Theatremonkey.com Theatre Royal Haymarket Box Office Details

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:
The theatre's own website www.trh.co.uk provide the service for this theatre.
If you are unhappy with the tickets offered, keep re-selecting using the "Back" button on your browser, NOT the "reselect button" on the page.

Booking fees per ticket for online bookings:
£3.50 (£2 on £20 seats) booking fee is charged per ticket. Pays for the margaritas, thinks the monkey.

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

When the theatre does not have the tickets you desire available, it is well worth trying the Theatremonkey Ticketshop agency, which offers £60 seats with a £6 booking fee per ticket (4 on £40 seats) - Moderate by agency standards, though higher than box office fees, worth trying as they often have an alternative choice of seats available! 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 £60 seats with a £6 booking fee per ticket (£4 on £40 seats) and £1.60 per booking (not per ticket) postal charge on all bookings.

Another alternative is www.ticketmaster.co.uk with offers £60 seats with a £3.60 per ticket booking fee (£2.40 on £40 seats, £1.50 on £25 seats). A further £2.50 per booking (not per ticket) postal charge is also added to each transaction.

Encore Tickets offer £60 seats with a £15 booking fee per ticket (£6.50 on £25 seats)- plus optional UK postage of £1 per booking, not per ticket, available if time allows. Quality and Value hotel / theatre ticket packages are also available.

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: 0845 481 1870
( 020 7930 8800 if you cannot use the 0845 number)
Operated by the theatre during opening hours of Monday to Saturday 10am to 8pm. At busy times and outside these hours, Keith Prowse Agency answer on behalf of the venue.

Booking fees per ticket for telephone bookings:
£3.50 (£2 on £20 seats) booking fee is charged per ticket. Pays for the margaritas, thinks the monkey.

For personal callers or by post: Theatre Royal, Haymarket, London. SW1Y 4HT
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 020 7930 8800 or 0845 481 1870 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the theatre box office in London during opening hours 10am to 8pm Monday to Saturday. See Notes.

www.trh.co.uk is the official theatre website.

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

Balcony

Notes

STALLS
The Dress Circle overhangs the Stalls at row M. The view from row V back is noticeably affected by this.

All seats in the stalls offer good views and fair value for money, with only a very few notable exceptions. These miscreants are pilloried below.

Be aware that row A has a neck aching view of the stage. A reader notes that it has recently been kept empty for some plays. Another person moved back two rows for similar reasons. The monkey usually marks row A red to note this (though view and comfort, neck ache apart, are OK for many) and marks row B red only for legroom and some neck ache properties too - also because the conductor may be in view. These seats may be unsuitable for the shorter visitor. For "Marguerite" row B has been reduced by £20 - those willing to accept the view should find this fair value, feels the monkey.

For "Marguerite" row A is removed for the orchestra. "Day Seats," sold to personal callers at the theatre from 10am will instead be taken from seats further back in the stalls.

Reader Zena comments on this,
"My seat (stalls B1) was fine - there was the orchestral pit in between us and the moderately high stage and legroom, so I never felt too oppressed. But it deserves its discount as you do have the usual restricted view (nothing below the mid-calf visible...). You may also want to note that the conductor stands quite tall and therefore the middle seats in the row will have some obstructed view. Row C may also be too close for some too"

The monkey saw "Marguerite" from C1 and agrees that it may be close for some. Also, depending where the revolve stops, at certain times a piano or chair may block some of the view... and if an actor misses his mark in one sequence, all you see is his back. For this show, the "high numbers" end of front stalls rows is preferable for many, it feels.

Reader Bobbi wasn't impressed with row D either,
"We were in row D and it was too close to the stage. We had to look up the entire time and it hurt our necks greatly. I’d recommend rows F and back since it is a small theatre. "

Reader Kevin also felt of row D,
"I was really struggling with the uncomfortable narrow seating in this 285 year old theatre ( I thought people all them years ago had large bottoms as well?). Anyhow, I was in row D of the stalls and now know what it feels like to be in a straight jacket".

defending the row, readers Matt and Sam say,
"We had good seats stalls row D5 and 6, any closer to the stage would have been uncomfortable as this is a very high stage indeed."

and reader Mila adds,
"our seats in row D of the stalls were superb - We were caught up in every emotion and could see every nuance. I don’t know if it would be so good from further away."

