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.oldvictheatre.com the theatre's own website provide the service for this theatre. This site allows you to choose your seats from those available. Booking fees per transaction for online bookings: £1.50 per booking, not per ticket, transaction fee is charged. Cheaper than by telephone.   Other Online Choices (with S.T.A.R. genuine ticket agencies): When the theatre does not have tickets available, it is worth trying the Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), which offers £52 seats with an £8 booking fee (£4.25 on £28 seats) - moderate by agency standards, high by box office ones, but worth trying as they often have some choice available! Note that this system will confirm exact seat numbers prior to purchase. Another alternative is www.seetickets.com / telephone 0870 830 0200 with offers £52 seats with a £5.20 booking fee (£2.80 on £28 seats); plus a £2.75 per booking (not per ticket) postal charge. (FREE call if using a BT.com Calling Plan at your chosen times). Ticketmaster offer £52 seats with a £4.15 booking fee (£3.35 on £42, £2.25 on £28, £1.70 on £21, £1.30 on £16, 90p on £11 seats), plus a £2.85 per transaction (not per ticket) booking fee. Not all prices are available at all performances - the system will advice at time of enquiry. The usual "select your own seat" function may also not be be available at all performances. Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer £52 seats with a £14 booking fee (£8 on £28 seats). A postage charge of £2 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 £2.50 per ticket. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available. Lastminute.com offer £52 seats with a £5.70 booking fee (£8.30 on £75, £4 on £28 seats). NOTE: Seat numbers are NOT available in advance from this company. All seats booked in the same price group will, of course, be together or at the very least be in front or behind each other in the theatre. In the very unlikely event of this not being possible this company will call you and give you the option of cancelling your booking. However if booking in two or more price bands, you will not be sat together. Please DO NOT purchase if this is unacceptable to you, as all tickets are sold subject to this condition. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available. Londontheatredirect.com offer £52 seats with a £10 booking fee per ticket. 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 diffol via their phone and online systems. Offers may be available click here.

Theatre Box Office: Telephone: 0844 871 7628 Operated by the Old Vic Theatre group's own phoneroom from 9am until 7.30pm Monday to Friday, 9am to 4pm Saturday and 9.30am to 4pm Sunday. Outside these hours the Ticketmaster agency answer calls on their behalf. Booking fees per transaction for telephone bookings: £2.50 per booking, not per ticket, transaction fee is charged. This is more expensive than booking online.   For personal callers or by post: Waterloo Road, London. SE1 8NB No booking fee for personal callers. Special Access Needs Customers: Wheelchair users and other registered disabled theatregoers can book their seats on 0871 297 5477 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the theatre chain central phoneroom in London during working hours. See Notes. www.oldvictheatre.com is the official theatre website. A very good auditorium photograph is available here. E-mail the theatre at: info@oldvictheatre.com

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Performance Times

Ticket Prices

Where to Buy Tickets

Seating Plan

Seat Opinions

Getting Here

Theatre Seat Opinions:

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

Seating Plan Diagram

Stalls

Dress Circle

Upper Circle

Notes

STALLS  Layout: The Dress Circle overhangs the stalls at row T. It doesn’t affect views of the stage... this theatre has pillars to do that instead. A single block of seats face the stage. Rows A to D are removable, with the stage extending into the space. Pillars at the ends of row P and interspersing row U disrupt rows and views. The rake (sloped floor to help see over rows in front) isn’t noticeable until around row P, and rows D to H slope down from the stage rather than rise above it. Legroom: Acceptable in rows A to U for all but the tallest, less but still acceptable in rows V to X. Restricted view seats have a bit more space, with T 5, 6, 32 and 33 having notably more, the box office feel. Choosing Seats in General: Sold cheap, the front row – be it A, B, C or D is always a bargain. Stage height varies by production, though, so those wishing to see feet (musical dance fans / fetishists) may wish to sit several more rows back. The fact rows D to H slope backwards from the stage means that these may not be suitable for shorter people. Rows J back to M arguably have the best views in the front stalls, considering the rake and height of the stage. The monkey normally likes central row H back to K, though, for viewing comfort. It could even go further back too, with A in use, to rows J to N to avoid the dip... Row N has an OK value wheelchair space. Rows P to V offer only fair value, being the same price but further from the stage. The pillar to the right of seat P35 caused one person an issue as it clips the edge of the stage, obscuring action happening in the boxes...prior to that, there has never been a recorded complaint about the seat, apparently. Pushing back to rows U and V, current pricing sees most of these rows at top price. Monkey advice is to skip U 6 to 11 and 26 to 31, and V 6 to 10 and 28 to 31, but take these over Dress Circle row A for comfort if long legged... The central supporting pillars interfere with the view in rows V back, as well as some seats at the sides of the theatre. The rest of the rear stalls, rows W and X are also distant from the stage - but the prices have been dropped to reflect this. Skip W 9 and 10 and X 7 to 9, and be aware that you still look through pillars, but otherwise value for money hovers at fair for second price. Comfort and personal choice in views - overhang and distance against long downwards look - should determines whether to sit here or pay the same for seats in row A of the Upper Circle instead, or E of the Dress Circle. In the rear stalls pillars affect the view in row P seats 4, 5, and 35, row Q seat 3 and 34, row T 5, 6, 32 and 33, row U 5 and 32, row V 11, 27, row W 11, 12 and 27, and row X 10, 11, 12, 27 and 28. In rows P to T, none of these seats usually offer any added value even at a low price, as annoyingly, producers have realised how good these seats are and re-priced them accordingly... T5 at top price is worth skipping in particular. The very low price of restricted view seats in row U back make them about average value in the monkey opinion, again based more on comparable comfort with other seats at the same price elsewhere in the theatre. All these "restricted view" seats may be worth considering for the slightly superior legroom however, when compared to the same priced seats in the circles. Sit here for comfort, not views. The box office particularly likes row T restricted view seats for a little extra space! If in use, purists may wish to avoid V15 to 22 and W and X 15 and 22, with a sound desk nearby. Most won't notice, though. General Hazard Notes: Booking before a production opens means you may not be in the front row, as they add them at short notice. Rows A to D don’t have a rake to speak of, and it’s poor in the rest of the theatre. Sound in central seats around row J has been known to be less than perfect. Pillars, as discussed above. Changes for the current production: The front rows are broken up by access needs to the stage. Three seats in row A, a large block, and small block in rows B and C. Most central seats from row H to R are at "premium" prices. Your call, says the monkey, who would sit in seats around them - less money, same view - and not pay premium prices for seats further back than row N. Away from the "premium" seat thing, row G in particular is a real money saver...   Reader Comments: “Row A (when in use): These seats are an amazing bargain at a discount, with absolutely no sightline problems. In fact they offer a significantly better view than any of the boxes, slips, side circles or even the rear stalls." “E15 and 16: “Hedda Gabler,” (Chris B). I can't recommend these seats highly enough. They are central offering an amazing clear, up close view whilst bring far enough back to appreciate the whole stage. And there is as much legroom as you could wish for, which is a welcome treat. Top class seats.” “G21: (November 2009). Fine seat, good view, but could be problematic if someone tall sits in front of you. I never knew that the Old Vic had such a deep stage - it almost stretches as far as Elephant and Castle." "G23 and 24: for "Design For Living" (September 2010), (Clive – regular reader). Perfect view of the whole stage and very good legroom." “G26 to 28: "A Flea in Her Ear" (December 2010), (Clive – regular reader). Comfortable seating with good legroom and a good view of all the stage." "J4 and 5: "Noises Off" (December 2011), (Annie). Good seats, lovely view, reasonable leg room." "J14: "The Duchess of Malfi" (March 2012). Have to say that the poor rake of the theatre meant I was craning all over the place (as was everyone in front of me) to try to see the many speeches being performed while kneeling or lying near the front of the stage in the final parts of the play. I'm not short and those in front of me were not tall, so there is no excuse but the rake. Normally I suspect J is quite a good row, especially for seeing the full stage and yet seeing faces etc, but tonight I wished I was somewhat further back where the rake seems a little steeper." "J17 to 21: "Empire State of Mind" (2011). Perfect view of the whole stage and good legroom." “J19 