Box Office Information:

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Theatre Box Office: Shared between two companies at this venue Telephone: 0870 830 0200 (FREE call if using BT.com Calling Plan at your chosen times) Operated by See Tickets on behalf of the venue. OR Telephone: 0844 482 9673 Operated by The Ticket Factory on behalf of the venue.   Booking fees per ticket for telephone bookings: With See Tickets: £6.50 on £65 seats (£9.50 on £95, £5.50 on £55, £4.50 on £45, £3.95 on £39.50 tickets). Pays for the old rocks, thinks the monkey. A £2.75 per booking, not per ticket, handling fee is also added. With The Ticket Factory by telephone: £2.50 per ticket on all prices.   For personal callers or by post: Charing Cross Road, London, WC2H 0HH No booking fee for personal callers. Special Access Needs Customers: Wheelchair users and other registered disabled theatregoers can book their seats on 0844 412 4648 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the See Theatres phoneroom helpdesk in London. See Notes.

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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  Layout: The Dress Circle overhangs the stalls at row G. The top of the stage is not visible from row N back. Rows A to L are a single block. From row M, the rear stalls splits into a centre and two side blocks. Not much rake (sloped floor to help see over rows in front) before row G. Row X is on a step. One side block extends from the centre aisle to the wall. The other has fewer seats due to a large storage area / cupboard / office / the monkey doesn’t know! occupying the space. Legroom: Fair in most of the stalls, tight in row C and tighter for those over 5ft 9 or so from O back. Best in row N seats 1 to 5 and 17 to 21, which have an aisle in front of them. One reader in row N warns, "N17 and 18: watch the toes with passers by." A 1 and 14, C 1 and 16, D 1, 18 and 19, E 1 and 21, F 1 and 23, H 1 and 23, O 1 and 24 and T1 have space in front for at least one leg to stretch. Rows O and T 7 and 18 have less room due to pillars in front. Choosing Seats in General: Rows AA and BB are removable. When AA is used and cheaper it's about fair, feels the monkey, who prefers it to rear stalls or upper circle at the same price. At top price, unless proximity to the star is a requirement, it's always worth sitting further back for comfort. The stage is high enough that anyone under 5ft 5 or so will see little, and even those less than 6ft will be looking upwards and probably miss action towards the rear of the stage. Behind, rows BB, A and B provide a fair view, though you should be willing to put up with neck ache and sometimes a limited view of the rear of the stage. Accept that you'll look sharply upward from them - not great at top price, feels the monkey, who tries to skip them if the stage is high. If the stage is particularly high, even those as far back as row E will have a slight issue looking up. Moving outwards and back, the first and last three seats in rows C to L should be avoided as the viewing angle is not acceptable value from a top price seat. E21, F 22 and 23 and H 1 and 23 are usually designated restricted view due to box walls cutting views of the nearside stage. If sold at reduced price they are very much worth consideration, when sold (as usually happens) at top price, avoid. Pillars at the ends of row G affect the view of the seats in rows H to L directly behind. When the stalls splits into three blocks, the central one has acceptable views except in seats behind pillars. At top price (usually all except the back two or three rows) it’s your choice whether you prefer the Stalls or cheaper Upper Circle at second price. The monkey goes for the rear stalls for comfort, Upper Circle slightly for view compared to row W back, perhaps; but at the point stalls prices drop to second, the monkey rather prefers being downstairs. Comfort to view only... Pillars occur in the centre of the stalls next to seats N6 and 16, and R 7 and 16. This makes seat 7 in rows O, P, Q, T, U, V, W and X, seat 18 in rows O, P, Q, T, U, V and X restricted view. The pillars directly in front of seats 7 and 18 in row O and T restrict legroom somewhat, but the view (for those willing to peer round them) isn't bad, with the pillars lining up pretty much with the edge of the stage. You may miss action taking place there. Otherwise, restricted view centre block aisle seats in rows O, P and Q are not that bad and would have been an alternative to the upper circle at similar prices... at top price, though, the monkey would look elsewhere. Side block seats Row N 3 to 5, 17 and 18 are also are acceptable, offering reasonable value for money, though central stalls are preferable. Side block seats do not have aisles at the far ends - claustrophobics may prefer to sit elsewhere. Be aware that aisle seats in these side block have a pillar removing any sight of action at the sides of the stage. Row X 7 to 9 is slightly raised on a step, but