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


(and "The Lounge")

(formerly The Venue Theatre - also note the "The Basement" is now "The Lounge")

Theatremonkey often highlights productions below. There are often even more, so for a full schedule of events, see, the official venue website.


"Main Auditorium" schedule:


See for details.


Rabbit Rabbit presents:
22nd and 23rd March 2018
Debut London Show
Maria Bamford lands on UK shores for the first time in March 2018 with her brand-new show jam packed full of laughs and the Leicester Square Theatre won’t know what hit it!
Join Maria for two nights only as she takes you on a thrilling ride through monologues, mini-skits, voices and much more. Your ribs will beg for mercy from the onslaught of hilariousness. Best known for her portrayal of her dysfunctional family and self-deprecating comedy involving jokes about depression and anxiety, audiences are bound to be taken on one hell of a ride with Maria.
Maria has been seen on many a screen across the world. Currently she stars in the semi-autobiographical Netflix comedy series Lady Dynamite (created by Mitch Hurwitz (Arrested Development) and Pam Brady (South Park)), which has been lauded as “revelatory” by Entertainment Weekly and one of 2016’s must-see shows by Variety and Rolling Stone. Maria is also the creator and star of Maria Bamford: The Special Special Special. She was the first female comic to have two half-hour Comedy Central Presents specials and starred alongside Patton Oswalt, Zach Galifianakis and Brian Posehn in the Comedy Central series, The Comedians of Comedy and Netflix’s Comedians of Comedy: The Movie. Previously she has also had a recurring role in Netflix’s Arrested Development reboot, USA’s Benched, FX’s Louie, and currently recurs on the ABC hit Fresh Off the Boat.
If you have not seen her before, then you have definitely heard her before! Maria voices characters on numerous animated series including BoJack Horseman, Adventure Time, Legend of Korra, Puss in Boots and PBS’s Emmy-winning series Word Girl. She can also be heard voicing lead roles on Fox’s Golan the Insatiable and Yahoo’s Talking Tom & Friends.


Mark Cortale presents:

13th and 14th April 2018
PRESS NIGHT: 13th April 2018
Friday at 7pm
Saturday at 3pm and 7pm
£25 - £65, plus £100 (including meet and greet)
International theatre and TV star John Barrowman MBE returns to perform in London in Seth Rudetsky’s Broadway @ Leicester Square Theatre concert series for 3 intimate performances produced by Mark Cortale.
John Barrowman is best know in the US for his role of Malcolm Merlyn (aka The Dark Archer) in the hit TV series Arrow, based on the Green Arrow comic books, and in the UK as Captain Jack Harkness, in Dr Who and
Seth Rudetsky recently starred in a charity gala of his Broadway musical Disaster! in 2016 at Charing Cross Theatre.
Broadway @ Leicester Square Theatre began in 2013 with Patti LuPone and returned with Audra McDonald last year. What differentiates this concert series from any other perhaps, is the seamless mix of intimate behind-the-scenes stories from Broadway’s biggest stars – prompted by Rudetsky’s probing, funny, revealing questions – and their stellar singing of the musical theatre repertoire. This is a spontaneous evening of hilarity and show-stopping songs that is not to be missed.
John Barrowman landed his first professional role, starring as Billy Crocker opposite Elaine Paige in the Cole Porter musical Anything Goes. Since then, John’s career as a leading man in musical theatre has seen him star in many West End shows, including Matador, Miss Saigon, The Phantom Of The Opera, and Sunset Boulevard. John made his Broadway debut in the role of Joe Gillis in Sunset Boulevard. He then returned to Broadway starring in Stephen Sondheim’s Putting it Together with Carole Burnett. Sam Mendes’ UK premiere of The Fix at the Donmar Warehouse garnered John an Olivier Award nomination as Best Actor in a Musical. He appeared in the West End most recently as Albin/Zaza in the Menier Chocolate Factory’s award-winning production of La Cage Aux Folles, performing to full houses for nine weeks in 2009. This role won John the 2010 What’s On Stage award for Best Take-over in a Role. In HM The Queen’s Birthday Honours 2014, John was appointed a Member of the Order of the British Empire (MBE) for services to entertainment and to charity.
Seth Rudetsky is a self-confessed walking talking Broadway search engine who lives and breathes The Great White Way! A musician, stand-up comic, actor, writer, and radio host, his career includes performing on Broadway, writing three books, penning a weekly column, and playing piano in more than a dozen hit musicals, including Ragtime, Les Miserables, and The Phantom of the Opera. Best known to US audiences as the daily Broadway host of Sirius/XM radio, he has also been nominated for a Grammy Award - for his recording of the musical Hair - and was three times nominated for an Emmy Award - for his writing on The Rosie O’Donnell Show as well as winning the title “Funniest Gay Male in New York” for his stand-up comedy.