and 20: “Six Degrees of Separation” (January 2010), (James – regular reader). Good view from here, but without the first few rows in use, I would have preferred to sit a couple of rows further back." “K21 and K22: "Speed The Plow," (March 2008)/ Excellent view again." "L 4, 5, 6 and 7: "Six Degrees of Separation”. Seats should be red, possibly also equivalent seats at the other end of the row. The sound in these seats is variable: if the actors turn to the centre or to the other side of the stage they become inaudible. (Not something the monkey has noticed for other productions, but it strongly advises readers to bear it in mind).” "M8 and 9: "The Real Thing" (March 2010), (James – regular reader). As always, a good rake and staggered seating ensures an excellent view, even if a little bit to the side." "N26 and 27: "Cause Celebre" (March 2011). These were very good seats. I'd like to have been a couple of rows closer ideally, but then you're at more of a mercy if taller folk are in front of you; so row N limits the damage from such - but it's marginal." "N30: "A Flea In Her Ear" (December 2010). Had a perfect view of the stage” "Row Q: It looked as if (when used) Rows A, B and C were slightly raised, then dipped down from D to about H, then rose again. If you have someone in front of you either very tall, or trying to avoid someone very tall in front, constant head bobbing will spoil your own view". "Q6: (James – regular reader). Fine view as (for the first time in my theatre-going life) had someone really short in front of me. As the seat off-setting is optimised for the middle of the rows, heads in front could be a problem for all side seats here." "Row Q14 to 16: "Noises Off" (December 2011). Provided a pretty good view with the offsetting, and we were far enough back to take in the whole panorama without feeling too remote. For this production, where the cast run up and down and the action is rarely central but occupies the whole width and height of the stage, I wouldn't have wanted to be too close." "Row R: We had problems seeing. The theatre is poorly raked and £45 priced seats is a lot to pay to look at someone's head!" "S15 to 17: "Kiss Me Kate" (December 2012). Row S is a fair way back, but we had bought discounted GILT promotion tickets, so 'only' £35 each, and the rake was sufficient for a decent enough view at the price. But, most notably, I thought we had an amazing amount of legroom in these seats. Probably because the backs of the seats didn't extend down close to the floor, I was able stretch out my legs fully under the seat in front of me, and also cross my legs without resorting to contortionism - a rare treat." "T16: "Six Degrees of Separation" (January 2010). Seemed quite distant, and at top price I would recommend going for something further forward. Was a steal at what I got it for though”. "T26 and 27: "The Tempest" (July 2010). The rake this far back is good, the view was fine and I did not find it at all distant. The legroom in this particular row is excellent." "T 30 and 31: “As You Like It” (July 2010), (Clive – regular reader). The legroom was good and the view also good, if slightly obstructed by a tall theatregoer in one of the seats directly in front. However as this was only one seat it was easy to adjust the view slightly to one side."   Stalls Boxes  Layout: Two large boxes either side of the stage at stalls level. Legroom: Good on movable chairs, and on the (uncomfortable) ledge. Choosing Seats in General: Normally, it is reported that boxes will not be sold. Should they be available it will only be to personal callers at the box office, where any drawbacks can be explained to them. Value is poor at top price, not much better at second price, better if at bottom price. Choose the centre stalls – or any other central seat in the main auditorium - first. General Hazard Notes: The view from all boxes is angled. At the very least, the rear quarter of the stage not visible. Lighting / sound fixtures may further affect views. Changes for the current production: None. Reader Comments: "Olivier Box: I was sold four tickets for "The Philadelphia Story" (summer 2005) in the Olivier Box. I was told it seated five so was pretty sure we wouldn't have anyone with us. We were sold seats 4 to 8. When we arrived we were surprised to find another couple with us in the box who had been shown to the only two seats with any decent view at all by the usher. I went to find her and it was all sorted out OK and they were moved to the front of the box with a very sideways view of the stage. We then found that only one of us got any sort of decent view (seat 8). One of us had to sit on a very uncomfortable ledge behind and the friend in seat 7 had a very restricted view. My poor boyfriend couldn't see a thing as there was a pole in front of him - he ended up sitting behind the other couple and we wished we had kept quiet and taken the (supposedly worse) seats ourselves. My point is that there is no way this should be sold as a box for six people. Four at the maximum. At a price of £40 per seat I would rather have had the discomfort of the rest of the theatre. I only took the box because it was a sell-out. When I rang the box office to complain I was told that they normally don't sell the boxes and only opened them up because it was a sell-out. However I wasn't told this on booking. Just warn your readers to steer clear of the box if they possibly can".   