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LYTTELTON THEATRE |
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In Repertoire:
NEVER SO GOOD (play)
Ends 14th August 2008.
Runs 2 hours 45 minutes approximately.
Captioned performance 13th August 2008 at 7.30pm
Audio described performance 23rd May 2008 at 7.30pm, 24th May 2008 at 2.15pm and
12th August 2008 at 7.45pm
THE YEAR OF MAGICAL THINKING (play)
Runs 1 hour 35 minutes approximately.
Captioned performance 1st July 2008 at 8pm
Audio described performances 12th July 2008 at 3pm and 14th July 2008 at 8pm
AFTERLIFE (play)
Previews from 3rd June, opens 10th June 2008.
Audio Described performances 1st August 2008 at 7.30pm and 2nd August 2008 at
2.15pm
Captioned performance 16th August 2008 at 2.15pm
A SLIGHT ACHE (play)
21st July until 13th August 2008
Audio Described performance 12th August 2008 at 6pm
Captioned performance 13th August 2008 at 6pm
Click here now to view a video clip about the National
Theatre
"The Hour We Knew Nothing of Each Other": A town square fills
with people. A play without words. This is an experimental production by Peter
Handke.
"Never So Good": Harold Macmillan famously told Brits that we'd never had
it so good... The late 50's and early 60's are explored by Jeremy Irons in
Howard Brenton's new play.
"The Year of Magical Thinking": When Joan Didion suddenly lost her
husband, the extremes of her emotional reaction took her by surprise. David Hare
directs a stage version of her book, with Vanessa Redgrave taking Joan's role.
"Afterlife": Max Reinhardt founded the Salzburg Festival. Michael Frayn's
new play explores his life, Michael Blakemore directs Roger Allam as Reinhardt.
"A Slight Ache": Short Pinter piece about Edward and Flora - a married
couple whose shaky marriage is further rocked by a stranger...
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Theatremonkey Opinion: |
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"The Hour We Knew Nothing of Each Other": Often the monkey
wonders what would happen if everyone forgot their words... this rather answers
the question. Frankly, it is totally your call whether to treat the production
as a brave theatrical experiment or a reason the National Theatre should lose
every penny of arts funding on the grounds it is taking the rise out of the
establishment.
If you can see beauty in modern ballet and sculpture then this is for you. This
is the theatrical equivalent of the Tate Modern for sure. Simple observation of
people - physically and of the shape of their lives is the order here. Yes, it
is free if you stood outside the theatre... but probably safer and warmer
indoors; and the actors make a wonderful effort to create so many briefly
appearing characters.
Perchance you'll wonder at this show, and wonder on because time won't make
anything plain. May be worth a visit just for an unusual experience.
"Never So Good": For those like the monkey, for whom Macmillian
is just an historical quotation, this is an effective potted biography and
review of mid-20th century British political events. Those with silverback
tendencies will no doubt find a much deeper meaning in this work as events they
also lived through are discussed.
Overlooking the odd dragging moments, Macmillan's remarkable military service is
striking to the younger generation, the later politics a proof that little
changes at Westminster but the prices on the 'John Lewis' list. Howard Brenton
seems to be sympathetic to his subject and the National offer another very fine
staging.
Jeremy Irons can chalk up another personal success, along with his director
Howard Davies and the rest of the cast, who should be proud to have this among
their credits.
"The Year of Magical Thinking": The monkey hasn't read the book
on which this is based, but it admires the skill it takes to bring any example
of the genre to the stage. Ninety minutes is a long time for an actor to play
too, but both her and the director manage to sustain interest throughout.
Hampering the emotion is the fact this is a large theatre - the Cottesloe might
have been more intimate, as might a commercial space like the Duchess,
Ambassadors or Trafalgar Studio Two. The only advantages of the Lyttelton are
the number of tickets available and the stage design which could perhaps be
beyond the means of a West End run.
What still comes across is a very human tale of fate and coping with its
machinations. Your own experiences will probably determine your exact response -
but you'll certainly have one. Not an animated theatrical event, but an
important one.
