Theatremonkey®.com

                         

An Independent Inside Guide to London Theatre and Concert Venues

SEE ALL DISCOUNT LONDON THEATRE TICKET SPECIAL OFFERS
Home Page
Buy the Site Book
SEARCH THE SITE
By Venue Name
By Show Title
For Best Seat Info
For Seating Plans
For Show Time Schedule
CHECK OUT THE
Latest Special Offers
Tips, Hints & Features
Top Five Charts
GUEST SERVICES
Theatremonkey Ticketshop
Hotel plus Show Deals
Venue Access Guide
View Show Video Clips
Theatre Dictionary
FAQ's
Contact Us
Blog and Book Extracts
Take The Site Tour
Join Our Mailing List
Links To Other Sites
CD and Gift Shop
Tourist Attraction Ticket Shop
TICKETS FOR TODAY
For more, click any title.
Updates constantly on
every performance day.
FUTURE DATE OFFERS
Or click here for more...
If you can't see offers
above, please check your browser is permitting "ActiveX" controls to run.

 

 

 

 

 


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

OLIVIER THEATRE


IN REPERTOIRE:

THE COMEDY OF ERRORS (play)
Ends 1st April 2012.
Runs 2 hours 20 minutes approximately.
Audio Described performance: Saturday 10th March 2012 at 2pm (touch tour 12.30pm)
Captioned Performance: Sunday 11th March 2012 at 3pm.

 

 

 

SHE STOOPS TO CONQUER (play)
Ends 21st April 2012
PUBLIC BOOKING FOR PERFORMANCES FROM 3RD APRIL 2012 ONWARDS OPENS ON 15TH FEBRUARY 2012.
Audio Described performance: Saturday 25th February 2012 at 2pm (touch tour 12.30pm).
Captioned Performance: Tuesday 27th March 2012 at 7.30pm.

 

 

COLLABORATORS (play)
PART OF THE TRAVELEX £12 SEASON
Ends 23rd June 2012
PUBLIC BOOKING FOR PERFORMANCES FROM 15TH MAY 2012 ONWARDS OPENS ON 15TH FEBRUARY 2012.
Moves to the Olivier Theatre on 30th April 2012, from its previous home at the Cottesloe Theatre. Click here for details.
Runs 2 hours 30 minutes approximately.

 

 


ANTIGONE
(play)
PART OF THE TRAVELEX £12 SEASON
Previews from 23rd May, opens 30th May 2012
PUBLIC BOOKING FOR ALL PERFORMANCES OPENS ON 15TH FEBRUARY 2012.

 

The Comedy of Errors: Immigrant twins at large in the city. Both affect each other's lives without actually meeting. Multiple mistaken identities and a few Bill the Quill chuckles delivered by a cast including Lenny Henry. Dominic Cooke directs.

She Stoops to Conquer: Wealthy man looks to pair off daughter with friend's son. Oliver Goldsmith classic comedy directed by Jamie Lloyd.

Collaborators: Mikhail Bulgakov wants the freedom to be the wit that he is. Not easy in 1938 Moscow with the Secret Police watching him... and the chance to write a play for Stalin's 60th Birthday... John Hodge's play is directed by Nicholas Hytner.

Antigone: For 'burying her brother* in defiance of a direct order,' King Creon orders the same done to his niece Antigone. The gods get angry, Creon gets grief... Sophocles adapted by Don Taylor with Polly Findlay directing.
*Brother was dead at the time, this wasn't sibling rivalry on a beach or anything - editor.


 

Theatremonkey Opinion:

The Comedy of Errors: There seems to be a fashion at the moment for doing Shakespeare "street" style with a TV personality. This time it's Lenny Henry ending up in a gritty modern port world. Ramping up the salacious seems to overpower the gentler comedy - though the monkey guesses it was all pretty broad at the Globe all those years ago when the setting was also modern... Anyway... It sort of works by the end, even if there's some pretty tedious moments to wade through. Lenny Henry builds on his stage experience last year to provide a relaxed rendering of Antipholus. Claudie Blakley manages a strong performance alongside him, even better when her sister - Michelle Terry - is discovered. Add a well designed set and a director who just about keeps on top of the busyness, it's all highly watchable after the first 20 minutes or so, and the final 15 are worth staying for. Pretty good all round.

She Stoops to Conquer: not available - isn't norovirus fun... Those unlucky enough to miss it say the play and production are good ones. The monkey was looking forward to it as it fondly remembered the 1984 Lyttelton version and wanted to see Katherine Kelly doing classical theatre once more too. Oh well. Sounds like it'll have trouble getting a seat now. Great staging and fun direction, with matching performances by Steve Pemberton, Sophie Thompson, John Heffernan and indeed Ms Kelly with Harry Hadden-Paton too, according to professional reviewers.

Collaborators (from the Cottesloe Theatre run): Not available. Praise for the staging (stage in an odd central zig zag that means nobody sees faces all the time) and central performances by Alex Jennings, Simon Russell Beale and Mark Addy - with good support from the rest of the cast too. The means by which director Nick Hytner builds each character slowly over the evening also elicits plaudits. Of the writing, some find it a little too loose, others a satire that hits more than misses. Even if the subject may not be explored in the depth some reviewers would have liked, the playing and staging more than make amends for most, it seems.

