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.delfontmackintosh.co.uk provide their own service for this theatre. This system allows you to select your own seat numbers. Booking fees per ticket for online bookings: £2.25 per ticket - cheaper than by phone. This covers the cost of compulsory background checks, thinks the monkey.   Other Online Choices (with S.T.A.R. genuine ticket agencies): When the theatre does not have tickets available, it is also worth trying the Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), which offers £67.50 seats with a £11.50 booking fee per ticket (£15.50 on £90, £13.25 on £77.50, £6.80 on £39.50, £4.30 on £25, £2.75 on £15 seats Monday to Friday / £12.50 on £72.50, £16.75 on £97.50, £14.25 on £82.50, £9 on £52.50, £6.80 on £39.50, £4.50 on £25, £2.75 on £15 Saturday and "peak week" seats) to 14th October 2017 / £67.50 seats with a £11.50 booking fee per ticket (£15.50 on £90, £13.25 on £77.50, £6.80 on £39.50, £4.30 on £25, £2.75 on £15 seats Monday to Friday / £17 on £100, £12.50 on £72.50, £9 on £52.50, £6.80 on £39.50, £4.70 on £27.50 Saturday and "peak week" seats) from 16th October 2017 - moderate by agency standards, high by box office ones, but worth trying as they often have some choice available! Simply select the show from the list on the page. Note that this system will confirm exact seat numbers prior to purchase. Meal and show ticket deals may also be available. Click here. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases. Another alternative is www.seetickets.com / telephone 0870 830 0200 which offers £67.50 seats with a £13.50 booking fee per ticket (£18 on £90, £15.50 on £77.50, £7.90 on £39.50, £5 on £25, £3 on £15 seats Monday to Friday / £14.50 on £72.50, £19.50 on £97.50, £16.50 on £82.50, £9.50 on £52.50, £7.90 on £39.50, £5 on £25, £3 on £25 Saturday and "peak week" seats) to 14th October 2017 / £67.50 seats with a £13.50 booking fee per ticket (£18 on £90, £15.50 on £77.50, £8.50 on £39.50, £5 on £25, £3 on £15 seats Monday to Friday / £20 on £100, £16.50 on £82.50, £14.50 on £72.50, £10.50 on £52.50, £8.50 on £42.50, £8 on £25 / £6 on £15 Saturday and "peak week" seats) from 16th October 2017, and £2.75 per booking (not per ticket) postal charge. (FREE call if using BT.com Calling Plan at your chosen times). www.ticketmaster.co.uk offers £67.50 seats with a £7.75 booking fee per ticket (£10.35 on £90, £4.55 on £39.50, £2.90 on £25 seats Monday to Friday / £8.35 on £72.50, £11.20 on £97.50, £6.05 on £52.50, £4.55 on £39.50, £2.90 on £25 Saturday and "peak week" seats) to 14th October 2017 / £67.50 seats with a £7.80 booking fee per ticket (£10.35 on £90, £4.60 on £40, £2.90 on £25 seats Monday to Friday / £11.50 on £100, £8.35 on £72.50, £6.05 on £52.50, £4.90 on £42.50, £3.20 on £25 Saturday and "peak week" seats) from 16th October 2017...AND...an extra £3.20 per booking (not per ticket) service charge is also made for postage if required and time allows / £3.05 for collecting tickets at the box office. This system allows you to choose your own seats from the selection the company has available. Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer £67.50 seats with a £19.50 booking fee per ticket (£26 on £90, £22.50 on £77.50, £11.50 on £39.50, £6 on £25 seats Monday to Friday / £20.50 on £72.50, £27.50 on £97.50, £17.50 on £82.50, £15.50 on £52.50, £11.50 on £39.50, £6 on £25 Saturday and "peak week" seats) to 14th October 2017 / £67.50 seats with a £19.50 booking fee per ticket (£26 on £90, £22.50 on £77.50, £12 on £40, £7 on £25 seats Monday to Friday / £28 on £100, £23.50 on £82.50, £21.50 on £72.50, £15.50 on £52.50, £12.50 on £42.50, £11 on £25 Saturday and "peak week" seats) from 16th October 2017 onwards. A postage charge of £1.45 per booking, not per ticket may be applied to bookings made from UK addresses more than 5 days before the performance. The "Flexiticket" Exchange Service, allowing FREE transfer / cancellation (credit note up to 12 months) of your booking up to 3 days before the performance is also available for £1.99 per ticket. Meal and show packages may also be available. Quality and Value hotel / theatre ticket packages are also available. Londontheatredirect.com offer £67.50 seats with a £13.50 booking fee per ticket (£18 on £90, £8 on £47.50, £5 on £25, £3 on £15 seats Monday to Friday / £14.50 on £72.50, £19.50 on £97.50, £16.50 on £82.50, £10.50 on £52.50, £8 on £39.50, £5 on £25 Saturday and "peak week" seats) to 14th October 2017 / £67.50 seats with a £13.50 booking fee per ticket (£18 on £90, £15.50 on £77.50, £3 on £40, £5 on £25, £3 on £15 seats Monday to Friday / £20 on £100, £16.50 on £82.50, £14.50 on £72.50, £10.50 on £52.50, £8.50 on £42.50, £8 on £25, £6 on £15 Saturday and "peak week" seats) from 16th October 2017. There is a £1 per booking, not per ticket, transaction fee for collecting tickets from the box office before your performance. Alternatively, if time allows, there is a postage to your home option, costing £2.95 (£4.95 to non-UK addresses) per booking, not per ticket. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available. ALSO SEE Tickettree.com for great value "hotel and theatre ticket" packages. 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 482 5170 (020 7812 7498 if you cannot use the 0844 number) Operated by Delfont-Mackintosh Theatres. At busy times / outside working hours - 9am to 8pm, See Tickets may answer on behalf of the venue. Booking fees per ticket for telephone bookings: £2.75 booking fee applies - online is 50p cheaper. This covers the cost of compulsory background checks, thinks the monkey. For personal callers or by post: Aldwych, London. WC2B 4LD No booking fee for personal callers. 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. www.delfontmackintosh.co.uk is the official theatre website.