"Afterlife": Not available.
"A Slight Ache": Not available.
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Important: Some reviews below can contain "spoilers" - please don't read if this
bothers you!
"The Hour We Knew Nothing of Each Other" (3 reviews):
Completely charming, and only
slightly too long. The play risks taking itself rather seriously at
times, but clowns about for the most part with an endearing eye cast
over humanity, and hints at a hundred different stories. That is at
the cost of a narrative of its own, but treated as an exercise in
good humoured people watching, it rewards the risk of trying
something a little avant garde.
FD
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Something totally different which works in parts.
On the plus side I was pleasantly surprised how easy it was to watch
people silently make their journeys across the square. Perhaps a
little too long, but certainly not painfully so. The whole thing
works best when it makes observations on real life (the "racing"
Grans with their shopping trolleys are a definite highlight) and
when the characters would have no cause to talk.
On the down side there are numerous points when people not speaking
to each other is just ludicrous. At first, this is quite well
managed, such as two girls who are laughing so hard as to be unable
to speak, but later descends into painful comic mime - a passer-by
teases an airplane crew about crashing the plane by waving his hands
about and making plane noises, and later, a man stands in the centre
of a crowd and gives a "speech" in gibberish. If Handke was so
intent on a wordless play, why put his characters in situations
where not talking is unnatural? I also found the imaginary
characters detracted from the experience. However this is a major
feat of choreography, costuming, props and sound design, and is
worth seeing if you are willing to try something new.
A.C.
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Out of curiosity rather than any more positive emotion, I went to
the matinee of this on 2nd April 2008, having paid £10 for a front
stall seat. The theatre was half-empty, which did nothing for the
atmosphere but at least meant I could move to a more comfortable
seat with a better view! I chose to sit on the end of Row N, close
to the exit, in case I got bored and wanted to leave part of the way
through a performance which runs for about an hour and 40 minutes
with no interval.
Rather to my surprise, I didn’t want to leave. Whatever one thinks
about a play with no words and bland, unchanging scenery, nothing
can detract from the fact that there are 27 actors of the highest
calibre on (and off!) stage, all of whom were well worth watching.
It’s quirky, trivial, intriguing, a bit too long, ultimately
pointless and at times very funny. Worth going? At £10 yes, but
that’s probably the right price – and at the time of writing there
are plenty of £10 seats shown as available on the website.
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The monkey advises checking performance times on your tickets and
that performances are happening as scheduled, before travelling.
"Never So Good":
7.30pm: 21, 22, 23, 24, 26 May 2008; 20, 21, 23, 24 June 2008; 3, 4, 5, 7, 16, 17,
18, 19, 24, 26, 30 July 2008; 6, 9, 14 August 2008.
7.45pm: 21, 25, 28, 29 July 2008; 7, 8, 11, 12, 13 August 2008.
2.15pm: 24 May 2008; 21 June 2008; 19, 30
July 2008; 9, 14 August 2008.
"The Year of Magical Thinking":
8pm: 19, 20 May 2008;
12, 13, 14, 16, 30 June 2008; 1, 2, 11, 12, 14, 15 July 2008.
3pm: 20 May 2008; 14 June 2008; 2, 12, 15 July 2008.
"Afterlife":
7.30pm: 3, 4, 5, 6, 7, 9, 11, 17, 18, 19, 25, 26, 27, 28 June 2008: 8, 9,
10, 22, 23, 31 July 2008; 1, 2, 4, 5, 15, 16 August 2008.
7pm: 10 June 2008.
2.15pm: 19, 26, 28 June 2008: 10, 23 July 2008; 2, 5, 16 August 2008.
"A Slight Ache":
6pm: 21, 25, 28, 29 July 2008; 7, 8, 11, 12, 13 August 2008.
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View this information in
diagram form
"A Slight Ache" (July 2008): All seats £10.