Antigone: Not available.

 

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

The Comedy of Errors (1 review):
We travelled up to the National this weekend (14th January 2012) to see 'The Comedy of Errors.'

I am a big Lenny Henry fan, and I am very much enjoying his foray into some more serious acting, although I have to say that this piece could almost have been written for the Len of old.

I struggled with the opening passages. I was up in the side stalls, row J, and given my advanced age (over 50, but not far over), I no longer see quite as well in the dark as I used to, and this new 'fashion' of delivering lines with your back to the stage, can make things very awkward. My vision is not that poor, I do not need to wear glasses, but I did struggle a bit in the subdued lighting. Once things got moving along it was fine, and I am well acquainted with the story, but if I wasn't none of the opening passage would have made sense.

Anyway, once we got past the shipwreck and they turned the lighting up, I really started to enjoy it. Should we update Shakespeare and perform it in modern dress? If it is done as well as this, yes we most certainly should. I have seen this play many times, done by many companies, from the RSC to the local Am Dram, and this rendition measures up very well alongside them. The performances were very good, the comic timing excellent. I thoroughly enjoyed the afternoon, and would recommend it.

Annie
_______________________

She Stoops to Conquer (1 review):

The Olivier is just too big for this splendid piece of theatre, so much is lost on the vast stage. Which is a shame as the production is very good.

What you need, as the story unfolds, is a sense of claustrophobia and to be able to see the actors facial expressions. This was quite difficult from F24 in the circle.

A very accomplished cast, Sophie Thompson as Mrs Hardcastle was brilliant, and a fine set all make for an enjoyable evening. But it could have been even better in The Lyttelton.

Taljaard


 

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.

The Comedy of Errors:
7.30pm: 10, 11, 13, 14, 21, 22, 23, 27, 28, 29 February 2012; 8, 10, 12, 13, 20, 21, 23, 24, 30, 31 March 2012.

7pm: 1 March 2012.

6pm: 6 February 2012; 9, 22 March 2012.

3pm: 5, 12 February 2012; 11, 25 March 2012; 1 April 2012.

2pm: 11, 14, 22 February 2012; 10, 21, 31 March 2012.

 

 

 

She Stoops to Conquer:
7.30pm: 7, 8, 9, 15, 16, 17, 18, 20, 24, 25, 26 February 2012; 2, 3, 5, 6, 7, 14, 15, 16, 17, 19, 26, 27, 28 March 2012; 3, 4, 5, 7, 9, 10, 11, 12, 13, 14, 16, 17, 18, 19, 20, 21 April 2012.

7pm: 29 March 2012.

2.30pm: 19 February 2012; 18th March 2012.

2pm: 8, 18, 25 February 2012; 3, 7, 15, 17 March 2012; 4, 7, 12, 14, 19, 21 April 2012.

 

 

 

 

Collaborators:
7.30pm: 30 April 2012; 1, 2, 3, 10, 11, 12, 15, 16, 17 May 2012; 4, 5, 6, 7, 11, 12, 13, 14, 21, 22, 23 June 2012.

2.30pm: 13 May 2012.

2pm: 12, 16 May 2012; 6, 14, 23 June 2012.

 

 

 

Antigone:
7.30pm: 23, 24, 25, 26, 28, 29, 31 May 2012; 1, 2, 8, 9, 15, 16, 18, 19, 20 June 2012.

7pm: 30 May 2012.

2.30pm: 10, 17 June 2012.

2pm: 2, 9, 16, 19 June 2012.

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

 

For all productions, except those in the "Travelex £12 season":
Stalls
row A to C £12 
Centre block stalls rows D to R £45
Side block stalls
rows D to M all seats except the innermost two in each row £38
rows D to M innermost two seats in each row £45

Dress Circle
Centre Block rows A to D £45, rows E to G £38
Side blocks
Row A seats 19 to 24 and 60 to 65; B and C 20 to 25 and 59 to 64; D 21 to 26 and 58 to 63: £45. All other seats in rows A to D £38, rows E and F £26, row G £12


FIRST TWO PREVIEWS of each new production
Stalls 
row A to C £12 
Centre block stalls rows D to R £24.50
Side block stalls rows D to M £24.50

Dress Circle
Centre Block rows A to D £24.50, rows E to G £24.50
Side blocks rows A to D £24.50, rows E and F £20, row G £12


OTHER PREVIEWS of new productions
Stalls 
row A to C £12 
Centre block stalls rows D to R £29.50
Side block stalls rows D to M £29.50

Dress Circle
Centre Block rows A to D £29.50, rows E to G £29.50
Side blocks rows A to D £29.50, rows E and F £24, row G £12

 

 

For productions in the "Travelex £12 season" each Summer:

ALL PERFORMANCES EXCEPT FIRST TWO PREVIEWS of each new production:
Stalls
row A to C £12 

Centre block stalls rows D to R £32
Side block stalls rows D to M all seats except the innermost two in each row £22
rows D to M innermost two seats in each row £32
 

Dress Circle
Centre Block rows A to C £22, rows D to G £12
Side blocks rows A to G: £12

 


 

FIRST TWO PREVIEWS of each new production (plus any filmed performances)
Stalls 

row A to C £12 

Centre block stalls rows D to R £22
Side block stalls rows D to M all seats except the innermost two in each row £17
rows D to M innermost two seats in each row £22
 

Dress Circle
Centre Block rows A to C £17, rows D to G £12
Side blocks rows A to G: £12

 

 

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

Buying Tickets Online:

Other Box Office Information

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.

