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

DUKE OF YORK'S THEATRE



GHOST STORIES (thriller)
NOT SUITABLE FOR THOSE AGED UNDER 15, OR ANYBODY OF A NERVOUS DISPOSITION.

Three stories of the uncanny... tales which may haunt your dreams to come...

A transfer from the Lyric Theatre, Hammersmith, for this hit production.

THIS PRODUCTION CONTAINS INTENSE SHOCK AND TENSION. PLEASE DO NOT ATTEND IF THIS IS AN ISSUE FOR YOU.

 

Theatremonkey Opinion:
Not available. The monkey took advice and hasn't ventured in yet. Reports are that this does manage to build into a disturbing enough evening to warrant the warnings... IF you get an audience willing to suspend disbelief far enough to generate an atmosphere that evening.

 

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

(2 reviews)

This is about an investigator into ghosts who reveals the three stories that he has checked out that stayed with him the most.

After the gentle scares of 'Woman in Black,' this is really horrifically frightening, especially if you are in an "up for it" audience who get into the show.

None of the stories are that well formed or completely satisfactory but I screamed and jumped a lot and the especially clever denouement will absolutely haunt you, fantastic show !

I can't imagine I would ever put myself through the experience of seeing it again but I am very glad I went.
____________________________

Well what an absolute boring cure for insomnia that was!

I go to the theatre quite often but have never felt compelled to write a review on anything before. This was the biggest load of over hyped garbage I have ever seen in the West End. Please don't fall for any of the publicity, it's more scary trying to cross the road outside. No wonder they are selling seats in the stalls for a fiver, they should be paying the audience a fiver to sit through an hour and twenty minutes of dross.

It's not just me; many audience members were of the same opinion when leaving the theatre. I particularly felt sorry for the poor people who had paid full price for their tickets and were feeling extremely ripped off.

To sum up: it's NOT scary in the slightest, and they try to lead you to believe otherwise with the bullshit publicity. Do not fall for it!

Greg.
____________________________

I went to see this on Saturday night (24th July 2010) with full price tickets. Sat in stalls row G8 and G9 and thought these would be good... until 3 x 6' guys sat in front of us and blocked the entire middle of the stage, where what little action there was actually happened.

The best thing I can say about the show is that it's short. I've been more scared watching the Simpsons Halloween specials.
 

 


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.

Tuesday, Wednesday and Thursday at 8pm
Friday and Saturday at 7pm and 9.30pm (no 9.30pm performance on 16th July 2010)
Sunday at 5pm

Runs 1 hour 20 minutes approximately with no interval.

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form


All performances EXCEPT Friday and Saturday 7pm and 9.30pm:
Stalls
Rows A to Q: £35 except
"Premium Seats" row D 5 to 16, E 6 to 17, F 5 to 16: £60
Rows R to U: £29.50
Row AA: £25 if sold.


Dress Circle
Rows A to E (except B 1, 2, 21, 22; C 2, 3, 22, 23 and F 1 to 5 and 14 to 19): £35
Row F 1 to 5 and 14 to 19 and Restricted view row B 1, 2, 21, 22; C 2, 3, 22, 23: £19.50


Upper Circle
Row A seats 5 to 16: £25
Row A 3, 4, 17, 18; B 4 to 20; C 6 to 20; D 6 to 18: £19.50
Rows G and H benches, plus all other seats in rows A to F: £15

Boxes: C and F: £19.50 per seat. L and O: £15 per seat.




Friday and Saturday 7pm and 9.30pm performances ONLY:
Stalls
Rows A to Q: £42.50 except
"Premium Seats" row D 5 to 16, E 6 to 17, F 5 to 16: £60
Rows R to U: £35
Row AA: £25 if sold.


Dress Circle
Rows A to E (except B 1, 2, 21, 22; C 2, 3, 22, 23 and F 1 to 5 and 14 to 19): £42.50
Row F 1 to 5 and 14 to 19 and Restricted view row B 1, 2, 21, 22; C 2, 3, 22, 23: £29.50


Upper Circle
Row A seats 5 to 16: £29.50
Row A 3, 4, 17, 18; B 4 to 20; C 6 to 20; D 6 to 18: £25
Rows G and H benches, plus all other seats in rows A to F: £19.50

Boxes: C and F: £29.50 per seat. L and O: £19.50 per seat.