On the other hand, reader Lisa feels:
"Despite being in stalls row B (1 and 2) we suffered no neck-ache and enjoyed a brilliant view of the stage, feeling part of the whole drama. However, the legroom on these 2 seats seems much less than on the row behind (or front but row A has plenty!) It may be the curve that causes this as looking down the seats in the centre appeared better".

Reader Richard Bradbury agrees:
"We sat in stalls seats B3 and B4. Excellent seats and like Lisa (above) we suffered no neck ache. Row B is the front row as A is kept empty and you are really close to the actors and in certain scenes they literally tower above you. Have to agree again with the previous reviewer - legroom in these seats is limited."

Reader Mila praised F5 and 6 for being close enough to see detail in individual performances. Theatremonkey seat connoisseur James opines,
"Sat in Stalls F6 to F8 for “Marguerite” (July 2008 - row B as front row, and a high stage in use). A fair rake ensures a good view and the sound is great here, but I would have preferred to have been a row or two further back to see the whole stage without turning from side to side."

The walls at the front of the auditorium narrow at row G. The first and last four seats in all rows H back should be avoided as the direct view forwards is of a wall. This does not mean the seats are designated restricted view, because the stage can be seen, just at a very strange angle. If you pay full price then why not expect the best without compromise.

Reader Celia Robinson comments:
"We sat in Stalls H 5 and 6 which were great seats"

Rows V, W and X in the rear stalls suffer the Dress Circle overhang cutting off the top of the stage, along with feeling far from the stage. If offered T at top price, though, you might want to take V behind it and save a few pounds for a pretty similar view. Central W and X are hovering at fair with a small discount for the 2007/8 season.

Reader James says of row V,
"Sat in Stalls V3 and V4 for "Marguerite" at the Haymarket. I was a bit concerned about being so far back, but it really wasn't a problem. I still felt very involved and could see and hear everything perfectly. The only reason I can think of to be further forward is so that you can see the full effect of the wonderful sets which you miss slightly from the overhang but other than that, great seats. However, I did get freebies and would perhaps be reluctant to pay top price for them."

A sound desk is installed at the rear of the stalls for "Marguerite" (May 2008). Purists may wish to avoid seats around it, but most won't worry too much.

A wheelchair can replace stalls seat X18. See notes. Sadly, a better seat isn't removable. Theatremonkey rates the view from here poor value at full price.

Legroom is good in all seats for all but the very tallest. Outstanding are seats F1 and G21, which are at the ends of the row. G21 has nothing in front and offer the luxury of a good stretch, F1 and G1 have 9/10ths nothing in front - G1 the tad more of the pair, F21 only about 3/10ths clear of the seat in front. Readers Lisa and Richard Bradbury both note less room at the ends of row B when A is in use. Lisa attributes this to the curve of the row as there is more in the centre than at the ends.

Stalls Boxes
1 and 2 are beside the stage. Both offer a fair view of the stage with only the far corners at the rear of the stage not visible. 3 seats in each. Do be aware that this can change depending on the layout of the set - the box office will advise if this is the case.

These seats offer JUST average value, but at top price should be only be considered if prime Stalls / Dress Circle are unavailable. The monkey would normally skip these boxes as they are expensive.

DRESS CIRCLE
The Upper Circle overhangs the Dress Circle at row C; this does not affect the view from any seat.

The seats are split into three blocks, centre and two sides by aisles.

Only eight seats in this circle have a truly poor view of the stage. Row A 1,2, 30 and 31 are at the ends of the row, behind the boxes projecting from the walls of the auditorium. The viewing angle makes sitting in these seats annoying - though they are cheaper. Reader David Farthing felt of them:
"(the) two pairs of £20 seats on either of the balcony in the Royal Circle looked like good positions even if you have to lean forward to see all of the stage on your side!"

At £30 for the 2008 season a little less attractive, feels the monkey.

Row G 1 and 25 and row H 1 and 24 are designated restricted view for similar reasons but offer enough of a view to be worth considering for the budget conscious if reduced (not for most productions) and if there are no other alternatives.

At top price, the centre block is the best value, choose row B then C first for the prime view. The side blocks offer reasonable value, but again if all seats are the same price why sit in the side blocks? Avoiding the first and last four seats in each row in the side blocks is also worthwhile to improve your view of the stage.