Theatre Box Office:
www.nationaltheatre.org.uk
operated by the venue itself.
For most productions, the system also allows you to select an exact seat in the theatre, and also view the auditorium via photographs taken from various positions within it. Note that the tickets offered may differ between phone and online sources.

Also for most performances you can buy a voucher online for a programme too - exchangeable at the theatre on the day.

PUBLIC BOOKING FOR ALL PERFORMANCES OF "Antigone," PLUS PERFORMANCES OF "She Stoops to Conquer" FROM 3RD APRIL 2012 ONWARDS AND "Collaborators" FROM 15TH MAY 2012 ONWARDS OPENS ON 15TH FEBRUARY 2012. BOOKING IS NOW OPEN FOR ALL OTHER PRODUCTIONS AND PERFORMANCES.
 

 


Booking fees per ticket for online bookings:

A 70p charge is levied per booking to cover postage. Avoid it by booking in person or enclosing your own stamped, self addressed envelope with a postal booking. Reader CC notes that the Box Office don't mind this, though points out that you don't get the smart envelope, nice bit of cardboard and pretty leaflets with tickets, well worth the extra few pence, if you send your own.

Reader CC also notes that,
"It's worth mentioning that often discounted restricted view seats (if they occur due to a production's staging) are never offered online, only by telephone or in person. I asked why this was and was told that in the past when they were sold online with no involvement from members of the BO, despite stating there had a restricted view, there were too many people booking them and then complaining that they weren't told about the view etc, so they are now only available by telephone where a person can describe in detail what it's like for each play."

Other Online Choices (with S.T.A.R. genuine ticket agencies):

Theatremonkey Ticketshop, Encore Tickets, Londontheatredirect.com and www.ticketmaster.co.uk all sometimes have allocations for productions in this venue. A booking fee will apply, indicated at time of enquiry.

www.Seetickets.com Offer seats for many, though not all, National Theatre productions, with a 10% booking fee per ticket and £2 per booking, not per ticket, service charge.

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


 

Box Office Information:
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
Telephone: 020 7452 3000. fax: 020 7452 3030
Operated by venue itself.

PUBLIC BOOKING FOR ALL PERFORMANCES OF "Antigone," PLUS PERFORMANCES OF "She Stoops to Conquer" FROM 3RD APRIL 2012 ONWARDS AND "Collaborators" FROM 15TH MAY 2012 ONWARDS OPENS ON 15TH FEBRUARY 2012. BOOKING IS NOW OPEN FOR ALL OTHER PRODUCTIONS AND PERFORMANCES.


Booking fees per ticket for telephone bookings:

A 70p charge is levied per booking to cover postage. Avoid it by booking in person or enclosing your own stamped, self addressed envelope with a postal booking. Reader CC notes that the Box Office don't mind this, though points out that you don't get the smart envelope, nice bit of cardboard and pretty leaflets with tickets, well worth the extra few pence, if you send your own.

Reader CC also notes that,
"It's worth mentioning that often discounted restricted view seats (if they occur due to a production's staging) are never offered online, only by telephone or in person. I asked why this was and was told that in the past when they were sold online with no involvement from members of the BO, despite stating there had a restricted view, there were too many people booking them and then complaining that they weren't told about the view etc, so they are now only available by telephone where a person can describe in detail what it's like for each play."

 

For personal callers or by post: Olivier Theatre, Royal National Theatre, South Bank, SE1 9PX
No booking fee for personal callers.

 

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 020 7452 3000. fax: 020 7452 3030. Deaf customers can use Minicom 020 7452 3009 Monday to Saturday 10 am to 5 pm too. Enquire about concessionary prices that may be available, details of access and facilities. The wheelchair users line connects directly to the theatre box office in London. See Notes.

www.nationaltheatre.org.uk is the official theatre website.

 

 
 
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.

Reader Kevin notes that this is a:
"Fab theatre and excellent seating more or less where ever you sit."
 

Seating Plan Diagram

Stalls Dress Circle Notes
STALLS 
The Dress Circle does not overhang the stalls in this theatre.

The theatre has a fan shaped auditorium with the stalls laid out as a central block of seats, and two side blocks in self contained slightly elevated wings at the edges of the auditorium. An aisle bisects Rows D to R in the centre stalls. There is no proscenium arch; the stage is open and vast.

Rows A to C in the front centre block stalls are narrower than other seats, and do not have armrests. Normally, these are the best value in the theatre considering proximity to the stage and lower price. 