Day Seats: Row BB, priced £25 each may go on sale at 10am on the day of performance to personal callers at the box office at most performances. First come-first served, these are usually limited to 2 per person. The monkey always advises taking both cash and cards, though, to be safe, and also calling the theatre in advance to check that the "day seat" ticket policy is in operation.
 

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. Offers may be available click here.
Theatre Box Office:
Ambassador Theatre Group, the theatre group's own website provide the service for this theatre.

Booking fees per transaction for online bookings:
A £3 per transaction (not per ticket) fee is made - pays for the stain remover, thinks the monkey.

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

Ticketmaster operate another alternative, with the same booking fee as the venue. It charges a £3 per booking, not per ticket, handling fee, the same as by telephone.

When the box office does not have what you require, the Theatremonkey Ticketshop offers an extra selection of top price £42.50 seats with a £4.25 per ticket booking fee / £3.50 on £35 seats. Slightly higher than the box office, but lower than most agencies. Worth checking if the box office cannot provide the exact tickets you might require. Simply select the show from the "drop down" menu in the centre of the page. Note that this system will confirm exact seat numbers prior to purchase.

Another alternative is www.seetickets.com / telephone 0870 830 0200 which offers £35 seats with a £3.50 booking fee (£6.38 on £42.50 seats at Friday and Saturday performances) and £2 per booking (not per ticket) postal charge. (FREE call if using BT.com Calling Plan at your chosen times).

Encore Tickets offer £35 seats with a £9 booking fee (£15 on £60, £10.50 on £42.50, £6.50 on £25, £5 on £19.50 seats) per ticket - plus optional UK postage of £1.50 per booking, not per ticket, available if time allows. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

ALSO SEE Tickettree.com for great value "hotel and theatre ticket" packages.

Other 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: 0870 060 6623
( 020 8544 7424 if you cannot use the 0870 number)
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:
A £3 per transaction (not per ticket) fee is made. Pays for the stain remover, thinks the monkey.

For personal callers or by post: St. Martin's Lane, London. WC2N 4BG
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 0871 297 5477 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. See Notes.

 

 
 
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.

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Notes
STALLS 
The Dress Circle overhangs the stalls at row K. The views from row P back are slightly affected by this - the top of the set cannot be seen.

The positions of the walls at the front of this theatre mean that the first and last two seats of rows C to F face walls rather than the stage. These seats can be great value when sold at restricted view prices. Unfortunately they are often sold at top price. When they are, just enquire if the wall has been demolished - the reply will be negative - and insist on central seats.

The monkey has always enjoyed the atmosphere of rows AA to C for proximity to the stage. The enclosing walls create a very intimate atmosphere at the front of this theatre. The only problem is the neck ache - when used row AA is often sold cheaply, to account for it. "Ghost Stories" (June 2010) currently has row AA removed. Row BB, however, is available as "Day Seats" and fairly cheaply. Sadly, rows BB and A may also be out for many whose health cover does not run to physiotherapy - especially at top price.

With A as the front row, B might be worth skipping too.

In use, row BB suffers limited legroom unless the row in front is removed notes Tim, a regular monkey reader, but he feels AA is worthwhile particularly. For the price I think they are pretty decent seats, sat in worse!" (when available).

Another reader agrees with Tim,
"AA5 and AA6: the seats were really brilliant, although we did have to look up but having the whole cast standing within touching distance really is an unforgettable experience."

Theatremonkey regular seat connoisseur James sums up row A with this,
"Sat in Stalls A1 to A3 for “Under The Blue Sky” (July 2008). Ordinarily I wouldn’t book so far forward but the tickets were free so I wasn’t complaining! I was pleasantly surprised though… I thought I’d have to crane my neck a lot but it wasn’t really that bad although there is quite a bit of action that takes place with people sat on the stage rather than standing so perhaps it would be more of a problem if this weren’t the case. Good seats overall, though, but if you’re paying full price I’d go a few rows further back."

The monkey sentiment precisely, with reader Mark adding,
"A9: Excellent seat! Not too close to induce neck pain, but close enough to feel involved with the performance. Some people may find it too close, but I personally love to be this close to see all the actors expressions."


In row B, reader Rebecca says,
"We had Stalls seats B5 and 6 which are roughly in the centre of the row and we didn't think that we were too close to the stage. I wasn't aware of any neck-ache looking up at the stage. Leg room wasn't great (I'm 5ft 9) but was by no means uncomfortable."
 