it doesn't improve the view much. General Hazard Notes: Rows BB to D are on a slightly different floor level to rows behind. There's a 1cm step, level with the back of the seats in row D to trip you up as you move from auditorium entrance to the front seating section. Pillars at the ends of rows G, N and R affect views from seats behind. Top of stage missed from row N back. A sound desk is placed at the back of the theatre for musicals - worth skipping W 9 and 16 and X9 for purists. Changes for the current production: The front row is AA. The stage for this show is high and there is 'audience participation.' Go further back than A for a fuller view. Some seats are removed in AA for an extended stage, and some in central BB are cheaper. “Premium" priced seats are located the centre of rows D to H. Monkey advice is to take seats around them for the same view at lower cost... Restricted view row H 1 and 23 are cheaper, not a bad grab, the monkey feels. Other end of row seats from C to L are not reduced. Most are well "outside" the stage opening - box walls directly in front - and worth missing. Central rows S and T are fairly priced, feels the monkey. The "low numbers" side block is priced for exactly the view you are going to get. For those willing to accept the pillar in view, seats off the aisle in rows P to R are a way of sitting further forward for the same price as the back centre rows of the stalls. The monkey would take these over central rows from U back for sure. Further out, if willing to sit right up against the wall, the cheapest seats in rows O to R are again a pretty good deal and will be more comfortable and see more than equivalent dress circle or upper circle seats. Taking the more central ones at the same price in rows S to U is also a decent deal, feels the monkey. Restricted view row X, at a very low price, is again worth a glance, with X 8 in particular decent value. Don't bother with top price seats in the other side block (pillars really cut into views). If you have to sit here, the aisle seat gets the worst of the restriction. Restricted view seat 7 from row O back are fair value, feels the monkey.   Reader Comments: “AA5 to 8: “Zorro” (closed March 2009). I booked front row seats, when extra row were available for £37. I was a bit apprehensive as people have said about the stage being high. The stage is high and people prone to neck ache, I suppose, will get it. I am only 5ft and I did have to look up, but I loved it - well worth the money. I would sit here again but will not pay full price. It did not bother me in the slightest. Sitting in the front row you are on the edge of your seat. A great experience." "AA11 and 12 with row AA as the front row: "Chicago" (November 2011). On 8th February 2012 - £30 each - These seats were brought as part of the 'Get Into London Theatre' offer and came with a workshop. These seats were amazing and I cannot fault them, even got chucked one of the roses at the end :D" “Row BB: “A Little Night Music” (April 2009). We always like to sit front row so booked row BB, appreciating that sometimes stages can be high. My daughter and I sat down (we are 5ft 1inch tall) and all I will say is that we could not see anything: no stage, no scenery except the very top where the scenery finished. It was as if somebody had turned off the light!! My Husband, who is 6ft, could see the last little bit of the scenery at the top. As it was impossible to stay there, we went to the box office and they exchanged them after a slight disagreement - so obviously nobody has told them there is NO view and that you would only hear the music. Nobody sat in the row. As they have extended the stage, why has nobody sat there and realized and taken out row BB? It's the first time we were all actually speechless!!!!. (second visit) They had completely removed row BB. Behind it, row A was fine for us (but then we are front rowers); at one small point when they laid flat on the floor you couldn't see them, but that didn't bother us. We had a great night and are booking same seats again before it finishes." “Row BB (when second row) (Bas). The pitch was fine. You had to look up but were close to the action - recommended!" " BB1 and BB2: (John Lafferty). My view was unobstructed and there was plenty of leg room for seats in the stalls." "BB8: "When We Are Married" (November 2010), (Taljaard). For £20 as a 'day seat' in the middle of the second row was perfect, with the low stage there." "BB10: "When We Are Married" (November 2010). Was perfect.” "A8 and 9: “Chicago” (May 2012), (Chris B). This is actually the third row back for Chicago. Excellent legroom and an amazing view, you certainly feel part of the show and fully immersed in the action. You don’t feel too close either and it does feel quite intimate." " B2 and 3: The Garrick is an amazingly intimate theatre and these seats felt truly part of the action. There was a family seated in row AA, but the children couldn't even see the stage so they were luckily moved