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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. If you want to know what theatregoing was like in a more glamorous time, the restoration of this venue will give you an idea. Right back to the early 1900's, marble wall panels and brass handrails, thick red plush covered seats and gold leaf plaster features transport you to another time. Rooms have been knocked through and offices converted to provide spectacular new bars and retiring rooms, and the monkey is impressed with the changes - another amazing transformation by Sir Cameron Mackintosh and a talented building team. NOTE: This is a newer 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. Photo above shows Ben Freeman, Gina Beck and Graham Norton on the stage of the theatre, with the stalls and dress circle area behind. Photo credit: Richard Davenport, used by kind permission.

Seating Plan Diagram

Stalls

Dress Circle

Upper Circle

Balcony

Notes

STALLS  Layout: The Dress Circle overhangs the stalls at row H. The top of the stage is not visible from row T back in the centre and row O from seats to the sides of the theatre. Seating is in one large block in front of the stage. Every seat is within the proscenium arch, and there are no official "restricted view" tickets. The rake (sloped floor to help see over rows in front) becomes noticeable from row F, and decidedly pronounced from row G back. Legroom: The original seats were retained after refurbishment, meaning that they are high and have space to slide legs under the seat in front. This makes them pretty fine for all but the tallest over 5ft 11 or so - as a 6ft tall reader noted. Of particular interest to the tall – or those wishing to avoid bogging heads in front - are the front row (B particularly, if A is removed), plus row F seats 3 and 24 and G 1 and 25. as there is nothing in front of these seats. One reader did feel, though, that for musicals G1 and 25 (despite the extra legroom) lost a little 'something' in the view department - though the monkey hasn't noticed this. Choosing Seats in General: The stage can be high, and those in rows A to C will have to look upwards - mildly neck ache inducing perhaps, and the shorter person may well prefer to be further back in the stalls. For the rest, the view is probably more than acceptable and the back of the stage is visible without a problem. When present, if row A or B is cheaper the monkey quite likes. In A or B, if cheap, it would go for most of the row - 6 to 20 (centre seats first of course). Behind, which would be row B or C (depending what is in front), and more than likely at top price, it particularly likes 7 to 20 - in both cases if looking up isn't a problem. Certainly it's a way to be closer to the stage than any other seats at the same price for those tall enough to accept the issue... do remember that a high stage means rows C to F missed feet – dance fans might wish to book further back. Moving back, a decent rake, combined with well thought out "offsetting" of seats so that no seat is directly behind the one in front, make the mid to rear stalls appeal instantly to the monkey. When choosing, it would pick row G first - reader Fiona rated G 13 to 15 "excellent", then K or F (if slightly taller than 5ft 7), then move back from row L to R, then E or S, depending on your preference for close up views or distance. Rows D and C can also be considered, if neck ache isn't an issue - the view itself is fine from these rows. The only seats some may wish to avoid usually are the first and last three seats in row O back, as the overhang of the circle above restricts the view of the top of the stage (though this is irrelevant for many productions that do not have staging at high level). In row S, a reader found the seats uncomfortable, and felt a bit far back from the stage. The monkey might also skip rows T and U as they are a longish way back for a top priced ticket - nothing wrong with the view, though. Some productions are known to price both T and U the same as front rows A, B or C - second price. In this case, well, the monkey likes to see faces, so would pick front rows, but wouldn't moan about central T either really at the same price – accepting them as a better bet for those who don’t wish to look up. Often, a further price drop makes row V much cheaper than row U, with similar view; this or W are worth considering in the monkey view. Do compare availability and price in rows V to X with rear Dress Circle or central row B Upper Circle at the same or slightly lower price. Unless legroom is a factor (stalls are preferable for that!), the circles are closer to the stage with a better view, it feels. A sound desk can replace central rear stalls seats. Purists may wish to know to avoid it. General Hazard Notes: The high stage in front rows. One previous production had to leave practically five rows empty due to it... A sound desk replaces seats the rear stalls. Unlikely to bother man, and row W17 has a bit of extra gap between it and the desk. The seats themselves. Several readers have complained that the shorter legged seem to slide off the slippery velvety coverings. They spent the show bracing themselves and climbing back up. Rear stalls from around row P back seemed a particular issue. The monkey researched this in 2011, and found that readers under around 5ft 3 did indeed seem to "slide" off stalls seats (even if sober) if they were not careful! Strange... Even stranger, since posting this, other readers of 5'5 and 5'9 report exactly the same issue. One reader of 5'8 thinks that it is caused by the rake of the floor making an otherwise horizontal seat into a forward slanting seat. If not, then optional seatbelts may be the answer, feels the monkey. Changes for the current production: Row C is the front row. An orchestra pit is in front of that, and the stage isn't as high as usual. Only a little neck-strain required. Great value at second price, feels the monkey. Central rows G to L are at "Premium" prices at all performances, with row M added at Saturday performances. Also on Saturdays, a second "Sub-premium" category is added, at £10 more than normal top price seats - for the pairs of seats next to the "premium" ones. Your call, feels the monkey, who would sit in nearby seats for the same view at a lower price. In particular, to pay £10 more for a pair right next to premium seats is pushing it, the monkey feels. "Premium" price seat locations sometimes change at short notice. Please be aware of this when booking. At second price row V is much cheaper than row U, with similar view; this or W are worth considering in the monkey view. That said, there are also decent Upper Circle seats at the same price as row V back (it doesn't fancy the second priced rear Dress Circle ones or third price slips as much for view). A sound desk replaces seats in rows W and X. Seats X 11 and 16 are very cheap due to this. A fair value grab if you only need a single seat in the rear stalls, feels the monkey. Reader Comments: “Row B (front row at full price): The stage is MASSIVELY HIGH! I would RED it out... I complained to the house manager and she looked for another seat for me - I took a complimentary programme instead and moved to an empty middle seat which was a bit better as there was more space between the stage and seat there." “Row B: (John). We sat in front row B in the stalls - not recommended as the stage is high for younger fans - moved to row G stalls at interval and it was much better but I dare say even further back in the stalls would be excellent in this lovely theatre." "B22: Very good seat on discount, being off to the side didn't matter at all for the play I saw. Missed tiny little things when some of the set blocked me due to being so close to the front but honestly, I'm not fussy when it comes to stuff like that." "Row C: "Mamma Mia" (September 2012). Sat in front row C near centre. If you are a 'front rower' the look up and missing feet and ankles will probably not bother you and as I'm 5ft 1 inch (on a good day!.. and the inch is all important when you are this short trust me !) I tend to put up with that a lot when I sit in the front row. This is only my humble opinion. The tickets are still as expensive as next row behind so nothing off for good behaviour or looking up but there is a warning on the tickets and on the booking site. If you like the 'whole body version' book back a few rows." "C15 to 17 (with Row A as the front row): "Cat On A Hot Tin Roof" (December 2009). Was a bit nervous