Monday to Saturday Evenings and all afternoon performances:
Stalls rows E to O £41, rows P to V £39.50, rows A to D £10
Dress Circle rows A to C £39.50, rows D to F £29.50, rows G to J £22
Dress Circle Slips on day of performance only £10 Previews EXCEPT FIRST
TWO PREVIEWS OF EACH PRODUCTION:
Stalls rows E to V £27, rows A to D £10
Dress Circle rows A to C £27, rows D to J £17
Dress Circle Slips on day of performance only £10 FIRST
TWO PREVIEWS OF EACH PRODUCTION:
Stalls rows E to V £22, rows A to D £10
Dress Circle rows A to C £22, rows D to J £17
Dress Circle Slips on day of performance only £10 |
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Buying Tickets Through the Venue: |
More Ticket Buying Options |
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Tickets offered differ between outlets. Outlets also may offer
different seats via their phone and online systems. |
Theatre Box Office:
Telephone: 020
7452 3000. fax: 020 7452 3030
Operated by venue itself.Online: www.nationaltheatre.org.uk
operated by the venue itself.
The system also allows you to select an exact seat in the theatre,
and also view the auditorium via photographs taken from various
positions within it. Note that the tickets offered may differ
between phone and online sources. Also for most performances you can buy a voucher online for a programme too -
exchangeable at the theatre on the day. Booking fees per ticket for telephone and
online bookings:
A 70p charge is levied per booking to cover postage. Avoid it by booking in
person or enclosing your own stamped, self addressed envelope with a postal
booking. Reader CC notes that the Box Office don't mind this, though points out
that you don't get the smart envelope, nice bit of cardboard and pretty leaflets with
tickets, well worth the extra few pence, if you send your own.
Reader CC also notes that,
"It's worth mentioning that often discounted restricted view seats (if they
occur due to a production's staging) are never
offered online, only by telephone or in person. I asked why this was and was
told that in the past when they were sold online with no involvement from
members of the BO, despite stating there had a restricted view, there were too
many people booking them and then complaining that they weren't told about the
view etc, so they are now only available by telephone where a person can
describe in detail what it's like for each play." For personal callers or by post:
Lyttelton Theatre, Royal National Theatre, South Bank, SE1 9PX
No booking fee for personal callers.
Special Access Needs Customers:
Wheelchair users and other registered disabled
theatregoers can book their seats on 020 7452 3000. fax: 020 7452 3030. Deaf
customers can use Minicom 020 7452 3009 Monday to Saturday 10 am to 5 pm too. Enquire about
concessionary prices that may be available, details of access and facilities.
The wheelchair users line connects
directly to the theatre box office in London.
See Notes.
www.nationaltheatre.org.uk
is the
official theatre website. |
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Theatre Seat Opinions: |
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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. |
STALLS
The Dress Circle overhangs the stalls at row L making the top of the proscenium
invisible from row T back.
For productions EXCEPT those in the "Travelex £10 season"
each Spring:
Rows A to D are narrower, have no armrests and are not raked. At bottom price
row A is good value, rows B to D fair. Avoid the first and last four seats in
each row as they are either outside the proscenium or offer inferior views from
a strangely side on viewing angle. No further reduction is made when this
happens, so choose a more central location where possible. As a last resort
consider the Dress Circle level slips.
A reader notes that in the past, the front stalls suffered noise.
The prime stalls seats are in row H. Then pick stalls rows J, K, L, G, F, M,
and E in that order. Theatremonkey also recommends considering Dress Circle rows
A to C simultaneously with these selections - they are cheaper too. for a
similar view. Stalls row O is comparatively
poorer value
being further from the stage for the same money.
Choose Dress Circle row D and E
before rows T to V as they are much cheaper, and the rear stalls feel far from the stage
at the price charged, in the monkey view. Strongly consider the cheaper Dress Circle again
along with stalls rows P, R and S too,
and think seriously about choosing Dress Circle row G too at a lower price before taking the rear
stalls seats.
For previews when all seats from row E back are the same price, simply try
for prime tickets first to row L, or take rows A to E in the Circle before
Stalls M to P. Then consider Circle F and G alongside rows R and S; and
take circle over rear stalls from row T back.