For productions outside the Travelex £12 season:
Rows A to C at the front of the theatre are £10. Feel free to look elsewhere first. Both rows B and C are O.K., with C slightly better, being a little further back (less neck ache) - and it is also the last row in front of the most expensive seats in the theatre, so has a similar view for less cash. Decide if you wish to be close to the stage but a trifle uncomfortable, or comfortable but a long way away in the last row of the circle for the same money...

A reader notes,
"B25: Great view on a student's £5 entry pass ticket. VERY uncomfortable. I was squirming in my seat, and the play seemed to drag because all I could think about was my comfort. The only reason I will be sitting here again is because even at £10 (which is what my mum paid) it is a steal of a price."

Reader Mark adds, for "FELA!" (December 2010),
"B27: Perfect seat for this show, all the energy was just oozing right at the audience, and being surrounded by the platform made us feel like we were really part of the action."
at "Frankenstein" (February 2011) he adds,
"B16: Perfect view! Have booked the same area for when I see the other pairing."
 

Also at "Frankenstein" (February 2011) a reader says,
"C11 and 12: £12 each. What a bargain! They are some of the "narrow seats" but thanks to theatremonkey advice we got row C. We are of average height and build I guess, and didn't find them uncomfortable at all - and it runs for 2 hours without an interval. There isn't a huge amount of room left to right in the seat, but legroom is considerably better than some upper circles I've sat in! We thought Frankenstein was great seen from up close - there are moments when a character is low on stage and you have heads in the way, but otherwise we felt right in the action."
 

In the central blocks at top price, the price reflects the view, for those wanting prime seats, pick rows G and H first - an opinion endorsed by a reader.  For the rest of rows D to R, all seats in these rows offer at least fair value for money.

Reader HB reports,
"E 43 and 44: They were good value and we could see brilliantly."

Reader Clive says at "Beauty Manifesto + Gargantua (NT Connections - June 2011)" :
"F25 and 26:Comfortable seats with an excellent view (as always with the rake in the Olivier), this feels very close to the action."

while another adds, further along the row at another production,
"F40 in the stalls. As ever the seat was perfect, very comfortable and I felt very much part of the action."

Reader Bas notes,
"Row H 41and 42. The seats were good value, the view was excellent. I can't complain."


Away from G and H, either choose rows J to R in alphabetical order at top price with a central view but further from the stage or explore circle seats rows A and B seats 33 to 51 - though be aware of the sound problems that occasionally emerge there. 

From J, a reader says,
"J17: I managed to get the seat as a student standby for £10 about 45 minutes before the performance. I thought the seat was perfect, a good distance to be able to see all the facial expressions whilst still being able to see the production as a whole."

Another reader says,
"K43:  had to keep twisting and turning to get a little relief from the pain I was feeling in my sitting-down region."

In row L, regular Theatremonkey seat opinion contributor James says,
"Sat in L35 and L36.  Excellent rake ensured a great view."

another reader adds, at "The Comedy of Errors" (December 2011),
"L5 and 6: I paid £25 for my ticket through the 2012 'Get Into London Theatre' promotion. I'm 6ft tall and felt I had pretty decent leg room in L6 (though the person next to me in L5 and about 6' 4" tall was struggling). The stagnation of seats between row L and row K was good and the rake excellent. Even though my seat was to the side of the stage, given that the stage itself is rounded, I had a clear and unobstructed view of the entire performance and missed nothing. Overall, an excellent seat and I'd happily sit here again."
 

A reader says,
"M27. View is very clear (I think no matter where you sit in the National you will have very clear view). And you are close to the stage. Legroom is very good. Very good seat.”

Regular seat connoisseur James reports,
"O21 and 22 for “War Horse” (December 2008).  An excellent rake and an expansive stage ensured a fantastic view."

In row P for "Frankenstein" (February 2011), reader Clive reports,
"P47and 48: Right at the back of the stalls immediately in front of the sound desk, but no noise from there at all. Good seats with plenty of leg room and an excellent view of the whole stage."

 

A new price structure sees most of the side stalls cheaper. The innermost two - those near the wall and drop to the centre stalls (see below) now become top price. The only exception is for previews, when you should try for central block seats as all seats in the side sections are the same price as those in the middle of the auditorium... which may also even have better sightlines as these are established and confirmed during that tryout period.

Of the rest of the side stalls, these seats all offer a clear view of the stage. Be aware that there is a wall at the edge of the sections next to the centre block. Some people may find this (and the bar set into it) annoying, most don't though. Best value seats are those mentioned above, the others are acceptable, but theatremonkey rules that the Dress Circle seats mentioned are better since the viewing angle is more comfortable for the same money. It is worth avoiding seats 1, 2, 58 and 59 in all rows if possible, as they are, comparatively, the worst value. If you must take these numbers, choose row M then L, K and J to provide the best overview of the stage possible.

If considering sitting here for full price performances, try row D and E 4, 5, 55 and 56, rows F and G 5, 6, 54 and 55, H 6, 7, 53 and 54, J 5, 6, 53 and 54, K and L 6, 7, 52 to 54 and M 7, 8, 51 to 53 first. Closeness to the stage compensates for not having a central view. Also consider the Dress Circle row A 11 to 22 and 62 to 73, and B and C 12 to 23 and 61 to 72. Of the rest of the side stalls, these seats all offer a clear view of the stage.