that my friends would find it uncomfortable given your comments about it being 'mildly neck ache inducing'. However, none of us even noticed that we were looking upwards, probably because we were so enthralled by the acting. All I would say is that the seats are on the narrow side, and not a lot of legroom either - Adrian Lester might have coped with the seats but I think James Earl Jones would have struggled!!" "Row D: “'Crazy for You”. Paid £64.50 for centre front stalls (second row - row D). Huge revolve built on stage: couldn't see anything below the knees from people on stage, nothing from the waist down if they were upstage. Not on for a tap show, and NO WARNING when purchasing tickets. It must have been even worse for those in the front row. Walked out at the interval - very disappointing evening." "Row 'D: (Sharon and Derek). This was actually the 2nd row for this show. Fantastic seats - fantastic view." Row D: “Shakespeare Season (March 2007), (Andie King). Provided an excellent view of the entire stage and was close enough to feel the actors’ spit, the theatre itself is beautiful and the intimate." "D14 and 15 (with B as front row): (HB). Offered a good view. However you did have to look up due to a high stage so I would suggest a couple of rows further back would be better." "D19 and 20: "Derren Brown: Svengali" (July 2012). The view was excellent for this show. I didn't feel the stage was too high and from here you really feel part of the action but then again Derren gets around the theatre and actively involves every section. Legroom was fine for me in this row and the seat was comfy enough." "E4 to 8: (Lizzie – regular reader). (These were really only the third row back as there is no A or B for earlier production "Footloose" - ed) Good view of the stage but not great when you have big people sitting in front of you – and yes you guessed it, we did. Seats were a bit cramped too. Would recommend you go for Row F and get the end seat as it protrudes out further and you should get an unobstructed view." "E5 and 6: "Betty Blue Eyes" (March 2011), (Mark L). Our seats were excellent and the view was fantastic. The stage is high and there's no orchestra pit as they are at the rear of the stage, but the view here was great - no problems at all, and I'm only 5'7. Could see clearly from toes to top of heads without any neck ache and at £77 for 2 seats a real bargain as well. At this proximity to the actors you really do get to lock eye contact with them and this was fantastic. There was plenty of legroom, and good air conditioning could be felt." "F15 and F16: I wanted to tell you that I was very uncomfortable for the whole performance as my seat F16 seemed to be tipping me both forward and to my left. To save my back, I had to prop up my left leg by wedging my coat under my left thigh, in order to feel like I wasn't going to slide off. My husband felt that he was also being tipped out forwards, but was otherwise level. The view was very good, very central and close. Almost too close, I felt, as I could see all the sweat on the dancers." "F 20 and 21: Excellent view but 21 was an uncomfortable seat as it tilted forward so I was constantly having to hitch myself back up.” "F22: (Mark). Got as a cheap student standby. Very good clear view of the stage, could see every expression." “G5 and 6: “Crazy For You” (October 2011), (Chris B).Got these seats as day tickets so only £25 and would definitely recommend them. Plenty of legroom and although slightly to the right, we could see everything clearly including the feet of the performers and felt close enough to be part of the show. Having also sat in the dress circle, I noticed things I missed the first time, being much closer to the stage.” “G13 and 14: (Lisa). Excellent view.” "G23 to 25: “Crazy For You” (October 2011). We could just see the dancers' feet (pretty essential for the tap routines) and, because of the high stage, views were mercifully unimpeded. However, what G25 gains in legroom (no seat in front) it does lose in sight of the left hand side of the stage, which was occasionally an issue. The left side of the stage has restricted visibility at the upper level of the set too, because of the box. Not that Theatremonkey's book / website hadn't pointed out this possibility.” "H19: Really good seat, though there was very little leg room and I felt very squashed indeed." "H17 to H19: (James – regular reader). Feel really close to the stage. Staggered seats help with the view and the sound is great from here." "H24 and 25: Very comfortable, no seat in front of H25 so endless legroom and a splendid view." "J8 and 9: (James F). Really comfortable and you can easily put your legs under the chair in front. The seats had an excellent view of the stage and my view was never obscured by the person in front." "K7 to K10: Fantastic seats – being staggered from the row in front and a good rake ensure an excellent view." "K19: "Betty Blue Eyes" (May 2011). Excellent seat with good views and sound. Leg room was very cramped being 6ft 3” however. Perhaps a little too close to the stage for my liking but that’s a personal thing. This is a lovely classy theatre. Very ornate and camp!" "L16 and 17 : (Daniella C). 10 rows from the front - but knew from Theatre Monkey that the seats were slightly raised, which meant that we could see really well." "L20: “Betty Blue Eyes” (March 2011). I had an excellent seat – at a reduced price – but the sound there was ear-splitting and that rather put me off to begin with." “Row M (centre); "Drowsy Chaperone" (May 2007). Found that the seats at this theatre are now extremely uncomfortable, with an unpadded straight wooden back and little legroom for a person of my height around 6 foot tall. I found myself feeling pain in my legs after perhaps 10 minutes and by the middle of the show my legs were embarrassingly shaking of their own accord. If I could have walked round in an interval I could have shaken some of this off but there isn't one. The seats are not very wide either so it is difficult to find a position you can get into where you are uncomfortable. Really affected my enjoyment of a very fun show" “M1 to 3: (Cristopher H). These were good; although I do not recommend seating in the aisle-seats, but if you must... go for it if cheap (we only paid £10 for the show we saw in Autumn 2008). The rake is quite visible from row D back, but all seats behind row R are over hanged by the circle. I would say that the best seats are in row K to M seats 4 to 12." "M 13 and 14: 'Betty Blue Eyes' (April 2011). Dead centre, seemed to be just about the best seats in this beautifully restored theatre." "M15 and 16: (Celia) Were great." "O26: "Onassis" (September 2010), (Mark). Not a bad seat, could see everything; but if I was paying full price I'd have wanted to be more central and a tad further forward." "Q6 to 9: Initially, given that they are quite far back I was expecting them to offer worse view than those further forward but was pleasantly surprised. Plenty of leg room, a perfect view and slight rake meaning no problem from the heads in front. I would recommend sitting this far back in this theatre in the future!" "R11 and 12: I could see everything and could even stretch my legs. Would get these seats whatever the show was." "R20: "Mamma Mia" (October 2013). Got this seat through Get Into London Theatre (cheap promotion each year - editor) and was very happy with it. Legroom was about average and the overhang wasn't an issue (and probably wouldn't be in shows with high up action). These seats aren't too far away from the top priced seats and think the saving would be worth it as the view was fine." "S9 and 10: "Mamma Mia" (October 2013). No problems with the seats, especially as they were half price. The sound quality was not great, strange as it was fine in "Crazy For You". I must also add that the front of house staff are perhaps the most polite and helpful that I have ever encountered, well done them." "U20 and U21: “Spring Awakening” (March 2009), (James – regular reader). The view was obstructed by a tall person in front but they left in the interval and after that the view was great although it did feel a little too far back for top price. You don’t lose anything important to the overhang though. The only other problem was that I felt it was a bit too quiet back there but I saw it early in the run and it might need time to fully settle technical wise." "U2: “Spring Awakening” (March 2009). Got them for standby price on the day for £20 which I thought was good. Wouldn't have liked to pay full price though. Overhang didn't affect the view at all! Not a bad seat if you can get it at a discount."   