During reduced price previews when most rows are the same price, Stalls rows
O to V and Dress Circle rows F to J become "white" for value in the monkey
opinion, but it prefers the circle as it feels the distance from the stage is
about the same but there is no overhang to contend with. Vertigo sufferers and
stalls lovers generally might prefer the rear stalls still, and the monkey has
no quibble with that, it just states here its preferences for the record.
Reader Hannah M comments,
"I sat in seat R16 which has a very good view and leg room."
For productions in the "Travelex £10 season"
each Spring:
Rows A to D are narrower, have no armrests and are not raked. At bottom price
rows A to D are fair value. Avoid the first and last four seats in
each row as they are either outside the proscenium or offer inferior views from
a strangely side on viewing angle. No further reduction is made when this
happens, so choose a more central location where possible. On the other hand,
Dress Circle row H is the same price... the monkey would take those first unless
a "close up" view is preferred. As a last resort
consider the Dress Circle level slips.
A reader notes that in the past, the front stalls suffered noise.
The prime stalls seats are in row H. Then pick stalls rows J, K, L, G, F, M,
and E in that order. Theatremonkey also recommends considering Dress Circle rows
A and B, then C simultaneously with these selections. Rows O, P, R and S are comparatively
poorer value
being further from the stage for the same money.
Speaking of row S, the monkey would save a few pounds by skipping it
in favour of row T with current pricing, but it would choose Dress Circle row E to G
for the same price, even H and J (for less) before rows T to V as these
feel far from the stage.
Wheelchair users get four spaces at the ends of row V. See notes.
The view is fairly poor. Transferees can move to any aisle seat. Rows G to L are commended to them.
Legroom is good in rows E to V and A. It is just adequate in rows B to D
DRESS CIRCLE
Called the CIRCLE in this theatre.
Nothing overhangs this theatre circle.
The rake is steep giving all seats a clear view of the stage.
For productions EXCEPT those in the "Travelex £10 season"
each Spring:
Prime seats in the whole theatre are rows A and B seats 6 to 31. At second
price the value for money is great, in the monkey view.
In all rows seats numbered between 6 and 31 are the ones to aim for for the
usual reason - pay the same price so you may as well be centrally seated.
All seats in rows D to G are preferable to the rear stalls row T back. G in
particular becomes better value under the price structure used.
A reader notes,
"Sat in the centre row B of the Dress Circle. The view was fine, but leg room is
limited. The rake is good, but the seating is not offset so you have the
possibility of a big head in the way if there is someone tall in front".
Reader Sam comments,
"B31: I just want to confirm theatremonkey's assessment. Very good seat.
Excellent legroom".
Two conflicting views of the same row, notes the monkey, who feels the truth on
legroom rather depends on the individual (see further comments a few paragraphs
below).
With the current pricing structure Rows H and J (beloved haunts of the monkey
for years), now become poorer value. Some distance from the stage, it is greedy to
charge third price for these tickets. Never before have these seats been offered
at anything but bottom price. The policy was introduced in the reign of Mr
Nunn... who should probably be slightly ashamed of himself. Stalls row A, seats
10 to 26 should be considered before these seats. The price is lower, the view a
little worse, but better value overall than the overpriced rear circle.
For previews when all seats from D to J are the same price, simply try for prime
tickets in rows D or E, or else stalls back to row P. After that, simply try for
best available stalls or circle, Stalls R and S alongside Dress Circle F and G.
Then take Dress Circle H and J - or opt for the cheapest seats in the front
stalls over those in the rear circle for £7 more, unless a distant view and
comfort is preferred to neck ache and no arm-rests...your call, feels the
monkey. This last course is possibly most preferable if stalls rows T back are
the only other tickets left to the monkey mind.
Dress Circle Slips
Two narrow ledges above and at the side of the circle outside the proscenium.
Nine seats on each side, first three on one level, then six behind that on
another. They are arranged on behind the other with no noticeable rake. The view
is sideways to the stage and in seats 1 to 5 and 28 to 32, distant.