A reader notes for "Frankenstein" (January 2011) though,
"G 7 and 8: Good seats, but no left leg room due to a great wadge of cables pooled in front of the seat, right leg was fine, but 2 hours is a long show with no break and a folded up left leg!"

Another reader comments for "The Comedy of Errors" (December 2011),
"Side stalls, row J: Given my advanced age (over 50, but not far over), I no longer see quite as well in the dark as I used to, and this new 'fashion' of delivering lines with your back to the stage, can make things very awkward. My vision is not that poor, I do not need to wear glasses, but I did struggle a bit in the subdued lighting."

another reader in the same row at "She Stoops To Conquer" (January 2012) says,
"J6: I paid £15 for my ticket through the Get Into London Theatre promotion. I'm 6ft tall and felt I had very good room in J6. The stagnation of seats between row I and row J was good and the rake excellent. Even though my seat was to the side of the stage, given that the stage itself is rounded, I had a clear and unobstructed view of the entire performance and missed nothing. Having also sat a couple rows back in this section too, I'm pretty sure that the entire block gives a very good view. Overall, an excellent seat and I'd happily sit here again."


Be aware that there is a wall at the edge of the sections next to the centre block and the most expensive seats in this section of the theatre. Some people may find this wall (and the bar set into it) annoying, most don't though. Best value seats are those mentioned above, the others are acceptable, but theatremonkey rules that the Dress Circle seats mentioned are better since the viewing angle is more comfortable for the same money. It is worth avoiding seats 1, 2, 58 and 59 in all rows if possible, as they are, comparatively, the worst value. If you must take these numbers, choose row M then L, K and J to provide the best overview of the stage possible.

Theatremonkey regular seat connoisseur James reports,
"Sat in Stalls J51 and J52 for “Every Good Boy Deserves Favour” (January 2009). Tickets were only £15 as it was a preview and at this price they were very favour – especially as the performance is only 65 minutes. The view is good from here, particularly as the performance makes use of the revolve which often makes the performers closer to the sides of the theatre."
 

 

For the "Travelex £12 season" each Spring / Summer:
Rows A to C in the centre block are £12. Feel free to look elsewhere first. Both rows B and C are O.K., with C slightly better, being a little further back (less neck ache), but unless you like sitting close in, try exploring the side stalls blocks first - they may well offer a good alternative. 

From the front rows:

Regular contributor Sam opines,
"Stalls A30. (Galileo, June 2006). For £10 only this seat is always value for money, unless they put a wall in front of you, lol. But, I will try to review it in "absolute terms". The seat is obviously very close to the stage, and you get to see the facial expressions remarkably well. The actors are SO close to you, which is really, really great. The opportunity to see Simon Russell Beale from such close proximity alone is worth more than that £10. You will have however some ache. In my case it was back ache, but it wasn't that horrible. Legroom is also adequate. Not great, but not cramped either (I am about 5' 10.) In balance, I would say front of Dress Circle for the £10 season is better, but I would take this front seat before the very back of the theatre, unless your neck and/or back are very sensitive. And even though I never sat there, but I think the monkey is spot on to make row C green."

The only monkey comment is that sound can be an issue in the front of the Dress Circle at times.

another adds,
"B25: Great view on a student's £5 entry pass ticket. VERY uncomfortable. I was squirming in my seat, and the play seemed to drag because all I could think about was my comfort. The only reason I will be sitting here again is because even at £10 (which is what my mum paid) it is a steal of a price."

"C11 and 12: £12 each. What a bargain! They are some of the "narrow seats" but thanks to Theatremonkey advice we got row C. We are of average height and build I guess, and didn't find them uncomfortable at all - even for 2 hours without an interval. There isn't a huge amount of room left to right in the seat, but legroom is considerably better than some upper circles I've sat in! If a character is low on stage you have heads in the way, but otherwise we felt right in the action."

Side block seats follow the same pattern as "regular priced" productions, with the innermost two seats more expensive than the rest. If you choose side block seats, the wall at the edge of the sections is still there to annoy a few people even at a low price.

At a lower price, the rest of these side stalls offer fair value for money, with closeness to the stage compensating for not having a central view. The monkey notes they are now a little more expensive than previously, though, making the "average" rating a tad lower in its mind... Also consider the Dress Circle row A 15 to 69, and B and C 16 to 68, though the Dress Circle has been known to have a sound problem on occasion, when microphones are not used. Sadly, one reader reports a problem with the sound in the side stalls too.

Theatremonkey rules that central Dress Circle seats in rows A to C are better since the viewing angle is more comfortable for the same money - even if sound is sometimes a problem up there. It is worth avoiding side stalls seats 1, 2, 58 and 59 in all rows if possible, as they are, comparatively, the worst value. If you must take these numbers, choose row M then L, K and J to provide the best overview of the stage possible.