Stalls Boxes  Layout: Boxes A and C, above the stalls, between Stalls and Dress Circle height. Legroom: Acceptable for the shorter, but the seats are too low for the tallest. Movable chairs are used. Choosing Seats in General: Take other seats instead for a far superior view in the monkey opinion. That simple, it feels. General Hazard Notes: Only half the stage is visible, and then only by leaning forward. Limited space to move chairs around. Lighting or speakers can be placed at the sides of the boxes, sticking out and causing another view obstruction...and potential loud noise if speakers are in use. Changes for the current production: At second price for "Mamma Mia" the monkey feels them just about fair for those who want to be close to the stage. Box A possibly has a slightly better angle than C on the action too, it feels.   Reader Comments: None.   DRESS CIRCLE  Layout: The Upper Circle overhangs the Dress Circle at row C, cutting the view of the top of the stage from row G back. The Dress Circle is divided into a main central block, plus two "slip" blocks. Slips are positioned at the edges of the circle, running along the theatre's side walls from the front of the circle towards the boxes and stage. Legroom: Likely to be uncomfortable for anyone over 5ft 5 or so in rows A, AA and BB (with the exception of row BB seats 3 and 4, which have a little more and will suit those up to around 5ft 9). The central 6 seats in rows A to F have the most legroom. Those up to 5ft 9 should be O.K. here - the monkey would welcome opinions from those of this height in confirmation! Other seats in rows A to J are likely to be acceptable to anyone up to around 5ft 7 or so. The ends of row B have an inch or two more space. Row K is a curiosity. For some reason, seats 1 to 6 are quite comfy for the 5ft 7 monkey brigade (and one person of 5ft 10 feels K6 as "reasonable" for them too)...then as you move along the row, legroom decreases until seats 19 to 24 get tight for those 5ft 4 or above. Choosing Seats in General: Centre Block: There is no noticeable issue with the view from any seat. The monkey would take row C first, then D, then B or E before F at top price. Rather than H at top price, it would take J at second price for the same view for less money - or even central seats in Upper Circle row B. It would also consider stalls rows G to R before circle rows E to H at the same money - and pick stalls every time if taller than 5ft 9 or so. Rows J and K at second price also offer about fair value, and the monkey would consider these equally with stalls and Upper Circle at the same price, taking stalls if legroom is preferred, circles for the "overall" view of the stage if less intrusion from any overhang is a factor. The monkey rated K2 to 6 as 'green' because it felt they were superior or equal to other seats at the same price in either the Stalls or Dress Circle - in this case they offered a small shade more legroom than other Dress Circle seats at the same price. It feels that £30 is the absolute maximum price that could justify a "green" rating, though. When they are more expensive than usual, they rate lower accordingly. Wheelchair users have two spaces available by the removal of seats A 23 and 24. The view isn't bad at all from here, and access is simple from the side street via a side door. Slip seats: The view from the slip seats, row AA and BB is poor from almost all seats. Without leaning forward the view is around a third of the stage...but if you do lean forward the person next to you is likely to do so too - and affect your view! Slip seats row BB 3 and 4 are the only ones the monkey would consider...and then only if the best of the other seats elsewhere at the same price have gone. They are just about acceptable for view and comfort, perhaps worth knowing about when seeking an elusive ticket for a "sold out" performance more than anything else. Seats AA 10 and 11 or BB 4 and 5 can be replaced by wheelchairs. Again, access is easy via a side door, but the other positions at A23 and 24 have a better angle to the stage, the monkey feels. General Hazard Notes: In the centre block, the projection of the boxes very slightly clip a few centimetres off the extreme edges of the stage for those in the very first and last seats of all rows. Only purists will mind, but the monkey notes it for information purposes. Poor views from most slip seats. Changes for the current production: Centre Rows A to C are at "premium" price. The monkey would avoid A if shorter, take B if less than 5ft 7 and wealthy. If tall and wealthy, stalls have more legroom - everybody else will find cheaper row C as good as those rows in front at all non-weekend performances. A second "Sub-premium" category is added, with row B (row C Saturday) at £10 more than normal top price seats - cheaper than before, but still premium. Your call, feels the monkey, who would sit in nearby seats for the same view at a lower price. In particular, to pay £10 more for sitting right behind the premium seats is pushing it, the monkey feels. " At all performances, Row K is the only cheaper row in the circle - the monkey would try stalls row U first, or the upper circle (including the cheaper seats) as the views are a little better. To be fair, though, K is substantially cheaper than the rows in front than usual, though, so less of a worry if you do sit here. Row AA 10 to 12 are removed and BB 4 to 6 crushed against the wall, out of use. Other slip seats are expensive on Saturdays - particularly worth avoiding. Reader Comments: "A 13: Very limited leg room, but great to have no one in front of you." “C11 and 12: (Vince Hanratty). Seats I had seemed to be the best view I've ever had in a London Theatre “F4 and 5: Got good half price seats from TKTS. Perfect view. Minimal leg room did get uncomfortable without an interval" “F12 and 13: “Crazy For You” (October 2011), (Chris B). These are centrally located in the dress circle with a good rake so offer a good clear view of the entire stage. They are a good height from the stage so you get a good overview of the stage, especially useful if you’re seeing a musical with elaborate dance numbers. The dress circle feels quite small and intimate too and you don’t feel that far back in row F. The leg room is sufficient but certainly not ample and didn’t really notice the upper circle overhang either.” "F19: "Betty Blue Eyes" (March 2011). Very good, great clear view!" "Row G: Great view, and we had a surprisingly large amount of leg room." "H11: "Betty Blue Eyes" (March 2011), (James – regular reader). No problems with sound or sightlines from here, although if you're paying top price it's worth seeing if you can be a few rows further forward." "H15 and 16: "Betty Blue Eyes", (Graham). Great seats if a little tight on legroom but comfy enough. Good view of the stage and only spoilt if someone leant forward which they seemed to be doing in the next seat along, why I don't know because no-one else was, and the view is good. I did feel that the overhang seemed very close overhead which might make some feel slightly enclosed, something I've not noticed in other theatres but certainly noticed at the Novello. It is probably noticed more if sat towards the back of the Dress Circle. For the £32.50 paid (offer price) it was very good value." "K6: (Sam). More or less, I agree with your assessment. Whether I would give it 'green' or not depends on the price. The overhang is very visible and take some chunk from the top of the stage. However, it is annoying more than anything else. The view of the rest of the stage is very clear, but I felt a little bit far back. At £30 I wouldn't give 'green' to any seat in that row. But, if you can get it in the region of £20 it will probably merit a 'green' colour. Leg room is reasonable." “Row K: "Antony and Cleopatra" (February 2007). Some of the action for this play takes place in balconies at the side of the stage and the scene covering the death of Antony takes place on a raised platform. All this activity is invisible from row K of the Dress Circle. The latter is a particularly significant loss. (No guarantee that other productions will have the same issues of course, but the monkey felt it worth readers knowing there have been problems in the past).”   