One reader reports,
"I was in the circle row E right side which was OK, and seats comfortable with sufficient leg room (I am over 6') but Stalls, and close to the stage, would probably have been better as there is less distraction and you can feel more involved with the action."

Reader David Farthing notes:
"F4 and 5 in the Royal Circle are fair value as suggested"

Reader "Lizzie loves the Theatre" adds,
"sat in the Royal Circle Row F17 to 21 and all had a really good view – the legroom was fine too"

The rear corners of the Dress Circle rows F to H are not cheaper for the 2007/8 season. Monkey feeling is choose carefully, avoiding the extreme ends of row - first and last two seats in G and H - as mentioned above, but otherwise, not terrible. When paying the same as someone in the best and most central seats, you could well be disappointed with sitting in these corners, though. The monkey would pick the aisle seats in these rows over Stalls row T at the same price, but would also think about cheaper stalls seats over the Dress Circle ones in the extreme corners.

Legroom is poor in row A but probably adequate for all under five foot nine tall in the other seats. A little extra comfort can be had from sitting in the aisle seats of the centre block (rows B to H), where the seats are not directly in front of eachother.

Dress Circle Boxes
All offer a fair view of the stage with only the far corners at the rear of the stage not visible. 3 seats in each. Do be aware that this can change depending on the layout of the set - the box office will advise if this is the case. Box 3 is used as a sound desk.

These seats normally offer average value at discount, but at top / second price should be only be considered if prime Stalls / Dress Circle are unavailable. Choose Dress Circle level boxes first as the height improves the view. For the current production, at second price, the monkey would skip these boxes as expensive.

UPPER CIRCLE
The Balcony is behind this circle and the view is not affected by it.

A metal bar runs across the front of this circle. The view in row A is affected slightly by it.

Reader A Morgan also reports that:
"We sat in row C. The view from the first two aisle seats in the centre block is partly obscured by a plastic safety screen above the bars of the front row - but it only probably interferes with the seats in rows A and B. It does not really spoil the enjoyment of the show."

another reader says,
"C9. You can live with it, but that glass barrier is in the view, and I ended up for long stretches looking through it. It is highly annoying. I was lucky that no one sat in front of me. Legroom is OK. I guess in relative terms this might deserve a white, but with lots of red splashed on it. And at £30, it is not value for money."

The good news is that these seats are reduced in price... worth considering C 9 and 20 feels the monkey.

The seats are split into three blocks, centre and two sides by aisles.

In the centre block, rows A to C feel close to the stage, pick row C then B; then A if legroom is not a factor - avoiding the ends of the row unless you wish to take advantage of the restricted view discount.

All seats in rows B to E except the first and last four in each row offer a fair view of the stage without architectural problems intruding - plastic safety screens excluded. Sadly, though, a reader notes that:

"I bought in row B but the view was seriously compromised by row A leaning forward and obscuring most of the stage. The bar that you mentioned in your review leads to Row A leaning over it and meant I spent my time moving from side to side to get a view, this seriously undercut my enjoyment of the play."

Very sad that the ill-manners of the theatre opposite's Upper Circle customers has spread to the Haymarket, feels the monkey. On this reader's report, it can only advise taking row C before row B in order to minimise the problem - sad as row B offered a good view of the stage when audiences behave themselves.

Of row D a readers says,
"I sat in the fairly uncomfortable D7/8 and for the price it's passable. I would like to have seen this from the stalls."

Rows F and G feel far from the stage. These are rated average rather than fair value by theatremonkey.

Reader Jon Bemrose says,
"G3, slight imposition of glass/plastic screen at bottom of stairs, circle edge, but this only impacted on a very small stage front area and didn't cover any action on stage.)"

All side block are designated restricted view as the sides of the stage are obscured. All these seats represent fair value only where sold at bottom price - rare. Choose row E, F then D over A to C as the distance improves the view. A to C are last resorts if the rest are sold.

Legroom is average in all seats (except row A) for all but the tallest. Row A is poor for everyone.

BALCONY
Called the GALLERY in this theatre.

This is behind and above the Upper Circle.

Thick metal bars run across the front of the circle. The view in row A is affected badly, rows behind may also find these bars noticeable, folk in row B can be annoyed by those in row A leaning forwards.