to row BB, which seemed to be OK." "B14: Enjoy being on the aisle, you don't miss anything and it's a great view." "C7 and 8: "The Hurley Burly Show" (March 2011), (Michael). Worse for leg room than charter airlines. View of the stage was fine, just cramped. The short run time of this show helped in the comfort factor. As rows here can be removed and easily replaced, it seemed that may have been an error replacing them as row B had much more leg room than C. Bear this in mind when choosing either B or C." “C9 to C12: “Zorro” (March 2009). I felt a little too close to the stage as I think you miss some things because you can’t see the entire stage without turning your head. Also, I had to look up quite a bit as there’s a high stage. However, I did get the tickets for £30 via TKTS and at this price they were very fair." "C15, 16 and 17: "Arturo Brachetti's Quick Change" (November 2009). Seats were good, but for this show I would recommend sitting a bit further back because we could sometimes see under his skirt and see part of the other costumes underneath, which spoils the magic a bit." "D5 and D6: "Horrible Histories" (March 2012), (Brent). The seats were fairly close to the front and my eyes were level with the stage so I was looking up at the actors. I thought they were decent seats although a little hard to judge as the audience in front of me were mainly children so my view was clear in any case. Leg room was fine for my 5 foot 7 height." "D7 and D8: (Michael). We were pleasantly surprised that this row was "offset", whereas all the rows AA to C were placed seat behind seat. This gave us a view between bodies/heads and feel that D6 to D13 could be GREEN as your row behind is. From our row, there was a real feeling that the performers were right on top of you when at the front of the stage, a nice touch in this theatre." "Row E: I paid more for a better seat in the Stalls and was glad that I did. A final tip is that the stage is very high, rows D and forwards are below the action and people with these tickets have to look up all the time. Row E was excellent." "E6 and E7: When walking to the Stalls bar which is situated at the rear of the seating area we happened to look back at the stage and realised exactly what other readers have commented on regarding the rear most rows of seats. You would miss quite a bit of action if it happened on a high level above the stage. Our seats were excellent, perfect distance from the stage and enough legroom for a large lanky oaf like me." E8: One reader felt this seat was excellent. "E9 to 12: Excellent seats - dead central and a full view of the stage." "E11: Got student ticket 45 minutes before for £20. E11 is a FAB seat! If you are gonna be paying full price for a ticket definitely go for something around this area of the theatre." "F4, 5 and 6: I was sitting in F6 which had a really good view. Although I can see from the plan that for the production I saw it was a "premium" seat, I wouldn't pay more than I would for any of the surrounding seats. F4 and 5 were also good according to my friends. Even this far forward in the theatre, the rake isn’t disrupted at all. Legroom was also very good." “G14 to G16: "Zorro" (July 2008), (James – regular reader). I certainly wouldn’t want to be any further forward and even G16 was beginning to affect the viewing angle. It’s definitely a show that you need to be as central as possible for but if you are on a side it’s probably best to be in the higher numbers due to where the action takes place on stage. From H11 and 12: Staggered seats and a good rake meant that the view was excellent. For this show I’d probably sit a row or two further back just to see the whole stage without turning from side to side but that’s just personal preference." "J20 and 21: "All the Fun of the Fair," (May 2010), (Frances). What excellent seats they were, and should definitely be green on Theatremonkey's seating plan. I was lucky enough to get my tickets on offer - £55.00 down to £27.00. The theatre was very comfortable as it was half empty; from my seat (J21) the next 10 seats were empty, so I had room to spread - and rows M backwards were completely empty and no one sat in front of us. Seats from M backwards were really not worth paying top price for as you can't see the back of the set or the top, and quite a few parts of the story are at the back of the set." “L13: (James). Great seat but worth noting that from row J backwards to row N the seating is bizarrely not staggered - so you will have someone's head directly in front of yours. Would definitely agree about needing to see the top of the stage if using its height." "M9: Seat was very good." “Row N: (Steve Chalmers). Good view.” "N17 and 18: Good view, acres of legroom, but watch the toes with passers by." “N19: Just the top corner of the view is cut off by the balcony. This is often irrelevant for a play, and - with no row in front - the extra leg room more than made up for this. So though this is a red seat on the monkey