If considering sitting here for Travelex Season performances, try row D and E 4, 5, 55 and 56, rows F and G 5, 6, 54 and 55, H 6, 7, 53 and 54, J 5, 6, 53 and 54, K and L 6, 7, 52 to 54 and M 7, 8, 51 to 53 first. Closeness to the stage compensates for not having a central view. Also consider the Dress Circle row A 11 to 22 and 62 to 73, and B and C 12 to 23 and 61 to 72. Of the rest of the side stalls, these seats all offer a clear view of the stage.

Reader Bas notes,
"Major Barbara:" Row H 41and 42. The seats were good value, the view was excellent. I can't complain."

A reader says,
"K43:  had to keep twisting and turning to get a little relief from the pain I was feeling in my sitting-down region."

In row L, regular Theatremonkey seat opinion contributor James says,
"Sat in L35 and L36.  Excellent rake ensured a great view."

A reader says,
"M27. View is very clear (I think no matter where you sit in the National you will have very clear view). And you are close to the stage. Legroom is very good. Very good seat.”

In the side block, Theatremonkey regular seat connoisseur James reports,
"Sat in Stalls J51 and J52: The view is good from here, particularly if the performance makes use of the revolve which often makes the performers closer to the sides of the theatre."

Another reader comments for "The Comedy of Errors" (December 2011),
"Side stalls, row J: Given my advanced age (over 50, but not far over), I no longer see quite as well in the dark as I used to, and this new 'fashion' of delivering lines with your back to the stage, can make things very awkward. My vision is not that poor, I do not need to wear glasses, but I did struggle a bit in the subdued lighting."

Returning to the rest of the central block, these seats are the only ones priced at more than £12...£32, to be exact. If you want a prime view and are willing to pay, feel free says the monkey. It would, though, note that the central block front rows of the circle are much cheaper, so for a central view they are an alternative to the back few rows of the stalls...your call!

Reader "Barfly" notes:
"Sat in stalls seat M12 at the end of the stalls and I love the rake! Nice and steep, so it doesn't really matter if you get a tall guy in front of you - I only had to move because his head was in the way once. Also, because of the way the theatre's angled, there was nobody sitting directly behind me. If I moved it didn't obscure anyone else, hurrah!"
__________________________

Legroom is about adequate for most in all seats, some taller people find it cramped, though.


DRESS CIRCLE 
Called the CIRCLE in this theatre.

There is only one circle in this auditorium, so nothing overhangs it.

The Circle is split into a centre and two side blocks by aisles. A quirk of architecture means the circle has more seats than the stalls below.

The rake is very steep from row D back, and from the ends of rows F and G the feeling is of being at the back of a Roman theatre. You are looking into rather than onto the stage as the curved shape feels like you are peering down a cone. The side blocks particularly suffer the Roman amphitheatre cone effect - noticeable in row G seats 1 to 10 and 73 to 83 especially. Some vertigo sufferers in particular will feel they should take stalls rows A to C first. 

From row C, reader Mark says,
"C19: Very good as far as the circle seats go, and definitely worth it for the £10 season."

On the other side of the venue, he adds,
"C77: Very good seat, no complaints."
 

A reader says,
"D10. View is very clear. No complaints whatsoever. However, it felt just little bit far. Legroom is very good. For £10 only, a bargain”

Further along, someone else agrees,
"D20. Very good clear view of the stage. In a longer show, seats are comfortable and spacey enough not to get too distracted."

Reader Alun comments,
"Circle E15 16 Seating: was O.K. except you feel very high up and the stage looks like you are hovering above it."

At "She Stoops To Conquer" (January 2012) reader Taljaard says,
"F24: The Olivier is just too big, so much is lost on the vast stage. What you need, as the story unfolds, is a sense of claustrophobia and to be able to see the actors facial expressions. This was quite difficult from F24."

Reader Mark adds,
"G66: Definitely worth considering for the normal shows, but would definitely go for something closer in the £10 Travelex season."


 

For productions outside the Travelex £12 season:
The centre block offers fair value in the top priced rows A to D. Choose your row in alphabetical order. Be aware that there are posts at the ends of rows - some may wish to avoid aisle seats, though the monkey didn't really find a problem. 

At second price, pick side block row A 11 to 22 and 62 to 73, and B and C 12 to 23 and 61 to 72. before choosing centre block row E. Next, take the rest of rows B and C in the side blocks before resorting to Rows F and G centre, which are a very long way from the stage for the money. 

From row C in the £10 season, reader Mark says,
"C19: Very good as far as the circle seats go, and definitely worth it for the £10 season."

On the other side of the venue, he adds,
"C77: Very good seat, no complaints."

Centre block rows F and G in particular are poor value at second price, considering the distance from the stage. Save up to £21 by picking the seat numbers noted below for fourth price side block circle row G (roughly similar views for less cash); or the front stalls if you don't object to a lack of armrests.