Reader Hannah M reports,
"I was sat in C11 of the stalls, which was brilliant. Leg room is OK, fine for averagely sized me at least, but isn’t hugely generous. This seat is very central and far enough away from the stage so you don’t get a crick in your neck, but close enough so that you see everything and feel really in on the action. I would say it is worthy of a green rating, but then I was paying a bargain £25 Studentmonkey price…"

Reader David comments,
"Sat in row C8 and C9. Good legroom and perfect to see all expressions and hear the excellent dialogue. The front rows of the stalls look as though they should be avoided and very likely to cause a 'crick in the neck', as although the stage is sloped forwards it is also quite high. Row C is about about 5 rows back as the theatre has A, AA, B, BB method of identification and fellow theatre goers will have no problem where we sat."

One row back, a reader says,
"I and my friends were in D row in the stalls (seats 3, 4 and 5) and, as before, I would have preferred less amplification, which was even more hard on the ears in the front stalls than in the front of the dress circle (seat A5) where I sat last time."

Another row D reader says,
"We'd booked seats for row D of the stalls in the dead centre, I really couldn't ask for seats any better than these. I didn't miss a thing from these seats at all they were actually perfect. The leg room was also really really good, being 5'11 I usually find some seats quite restricting on my knees but I had plenty of room. The seats aren't the most comfortable I've sat in at a theatre but were still very good."

Still in D, a reader says for "Twelfth Night" (December 2009),
"D17 and 18: had a good view and was close to the stage without having to look up. I would avoid D19 and E20 and 21 as you will be facing a wall and have to turn left to see the stage."

Another says, at a different show,
"D19 and 20: view not especially brilliant, but plenty of legroom."

When the ends of D and E mentioned above are cheaper, monkey likes, as it is prepared to tolerate the slight sightline problems. Worth a punt for those willing to see a little wall as well as stage, feels the monkey. "Ghost Stories" (June 2010) has them at the same (relatively low) price as more central seats... so the monkey would go central first.

Another reader, James F says,
"I sat in seats E13 and 14 which delivered a view close to the action, but for top price tickets my view was often obscured by the people in front of me, who weren’t that tall, and also the actors. The legroom was great, but for a near three hour production, you bum does get sore after a while."

From the same row, another reader opines,
"centre of Row E in the Stalls, the view was great as it wasn't blocked by another member of the audience."

For "Ghost Stories" (June 2010) row D 5 to 16, E 6 to 17 and F 5 to 16 are designated "premium." There's seats as good nearby, so a case of whether you feel it worthwhile, thinks the monkey... who doesn't really.

With a high stage in use, a reader says,
"We were sat in the middle of the Stalls, row J which were very good seats! I wouldn't have wanted to be any further back, maybe a couple of rows further forward. Be advised that the floor of the main set is about two feet above the stage and the front five or six rows of the Stalls will have to look upward or slightly upward for most of the play."

Theatremonkey regular seat connoisseur James reports,
"Sat in G9 and G10 for “Rent”. Great seats to see the show from, but even row G felt a little far forward, especially when action takes place on a raised walkway, but I’m not the tallest of people."

At the end of the row, another reader says,
"Stalls G1 and G2, no problem with the view as the play is set quite centrally, but the dear old wall is still there."

One reader did have a problem at "Ghost Stories" (July 2010) though,
"G8 and 9: Thought these would be good... until 3 x 6' guys sat in front of us and blocked the entire middle of the stage, where what little action there was actually happened."

Another reader reports similar issues with row J ends,
"Seat J21 (end of the row) and the person in front of me was not especially tall. But at row J there is no elevation/rake from the row in front and the angle of vision to the centre of the stage was blocked by the head in front."

Again not something the monkey (or the theatre) had heard about before, but some visitors may find knowing about this issue helpful.

The rest of the stalls to row O are comfortable with a good rake, offering at least average value for money. The monkey picks rows F to J as prime value.

One reader comments,
"Checked online before I went out and saw that there were lots and lots of unsold seats. Went into the theatre and bought the cheapest £10 ticket in the back row of the upper circle, and was immediately upgraded to Row J stalls (in the premium seats!). Seat was very good, although I really wouldn't think it is worth the extra money for "premium" seats."