chart, I think I had my money's worth with a heavily reduced ticket." "O10 to 13: (Clive). The seats were comfortable, the view fine but the rake is quite poor. While we had no problems shorter patrons with the wrong people in front could have an impeded view." "P19 and 20: "Potted Potter" (August 2011), (Clive). These seats felt a little remote from the stage. However despite this and being to one side there was a good view of all the stage and the legroom was also good. It was however impossible to see when one of the performers drew something and when in a card trick a card was held up for everyone to see. These really didn’t interfere with the enjoyment of the show however." “Q5 and Q6: “A Little Night Music” (April 2009), (James – regular reader). The view was good but they felt a little far from the stage for top price. For this show the overhang doesn’t cause a problem, but I can see it doing so for other shows. Legroom is also not great here." "Q17: "A Little Night Music" (March 2009). Since the actions of this show were mainly at the stage level and the set was designed accordingly, I am happy to report that the view from my seat that is considered at the back section of stalls was not obstructed by the Dress Circle hanging at all." “R1 and 2: "Lance Horne: First Things Last" (February 2011, (Clive). A good view except for the very near side of the stage which was not visible. Elbow room was tight, leg room poor and there was no rake." "R14 and 15: "When We Are Married" (December 2010), (Graham). Fine - although the rake is non-existent. Would have liked to have been slightly closer, but was OK." "Row S: Unfortunately the view is not quite so good from back here as the dress circle roof cuts off the top of the stage ,so you miss a bit of the action. I'd say pay a little bit more and go for row L or forward." "S7 to 10: "HIT ME! The Life And Rhymes Of Ian Dury”, (Clive). Perfect view of the performers and all of the set, however the view of the screen used infrequently for film images was obscured at the top by the overhang of the Dress Circle. Seats were comfortable and legroom adequate. The spoken (but not sung) words were sometimes difficult to make out. The lack of amplification by itself would not have been so much of a problem, but for an exceptionally noisy audience, very creaky seats and noise from the sound booth behind." "S11 and 12: "Pygmalion" (May 2011). Supposedly this is a full price seat, but the circle overhang means that the top of the stage is obstructed - but that wasn't the problem. The seats aren't fully staggered to 50/50 to see through the row in front. I had a woman with very big hair in front of me, and in front of her a man with a very big head. Subsequently during the first half I could only see the right third of the stage, if often felt that some of the actors were a monologue, or that I was listening to a radio drama. During the interval the man swapped with his partner (I didn't ask, so wonder if there had been other comments). I was now able to see the left hand third of the stage. I was never able to see anything in the centre of the stage which meant I didn't get to see Eliza (Kara Tointon) until about 3 scenes in. Check if Marge Simpson is in town before booking here, feels the monkey...” "Row V: ”Zorro” (2008). I thoroughly enjoyed the show... from the knees down! Why? Because the clever designers have maximised the limited stage space by building vertically. If, like me, you are in Row V (or in fact any stalls seat from N back); you will spend happy minutes during the show trying to work out whose knees belong to which character... and when the rest of the auditorium gasps, you will just be sighing with relief when actors make it into view!" “V3, 4, 5 and 6: "Zorro" (July 2008). We could only see about a third of the stage. The overhang blocked all the action taking place at the top of the stage. The pillar to the side of our seats also blocked our view of the actors to the left of the stage (audience left). We were lucky enough to move to better seats in the Dress Circle during the interval but I was bitterly disappointed in the quality of the seats in Row V. They are definitely restricted view." Stalls Boxes Layout: Box A is adjacent to the stage. Seats 2 people. Legroom: Good, as movable chairs are used. Choosing Seats in General: Acceptable at a low price only.   