Five toilets. Stalls 1 gents 1 cubicle, 1 ladies 2 cubicles; Circle 1 gents 1 cubicle, 1 ladies 2 cubicles, 1 disabled unisex.

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Performance Times

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Where to Buy Tickets

Seating Plan

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Getting Here

Getting to this Theatre

Find this theatre on a Street Map

Nearest Underground Station

Buses

Car Park

Nearest Underground Station: Covent Garden - Piccadilly (dark blue) line. Leave the underground station and turn to the left. Walk straight on to a road called Long Acre. This is what you should see in front of you - Neal Street, the road you will want is to the right: If instead of a road you see a pedestrianised area, Wrong way, turn around.  Cross Long Acre to the other side of the road from the underground station. Turn to your right. Keep walking, the first turning on your left is Neal Street - as the picture above indicates. Take it. If instead you come to Langley Street first, wrong way. The view up Neal Street. At the end of Neal Street is a three-way road junction: Look and turn to your left. The middle road is Earlham Street:   Cross into it and the theatre is a tiny shop doorway on the far side of the road, with a neon name sign above, set into a trendy pale brick shopping mall: If you enter a pedestrian zone, or Shelton Street, wrong way. _____________________ An alternate (some feel easier and safer) route from Leicester Square Underground Station is illustrated here - and the tube journey to the station can be planned using the banner below:

Buses: None stop outside the theatre. Number 14, 19, 24, 29, 38 and 176 stop on Charing Cross Road or Shaftesbury Avenue. As a starting point, stand in front of the Palace Theatre - home of Les Misérables. Turn your back to it. Cross the road ahead of you to put yourself in front of the large Pizza Hut restaurant. Turn to your left and walk past the restaurant to Shaftesbury Avenue. This is the only road to have traffic divided by heavy railings in the centre of the road. Got it, good. Turn right into Shaftesbury Avenue, Cross over West Street, then notice the next road, Earlham Street, right next to it. Walk down Earlham Street, passing the Mountbatten Hotel. At the top of the street is an open space with a column monument in the centre of it. The Cambridge Theatre is behind this. Careful - in the absence of kerbstones cars and pedestrians mix on the cobbles of this junction. Cross the road to the Cambridge Theatre and take the road to the left of it, Earlham Street. Walk along the side of the theatre and pass entrances to a shopping mall. The Donmar is beyond the mall, a tiny neon signed doorway.   Taxi: A rank for Black taxis is at Charing Cross Station - a good distance from the theatre. Walk up Earlham Street to Charing Cross Road to increase your chances of hailing a taxi in the street.

Car Park: Newport Place, China Town. On leaving, use Gerard Street to get you onto Shaftesbury Avenue. On Shaftesbury Avenue look to your right. The brown brick building to your right is the Palace Theatre. Don't bother crossing the road, but turn to your right on Shaftesbury Avenue and walk in the direction of it. When you come to the main road intersection in front of Shaftesbury Avenue, cross Charing Cross Road at the traffic lights. Go straight on, entering the other half of Shaftesbury Avenue for a few moments. continue up it, crossing West Street. Just past that is Earlham Street. Turn into it and walk to the end, crossing Tower Street. Ahead of you is an open space (Seven Dials) with a pillar in the centre of it. The Cambridge Theatre is clearly visible behind that. Careful - in the absence of kerbstones cars and pedestrians mix on the cobbles of this junction. Cross the road to the Cambridge Theatre and take the road to the left of it as you faced it across the square, Earlham Street. Walk along the side of the theatre and pass entrances to a shopping mall. The Donmar is beyond the mall, a tiny neon signed doorway. The "Theatreland Parking Scheme" may be available. Call Q-Park car parks on 0870 442 0104 or see http://www.q-park.co.uk 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 24 hours using this scheme and it is endorsed by the Society of London Theatre. For a full list of car parks and theatres that participate in the 50% off theatreland scheme see http://www.q-park.co.uk.

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Performance Times

Ticket Prices

Where to Buy Tickets

Seating Plan

Seat Opinions

Getting Here

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