 "The Lounge" schedule:

See for details.






Theatremonkey Opinion:
Not available.


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



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.

For Comedy performances, see under individual listings above.


Ticket Prices:

Offers May be available - Click Here

View this information in diagram form for productions where prices vary.

For Comedy performances, see under individual listings above.


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:
This venue sells its own tickets.
The site allows you to choose your own tickets in the main auditorium (not the Lounge, which is too small!) from those available.

Booking fees per ticket for online bookings:
A booking fee of 10% - minimum fee £1.50 per booking, not per ticket applies. All booking fees are capped at £4 per ticket.

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

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: 0844 873 3433
Operated by Ticketsolve on behalf of the venue.

Booking fees per ticket for telephone bookings:
12% - minimum fee £1.75 per booking, not per ticket applies. All booking fees are capped at £4 per ticket.

For personal callers or by post: 5, Leicester Place, Leicester Square, London WC2H 7BP. 
No booking fee for personal callers. The venue box office normally opens each performance day at 2.30pm for over-the-counter sales, but check by telephone before making a special journey.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats and enquire about concessionary prices that may be available to them on a dedicated phone line. See Notes. is the official venue website.


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.

Re-opened in August 2008 under new management, the Leicester Square Theatre is proof that not only Cameron Mackintosh cares about creating the best possible theatre environment. The new owner has invested £600,000 and taken on a 30 year lease to bring to us probably the friendliest feeling auditoriums in London. Theatremonkey wishes the team all the very best and much success to come.

A main auditorium is in the space which was "The Venue," while a new, intimate room "The Lounge" offers a second playing area beneath in the, er, basement...

Remember to arrive early, as the auditoriums contain nifty bars and socialising space as the sides of the seating. These usually open to the public from around 30 minutes before the performance begins. Oh, and also take time to study the wall pictures throughout (don't forget the one over the staircase as you descend from the street) - a total hoot, unusual and original.

NOTE: This is a new venue, and opinions are based on "first impressions." It takes time for any theatre to settle in, and the monkey very much welcomes guests' views to build up a broader picture: contact us.


Seating Plan Diagram

Main Auditorium

"The Lounge" Auditorium


Main Auditorium
Once an old underground Ballroom frequented by "The Sex Pistols" and "The Clash," then a church hall, then a clumsily created theatre; it is amazing what professional know-how, thought, time, money and sheer love of theatre can achieve.

This is one of the most comfortable auditoriums in London. Modern seating, well positioned (also heavily bolted down, sadly, and thus so far un-stealable - the monkey tried as it wanted a pair for its lounge) impress greatly.

The "night sky" colour scheme of the ceiling helps make a fairly low room seem open and airy and contrasting carpeting with acoustic underlay help the sound reach all parts of the theatre clearly.

A central block of seats in long rows facing a wide, shallow-ish stage.

Either side of the central block are two areas of "slip seats," most have a sideways view to the stage.

The auditorium is not raked (sloped floor to help see over rows in front), but seats are positioned "offset" to those in front, and the stage is high enough to prevent viewing problems. To date (and with many full houses) no problems have been recorded.

To enhance things further, there are small (50cm or so) gaps between some seats in some rows. The effect is to "stagger" seats even more, improving sightlines by arranging things so that most seats are not directly behind the ones in front.