General Hazard Notes: Side view of the stage, missing the near side. Changes for the current production: Not in use. Reader Comments: None. DRESS CIRCLE  Layout: The Upper Circle overhangs this circle completely but is high enough not to affect the view. A single block of seats curves in a horseshoe shape towards the sides of the theatre. Legroom: Acceptable for those under around 5ft 9 in row A, and outside of the central 14 seats in rows D and E. Central rows B and C have least legroom overall. If taller than five foot nine, try the stalls. Choosing Seats in General: Apart from the first and last three seats in each row the view from all seats in rows B to E is unobstructed and fair value. Choose A or D depending if closeness to the action or no bar in front is your higher priority. Row E isn't cheaper, though the overhang feels too low for some. The first and last three seats in row B and two seats in row C are at lower price, designated restricted view. In all cases a view with boxes and the curve of the circle intruding to make seeing the sides / front corners of the stage awkward is the cause. Think about boxes over these (and other end of row seats in the Dress Circle) for the same money or less. Wheelchair users (if they can get down a step from a fire exit) can park at the end of Dress Circle row E. Theatremonkey rates these seats poor.   General Hazard Notes: A metal bar runs across the front of this circle. This is slightly annoying in row A for the shortest, but otherwise does not affect the view from any seat. Lights on the front of the circle can affect views.   Changes for the current production: “Premium" priced seats are designated the centre of rows A and B. Monkey advice is normally to take seats around them for the same view at lower cost... and if you need legroom, row A or the stalls have more. The two outermost seats in all rows are heavily discounted. Fair value, feels the monkey. Those below 5ft 9 will like rows A to C in particular over the stalls simply because seats here are raised above the rows in front, not just relying on a slope as they do in similar priced stalls. At top price, remember that seats next to the "restricted view" ones will lose the edges of the stage - leave at least 5 seats in row D to minimise the risk.   Reader Comments: "B6 and 7: “Zorro" (December 2008), (Rich). Good seats but go central because the front of the circle cuts off a little of the stage when sitting near the edge." “B10 (Mark). Great clear view of the stage." “E17: "Zorro" (July 2008). This would ordinarily be a good seat with plenty of leg room but the Upper Circle overhangs just enough to block the heads of the actors when they are on the top level of the stage set."     Dress Circle Boxes Layout: Boxes B and C are at Dress Circle level next to D and E, halfway between the main seating block and the stage. Deep cubby hole type boxes, with angled walls towards the stage. Boxes seat 2 people.. Legroom: Good, as they are movable chairs.   Choosing Seats in General: A fair value view is offered when sold a lower price - expensive at top price, though. Boxes J and H (in the upper circle, above these) have a slightly better angle on the stage.   General Hazard Notes: Sides of the stage are missed. Boxes sometimes share space with lights and noisy speaker units.   Changes for the current production: Boxes B and C are not on sale. The others are expensive at top price, but provide more comfort at dress circle level than rows B to E there. Reader Comments: None.   UPPER CIRCLE This circle is known as the "Grand Circle" in this theatre. Layout: A disused balcony overhangs this circle but does not obstruct the view from any seat. Two blocks of seats, split by a centre aisle. The longest rows curve noticeably in a horseshoe shape towards the edges of the theatre and slightly forward towards the stage. Legroom: Uncomfortable in almost all seats, worst in row A, with central B and C not having much more either. Generally, as you move towards the centre of each row, legroom gets less. Centre aisle seats offer a bit more, if you are prepared to compromise on the view. Row C 1 and 26 have nothing in front, and the first and last 3 seats in row E have a little more. Choosing Seats in General: Row A is often reduced in price in the past to allow for the bar in front. Decide if legroom is important before buying a seat here, and if it isn't, it's not a terrible place to be if cramped conditions don't worry you. Look at the seats just off-centre if you are shorter and after a bargain. Behind row A, if you decide on the Upper Circle rather than similarly second priced rear stalls, take D then C or B (legroom is least in B and C) as the way to go for comfort. As you go further to the sides in all rows, prices drop to third and legroom increases slightly. The view isn't that noticeably different either in the seats right next to the most expensive ones, so think about that too. Put another way, the second and third priced seats here are all fair value (unless third price is over £30 or so), but the legroom is variable - so choose according to leg length as much as pocket, feels the monkey. In general, the circle is fairly high up, but the view is clear enough to make the unrestricted view seats average value for money. General Hazard Notes: A metal bar runs across the front of the centre aisle. This particularly affects the view from seats A 10, 11, B 11 and 12, C 13 and 14, D 12 and 13 and E 11 and 12, annoyingly. At the extreme ends, the first and last few seats in rows A to E are designated restricted view. In all cases a view with boxes and the curve of the