A reader reports that row N is not "staggered" sufficient to see around people in row M ahead of you. These seats should possibly be avoided by the shorter person as it could cause a problem, though none has been reported to the box office at any point and the rake is good enough to generally allow a clear view of the stage, in the monkey's opinion. The cause is suspected to be a problem with flooring, allegedly...

Still, a reader says,
"N17 and 18: Great seats (on discount), would have liked to be a few rows further forward but I could still see everything from where I was."

Row P has thick pillars either end, which are missing on the seating plan. This creates a whole new environment for rows P to U, which feel like a large room tacked behind the main theatre. The rake is not great here, but the lower prices in rows R to U usually marks out these seats as pretty acceptable value for money. Go further forward when all seats are the same price, though. At the same price, the monkey might try for the front row first - it personally prefers neck ache to circle overhang in view.

It also notes that for "Ghost Stories" (June 2010) rows T and U are the same price as rows in front. Take these last.

At other times, if Row U is also the same price as the front row... consider neck ache against a slightly restricted view? The monkey goes for the ache, itself...

Legroom is good in rows AA (when used) to Q, except row BB (poor), adequate in R to U. Best legroom in AA 1 to 10, B1, 12, C 1, 2, 15, 16, D 1, 19 and E 1, 21; all of which have no seats in front.

 

Stalls Boxes
G and H at Stalls level, at either side of the stage, offer fair views with a side-on viewing angle and the nearest rear corner of the stage obscured.

 

DRESS CIRCLE 
Called the ROYAL CIRCLE in this theatre.

The Upper Circle overhangs the Dress Circle but does not affect the view from any seat.

A fairly shallow rake makes the view average from row D back. In the rear Dress Circle, row F seats 6 to 13 are expensive at top price, feels the monkey. For "Bedroom Farce" (March 2010) they are about fair at third - though it would skip the ends to avoid the worst of the circle curve cutting into views.

The length of rows B and C cause B1, 2,21,22 and C1, 2,23 and 24 to be designated restricted view. Walls cut the edges of the stage off and a strange viewing angle is created - it feels like peering round a corner. At low price these are at least fair to good value, but are to be avoided at full price.

If (not for "Ghost Stories" - June 2010) row A 8 to 13 and B 10 and 11 are designated "premium," then for legroom it skips A (in favour of same priced stalls if you have to), and in B there are seats as good nearby, so a case of whether you feel it worthwhile, thinks the monkey... who doesn't really.

A reader comments,
"Row D seats 12 and 13 the view was perfect (no heads in the way), the sound quality fab, the leg room good, the chair size adequate"

Another reader says otherwise,
"We went sat in seats D6 and D5. The leg room was exceedingly poor and it was difficult to hear - if someone opened a bottle of water it was louder than the people on stage. Also as the leg room was so bad, people were restless and constantly shifting around in their seats. The view was restricted by the people sitting in front of us- who weren't even especially tall (5ft 4?). I think only people in the centre of Row A of the Dress circle would have had a good view from the Circle. A fat person in Row A stood up during the ovation in a vain attempt to catch Orlando Bloom's eye and in so doing restricted the view of every person in the Dress Circle."

Behind, in row E, another reader comments,
"We had Row E13 and 14: Fine at £25 but I'm not sure I would pay full price for them. The view is actually fine, but the Upper Circle makes you feel a little claustrophobic!"

Seats at the extreme ends of row F are normally cheaper. At top price, just about average, feels the monkey. The monkey would take the cheaper ones in B and C before these, to be honest. "Ghost Stories" (June 2010) has the B and C seats the same low price as F. During the week, it would take the most central seats available. At weekends, the front ones first as prices are increased.

Two wheelchair spaces in restricted view sides of Dress Circle. Theatremonkey rates the left side better than the right, and current prices are fair value. Still, a better view would have been nice if possible. See notes.

On the whole, this hairball prefers the stalls at the same price, but will accept the circle if it has to. The box office manager though, disagrees and prefers the Dress Circle... - as does a reader who rates A5 outstanding - so everyone has an opinion here!

Legroom is poor in all seats, notably row A.


Dress Circle Boxes

Boxes A and D at Dress Circle level, at either side of the stage, offer fair views with a side-on viewing angle and the nearest rear corner of the stage obscured.