DRESS CIRCLE  Layout: The Upper Circle overhangs the Dress Circle at row C. Row E misses the top of the stage. A central block, interspersed with pillars in row B, faces the stage. Three rows of seats extend along the sides of the theatre between the circle and stage. Legroom: Poor in almost all seats for the tallest (over 6ft), worst in rows A and X for everyone. There is a touch more legroom at the outer ends of rows A and B, though. The barstools and bench style affairs used in the side rows also provide more, but shorter folk find their legs hanging in mid-air in the high seats of row Y, noted one reader. Choosing Seats in General: Centre Block: In the central block row B seats 12 to 25 offer the best view, followed by row A 9 to 27, and C 13 to 17 and 21 to 24. It is worth choosing prime stalls over the Dress Circle however for comfort, view and proximity to the stage. Central block seats designated restricted view are row A 7, 8, 28, and 29; Row B 7 to 9 and 28 to 30; row C 5 to 8, 11, 19, 26 and 29 to 32; row D 4 to 8, 9, 10, 17, 18 and 25 to 32; row E 4 to 11, 18, 19 and 26 to 34. Of these, row B seats are least affected and are worth considering if the Dress Circle is a must and you need more than one seat on a budget. Restricted view row C 19 and 29 and E 4 and 26 seem slightly expensive, and the monkey gives them an "avoid" rating as a result – cheaper, the view would have made them a bargain. D9 is average value at least, as unlike the others, you don't have to pay AND lean in this one. Row E is about fair choice in unrestricted seats between 10 to 28. It isn't a total "avoid," but it isn't great value. E 13 to 16 and 21 to 24 are pretty much the pick here. Consider rear stalls for comfort or front Upper Circle for closer view (with bar, though) at the same cost. Side Blocks: Rows X, Y and Z are designated restricted view due to a combination of pillars and a viewing angle that makes between a fifth and a half of the stage invisible. Theatremonkey likes to mooch (if the theatre is selling them to monkeys its age) in Y seats 17 to 20. Row Z 16 to 21 are the same price as Y, and are both second price and second choice as these are fair rather than bargain value alas. On the other hand, there's a pair of cheap seats right next to them in row Y - fair or just about, for view if not comfort. The short legged will also find row X 15 to 22 good value after Y and Z. The view in these seats, and comfort is not great, but the value is good enough to justify the choice. General Hazard Notes: Supporting pillars affect the view from some seats in row C back. Row E cannot see the top of the stage. Double height bars at the ends of the aisles obstruct the view of the first three seats in each row of the centre block. Rows Y, Z and parts of X don't have arm rests. Changes for the current production: Seats at the ends of rows B and C very fairly priced, it feels. A front dress circle view for the same price as an upper circle seat can't be bad. Much of row E is at second price and fair value. Reader Comments: “Row B: (Julian Taylor). Plenty of leg room and an excellent view of the stage." "B8 and B9: "Hedda Gabler" (September 2012). ‘Restricted view’ £21. We were really pleased with the seats, I was a bit worried as they are less than half the price of the £50 tickets next to us but despite the small bar we thought they were very good value for money and I would definitely sit here again. The seats feel really close to the stage and the central block of the theatre doesn’t have much of a curve so we weren’t to the side at all. The view of the front left part of the stage (about 10-15%) is partially obstructed by the small bar however not much of the play takes place here and occasionally we just had to move our head slightly to get a full view." “C18 and 19: “Richard III,” (Chris B). The circle feels quite distant from the stage but does offer a very nice raised up overview of the whole performance. As with most of the seats at the Old Vic, there is legroom to spare. C18 is classed as restricted but in reality there is roughly a 5 inch wide pillar in front of your seat that is very easy to see around, especially if you can lean slightly over to the person next to you. And you get a discount on the ticket price.” “C26 and 27: “Kiss me Kate,” (Chris B). The view is excellent from C26, clear and almost uninterrupted (a very small slice if the very right hand side of the stage is missed, although this doesn't detract from Kiss me Kate), if a little far from the stage to truly engage. And only marginally restricted from C27. There is a pillar in front of that seat, only about 6 inches in diameter that is quite easy to see around if you lean slightly. And the vastly cheaper price certainly sweetens the deal. There is plenty of legroom too, as with most of the seats at the Old Vic.” "C30 and C31: (David Bone). As well as the pillars in the circle, at the front of the access aisles there are metal crash barriers, I guess put there as a safety measure to prevent the late comer who is running down the steps to get to his seat at the front of the circle from slipping and ending up in the stalls (!). Anyway, from our seats one of these crash barriers was right in front of us, breaking up our view of the stage. It wasn't a prohibitive problem but I wouldn't have accepted these seats at the price had I known." "D9: "Noises Off" (December 2011), (Taljaard). At £15 it was a real bargain. About 2% of the right hand side of the stage was blocked but very little of the action takes place there so it was not a problem." “D17: At second price. It is rather interesting place. The Pillar is in the view, but not in front of you (It would be if you sit in D18). To avoid it, you have to lean to your left little bit. If the play is not "action based" and the set is extremely simple I thought I got a good deal. Not sure though if there was some action to your right how you would feel. Anyway, to sum it up. Annoying rather than fatal. So, don't dismiss it, and give it a good thought. The legroom is good/very good. I am 5' 10"" "Row X: "Noises Off" (November 2011). Two seats were £35, the others £20 because they were apparently restricted view, though there was nothing to spoil anyone's enjoyment. My one complaint though is that my hearing is starting to deteriorate and a missed a lot of the dialogue - partly through the laughter and partly because the acoustics were not that great. If your hearing is poor, sit near the front or buy a hearing aid!!!" “Y1 to 3: the view from the seats is ok, but a little moving about was needed. I wouldn't suggest those seats (we actually had Y2/3) for a play etc as about half the stage is 'missing' but for cabaret happening centre stage, they are great value.” "Y16: £20 plus £2.50 booking fees. I wanted to buy a better seat, but this was the best available. I have to say that I was very pleasantly surprised with the seat. I am not sure how things might be for other plays with too many actors and/or bigger set, but for my one, the view is very clear. It is true that