Take these seats only when all the rest (including the worst in the front
stalls) have been sold. Choose 7 and 34, then 6 and 33, then 9 and 36, then 8
and 35 in that order. Finally accept 5 to 1 and 32 to 28 when you really MUST
get in!
Under the latest price policy, these are sold on the day only; like the monkey
said, a real last resort!
Reader Rob says,
"Sat in the slips, seat 7 on the right side of the auditorium (facing the stage)
– Loads of legroom – good view for only £10"
Legroom is adequate in all seats for all but the tall, though one reader felt it
cramped.
For productions in the "Travelex £10 Season" each Spring:
Prime seats in the whole theatre are rows A and B seats 6 to 31. At top price
the value for money is fine.
In all rows seats numbered between 6 and 31 are the ones to aim for for the
usual reason - pay the same price so you may as well be centrally seated.
All seats in rows D to G are preferable to the rear stalls row T back, the
monkey would even go for H and J over T back too, as the lower price.
A reader notes,
"Sat in the centre row B of the Dress Circle. The view was fine, but leg room is limited. The rake is good, but the seating is not offset so you have the possibility of a big head in the way if there is someone tall in
front".
Reader Sam comments,
"B31: I just want to confirm theatremonkey's assessment. Very good seat. Excellent
legroom".
Two conflicting views of the same row, notes the monkey, who feels the truth
on legroom rather depends on the individual (see further comments a few
paragraphs below).
With the "£10 season" pricing structure, rows H and J (beloved haunts of the monkey
for years), now become outstanding value again. Some distance from the stage, the price is low,
the view a little further away, but better value overall than the rear stalls,
the monkey feels - though it is a personal opinion.
Dress Circle Slips
Two narrow ledges above and at the side of the circle outside the
proscenium. Nine seats on each side, first three on one level, then six behind
that on another. They are arranged on behind the other with no noticeable rake.
The view is sideways to the stage and in seats 1 to 5 and 28 to 32, distant.
Take these seats only when all the rest (including the worst in the front
stalls) have been sold. Choose 7 and 34, then 6 and 33, then 9 and 36, then 8
and 35 in that order. Finally accept 5 to 1 and 32 to 28 when you really MUST
get in!
Under the latest price policy, these are sold on the day only; like the
monkey said, a real last resort!
Reader Rob says,
"Sat in the slips, seat 7 on the right side of the auditorium (facing the stage)
– Loads of legroom – good view for only £10"
Legroom is adequate in all seats for all but the tall, though one reader felt
it cramped.
Notes
890 Seats
Air-conditioned auditorium.
Audio described and signed performances regularly. Headset system available.
Guide dog sitter available. All printed information available in large print, on
tape and in Braille. Minicom at the box office. Access to Lyttelton is level
from the lift. Free car parking in centre car park for orange badge holders (get
endorsement stamp at information desk). Lifts from car parks to all levels.
Adapted toilets (unisex, sadly) throughout
theatre. Fuller details from www.nationaltheatre.org.uk,
the theatre on 020 7452 3000 (Minicom 020 7452 3009) or Artsline 020 7388 2227.
Coffee shop at Stalls level and formal restaurant and buffet in complex. Ice
cream and confectionery from vendors just outside auditorium.
Bars at Stalls and Circle level.
Toilets in Stalls and Circle, one gents and one ladies. Unisex disabled
toilet at stalls level.
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Nearest Underground Station:
Waterloo - Bakerloo Line (brown), Jubilee Line (silver gray), Northern Line
(black). Also a main line station.Plan your tube journey to this station using the button below:
A PHOTOGRAPH ILLUSTRATED VERSION of this walking route is available by clicking
here.
For mobility impaired audience members, the Society of London
Theatre provide a "photo map" - illustrated walking route to this venue from a
near landmark and also Waterloo Station (the nearest fully accessible station)
on their website
www.officiallondontheatre.co.uk, via the theatre's listing page on that
site.
This station has multiple exits, not clearly marked, so be careful! The best
route is as follows:
Follow the exit signs marked "South Bank" and / or "Shell
Exit" and / or "York Road Exit" from the platform to the surface.
