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

NOVELLO THEATRE
(formerly the Strand Theatre)

 

INTO THE HOODS (musical)

Sondheim fans can never forget his twisted fairy tale musical "Into the Woods." ZooNation have taken the concept, extracted both music and characters, and re-set the whole thing in the baddest inner-city American suburbs...

A child exploiting landlord sends his captured "babes in the Hood" on a mission that sees them find gold trainers, a bright red hoodie and the best hair weaves in the city. All to 'music' by artists including Jay-Z and the Chemical Brothers.

Possibly not for those who, like the monkey, believe that the "c" in "rap" is silent... still, let's not pre-judge...


 

Theatremonkey Opinion:
Not available. Reports are that this does prove doubters wrong in that the medium used  can effectively carry a story. Apparently much improved on previous incarnations it goes beyond a spoof on the original to provide a funny ghetto tale moved through action and time by video projections. The performances are judged strong and the direction only occasionally slips into workshop mode, apparently. "Good Fun" was one professional reviewer's summary.

 

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

(1 review)

If you go down to the hoods today you're in for a real surprise.....

I'm not the biggest fan of theatre, and particularly musical theatre. But after seeing 'Into the Hoods' on Friday night (14th March 2008) - I was simply blown away. It was the first night of the new show in London.

It was not like any show I have ever seen, or likely to see - and I mean that in the best way possible. The show starts, or rather the show doesn't start straight away, instead we get a poet/wordsmith come out on stage for 30 minutes. Now this I don't get.. the show itself runs for 90 minutes so I presume they have to 'add' extra. So we get a rather stilted odd intro which doesn’t really add anything. They’d be better off just going straight into the main event.

So the show properly starts at 8:15pm... and from the seconds the first beats strike up, it's then 90 minutes of frenetic non-stop dancing, music, laughter and energy. The choreography is sublime, and although the set just consists of a back screen, the dancers make the stage look fit to bursting. The story is narrative and music led, and it's a clever patchwork of music from the past 30 years. Whether you're 15 or 45 - you'll recognise some tunes and its full of post-modern cultural references throughout.

The ZooNation dance company, where all the dancers come from are of the highest calibre, and each character has their own style which works as a whole. The show is frenetic, there's no interval once the guys get going, and the show is all the better for this, as at the end you're left revitalised, refreshed and energised - even though you haven't moved a muscle. I hope the show gets the plaudits and success it deserves as its one of the most original and enjoyable London shows I have seen in a long while.

Gary Mazin,
London

 

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

Performance Schedule:
The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Monday to Saturday at 7.30pm
Wednesday and Saturday at 3pm and 7.30pm

Runs 1 hour 10 minutes approximately.
 

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

Stalls:
Rows B to U: £39.50
Rows V to X: £29.50

Dress Circle:
Rows A to H: £39.50
Rows J and K: £29.50
Rows AA and BB: £15
 

Upper Circle (known as the Grand Circle in this theatre)
Rows A to F: £29.50 (except A 12 and 13: £19.50)
Rows G and H: £19.50
Rows AA: £15
 

Balcony:
All seats £15

Boxes: currently not on sale.

A "Family Ticket" providing best available seats for four people is available priced £100 for all Monday to Thursday performances ONLY. The group must consist of at least TWO children aged under 16. This ticket can only be bought from the box office on 0844 482 5170 and not through any other source.

At some midweek performances, some sections of the theatre may be closed. In this case, seats in the rear stalls and Dress Circle are reduced to £29.50 or £15 accordingly. The box office will advise at time of booking.

 

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


Buying Tickets Through the Venue:

More Ticket Buying Options

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems.
Theatre Box Office:
Telephone: 0844 482 5170
Operated by Delfont-Mackintosh Theatres. At busy times / outside working hours - 9am to 8pm, See Tickets may answer on behalf of the venue.

Online: www.delfont-mackintosh.com provide their own service for this theatre.

Other Online Booking Options: click here.
 

Booking fees per ticket for telephone and online bookings:
£1.50 per ticket. This covers the cost of small advertisement insertions, thinks the monkey.

For personal callers or by post: Aldwych, London. WC2B 5LD
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 0870 011 7574 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the Delfont-Mackintosh Theatre Group Helpline in London. See Notes.

www.delfont-mackintosh.com is the official theatre website.