Dress Circle Boxes Layout: Boxes B and D are above the stalls boxes, between Dress and Upper Circle height. Behind Box B a retiring room and separate entrance from the street are available. Legroom: Seats are movable, so can create extra legroom. The chairs used are low, making them less comfortable for the tall. Choosing Seats in General: No seat has much of a view of the stage, and though the toilet in row B is amusing, it won't make up for your viewing angle. Take these seats only if you want a private way to enter, view and leave. General Hazard Notes: Only half the stage is visible, and then only by leaning forward. Low seats and limited space make things cramped for larger theatregoers. Lighting or speakers can be placed at the sides of the boxes, sticking out and causing view obstruction...and potential loud noise if speakers are in use. Changes for the current production: Boxes B and D are not in use. Reader Comments: None.   UPPER CIRCLE Called the GRAND CIRCLE in this theatre. Layout: The balcony overhangs the Upper Circle at row D, affecting the view of seats from row E back. The Upper Circle has a main central block, plus two "slips." Slips are positioned at the edges of the circle, running along the theatre's side walls from the front of the circle towards the boxes and stage. In the main central block, the circle has a pronounced curve from edge to centre.   Legroom: A variable minefield. Tight for anyone over 5ft 6 in rows AA and A. The true horror is row A seats 12 and 13 - seat 13 in particular. A fuse box for the lighting fixed to the front of this circle protrudes into the already limited legroom. While some adjustment has been made to the price (making it worth thinking about for those under 4ft 5 or so), the monkey cannot stress enough how much this pair should be missed, and would also warn ladies to watch their hosiery as they pass along the row... Moving on, other seats in this circle should feel acceptable for anyone 5ft 8 or shorter - one 6ft 2 reader was quite comfortable in row G too. An extra inch or three of legroom can be had in the centre of row B, from seat 7 to 20 where the circle curves. In rows C and D there is also an extra inch or so in the central six seats too, the monkey feels. Legroom lovers may also like C1 and 26 which have a little extra space for one leg to stretch into. Indeed, the ends of rows B to F all curve a tiny bit backwards, providing that extra inch or so. Choosing Seats in General: Centre Block: The circle curve is such that the first and last seven seats in rows D to F, plus the first and last five in A to C and first and last three in row G all lose the front corner (around a tenth) of the stage - more is lost the further to the ends of the row that you go, and the further back in the circle - row D onwards having the most noticeable reduction. Irritatingly, when an extended stage is used, those in row C back miss a good few centimetres off the very front of the stage too - though this shouldn't be much of an issue, be aware of it. The monkey guesses that some leaning forward may occur in rows B and C...be prepared and try to resist doing it yourself, is the monkey advice. Notwithstanding the leaning potential, the monkey likes row B and C seats 8 to 20 first, followed by the same numbers in D and E then E and F and the other seats in A to D. Compared to rear stalls, the view of the stage is about the same in distance but the restriction of view is perhaps less noticeable in the stalls - missing the top of the stage is preferable to missing the sides, the monkey personally feels, though others may disagree. End seats in A to G are often much cheaper - Monkey thinks them worth skipping for those who want to see the whole stage; though they do have the advantage of being a cheap way to see the show from a perch below the balcony for anybody willing to tolerate the loss. Aisle seats also do provide comfort rather than view. Moving further back, rows G and H are not bad if cheap, but the monkey would prefer Balcony central rows C and D for view, and at a lower price. The view may be further away, but there is no overhang to contend with in the balcony. Slip seats: Row AA, as the slips have been designated, had the monkey scratching its head. From seat AA 1 to 7, and AA 18 to 24 you see nothing of the stage without leaning forwards. If everyone leans forwards, aside from chronic cramp / indigestion, you'll block the view of those beside you, so everyone sees even less! The rest of the seats in row AA are not much better. At a pinch 10, 11, 14 and 15 provide some view (about a third of the stage) and may be a way to see a production if you HAVE to see that performance. Otherwise for the same money, judge Theatremonkey says "get thee to the balcony, rows C and D for preference, but any balcony seat has to be better than these!" General Hazard Notes: A low metal rail runs along the front of this circle, with double height bars guarding the aisles at the ends of row A. This badly intrudes into the view of row AA seats 12 and 13, and A 3 and 24. Those in A 4 and 23 and in the first two seats of rows B to D may also find these double bars a nuisance too. Shorter people in row A may also have a problem seeing over the lighting affixed to the front of this circle. The fuse box in front of A 12 and 13. Sponsored by the ladies’ hosiery seller over the road, speculates the monkey... Those in rows A to C miss the front of the stage if it is extended out into the stalls. Leaners in rows A to C could obstruct views for those behind. Row AA 1 to 7, and 18 to 24 see nothing of the stage without leaning forwards... and not much if everybody there leans at the same time. Changes for the current production: Row E is cheaper than D at weekends only... the monkey would take E for a similar view for less cash... When all seats are the same price, it wouldn't go further back than it has to - and not beyond F without a discount, really. End seats in A to G are much cheaper – if you can’t face the balcony and want an aisle, plus don’t mind missing side stage action, worth a thought. Take C3, B3, D then E then F 4 first. Right next to more expensive seats, similar views. Reader Comments: "A12 and 13: "Noises Off" (May 2012), (Chris B). View is pretty good, can make out facial expressions and get a clear overview of the whole stage. The grand circle doesn’t feel that high up, still getting the atmosphere of the play. Legroom, however, is very tight, even for me (being 5ft8) The seats are sold as restricted legroom, seat A13 is especially bad as there is a wiring box directly infront of the seat, cutting the legroom by another two inches. I was glad of the interval to stretch my legs, can’t complain about the view however, and would recommend if you have short legs!" "B3: "Hamlet" (December 2008). Good value for £10 + £1.50 booking fee, I feel. The view is slightly restricted, but it wasn't much of a problem. I am 5' 9", which helps. A1 to at least A5 are for the very short only. I tried to move into A3, which was free, but couldn't get my legs in comfortably. The good thing is that if you lean forward from B3, the rack is so steep you don't get in the way of the person in row C behind (I'm a good wee theatre-goer - I checked with the lady behind before the production started.)" “B12 and 13: “Footloose”, (Lynn). Not a bad view although lost the view of the very front of the stage so had to lean forward on the kitchen scenes." "D25: (Rich). Really poor. So much of the stage is cut off by the edge of the circle. If you combine this with everyone who leans forward I think I could only see about half of the stage. Thankfully 'Hamlet' (December 2008) had a backdrop of mirrors; I found myself watching some of the show via those mirrors!" "D7 and 8: "Betty Blue Eyes" (March 2011). Tickets purchased at the preview price of £30 with no mention on the Delfont Mackintosh website on any restrictions. I know the Theatremonkey site mentions issues with leaning etc but with the forestage being used for Betty about a quarter of stage left is obscured due to the curve of the circle and the subsequent leaning of the front 3 rows from D7 and D8. Raised it with Theatre Manager in interval (as did several others in the same area) but was told not the theatre's problem as producers had decided these seats aren't restricted. May be worth paying slightly more and go for rear stalls for an unobstructed view unless price is dropped." "E10 and E11: "Spring Awakening" (March 2009). The front of the stage was not visible from these seats, and there is frequent use of that area of the stage. This unfortunately means that many people were leaning forwards (and with the production being aimed at younger people, the seats were full of many inexperienced theatre goers who don't realise how leaning forwards completely ruins the production for anyone sat behind). As many of those people leaning forwards for the view of the front of the stage realised that by leaning forwards they got a better view of everything on the stage, they spent most of the production leaning forwards. This meant that about 50% of the people around and in front of us were leaning forwards for a large proportion of the show, and so for this particular performance, I would not recommend these seats.