It is a long climb upstairs to these seats. Consider your health before buying (the stairwell is quite narrow for getting paramedics and/or coffins to the spot). While not particularly vertigo inducing, those really fearing heights should avoid these seats. Also note that they are benches.

The view is distant from these seats, but if tickets are under £15 then consider them when on a budget. At £15 or more though...beware. As balcony seats go, these really are not bad value IF sold cheap enough. Pick the closest row to the front that you can except row A (for view and legroom reasons). No bargain, though, just a place to see the show from if you have too and are on the tightest budget.

Reader M Boyd highlights another issue:
" I plumped for Gallery seats. When I arrived (Row C) I was very disappointed to find all the Gallery seats are hard and my husband couldn't stand the lack of legroom. Also it gets very hot in these seats. One man nearly collapsed due to the heat and had to leave in the intermission. The view is obscured by the barrier so I ended up fidgeting in my seat all night to see the stage properly...avoid the gallery seats at all costs."

Seconded by reader Ian,
"I too sat in row C of the gallery and also was appalled at the dreadful view from my seat. I was not advised that it was restricted view nor that it was a bench. The Gallery rows B to F have 19 seats - (despite what the managers said when I complained) I felt that they are NOT staggered so from the centre of the rows you ARE directly behind the person in front".

"Thirded" by another reader,
"AVOID the gallery seating! God it is uncomfortable. Now off to see my Chiropractor to sort out my back after sitting in those blasted seats!"

Reader Jon Bemrose adds the final comment,
"E1. Seat was end of row, so OK for me, being larger. I would advise anyone on the larger side (either waist or hips!) that squeezing between the seat dividers in any gallery seat is tight, and would afford very limited fidgeting on the 'bum numbing' bench seats. So, to be avoided, although the view was OK for this - but distant - and no binoculars to rent."

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

Notes
Total 888 seats.

Air-cooled auditorium.

Hearing loop available - both "T" type and headsets. Guide dogs may be dogsat. Level access via fire doors to a wheelchair space replacing stalls seat X18. Adapted toilet available, situated in the short corridor which runs from the disabled entrance to the rear stalls entrance. Fuller details www.theatre-access.co.uk, Artsline on 020 7388 2227 or e-mail artsline@dircon.co.uk.

No food except Ice cream and confectionery.

Three bars; Stalls, Dress Circle and Upper Circle.

Six toilets in all; Stalls 1 gents 4 cubicles, 1 ladies 4 cubicles, 1 disabled unit; Dress Circle 1 gents 2 cubicles 1 ladies 2 cubicles; Upper Circle 1 gents 4 cubicles, 1 ladies 4 cubicles.

Getting to this Theatre

Find this theatre on a Street Map

Nearest Underground Station

Buses

Car Park

Nearest Underground Station:
Piccadilly Circus - Piccadilly (Dark Blue) and Bakerloo (Brown) lines.

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

The escalator from the platforms ends in a large circular underground area.

After leaving the barriers, turn to your left, and follow the curve of the barriers around until you see an exit to your right with the sign "Subway 4" over it. Walk under this sign.

Keep walking through this tunnel and ignore the first staircase marked "Shaftesbury Avenue". Continue along the tunnel passing the "Trocadero" doors, and follow it as it curves past the another set of doors. Follow the arrow on the sign ahead of you that says "Eros" (the tunnel continues to the right).

In this new section of tunnel, take the stairs ahead and to your right up to the street.

You will emerge near the Criterion Theatre. Walk ahead of you. If you see two roads - Piccadilly and Regent Street - with a "Zavvi Record Store" shop between them..., wrong way.

You will come to a busy road, Haymarket. Railings prevent you crossing it. A large statue of horses is to your right. Turn to your right and walk down Haymarket.

Cross Jermyn Street, continue walking downhill. Pass the Pizza Hut, cross St James's Market and Norris Street and pass the UGC cinema Haymarket. At the corner of Charles II Street, cross Haymarket and turn to your right. The theatre is in front of you.

Buses:
6,12,13,15,22B,38,53, 88,159 to Haymarket. Haymarket is a one way street. If you are travelling by bus from Trafalgar Square to Piccadilly Circus, leave the bus at the first stop in Lower Regent Street. Cross Lower Regent Street. Turn to your right, looking downhill towards the Crimea War Memorial column with the road either side of it. The first side street after the roads rejoin in front of the monument is Charles II Street. Walk along it, passing the side of Her Majesty's Theatre on the right. At the end of the street, cross Haymarket, the busy road in front of you. The theatre is in front of you to your right. If you come to a garden square instead, wrong way. Turn around, walk back to Regent Street, cross it, and walk down the other part of Charles II Street.