you sit little bit sideways, but not really a big deal. However, a word of caution. I think the lower you get, the worse will be, because the angle gets smaller. The worst will be those near the pillar. Legroom is O.K. (I am 5ft 10/11). Overall, taking the price into account, very good seat." "Y28 and 29: "Hedda Gabler" (September 2012). These are amongst the strangest theatre seats we have ever experienced. They are akin to bar stools, sitting very tall (they have an inbuilt footrest!), meaning that if you are a shorter theatregoer (like my wife who is 5ft 1/2in tall), your feet cannot touch the ground - or indeed the footrest, meaning you have to support yourself on the back of the seat in front. The seats also aim slightly away from the stage! This, combined with the horseshoe shape of the theatre, means you lose sight of perhaps half the stage unless you lean well forward onto the (cushioned) rail in front of you. But to do this you would need the agreement of other sufferers in that section. For the second half, we transferred to the row in front as it was empty and the view improved considerably. But you still lost sight of about a quarter of the stage. These seats are only to be considered if subject to a substantial discount (like the £10 per seat offer we found), but even then the dire viewing angle has to be strongly considered before purchasing."   Dress Circle Boxes Layout: Two large boxes either side of the stage. Normally, it is reported that boxes will not be sold. Should they be available it will only be to personal callers at the box office, where any drawbacks can be explained to them. Legroom: Good on movable chairs. Choosing Seats in General: Normally, it is reported that boxes will not be sold. Should they be available it will only be to personal callers at the box office, where any drawbacks can be explained to them. Choose seats 4 to 7 in all boxes for the best of the poor angled views of the stage. Value is poor at top price - avoid totally; much better at a heavy discount (bottom price). Choose the centre stalls – or any other central seat in the main auditorium - first. General Hazard Notes: The view from all boxes is angled. At the very least, the rear quarter of the stage not visible. Lighting / sound fixtures may further affect views. Changes for the current production: None. Reader Comments: None.   UPPER CIRCLE Called the LILIAN BAYLIS CIRCLE in this theatre. Named in honour of the dynamic Old Vic manager. This lady believed in bringing quality theatre to the masses at affordable prices; Theatremonkey salutes her. Layout: This circle is high above the ground. Like the Dress Circle a central block faces the stage. Two rows of seats extend along the sides of the theatre between the circle and stage. Standing places are allocated behind the side block rows. Legroom: Stretching it to reach "adequate" in all seats, worst in rows A and X. Row B seats 2, 35 and 36 have a little more legroom. Choosing Seats in General: Centre Block: Row A seats 14 to 26 are normally sold at second price. If the bar, legroom and height don't bother you, they are worth thinking about as the alternatives to identically prices rear stalls and Dress Circle seats. Row A seats 3 and 33 are a fair restricted view choice only if legroom is not an issue; otherwise: avoid. Behind that, Row B seats 10 to 28 offer the best view here, followed by row C 10 to 28. At third price though, consider paying a little more for the rear stalls first if legroom is a priority. The monkey picks the stalls on this one. Row B seats 2, 3, 35 and 36 offer a bit more legroom, a bit less view but much lower prices. Rows F and G feel a long way from the stage in the monkey opinion. Side Blocks: Row X is the front row, P the central and S the standing positions behind P. All seats are designated restricted view with between a fifth and half of the stage not visible - and the bars don't help. Seats 15 to 22 in all rows are a bargain bin choice - choose row P - or S for a tiny bit more comfort if you don't mind standing. Those on tight budgets should look at side blocks if the purse is not stretching further. Rails and tight viewing angles make the last few seats in every row distinctly average value. General Hazard Notes: A bar runs across the front of the circle, affecting the view slightly in rows A and X. A double height bar is found at all aisle ends. Pedants might want to avoid the aisle seat (and two next to them) here. Less comfortable, narrower, seating is used in the centre block of this circle than elsewhere in the auditorium. Spotlight equipment can replace G 21 to 23. Purists might like to avoid G 20 and 24 and F 20 to 24. Most won't notice, though. Side seats are "bench style" - arrive early to stake out your portion! Changes for the current production: Row A is third price. The monkey thinks them very fair in this case if not worried about legroom.   Reader Comments: “B14 to 17: Perfect seats.” "B19: 'Cause Celebre' (April 2011). Right in the middle, I was quite happy with the seat. Leg room was adequate, and the seat comfortable. You get an excellent view of the stage --- of course, one is a bit far away from the stage, but I didn't feel that distracted from my enjoyment in any way. I would choose that seat again. I certainly don't think the front row of the upper circle is worth the extra £10 GBP charged! In short, Theatremonkey's coding of B19 as a green seat was spot on."     Notes Total 1067 seats. Air-conditioned Auditorium. Guide dogs can be dogsat by staff. Wheelchair users have access via a portable ramp over a step at a firedoor, to a decent seat in the stalls. Access to an adapted toilet through the corridor leading into the stalls boxes. More information from the theatre box office on 0844 871 7628 / 18001 0844 871 7628 (textphone) / 18002 0844 871 7628 (hearing person). Operated by the Old Vic Theatre group's own phoneroom from 9am until 7.30pm Monday to Friday, 9am to 4pm Saturday and 9.30am to 4pm Sunday. 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 Ice cream and confectionery. Three bars; Stalls, Dress Circle and Upper Circle. 4 toilets; Stalls 1 gents 2 cubicles, 1 ladies 5 cubicles, 1 unisex disabled; Upper Circle 1 gents 2 cubicles, 1 ladies 7 cubicles