(The stage was extended for this show – editor).” G16 and 17: "Mamma Mia" (October 2012), (David). £45 each. Leg room was sufficient for me at 6'2... but the view was like watching from inside a letterbox - especially when folk in front decide to lean forward to see the action at the front of the stage. I wouldn't recommend sitting higher than the Dress Circle (I nipped down during the interval to see what their view was like!). Value for money - probably, just." "Slips AA11 and 12: Bought them online and the theatre plan wasn't as good as yours so showed the seats being more central. They also weren't advertised as restricted view. The metal safety bars did obstruct when sitting back in your seat properly, but leaning forward you had a good view. For "Antony & Cleopatra" (February 2007) with minimal set this wasn't really an issue, but I can see it being a problem. If you can't afford anything better these seats were ok, though depending on the show and the set they could give a worse view. On the plus side there was a handy storage space for bags behind the seat!" (The monkey would note that it isn't a good idea to store anything valuable (or coats with anything important like wallets or credit cards in the pockets) behind the seats, just in case someone sneaks off with the items while you are watching the show... it has been known to happen...).   BALCONY Layout: This balcony has a most interesting perspective on the stage. For some reason the positioning made the monkey feel it was hovering almost directly above the stage, with a "birds eye" view of it. The effect was disconcerting for a moment (those with vertigo will want to avoid the front two rows), but then the monkey suddenly realised that it was rather a good thing...and it started to get interested in all the seats up here. A single block of seats face the stage. A double rail runs across the front. Legroom: Those of 5ft 5 or more should certainly skip row A. B1 has extra space for one leg to spread into. Seat D1 has a little more legroom. Rows C and D have the most, with seats 7 to 17 having maximum available. Those up to around 5ft 9 should feel reasonably comfortable here, Those of 5ft 7 or less should be satisfied with other seats in C and D, and also row B and E. Row F has less legroom, and a 5ft 7 person may find it tight. Choosing Seats in General: Seats in row A are taller, with an "S-shaped" curve to the back that may annoy a few. The monkey suspects those in row A may be tempted to lean forward to avoid the bars - so those in row B may wish to be prepared. In all rows it would avoid the first and last three seats as the curve of the circle causes the front edge of the stage to be lost. The end seats in A to D are often cheaper if so, then take C or D if you must. At full price, avoid. Row C back is monkey advice. then pick D or B if "leaning potential" isn't an issue. It prefers D then E (in the purely non-narcotic sense of the letter in that statement of course!). At the back, the monkey fell instantly for row E seats 7 to 17. Cheap if put at bottom price, with a decent view and some legroom too compared to other theatres’ balconies, the monkey felt these a gem worth knowing about. Row F also has a surprisingly good view, but less legroom alas. With all seats the same price, you may wish to sit further forward for the same bananas, but the monkey still just likes these few seats anyway if you can't get the ones in front. General Hazard Notes: Be aware of the vertigo, is the monkey comment. This is a high perch. Double height bars run across the front of this circle, badly intruding into the view of those in row A, and slipping into the bottom of the view of those in row B too, while the extended stage is in use - and gets worse, the further the stage is extended. Changes for the current production: End seats in rows A to D are not discounted. Probably not worth it. Take C or D if you must have a cheap aisle seat, and the same priced upper circle seats have gone. Seats F7 to 17 are replaced by a lighting position. Only those in E and F 6 and 18 should be disturbed, though, the monkey feels. Reader Comments: “Row C: “Midsummer Night's Dream” (January 2009). I have never been so cold in a theatre. A draft swept along this row as it leads onto the exit and it felt as if the doors weren't closed. I could also hear every car that drove by - it was like an open air performance; I fetched my coat and put up my hood, but gave up the struggle and went home during Act 2." "C17 to 19: "Mamma Mia. Was slightly concerned they were so high, but did my research and our tickets were pretty good with a great view of the stage. If people in row A and B leaned forwards it could be slightly obscuring but fortunately they did not that much and our view was pretty good. I like being higher as the choreography always looks so much better from on high." “Row D: (Maureen, Jackie, Frances and Lou). Bought balcony tickets directly from theatre - quite high up - looking down on stage. Once you are used to the height there is no problem." "E7 and E8: If you have vertigo then beware!! I am sure I could just about touch the ceiling if I tried!! Wow it was high , a sort of overhead view , for me it spoilt the enjoyment of the show. We moved to C3 and 4 when the show started as they were empty, but this turned out worse as I had someone in front who was tall and large and I had to lean forward to see. I then get a tap on my shoulder "could you sit back please as I cannot see!!" It was a very hot night and with poor legroom, the first half was terrible for me. In the second half I changed seats with my wife and it was a lot better, although still looking down on the performance rather than at it. I for one would not sit it the balcony again, although I will probably go and see the show again, but in a better seat of my choice." “F5 and 6: "Eurobeat”. Although up high we didn't think the seats were too bad - until the show started. It opens with a little bit of a chat shown on a large screen at the back of the stage - to which we could only see the bottom half. It was also displayed on 2 smaller screens, presumably for us in the Gods to see, but we thought the screens were too small."     Notes Total 1015 seats. Air-conditioned. Infrared loop with headsets available from cloakroom to the right of the main entrance doors in the main foyer. Occasional audio described and signed performances. Guide dogs can be dogsat by staff in the cloakroom. Wheelchair users have access via a side entrance, to seats at the edge of the Dress Circle. Access to an adapted toilet through the corridor is also available - walls slightly curved, so be prepared to manoeuvre a little in larger chairs. Theatre helpline 0844 482 5137. 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, Ice cream and confectionery. Four bars; 2 Stalls, 1 Dress Circle and 1 Upper Circle. Private rooms for hospitality / functions are available leading from some bars - contact box office for details. 7 toilets; Stalls 1 gents 2 cubicles, 1 ladies 5 cubicles, Dress Circle 1 ladies 4 cubicles, 1 gents 1 cubicle, 1 unisex disabled; Upper Circle 1 ladies 5 cubicles, Balcony 1 gents 1 cubicle. Note that the layout of this theatre means that facilities on each level are accessible to more than one level of seating. The "ladies' facilities" in particular are exceptionally well appointed with considerately placed hanging hooks and other small attentions to detail not generally found in West End theatre restrooms. Gents will also find their restrooms a pleasure to use too. A reader notes in November 2011: "The usual tale of women queuing down the corridor in the Dress Circle. An usher gave me a tip. There's a narrow, unmarked door by the staircase as it turns up to the Bar on the next floor. Through it is an additional Ladies - with no queue!"   The monkey gratefully acknowledges the help received in the compilation of all information about this venue.