 

More Ticket Buying Options: Using S.T.A.R. genuine ticket agencies.
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers May be available - Click Here

When the theatre does not have tickets available, it is worth trying the Theatremonkey Ticketshop agency, which offers £39.50 seats with a £3.95 booking fee - 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 "drop down" menu in the centre of the page. Note that this system will confirm exact seat numbers prior to purchase.

"See" www.seetickets.com or 0870 830 0200 offer tickets with a £1.50 per ticket booking fee; plus a £1.60 per booking, not per ticket transaction charge. Note that the tickets offered may differ between phone and online sources.

Another alternative is Ticketmaster.co.uk who offer £39.50 seats with a £2.50 per ticket booking fee ( £2 on £29.50 seats, £1.50 on £19.50 tickets). A £2.50 per booking (not per ticket) handling charge is also added for ALL transactions.

Encore Tickets offer £39.50 seats with an £10 booking fee per ticket (£7.50 on £29.50 seats). An optional UK postage of £1 per booking, not per ticket, is available if time allows. Meal and show packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

 

Other Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.
 

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

Theatre Seat Opinions:
Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.

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

 

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Balcony Notes
STALLS 
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. For "Into the Hoods" row B is the front row, with a few seats missing at the "high numbers" end.

The stage is high, and those in rows B and 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..

A reader comments, when row B is the front row,
"the stage is MASSIVELY HIGH! It's the same stage for the whole RSC season, so 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."
 

Readers Sharon and Derek commented for an earlier production "Footloose", which used row C as the front row,
"sat in row 'D' which was actually the 2nd row for this show. Fantastic seats - fantastic view."

Reader Andie King agrees for the Shakespeare season of March 2007,
"My seat was in row D of the stalls which 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."

Regular contributor Lizzie adds,
"Our seats were stalls row E (which is really only the third row back as there is no A or B for earlier production "Footloose" - ed) – seats 4 to 8 not bad – 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 ."

Moving back, the rake becomes noticeable from row F, and decidedly pronounced from row G back. Combined with well thought out "offsetting" of seats so that no seat is directly behind the one in front, the mid to rear stalls instantly appeal 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.

A reader says,
"We sat in stalls row 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."

Reader Lisa felt row G, Seats 13 and 14 had an excellent view.

A row behind, another says,
"H19 in the stalls was a really good seat, though there was very little leg room and I felt very squashed indeed."
 

Reader James F says,
"The seats I had - J8 and 9 in the stalls - were 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."

Reader Daniella C comments,
"We were sitting in the stalls Row L Seat 16 and 17 (10 rows from the front), but knew from Theatre Monkey that the seats were slightly raised, which meant that we could see really well."

The only seats some may wish to avoid 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). It might also skip row U as it is a longish way back for a top priced ticket - nothing wrong with the view, though.

One reader also felt 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.

Another reader comments,
"sat in the middle of row M for "Drowsy Chaperone" (May 2007) and 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"

In row S, another reader found the seats uncomfortable too, and felt a bit far back from the stage.
 

At second price row V is cheaper than row U, with similar view; 7 to 20 are worth considering in the monkey view. Compare Rows V to X with rear Dress Circle or central row B Upper Circle at the same price, feels the monkey, unless legroom is a factor (stalls are preferable for that!).

Legroom throughout the stalls is fine for all but the tallest over 5ft 11 or so - as a 6ft tall reader notes above. The original seats have been retained, meaning that they are high and have space to slide legs under the seat in front. Of particular interest to the tall are row B (when used), plus row F seats 3 and 24 and G 1 and 25. as there is nothing in front of these seats. Those who dislike bobbing heads in front may also wish to seek out the row F and G seat numbers in particular, as they combine legroom, nobody in front and a good view of the stage overall.

 

Stalls Boxes
Boxes A and C, above the stalls, between Stalls and Dress Circle height. Only half the stage is visible, and then only by leaning forward. The seats are low and space is limited, possibly making them less than ideal for the tallest - though the seats can be moved around, which may help. Additionally, 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. Take other seats instead for a far superior view in the monkey opinion. Not expected to be in use for "Into the Hoods."