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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

Nearest Underground Station

Buses

Car Park

Nearest Underground Station: Waterloo - Bakerloo Line (brown), Jubilee Line (silver gray), Northern Line (black). Also a main line station. This station has multiple exits, not clearly marked, so be careful! The best route is as follows: From the platforms, follow signs for the "Waterloo Road" exit. On leaving the glass doors, turn right. You can see the corner of the theatre - it is on the opposite corner of the next crossroads you come to. Just cross the road and walk to your right. ______________ If, in error, you left by the "South Bank" and / or "Shell Exit" and / or "York Road Exit" from the platform to the surface, you will be on York Road. Cross the road and turn to your left. Walk to the corner and take the next turning, a grotty street called Morpeth Road. Walk up it. At the very end, turn right. Walk on and you will come to the station exit you wish you had taken! You will now be able to see the corner of the theatre - ahead and on the opposite corner to the left of the next crossroads you come to. Just cross the road and walk straight on to reach it. 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.

Buses: 1, 4, 68, 176, 188, 501 all stop nearby.

Car Park: Parking on street after 6 pm, or hike from Coin Street. From this car park turn left. If you come to the back of the National Theatre and London Television Studios, wrong way. Change side of the road and at the corner, turn right. Change side of the road. Keep walking until you come to a large roundabout with a circular building in the centre of it. Follow the pavement around and take the first turning on your left, Waterloo Road. Walk straight down it, crossing a traffic access road in front of St John's Church, then crossing Exton Street, Alaska Street and Sandell Street.  The theatre is on the opposite corner of the next crossroads you come to. If instead you come to the front of Waterloo Station, wrong way.

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Performance Times

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Where to Buy Tickets

Seating Plan

Seat Opinions

Getting Here

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