The National Theatre have realised just how good those seats just over the aisle from the centre block really are... and raised row A seats 19 to 24 and 60 to 65; B and C 20 to 25 and 59 to 64 and D 21 to 26 and 58 to 63 to top price. Still seats the monkey likes, and would happily pay for (the two near the aisle safety rails less so, but otherwise, fine). Then, at second price take A 11 to 22 and 62 to 73, and B and C 12 to 23 and 61 to 72, then centre block row E, then the edges of rows A to C in alphabetical order or row D 12 to 23 and 60 to 71, before settling for the rest of side block row D. Make sure, if taking rows A to D, that you try for the seats as near the top price ones as possible, to maximise your value for money.

Ignore third price seats in the side block. They are not especially poor value, but to save money row G seats 17 to 25 and 59 to 70, sold at bottom price, offer a similar view for less cash.

Reader Mark adds,
"G66: Definitely worth considering for the normal shows, but would definitely go for something closer in the £10 Travelex season." In the same row for "Danton's Death" (November 2010) he adds,
"G81: Clear view if a little bit of an odd angle, good value for normal productions but when so many Travelex seats are cheaper being further forward would be better."

At bottom price be prepared for the Roman amphitheatre cone effect particularly noticeable in row G seats 1 to 10 and 73 to 83. Before paying bottom price for the back of the Dress Circle though, consider stalls row C too. They are closer to the stage for the same money, but less comfortable and potentially neck ache inducing. A choice worth pondering if you want a close-up of the performers though, feels the monkey.

Reader Hannah M comments,
"G68 in the circle. I booked last minute and it was one of the few seats available. I generally don’t like sitting in the circle but for £10 the seat was excellent. The rake is really steep, meaning you can see perfectly over everyone. Even from this distance, I still felt very caught up in the action and didn’t miss a thing. Definitely worth going with these seats if only £27.50 ones are left in the stalls."

For previews, all seats in the centre block, plus all seats in rows A to D of the side blocks are the same top price. Choose the usual seat numbers in centre block rows A to E first , then side blocks A to D as close to centre as possible (considering aisle bars, of course).

Some comment that sound in the Circle can be a problem if there are no microphones in use. The monkey has not noticed this personally, but if you are sensitive, the stalls may be a better choice.

For the "Travelex £12 season" each Spring / Summer:
Some comment that sound in the Circle can be a problem if there are no microphones in use. One reader reports that for the 2005 season things were inaudible in row B at the extreme ends. The monkey has not noticed this personally, but if you are sensitive, the centre stalls may be a better choice.

Seats are sold at two prices, with central block rows A, B and C at a little more than all the rest. With the increased price and potential sound issues, the monkey rates these as average. Bearing in mind potential problem with sound, you may wish to be closer to the sides than the central seat in the block if your hearing isn't the greatest... and save money into the bargain.

Reader Mark comments for "Hamlet" (October 2010),
D26 : Great value at Travelex prices, very good view of the whole stage and plenty legroom!"

Reader Clive says,
"E46 to 51 for 'Welcome To Thebes' (July 2010); (also previously E47 to 50 for 'Women Beware Women' in the same season). Have sat in these seats or nearby on several occasions and the view has always been good. The rake is pronounced and the seats are comfortable with good legroom. Excellent value for £10 as always."

A later visit in the same season, to "Danton's Death" elicits,
"E45 to 48: (As before) the view was good with a pronounced rake, comfortable seats and good legroom."

Of the rest of the seats, all at the lowest price, it would pick EITHER row D 30 to 55 OR row A 15 to 24 and 60 to 69, B and C 16 to 25 and 59 to 68 first. It would follow that with row E centre, then the remainder of A to E at the sides, then rows F and G. In all cases  your choice is either centre or sides first, depending on your hearing and the National's amplification policy. All seats in rows E to G though are a very long way from the stage for the same money. Some may feel that the front stalls rows A to C may be preferable if only circle E to G are left.

At the back of the circle, the side blocks particularly suffer the Roman amphitheatre cone effect - noticeable in row G seats 1 to 10 and 73 to 83 especially. Some vertigo sufferers in particular will feel they should take stalls rows A to C first.
________________

Theatremonkey became addicted to the Royal National Theatre in seat B4 so say hi to the hairy guy when he is in residence.

Legroom is adequate in all seats for all but the tallest.

 

Notes
Total 1160 seats.

Air-conditioned auditorium.

Audio described and signed performances regularly. Headset system available. Guide dog sitter available. All printed information available in large print, on tape and in Braille. Minicom at the box office. Access to Olivier is level from the lift. Free car parking in centre car park for orange badge holders (get endorsement stamp at information desk). Lifts from car parks to all levels. Adapted toilets (unisex, sadly) throughout theatre. Fuller details from www.nationaltheatre.org.uk, the theatre on 020 7452 3000 (Minicom 020 7452 3009) or Artsline 020 7388 2227. A "venue access guide" from the team who created book "Theatremonkey, A Guide to London's West End," is available to download in PDF format by clicking here.

Food buffet restaurant at stalls level, coffee shop and formal restaurant in complex. Ice cream and confectionery from vendors just outside auditorium.

Bars at Stalls and Circle level.

Toilets in Stalls and Circle, two gents and two ladies. Unisex disabled toilet at stalls level.