All lead to the same place! Leave the station and you will be on York Road.
Turn to your left, and walk past the Lloyds / TSB Bank. Ahead to your left is
a huge silver steel rectangle. No, the monkey does not know what it is either.
To the left of it, and behind, is a pedestrian passageway called "Sutton
Walk"; which goes under a bridge. Take it.
At the end is a fountain ahead of you. You are now on "Concert Road
Approach". Turn to your left. The Royal Festival Hall is ahead of you. Walk
towards it.
Facing it (note the cafe in front of you) - stand on this paved area
(Belvedere Road) and turn to your right. A roadway and bridge are ahead of you.
Cross the roadway, walk under the bridge.
On the other side of the bridge, the Royal National Theatre is ahead of you
to the left. Also to your left is a roadway. Walk along it to the end. Turn
right at the corner (another cafe is to your right).
Go straight on, as the entrance is in the centre of the building, beyond the
round sculpture ahead of you. The Olivier Theatre is at the third level inside
the building to the left.
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If you have the misfortune to leave the station by the "Waterloo
Road" exit, fear not. You can either walk through Waterloo mainline station
and leave by the York Road exit, or take this route - CONSIDER YOUR PERSONAL
SAFETY.
On leaving the glass doors, turn left. Walk to the corner, and turn left into
"Mepham Street". Walk all the way to the end of it, avoiding the
temptation to go under any bridges.
At the end of the street is York Road. Cross it. Ahead of you, to the left,
is "Sutton Walk", the pedestrian road under the bridge. Take it.
At the end is a fountain ahead of you. You are now on "Concert Road
Approach". Turn to your left. The Royal Festival Hall is ahead of you. Walk
towards it.
Facing it (note the cafe in front of you) - stand on this paved area
(Belvedere Road) and turn to your right. A roadway and bridge are ahead of you.
Cross the roadway, walk under the bridge.
On the other side of the bridge, the Royal National Theatre is ahead of you
to the left. Also to your left is a roadway. Walk along it to the end. Turn
right at the corner (another cafe is to your right - if open, you can slip in
via this entrance).
Otherwise, go straight on, as the entrance is in the centre of the building,
beyond the round sculpture ahead of you. The Lyttelton Theatre is at the ground
level inside the building to the right.
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Another visitor suggest this route: Take the tube to the Embankment station
and walk across the Hungerford footbridge to the south bank, then walk
past Festival Hall complex and under Waterloo Bridge.
The Royal National Theatre is ahead of you to the right.
Noted are the " Gorgeous views both up and down river on a good day or
evening.". The monkey endorses this comment, especially at twilight!
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Buses:
1, 4, 68, X68, 168, 171, 176, 188, 501, 502, 513 to Waterloo Bridge.Get off on the Bridge and look for the large advertising board on the roof of
the National Theatre, facing the Thames. Take the stairs on this side of the
bridge down to the ground. A safe crossing of the bridge can be made by taking
the stairs down to first level and walking under it on a walkway linking the
staircases either side of the bridge.
On the correct side staircase, leave it, turn to your right. The entrance is
in the centre of the building, beyond the round sculpture ahead of you. The
Lyttelton Theatre is at ground level inside the building to the left.
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Car Park
Under the theatre. Take the elevators in the centre of the car park to the
correct level. Theatremonkey advises parking near the exit ramps for a fast
getaway after the show, and strongly recommends you note the compass point,
colour band and number of the nearest pillar you park by. Banquo's ghost has
nothing on the haunted souls who wander the underground space, wailing for their
transport each night. Some have been there since the place opened in the 1970's.
April 2007: Save on evening car parking with a 'Saver Carnet.' Buy six car
park tickets in advance for the reduced price of £35 (normally £42). Valid for
one year, each ticket allows entry and exit from the Car Park from 5pm Monday to
Saturday, or at any time on Bank Holidays. To purchase a 'saver carnet,' contact
Olu Akinyemi on 020 7620 0397. top
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