Comfortable in all seats for all but the very tallest (over 6ft 5 or so).

Very best legroom are the front rows of the slips, and the first (1 to 4) and last (22 to 25) seats in row B, which have nothing in front of them, with 5 and 21 also having only a sliver of seat to the side in front.

The new seats are also wide, "accommodating most broader figures admirably," as the politer advertisements might say.

Choosing Seats in General:
Centre Block:
The front row shouldn't prove a "neck ache" experience for anyone.

Behind, in row B, the only issue the monkey noticed was that with scenery in position making the stage smaller, the last few seats in the row have a slightly lesser view of the performer. It doesn't anticipate this being an issue for most productions, though.

Moving back through the theatre, every seat has a clear view. The real purists might decide that the first and last four seats a little less central, but the actual view is fine - best once past row D. Monkey advice is a row F back if you are taking ends of rows, as these show off the stage to best perspective.

At the rear of the central block, a sound desk position is well away from any seating, and won't distract, and six seats in row R, with nothing in front and easy access by the entrance stairs may attract envious glances. R4 here, and Q8 are the nearest public seats to the exit.

Side Slip Blocks:
Either side of the main block, these have instantly become a monkey favourite. An unbeatable combination of price, view and legroom, monkey like.

On the "high-numbers" side, two rows of eight seats run parallel to the wall, facing the main seating block front-on across a wide aisle space. Viewing is side-on to the stage, and the seat nearest the stage may be conscious of a pillar beside it, but there is no impact on view. Best of all, the seats furthest from the stage have a great viewing angle... and are almost within arm's-reach of the bar.

On the "low-numbers" side, an interesting arrangement sees six seats in a line parallel to the wall (as on the other side of the theatre), with a row of three and a row of two behind that. There is then a gap, and two rows of front-facing seats (one of five, behind of four) are angled to face the stage. The monkey liked the two nearest the aisle in particular. Perhaps because the bar is but a sparrow-hop away from them...

General Hazard Notes:
Mind your step down into the auditorium, they are fairly small.

Sound desk behind the centre block.

Some events use only the centre of the stage. Extreme row ends may not see into the rear corners of it.

Changes for the current production:

Reader Comments:
"Venue: Might be worthwhile pointing out to people that, given the size of the venue, it would be difficult not to feel part of the action. Except of course in those side seats 'cos you'd be looking at the opposite wall. LOL"

“Central Row B: Lovely comfortable seats with lots of leg room."

"D7: “Alex Gaumond's gig” (May 2011). I'd heartily endorse your general comments on the main auditorium; a very comfortable space, with outstanding acoustics and a surprising amount of legroom for a flat auditorium. Sightlines are excellent and I think you'd be hard-pressed to find a bad seat in the house. I was in D7, and was extremely pleased -- and, for £20, you really can't snip at the value for money! It's an intimate venue to say the least -- where I was felt very much "in the action". I probably wouldn't have wanted to be much further forward though... row A and B were *extremely* close to the front of the stage and I think might be slight candidates for neckache, but also extremely atmospheric.

Speakers hang in front of B4 and B22 on the stage wall / extended proscenium arch (for this event only, notes the monkey). If you're in these seats for a gig and have sensitive hearing, you might want to think carefully about your choice. The sound was "comfortably intense" in D7, but I wouldn't have wanted to be much nearer the speakers to be honest! Even though it wasn't the warmest or the coolest of nights last night though, the air-conditioning was rather breezy at times in a mostly-full house."

"D16 and D17: (James – regular reader). Good place to see a show from."

“H17 and 18: (Anne Gross). The Theatre is cosy and comfortable, plenty of leg room and a good view from our seats.”


"The Lounge" Auditorium

Once forgotten storage space, now a small room any performer with common sense will be fighting to work in.

From one-person stand-up comedy and plays to solo song-fests, presentations and press launches, the monkey knows it can be hard to get a booking for "The Lounge," for either producers or audiences as it is a wonderful space with a great programme of work.

nlimited everywhere as these are normal, movable chairs.