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Getting to this Theatre

Find this theatre on a Street Map. The theatre is to the left of the arrow.

Nearest Underground Station

Buses

Car Park

Nearest Underground Station: Covent Garden - Piccadilly Line (dark blue). An ILLUSTRATED PHOTOGRAPHIC version of this 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. On leaving the station, turn right and walk into the large pedestrian plaza that is Covent Garden. If you see a long road with cars in front of you, wrong way. On entering the plaza space, turn to your left and walk along the collonaded area. If you see Tesco Metro Supermarket or a bank, Wrong way. Keep walking ahead as far as the collonaded area will allow (it forms the outer part of the market Square). Follow it to the right. At the end of the building is Russell Street. Walk along Russell Street, crossing one road, until you reach a street corner with the Fortune Theatre to the left and the Drury Lane theatre ahead of you on the opposite side of the road. Take the road to your right, Catherine Street and walk on past the entrance of the Drury Lane theatre. If you do not pass the entrance doors, or pass the Fortune theatre, wrong way. Walk on past the Duchess Theatre, change to the other side of the road from it and the Novello Theatre is at the end of the street on the left.  _____________ An alternative route is from Temple Station - Circle Line (yellow) and District Line (green). This is closed on Sundays and some other times, so check before using. Plan your tube journey to this station using the button below:   A photographic illustrated version of this route is available by clicking here. If it is open, then leave the station turning left. If you see the river, wrong way! Go up the steps and cross the road ahead of you. Keep walking straight on up Arundel Street (the road sloping upwards ahead of you).  Make sure you are on the left hand side pavement. At the top of Arundel Street is "The Strand" and The Aldwych", a busy road intersection and cluster of buildings. You should not cross the road. Just turn to your left and walk down the Strand.  Keep going until you come to another busy junction at the end of the buildings. Look to your right and the Novello Theatre is on the corner across some busy roads. Use the pedestrian crossings to get to it!

