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: www.nationaltheatre.org.uk operated by the venue itself. For most productions, 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. PUBLIC BOOKING FOR ALL PERFORMANCES OF "Misterman" PLUS PERFORMANCES OF "Travelling Light" FROM 24TH APRIL 2012 ONWARDS OPENS ON 15TH FEBRUARY 2012. BOOKING IS NOW OPEN FOR ALL OTHER PRODUCTIONS. Booking fees per ticket for 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." Other Online Choices (with S.T.A.R. genuine ticket agencies): Theatremonkey Ticketshop, Encore Tickets Londontheatredirect.com and www.ticketmaster.co.uk all sometimes have allocations for productions in this venue. A booking fee will apply, indicated at time of enquiry. www.Seetickets.com Offer seats for many, though not all, National Theatre productions, with a 10% booking fee per ticket and £2 per booking, not per ticket, service charge. 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: 020 7452 3000. fax: 020 7452 3030 Operated by venue itself. PUBLIC BOOKING FOR ALL PERFORMANCES OF "Misterman" PLUS PERFORMANCES OF "Travelling Light" FROM 24TH APRIL 2012 ONWARDS OPENS ON 15TH FEBRUARY 2012. BOOKING IS NOW OPEN FOR ALL OTHER PRODUCTIONS.   Booking fees per ticket for telephone 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. A reader notes about "Day Seats" in 2011: "I got to the box office about 9:30am and there was already a pretty longish queue outside (they don't let you move inside and start selling until 10, not great if it's raining). The queue took about 45 minutes so I'd suggest you take a book/ipod for the wait. The seats for the evening performance were all taken by then but there were still plenty of standing seats (£5) available. I was still able to get a seat for that day as there was a matinee performance with seats spare (Matinees are generally easier to get tickets for)."   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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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. "It's Always Right Now, Until It's Later" (October 2011): All tickets are a single price. Monkey advice is all 'green' seats first, except stalls row S - which is 'white' for this production. Misterman (April 2012): Price bands will change when booking opens - the monkey will update advice when booking opens.