 

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
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Waterloo - Bakerloo Line (brown), Jubilee Line (silver gray), Northern Line (black). Also a main line station.

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

A PHOTOGRAPH ILLUSTRATED VERSION of this walking route is available by clicking here.

For mobility impaired audience members, the Society of London Theatre provide a "photo map" - illustrated walking route to this venue from a near landmark and also Waterloo Station (the nearest fully accessible station) on their website www.officiallondontheatre.co.uk, via the theatre's listing page on that site.

 

This station has multiple exits, not clearly marked, so be careful! The best route is as follows:

Follow the exit signs marked "South Bank" and / or "Shell Exit" and / or "York Road Exit" from the platform to the surface. All lead to the same place! Leave the station and you will be on York Road.

Turn to your left, and walk past the Lloyds / TSB Bank. Ahead to your left is a huge silver steel rectangle. No, the monkey does not know what it is either. To the left of it, and behind, is a pedestrian passageway called "Sutton Walk"; which goes under a bridge. Take it.

At the end is a fountain ahead of you. You are now on "Concert Road Approach". Turn to your left. The Royal Festival Hall is ahead of you. Walk towards it. 

Facing it (note the cafe in front of you) - stand on this paved area (Belvedere Road) and turn to your right. A roadway and bridge are ahead of you. Cross the roadway, walk under the bridge. 

On the other side of the bridge, the Royal National Theatre is ahead of you to the left. Also to your left is a roadway. Walk along it to the end. Turn right at the corner (another cafe is to your right)- if open, you can slip in via this entrance). 

Otherwise, go straight on, as the entrance is in the centre of the building, beyond the round sculpture ahead of you. The Olivier Theatre is at the third level inside the building to the left.
___________

If you have the misfortune to leave the station by the "Waterloo Road" exit, fear not. You can either walk through Waterloo mainline station and leave by the York Road exit, or take this route - CONSIDER YOUR PERSONAL SAFETY.

On leaving the glass doors, turn left. Walk to the corner, and turn left into "Mepham Street". Walk all the way to the end of it, avoiding the temptation to go under any bridges.

At the end of the street is York Road. Cross it. Ahead of you, to the left, is "Sutton Walk", the pedestrian road under the bridge. Take it.

At the end is a fountain ahead of you. You are now on "Concert Road Approach". Turn to your left. The Royal Festival Hall is ahead of you. Walk towards it. 

Facing it (note the cafe in front of you) - stand on this paved area (Belvedere Road) and turn to your right. A roadway and bridge are ahead of you. Cross the roadway, walk under the bridge. 

On the other side of the bridge, the Royal National Theatre is ahead of you to the left. Also to your left is a roadway. Walk along it to the end. Turn right at the corner (another cafe is to your right). 

Go straight on, as the entrance is in the centre of the building, beyond the round sculpture ahead of you. The Olivier Theatre is at the third level inside the building to the left.

___________

Another visitor suggest this route: Take the tube to the Embankment station and walk across the Hungerford  footbridge to the south bank, then walk past Festival Hall complex and under Waterloo Bridge.

The Royal National Theatre is ahead of you to the right. 

Noted are the " Gorgeous views both up and down river on a good day or evening.". The monkey endorses this comment, especially at twilight!

 

Buses:
1, 4, 68, X68, 168, 171, 176, 188, 501, 502, 513 to Waterloo Bridge.

Get off on the Bridge and look for the large advertising board on the roof of the National Theatre, facing the Thames. Take the stairs on this side of the bridge down to the ground. A safe crossing of the bridge can be made by taking the stairs down to first level and walking under it on a walkway linking the staircases either side of the bridge.

On the correct side staircase, leave it, turn to your right. The entrance is in the centre of the building, beyond the round sculpture ahead of you. The Olivier Theatre is at fourth level inside the building.

 

Car Park
Under the theatre. Take the elevators in the centre of the car park to the correct level. Theatremonkey advises parking near the exit ramps for a fast getaway after the show, and strongly recommends you note the compass point, colour band and number of the nearest pillar you park by. Banquo's ghost has nothing on the haunted souls who wander the underground space, wailing for their transport each night. Some have been there since the place opened in the 1970's.

 

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

 

 

 

 

 

 

 

 

.

 

.


Site © Theatremonkey.com 2000 to 2012. "Theatremonkey"® and "Theatermonkey are a Registered Trade Mark. Buy your tickets with confidence here: Theatremonkey.com is an Affiliate Member of STAR - The Society Of Ticket Agents and Retailers - please do feel free to confirm its membership by clicking the verification system graphic (left). All rights reserved. Information on this site may not be reproduced in any form, by any distribution media, in whole or in part, without permission. This means that you MUST NOT copy graphics or text for posting on another website. Opinions expressed are those of the site owner and / or contributors, and are not those of the site host or service providers. Tickets sold from links on this site are the responsibility of the supplying company, not theatremonkey.com. Comments about this page are welcome  Contact Us. No responsibility is taken for accuracy of information, No liability can be taken for loss relating to individual use of data contained on this site. Use of this site constitutes agreement with the above. E&OE. Last Update: 04 February 2012 14:28