If travelling from Oxford Street or Shaftesbury Avenue you will be able to leave the bus on Haymarket itself. Do so at the second stop in the street.

Car Park:
Whitcomb Street. Leave the car park, turn left and walk uphill. The first street on your left is Panton Street. Turn down it and pass the multiscreen film complex. Keep going straight on. Pass the Comedy Theatre. At the end of the street is Haymarket, a busy road. Turn to your left. Walk downhill, cross Orange Street. The theatre is the imposing colonnaded building in front to your left. If you pass the Pizza Hut Haymarket, wrong way.

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.

Notes from New York presents:

Julie Atherton and Paul Spicer in

THE LAST 5 YEARS

Julie Atherton and Paul Spicer share the stage at the prestigious Theatre Royal Haymarket for one night only on Sunday 12th October 2008 in an unprecedented gala staging of Jason Robert Brown’s The Last 5 Years. Celebrating the fifth anniversary of the West End’s Notes from New York series, this much anticipated theatrical event brings the concept full circle to the work of one of the composers with whom it all began.

Creative tensions combine with complexities of the heart in this emotionally wrought and unequivocally moving song cycle. Newly published novelist Jamie and aspiring actress Cathy tell the tale of their raw and impassioned relationship in opposite directions and from destructively differing standpoints. Unique in structure yet familiar in its universally resounding themes, this celebrated two-hander reminds us it's possible to feel claustrophobically close to and yet worlds apart from the one you hold closest to your heart.

Julie Atherton, an associate artist of the Notes from New York series, played the roles of Kate Monster and Lucy the Slut in the West End production of Avenue Q. Prior to The Last 5 Years, she will appear in Once Upon a Time at the Adelphi at the Liverpool Playhouse and A Spoonful of Stiles & Drewe at Her Majesty’s Theatre in the West End. Her previous credits include the roles of Sophie in Mamma Mia and Serena in Fame and her solo album, A Girl of Few Words, is one of the most popular musical theatre releases of recent years.

Paul Spicer, also an associate artist of the Notes from New York series as well as its co-founder, is currently starring as Tobias in a brand new staging of Stephen Sondheim’s Sweeney Todd at the Gothenburg Opera in Sweden. His previous West End credits include the roles of Michael in The Witches of Eastwick and Billy in Boy George’s Taboo. His UK tour credits include Fame, Saturday Night Fever and Seven Brides for Seven Brothers and he recently returned from completing a year-long contract in the international tour of Mamma Mia.

'The Last 5 Years 'received its world première at the Northlight Theatre in Chicago in 2001, starring Lauren Kennedy and Norbert Leo Butz. It was subsequently produced Off Broadway at the Minetta Lane Theatre in 2002, starring Sherie Rene Scott and Norbert Leo Butz. It received its UK première at the Menier Chocolate Factory in 2006 and returns to London for one night only in this gala staging. Jason Robert Brown’s 'Parade' recently received its UK première in a critically acclaimed production at the Donmar Warehouse. His other work includes 'Songs for a New World' and his most recent musical '13,' which will soon open in New York.

Notes from New York started life in 2003. Its purpose is to present the work of contemporary musical theatre composers in the West End. Initially focusing on the work of US composers, it has more recently explored avenues closer to home. Following five presentations of material from the other side of the pond, the company presented Not(es) from New York, featuring the music of British composers Charles Miller and Grant Olding and created a unique seasonal show entitled Christmas in New York, which received its world premiere in December 2006 and was revived in December 2007. It most recently presented Notes in Heels featuring the work of a selection of female composers from New York and now celebrates The Last 5 Years.

For further information on The Last 5 Years visit www.thelast5years.com

Booking Information:

Performance Time: 7.30pm

Ticket Prices:
Stalls and Dress Circle: £55, £40
Upper Circle: £30
Balcony: £20

Box Office:
0845 481 1870 (with £2.75 per ticket booking fee)
Online: www.trh.co.uk (with £2.75 per ticket booking fee)