Boxes B, C, E and F are further along the walls at Dress Circle level. These offer a more comfortable viewing angle. C and F then B and E (in that order) offer especially attractive options for comfortable well-priced Dress Circle seating at less than full price. At full price, they may be considered a little average. B and E at second price might be attractive for comfort at second price, perhaps, to some wanting more legroom and a Dress Circle view.

 

UPPER CIRCLE
A disused balcony (housing a recording studio!) overhangs all rows on the Upper Circle. This does not affect the view from any seat.

Central seats row A 5 to 16 are at third price, more than rows behind. For some productions it isn't, luckily. When they are, as for "Bedroom Farce" (March 2010), if legroom isn't an issue and you prefer not to lose the top of the stage, these may be better than the first or last row of the stalls... the monkey goes for first row stalls first, then maybe the last row, or possibly the slightly more expensive rear stalls in front of that, though.

Reader James feels,
"In general at the Duke of York, legroom is poor and in the Upper Circle as soon as someone in row A leans forward, you can't see the front of the stage."

Something the monkey hadn't noticed but would welcome comment on.

If tickets are split into two prices from A back to F, the most central seats are more expensive than the rest. Monkey view is to take the seats beside the most expensive first, then pay extra before moving out to the sides of the auditorium.

"Ghost Stories" (June 2010) has central row A at a higher price. You may as well sit one row back for the same view at lower prices, feels the monkey.

For "Ghost Stories" (June 2010) be aware that B 4 to 9 and 16 to 20, C 6 to 8 and 16 to 20, D 6 to 8 and 16 to 18; E 7, 8 and 15 to 17; F 7, 8 and 14 to 16 are usually cheaper to account for the view. Some productions have them at the same price as more central ones. The monkey would skip them in favour of cheaper seats further along.

On the other hand, for "Ghost Stories" (June 2010), the whole or rows E and F are the same price... on second thoughts, go central in these rows, but the monkey can't quibble with the price of any seats here. Just take E 10 to 14 then F 9 to 13 first.

Reader Marty comments, for "Arcadia" (June 2009),
"E16 and E17: The view was fine. (once the girls in front of us stopped leaning forward) Apart from a very tiny bit of acting on the floor downstage at one point I could see everything. The acoustics and the projection of the actors were perfect and I never got that feeling of not being involved you sometimes get sitting in the gods. The whole upper circle were laughing and part of the experience. Bring water if it's a hot day as it was a bit muggy up there. There's a balcony in the upper circle bar with limited room, so good to head there first during the interval for some fresh air."

The first and last two seats at least in rows B to F are normally sold as restricted view, due to the same 'peering round corners' effect as in the Dress Circle below. At bottom price take a box instead. There is no real bargain to be had in sitting here. Note that seats B 1, 2, 22 and 23 and C 1, 2, 23 and 24 have been pressed into service again after not being used for a while due to this issue. The seats next to these - two or three in each row also used to be discounted, but are now merged into the next price up.

One reader comments,
"We paid £30 each for seats C17 and 18 in the Upper Circle. There is no leg room at all - I am 5' 8" and my knees just wouldn't fit - my legs went to sleep and we just had to move elsewhere after the interval. The Americans sitting next to us couldn't get over how bad the seats were for the price charged. Be very careful where you sit in this theatre. Surely something could be done to improve this."

Rows G and H are a long way from the stage and normally offer poor value - pick a box or seats a row or two further forward (but not on the absolute ends of the row) instead. They are benches too - so arrive early to stake out your bit (and hope there is nobody too vast sharing the row that night!).

All other seats offer a clear view - though parts of the stage can be missing - and fair value for money relative to the price and position of the seats.

Reader Rob says of "Little Shop of Horrors" (March 2007):
"Sat in row D 16 and 17, fairly good view. I see no reason for people to lean forward in these seats but they still did! Lad in front of me was very accommodating and sat back after I asked, lad in front of my partner had no-one in front of him but still spent whole show 'elbows on knees' leaning forward and spoiled it for next 3 rows behind him."

Legroom is poor in all seats, worst in row A.

 

Upper Circle Boxes
Boxes J, K, L, M, N and O are at Upper Circle level. these are a good choice when sold, offering cheap restricted view seating with decent legroom - worth considering.

 

Notes
Total 659 seats.

Air-conditioned.