Choosing Seats in General:
All seats can be moved about and pulled in close to create an intimate atmosphere. All are un-numbered and seating is first-come, first served each evening.

Right in front of the stage are two rows of chairs, sometimes gathered around tables at the sides and centre to create that cabaret feel.

Behind these, in the centre of the room, are two pillars. Between the pillars, a backless padded bench may be placed - this has space for five people (or about two potential gastric-band candidates). The monkey felt the chairs looked more comfortable, and the bench is also a bit lower compared to them... somebody large on a chair in front might crowd out the view a bit. Outside the pillars are a few more chairs.

Beyond this row, two more rows of individual chairs are arranged either side and between the pillars to provide a decent view of the stage. The back row is against the wall of the venue. Likely to be popular are two seats on the right (looking from the stage) of it. These are closest to the bar - which itself helps create a warm 'club' atmosphere.

Every chair has a clear view of the performer, and the performer has a clear view of every seat.

General Hazard Notes:
In the far corner of the auditorium is a stool and niche for sound equipment. These won't bother anybody.

Changes for the current production:

Reader Comments:



400 Seats in the main auditorium.
65 seats, plus standing space, in "The Lounge"

Air Conditioned. One reader describes it at "rather breezy at times" in the main house.

No disabled access, though staff are working on this and other facilities as quickly as they can. 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 bar snacks and Ice Cream. 

2 Bars in main auditorium, 1 bar in "The Lounge" auditorium.

2 Toilets; 1 gents 2 cubicles, 1 ladies 7 cubicles.

The monkey gratefully thanks the new owners for their help in compiling this information.

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 The theatre entrance is slightly above the red arrow.
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. Find the one marked "Charing Cross Road West" exit number 2, it is to the right of the tube exit gates. Go up the staircase. 

At the top, in front of you will be Charing Cross Road. Next to you, notice the Hippodrome Nightclub and a wide pedestrianised street. Turn to your right, pass the Hippodrome, and turn right into Cranbourn Street (a pedestrianised zone). 

Walk along the street, passing the Warner Cinema. Enter Leicester Square. Look to your right. There is a wide pedestrian street marked "Leicester Place". Turn into it. Walk towards the easily visible lit canopy entrance, just before the cinema.


24, 29, 176 to Charing Cross Road.

Look for the Hippodrome Casino. Next to it is  Cranbourn Street (a pedestrianised zone). 

Walk along the street, passing the Warner Cinema. Enter Leicester Square. Look to your right. There is a wide pedestrian street marked "Leicester Place". Turn into it. Walk towards the easily visible lit canopy entrance, just before the cinema.


A rank for Black taxis is at Charing Cross Station - a fair distance from the theatre. Best chance of hailing one in the street is to walk down Leicester Place and along Cranbourn Street to Charing Cross Road.


Car Park:
Whitcomb Street.

Leave the car park and turn left. Cross the road and walk uphill.

At the end of the Street is a huge McDonalds. Stop and have a burger. Or not. As you like.

Turn right into Coventry Street and walk past McDonalds and into Leicester Square. Walk over to the same side as the Empire Cinema and Equinox nightclub. Walk straight on past them.

Just beyond the block where these places stand, there is a wide pedestrian street marked "Leicester Place". Turn  left into it. Walk towards the easily visible lit canopy entrance, just before the cinema.

This venue does not participate in any discount parking scheme.

Nearest alternative is Spring Gardens on Trafalgar Square. Cross the square, to the far corner at the right side of the National Gallery as you look at it. The street there is Charing Cross Road. Walk along it, passing the National Portrait Gallery, up to the Hippodrome Casino on the left of the street, opposite the Wyndhams Theatre.

Next to the Casino, on your side of the road is Cranbourn Street (a pedestrianised zone). 

Walk along the street, passing the Warner Cinema. Enter Leicester Square. Look to your right. There is a wide pedestrian street marked "Leicester Place". Turn into it. Walk towards the easily visible lit canopy entrance, just before the cinema.


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











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