Seating Plan Diagram

Stalls

Dress Circle

Notes

For "Can We Talk About This?" (March 2012): also see the Special Notes below.   STALLS  The Dress Circle overhangs the stalls at row L making the top of the proscenium invisible from row T back. 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. For captioned performances, rows L to S provide the clearest views, according to the box office. From B, one reader says, "B27: Seat was great view wise. The comfort in the front rows of the National leave a lot to be desired." Reader Mark reports, "B10: Fine. Apparently (for "Rocket to the Moon" in March 2011) you miss a bit of action in the corridor if you sit here for this show. I didn't feel it made a difference though. C27, C26, C16: Can't go wrong with row C of the Lyttleton at the price they are, Legroom tight as always but manageable." He also adds, "D27, D18, C9: All excellent seats, although quite uncomfortable. For £10 (Or £5 Education Programme tickets) a steal!"   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 row A at the same price, or B and C simultaneously with these selections (these two are cheaper too), for a similar view. A re-pricing from April 2010 sees stalls rows P to S increased to top price -  comparatively poorer value being further from the stage for the same money. A reader reports from row E, "E 9 and 10 for the play I saw ('Habit of Art,' November 2009) I would rate the seats green - a great view and close enough to hear every word the actors say, even when they are talking with their back to the audience." Regular theatremonkey seat reporting reader Mark says of row F, "F25: On a £10 student standby! Very good clear view of the stage." Another regular, Taljaard, said at "One Man, Two Guvnors" (May 2011), "G10: perfect view." Further back, Theatremonkey regular seat connoisseur James reports, "Sat in Stalls K12 and K13 for “The Pitmen Painters” (January 2009). Excellent seats, very comfortable with good legroom and a good rake. I would prefer to have been one or two rows further back as it’s quite a wide stage, but the view was very good from here in any case." At "One Man, Two Guv'nors" (June 2011) a reader opines, "K20 and K21: I do love a seat in the stalls! Excellent seats, (brown velour - did think of Theatremonkey, who I know has a chocolate fixation, only they weren't chocolate more kind of dairy milk). Good clear central view of all action on the stage and highly recommended. (Not as good as the New London Theatre seats for rake or view though!). Once again, the Monkey was involved in this transaction, as we had the choice of sitting in two rows, we opted for the row the Monkey said was 'green'."   Reader Clive says for 'Season’s Greetings' (December 2010), "M22: Excellent seat, centrally situated with perfect view of the stage and good legroom." In row O for "A Woman Killed With Kindness (July 2011), regular reader Taaljard says, "O14: An excellent view." 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 - even with a pound or so knocked off from April 2010, in the monkey view. Strongly consider the cheaper Dress Circle again along with stalls rows O to S too, and think seriously about choosing Dress Circle row G too at a lower price before taking the rear stalls seats of T to V. A reader comments, "S10 - Got for £10 on the day, was a great seat - could see everything." Behind that, reader Clive notes, "T33: It felt a little remote from the stage but despite this was still a good view. Good legroom." 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." 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. Prime seats in the whole theatre are rows A and B seats 6 to 31. The National have realised this, and raised rows A and B to top price again. The monkey would certainly still sit there, and take any seat in A or B over rear stalls from O back for the same money. At second price the value for money is fine in C and D. At the next price, take E before F as F is getting a tad far back in monkey opinion. If offered F, it would take G instead if available - cheaper with similar sightlines. That said, though, all seats in rows D to G are preferable to the rear stalls row T back. G in particular is better value under the price structure used. 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.   From row A, a reader says, "A3 (for 'After The Dance' 2010). The view was extremely good, with all the beautiful set visible other than a very small part at the back right hand side, but you don't miss anything. Happy to pay full price for this seat." 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 Bas agrees, "We sat on the second row of the circle. You could see everything well (although you are far away) and the pitch was adequate." Reader Sam comments, "B31: I just want to confirm theatremonkey's assessment. Very good seat. Excellent legroom". Reader Clive adds, for 'Greenland' (February 2011), B5 and 6: Good view of the whole stage but the lights obscured part of the back wall on which written information was shown. Seats were comfortable however by the end of such a long production with no interval, even these relatively comfortable seats had lost their attraction. Leg room was OK." 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). In row C, theatremonkey regular seat connoisseur James says, "Sat in C12 and C13 for “Season’s Greetings” (December 2010). Excellent. definitely worth sitting in the circle for this production as the set means that action takes place at various levels and would probably save some neck strain in the stalls." 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. Reader David notes, "G9 of the Circle enjoyed comfort and leg-room without feeling divorced form the action." Reader James says, "We had back row of the Circle and the seats were fine with a really good view and a decent rake so we weren't disturbed by heads." 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 a few pounds 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 in 2008" In 2011 another reader says, "Right 7: £12 seat in the upper slips. Was a great view and very comfy since the seat was a proper arm chair (placed at an angle towards the stage so you didn't have to twist your neck)." Legroom is adequate in all seats for all but the tall, though one reader felt it cramped.     Special notes for "Can We Talk About This?" (March 2012): STALLS  Cheap rows A to D remain at bottom price row A 'good value', rows B to D fair. Avoid the first and last four seats in each row as ever. Do note that row H back in the circle is also well priced, and may be preferable for an overall view and perhaps even better sightlines than side seats. At full price, the prime stalls seats remain in row H. Then pick stalls rows J, K, L, G, F, M, and E in that order again. Theatremonkey also still recommends considering Dress Circle rows A to C at the same price. For "Can We Talk About This?" (March 2012) it would certainly choose Dress Circle rows C to E before rows T to V. At the low price, it would  give row T in the stalls a look too if it was a choice between circle row E back or stalls row S - E has the edge as there is no overhang to contend with, but T is almost its equal for the money, it feels. It would also still strongly consider the cheaper Dress Circle again along with stalls rows O to S too, and think very seriously about choosing Dress Circle row F too at a lower price before taking the rear stalls seats of T to V. Monkey still 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.     DRESS CIRCLE  At top price it still rates rows A and B seats 6 to 31 best in the theatre, with C next choice. At second price the value for money is fine in D and E and holds more than fair back to row G, the monkey feels. It also hold the opinion that all seats in rows D to G are preferable to the rear stalls row T back. It also notes that while at the "old" bottom price (pre-Trevor Nunn era), rows H and J please the monkey at a mere £12 each. Taking Dress Circle H and J or opting for the cheapest seats in the front stalls, depends if your inclination is towards a distant view and comfort over 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 Remain as always, cheap and an adequate final resort!     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. For captioned performances, rows L to S provide the clearest views, according to the box office. 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. 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. 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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Seating Plan

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Getting Here

Getting to this Theatre

Find this theatre on a Street Map

Nearest Underground Station

Buses

Car Park

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. ___________ 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. _____________ 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!

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.   Taxi: A rank for Black taxis is at Waterloo Station - a fair distance from the theatre. Best chance of hailing one in the street is to walk on to Waterloo Bridge.

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. top

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Performance Times

Ticket Prices

Where to Buy Tickets

Seating Plan

Seat Opinions

Getting Here

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