Infrared loop in whole auditorium. Occasional signed performances. Guide dog sitter available. 2 wheelchair spaces in restricted view sides of Dress Circle. Adapted toilet near seats, large but with inconveniently placed toilet roll holder warn the box office. Call 020 7565 6485 to reach the box office direct and make a booking. See www.ambassadortickets.com or 0844 8717 677; Artsline 020 7388 2227 email artsline@dircon.co.uk for further info. 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 Ice cream and confectionery.

Two Bars, at Stalls and Upper Circle level. Reader Marty notes,
"There's a balcony in the upper circle bar with limited room, so good to head there first during the interval for some fresh air."

Five toilets in all. Stalls 1 gents, 1 cubicle; Dress Circle 1 ladies 4 cubicles, 1 unisex disabled; Upper Circle 1 gents 1 cubicle, 1 ladies 3 cubicles.

 

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:
Leicester Square - Northern (black) and Piccadilly (dark blue) lines.

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

A photographic illustrated version of this route is available by clicking here.

The escalator from the platforms deposits passengers into a circular space with a number of staircases leading to the surface. Beside each staircase is a vast white panel listing the places accessible from that exit. 

Look for the one showing the Duke Of York's theatre. It is marked "Charing Cross Road East" and "Cranbourn Street". When you leave the ticket gates, do a 180 degree "U" turn. This exit is hidden behind you, between the gates! Go up the first little staircase. At the top of it, turn right, taking the "Cranbourn Street" exit (to your right, exit number 4). Go up the stairs. In front of you will be Cranbourn Street with a row of shops. Cross the road to them, and turn to your left. Follow it round and the shop curves into St Martins Lane! The Noel Coward Theatre is ahead of you. Walk past it and the Duke of York's Theatre is the next one along.

If you take the other staircase at Leicester Square station then at the top, in front of you will be Charing Cross Road. On the opposite corner, notice the Hippodrome Nightclub and a wide pedestrianised street. Turn to your left. Wyndham's theatre is there. Walk all the way across the front of it. At its far corner is St Martin's Court, a wide pedestrian alleyway of small shops and dustbins. Walk down it. You will pass the shared stage door of Wyndham's and Noel Coward theatres (say hi to the cast). At the end of the alleyway, turn right. The Duke of York's theatre is on your right, just past some shops and offices.

An American visitor puts it this way: "Exit Leicester Square tube station via the most leftward exit, up the stairs, turn an acute angle left at the top, placing you in an alley with the shared Wyndham/Noel Coward stage doors straight ahead. This alley is L-shaped to the right. Taking that turn, you face two big red phone boxes and, across another alley, J. Sheekeys. Turn left in front of J. Sheekeys, right again at the street, walk along it and you are in front of the Duke Of York's Theatre. You will have walked the equivalent of just over one block." Well put and great advice. The only warning the monkey would add is that the alley is a dark and unsavoury place at night. The monkey prefers a "street" route itself.

 

Buses:
24, 29 and 176 stop on Charing Cross Road. Walk to the Wyndham's Theatre. Go down St Martins Court (the alleyway at the right hand side of the building). At the end of the alleyway, turn right. The Duke of York's theatre is on your right, just past some shops and offices.
 
Car Park:
Trafalgar Square Spring Gardens.

From the car park, turn up the road on the left to bring you on to Trafalgar Square. Face Nelson's Column and cross the road towards it. In front of you is the National Gallery. You require the road to the right side of it - Charing Cross Road. Do not enter the Trafalgar Square area itself, but follow the pavement round towards the right corner of the National Gallery. Continue along so that you pass the National Gallery on your right. At the junction of roads just by this corner of the National Gallery, cross the road. You should have Charing Cross Road to your left and be facing towards the same side that St Martins Church is on. Walk a few steps past the building on your left and see how the road curves round. This is St Martin's Lane. Turn left into it and keep walking, the Duke of York's Theatre is clearly visible to your left.

An alternative is 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. Now turn to your right and walk down Charing Cross Road, crossing Litchfield Street as you go.

Next is Newport Street. Cross that too and head on, crossing Cranbourne Street towards Leicester Square Underground Station. Before you reach the station, though, turn left into Cranbourne Street. Follow it round and the shop curves into St Martins Lane. The Noel Coward Theatre is ahead of you. Walk past it and keep going - the Duke of York's Theatre is beyond it, on your side of the road, on your left.

The "Theatreland Parking Scheme" is in use in both car parks. Call Westminster City Council car parks on 0800 243 348 or see www.westminster.gov.uk/carparks for details. 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.


 

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