Buses: 6, 11, 13, 15, all stop on the Aldwych almost in front of the theatre.

Car Park: Parker Street, under the New London Theatre. Exit the Car Park and stand with your back to the main foyer of the theatre. Cross the road ahead of you and turn to your right. The street corner is there ahead of you. If not, wrong way. At the corner of the street, Turn left into Drury Lane and walk along it. If you pass the New London Theatre, wrong way. Walk straight on, crossing Great Queen Street. Continue down Drury Lane. Please cross to the other side of the street and continue, crossing over Broad Court and Martlett Court until you come to a four way crossroads. Turn to your right at these crossroads. Do not cross any street. Just walk ahead down Russell Street. Cross Crown Court and continue straight on, changing to the other side of the street.  The end of this street has the Drury Lane Theatre as its corner. Turn to your left at this corner to walk past the Drury Lane Theatre entrance. This is Catherine Street and walking downhill, the Duchess Theatre is halfway along on the other side of the road. If you come to Covent Garden pedestrian piazza, wrong way.  The Novello Theatre is at the end of the street on the left.

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EXTRA EVENT

29th October 2017

WEST END BARES (cabaret)
CONTAINS ADULT MATERIAL. NOT SUITABLE FOR CHILDREN OR THE EASILY OFFENDED.

Now in its eighth year as the West End’s hottest annual fundraiser, join the cast of WEST END BARES as they strip off to see the Wizard in WEST END BARES: RUBY STRIPPERS at The Novello Theatre on Sunday 29 October with performances at 7.00pm and 9.30pm.

Join the much-loved characters of Oz for an extraordinary night at WEST END BARES: RUBY STRIPPERS, which will see over 100 of the hottest performers from the West End stage and beyond, along with an array of celebrity hosts as they take to the stage to combine the naughtiness of burlesque with the magic of the West End. All monies raised will go to The Make A Difference Trust to fund HIV and AIDS projects that raise awareness, educate and provide care and support in the UK and Sub-Saharan Africa.

Click here for an exclusive look behind the scenes of the WEST END BARES: RUBY STRIPPERS photo shoot https://youtu.be/4XYiliFar0o 

Directed by David Grewcock with choreography from Racky Plews (American Idiot; Footloose; Heaven on Earth), Ashley Nottingham (Thoroughly Modern Millie; Dance Mums; Disaster!), Will Lucas (Cats; Wicked), Joanna Goodwin (Barnum; Chitty Chitty Bang Bang; Sunset Boulevard), Aaron Renfree (X Factor; The Saturdays), Simone Mistry-Palmer (Motown; Dirty Dancing), Jaye Elster (Singin' In The Rain; Half A Sixpence), Ashley Jordan-Packer (Cats; Thriller Live), Fletcher Dobinson (Cats; West Side Story), Chris Whittaker (Blondel; Judy!), and James Wilson (Strictly Come Dancing; The Voice)

Opening the show in style, WEST END BARES: RUBY STRIPPERS is delighted to welcome Olivier Award winner Rebecca Trehearn (Showboat, City of Angels, Ghost), who will perform a brand-new track written for the occasion by Mark Anderson (The Book Of Mormon, Legally Blonde) and Luke di Somma (That Bloody Woman [composer], 21 Chump Street).

Award winning director and choreographer, Jerry Mitchell, creator of the original concept ‘Broadway Bares’, the inspiration behind West End Bares, said: "Lions and tigers and BARES, oh my! I can’t wait to see the eighth edition of West End Bares in London and what a perfect theme to go full out and celebrate LIFE. We need to keep up the fight against HIV and AIDS and by doing what we love or by buying a ticket and supporting this incredible night, you can be part of something HUGE that will change people’s lives – and you get to watch the hottest dancers in London strip, so it’s a no brainer!”

Melanie Tranter, Co-Founder, Chair and Trustee of The Make A Difference Trust said: "Who can resist an amazing night of witches, lions and scarecrows combined with the magic that is West End Bares? I can't believe that this is the eighth year of this amazing show. Sparkly shoes take over from the legends of Camelot, as David Grewcock and the amazing team behind last year's EXCALIBARE, bring you Ruby Strippers. Every single ticket sold means that the Make A Difference Trust can continue our work towards a world free of HIV and AIDS. Together we can make a difference. So buy your tickets, get your MAD money, and enjoy one of the sexiest, most fun evenings you can have in a theatre! I can't wait to see you there!"

For highlights of last year’s sell out performances visit: https://youtu.be/Nf2pNe3RdCw 

The Make A Difference Trust is a UK based charity with a vision of a world free from HIV and AIDS. Building on the legacy of 25 years of fundraising by the Theatre industry, they continue to make the vision a reality having distributed over £1.6million in grants to support individuals experiencing hardship across the UK as well as over £1million to support projects with their UK and international partners. For further information about the Make A Difference Trust please visit www.madtrust.org.uk


West End Bares are proud to be partnering with 100 Wardour St for this year's exclusive After Party where you can continue to celebrate with the cast of the show. Tickets cost £10 and are only available when you buy a ticket for the 7pm or 9.30pm show. Once again, there is limited availability for the After Party and when the tickets are gone, they're gone - so don't miss out!100 Wardour St is split between a laid-back Bar & Lounge and chic Restaurant & Club, offering great food from midday right through until 2am with classic and contemporary cocktails. As befits the venues history as the site of London’s iconic Marquee Club where artists like David Bowie and The Rolling Stones performed, there are DJ’s and live music five nights a week.


Photo above shows Ben Freeman, Gina Beck and Graham Norton. Photo credit: Richard Davenport, used by kind permission.

Performance Times:
7pm and 9.30pm

Seat Prices:
£100, £80, £65, £40, £25, £15 plus booking fees.
 

Box office:
Online: www.delfontmackintosh.co.uk
By Phone: 0844 482 5172
In person at the Novello Theatre Box Office.

Booking fees apply (£2.25 per ticket online / £2.75 per ticket by phone / no fee for in person bookings) and calls to Delfont Mackintosh Theatres 0844 numbers cost 7 pence per minute plus your phone company's access charge.

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