 

 

DRESS CIRCLE 
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. The 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 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.

For the rest of the central circle, 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. Rather than H, 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.

In row C, reader Vince Hanratty feels,
"Seats I had seemed to be the best view I've ever had in a London Theatre (Dress Circle C11and 12)."

A reader says,
"Got good half price seats from TKTS. Dress Circle F 4 and 5, perfect view. Minimal leg room did get uncomfortable without an interval"

Another says,
"row G of the dress circle. Great view, and we had a surprisingly large amount of leg room."

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.

Reader Sam says:
"I sat in seat K6 Dress Circle. 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."

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 would agree that £30 is the absolute maximum price that could justify a "green" rating, though.

Another reader comments, for "Antony and Cleopatra" (February 2007) that "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.

Wheelchair users have two spaces available by the removal of seats A 23 and 24, AA 10 and 11 or BB 4 and 5. The view isn't bad at all from here, and access is simple from the side street via a side door. See notes for more information.

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! Row BB seats 3 and 4 are the only seats the monkey would consider...and then only if the best Upper Circle and rear stalls seats 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. BB4 isn't on sale for "Into the Hoods."

Legroom is 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). For the rest of the rows, 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. Row K is more of 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.

 

Dress Circle Boxes
Boxes B and D are above the stalls boxes, between Dress and Upper Circle height. Only half the stage is visible, and then only by leaning forward. The seats are low and space is limited, possibly making them less than ideal for the tallest - though the seats can be moved around, which may help. Additionally, 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. Behind Box B a retiring room and separate entrance from the street are available. Not expected to be in use for "Into the Hoods."

 

 

UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.
The balcony overhangs the Upper Circle at row D, affecting the view of seats from row E back.

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 Upper Circle has a main central block, plus two "slips." These 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. The result is 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 (as for "Into the Hoods"), 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.

Reader Lynn confirms this for previous production "Footloose", where the stage extended further than usual:
"Sat in the Grand Circle seat numbers B12 and 13, not a bad view although lost the view of the very front of the stage so had to lean forward on the kitchen scenes."

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.

Moving further back, rows G and H are not bad at second to bottom price, but the monkey would prefer Balcony central rows C and D for view, given the choice at the same price. The view may be further away, but there is no overhang to contend with in the balcony.

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!"

For "Into the Hoods" slip seats AA 1 to 4 and 21 to 24 are not in use.

A reader comments,
"Sat in the Upper Circle, seats AA11 and 12 (slips).  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...

Legroom in this circle is 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. 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.

 

 

BALCONY
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.

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.

Seats in row A are also 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 too - 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. Outside these, row C back is monkey advice. In fact, it would take row D first then C, then pick E or B if "leaning potential" isn't an issue - the price is the same for "Into The Hoods."

Readers Maureen, Jackie, Frances and Lou (on a ladies' night out) felt the same, they say:
"Bought balcony tickets directly from theatre Row D - quite high up - looking down on stage. Once you are used to the height there is no problem."

Another reader feels differently, though,
"We were given E7 and E8 in the balcony - 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."

Be aware of the vertigo, is the monkey comment.

At the back, the monkey fell instantly for row E seats 7 to 17. Cheap, with a decent view for the price and some legroom too, the monkey felt these a gem worth knowing about. Behind it, row F also has a surprisingly good view, but less legroom alas. With all seats the same price for "Into the Hoods" 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.

On the subject of 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, with those of 5ft 7 or less satisfied with other seats in these rows, and also row B and E. Row F has less legroom, and a 5ft 7 person may find it tight, while those of 5ft 5 or more should certainly skip row A. Seat D1 has a little more legroom too, and B1 has extra space for one leg to spread into as well.

 

Notes
Total 1127 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.

No food except bar snacks (including "wraps"), Ice cream and confectionery. "Picnic boxes" can often be arranged for couples in the bar at the interval. Details from the theatre Hospitality Department on 0870 950 0950.

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.

The monkey gratefully acknowledges the help received in the compilation of this information.

 

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

Getting to this Theatre
Find this theatre on a Street Map. The theatre is to the left of the arrow.
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Covent Garden - Piccadilly Line (dark blue).

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

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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