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Seating Plan Diagram

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 - not in use for "That Face" (May 2008), though. 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 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."

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 the bargain £25 Studentmonkey price…"

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."

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."

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."

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.

For "That Face" (May 2008), rows J to L are reduced to £25 as a gesture to inclusion. Monkey likes, and would go for seats 3 to 19 in particular. Those prices have to go a long way towards negating any other issues it feels.

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,

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.

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.

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 good value, but are to be avoided at full price.

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."

Seats at the extreme ends of row F are normally cheaper - just about average, feels the monkey. The monkey would take the ones in B and C before these, to be honest. For "That Face" (May 2008) row F seats apart from 7 to 10 are top price, a final choice the monkey feels.

For "That Face" (May 2008), row E, row D seats 3 to 16 and F 7 to 10 are reduced to £25 as a gesture to inclusion. Monkey likes, and would go for rows D and E seats 3 to 16 in particular. Those prices have to go a long way towards negating any other issues it thinks, but advises the taller to take the stalls seats at the same price first if possible.

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 are sold at third price. If legroom isn't an issue and you prefer not to lose the top of the stage, these may be better than the rear stalls... the monkey goes for the rear stalls, 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.

Back to row F, tickets are split into two prices. 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.

The first and last two seats 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.

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!). For "That Face" (May 2008), they are just £10 - the monkey would try for the same priced stalls row AA first.

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.

Not Air-conditioned so pick a cool day, and on a hot one don't sit in the Upper Circle or rear Stalls or Dress Circle. Heat rises and gets trapped in these areas of a theatre. The front stalls will be coolest with a draught from the stage.

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.theambassadors.com or 0844 8717 677; Artsline 020 7388 2227 email artsline@dircon.co.uk for further info.

No food except Ice cream and confectionery.

Two Bars, at Stalls and Upper Circle level.

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.

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.

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.

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.