circle intruding make seeing the sides of the stage awkward is the cause. Changes for the current production: There's some very cheap seats up here, and some interesting price decisions. At second price, the monkey would take stalls over any central seat here as there's decent and far more comfortable stalls available than any seat up here at the same price. Row A is not reduced to allow for the bar in front. Give it a miss at all times. The monkey would also skip the second to lowest price seats here unless shorter than 5ft 5 or so. Again, there are better and more comfortable stalls at the same price for the longer legged. The short will appreciate the tiered seats, though, if dress circle tickets at the same price have gone. At lowest price, the monkey would look at C 1 and 26, simply because they have nothing in front of them and would be comfortable. It would then look at E1 to 3 and 20 to 22 for a little comfort and again the same low price. Accept that you will miss action from all these seats, though, and that these are observations rather than recommendations. Also, there's single seats in rows T back in the stalls which are closer to the action and as comfortable for similar money.   Reader Comments: None. Upper Circle Boxes Layout: At the sides of the theatre, between the circle front and the stage. Deep cubby hole type boxes, with angled walls towards the stage. Boxes seat 2 people. Legroom: Good, as movable chairs are used. Choosing Seats in General: The view is adequate from all boxes, and pricing about acceptable to slightly high. J and H have the best angle to the stage, then take Dress Circle box D or E, as they are closer to the stage - though with a less favourable angle to it - then upper circle G or F. General Hazard Notes: Sides of the stage are missed. Boxes sometimes share space with lights and noisy speaker units.   Changes for the current production: Fairly priced for legroom lovers wanting an upper circle view, who can't get decent stalls, feels the monkey. Try for similarly priced stalls first, outside Friday evening and Saturday performances, it advises. At weekends, the value increases as there isn't much other choice for the same money and these are at least fairly comfortable and closer to the stage than anything else at the price.   Reader Comments: None.   Notes Total 650 seats. Not air-conditioned, so avoid the rear stalls and circles on hot days as heat gets trapped here. Infrared system requiring headsets for deaf patrons. Best from row D back in the stalls. Those deaf and partially sighted get an extra, fun, choice to make here. Occasional signed performances. Occasional audio described performances for the blind, guide dog sitter available. Wheelchair users (if they can get down a step from a fire exit) can park at the end of Dress Circle row E. Adapted toilet is now available in the form of being able to use the women's toilet if able to leave chair. Specific information from  www.seetickets.com or 0844 412 4648 or e-mail customer.relations@seetickets.com. 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. Three bars, Foyer, Stalls and Upper Circle. Six toilets in all; Foyer 1 gents 4 cubicles, 1 ladies 4 cubicles; Stalls 2 ladies 3 cubicles, 4 cubicles respectively; Upper Circle 1 gents 1 cubicle, 1 ladies 4 cubicles.

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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.   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. So look for the one showing the Garrick theatre. It is marked "Charing Cross Road South" and is to the left when you leave the ticket gates. Go up the staircase. 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 past it and follow the curve of the road along to the Garrick Theatre. If at the top of the underground stairs you see a narrow street with only a row of small shops and offices in front of you, this is Cranbourn Street. Turn to your right and change to the other side of the road. Walk to the end of the street. If you see the Hippodrome Nightclub on the opposite corner across a busy road, good. Do not cross the road to it! Turn to your left. The underground exit you should have used is on your left. Walk past it and you are in front of the theatre.

Buses: 24, 29 and 176 stop on Charing Cross Road by the Garrick Theatre.   Taxi: A rank for Black taxis is at Charing Cross Station - a fair distance from the theatre. Best chance is hailing one in the street outside.

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 and so that you enter Charing Cross Road. Cross Charing Cross Road where you can, the Garrick Theatre is visible to you on the other side of the road, to your right. Another 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. Wyndhams Theatre is just beyond that on your left. Walk past it and follow the road as it curves round - The Garrick Theatre is just beyond the curve, to the left. 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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