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 PERFORMANCES OF "Othello" FROM 19th AUGUST 2013, "Emil and The Detectives" FROM 20th DECEMBER 2013 ONWARDS, AND ALL PERFORMANCES OF "Edward II" OPENS ON 1st JULY 2013. BOOKING IS NOW OPEN FOR ALL OTHER PRODUCTIONS ON ALL OTHER DATES. When collecting tickets, the automatic ticket dispensing machines don't work if you collect your tickets within around 40 minutes of the performance time. This is because the theatre print out uncollected tickets around that time, and you have to collect them from the theatre's information desk instead. So, if the machine won't print them, go to the Olivier Information Desk (NOT the general box office) and they should be there. Booking fees per ticket for online bookings: A £1 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 £2.75 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. When collecting tickets, the automatic ticket dispensing machines don't work if you collect your tickets within around 40 minutes of the performance time. This is because the theatre print out uncollected tickets around that time, and you have to collect them from the theatre's information desk instead. So, if the machine won't print them, go to the Olivier Information Desk (NOT the general box office) and they should be there. PUBLIC BOOKING FOR PERFORMANCES OF "Othello" FROM 19th AUGUST 2013, "Emil and The Detectives" FROM 20th DECEMBER 2013 ONWARDS, AND ALL PERFORMANCES OF "Edward II" OPENS ON 1st JULY 2013. BOOKING IS NOW OPEN FOR ALL OTHER PRODUCTIONS ON ALL OTHER DATES. Booking fees per ticket for telephone bookings: A £1 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.

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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. 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  Layout: The Dress Circle does not overhang the stalls in this theatre. The theatre has a fan shaped auditorium. There is no proscenium arch; the stage is open and vast. The centre stalls are a single block bisected by an aisle. This aisle normally separates only rows D to R, but occasionally centre seats are also removed in rows A to C. Either side of the centre stalls are side blocks in self-contained slightly elevated wings. Side blocks curve to face centre stage. The stage extends to the front of them. Side block seats are a single block with no aisle at the row ends nearest the centre of the auditorium. All seats are raised with steps between each row - except A to C, where there is a minimal height difference between rows and no actual step. Legroom: About adequate for most in all seats, some taller people find it cramped, though. Choosing Seats in General: Centre Block: Rows A to C in the front centre block stalls are narrower than other seats, and do not have armrests. The stage is normally low, making A acceptable. Both rows B and C are O.K., with C slightly better, being a little further back (less neck ache if a two tier set is used) - 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... At top price from row D back, the price reflects the view. For prime seats, pick rows G and H first - an opinion endorsed by a reader. Next choose rows J to R in alphabetical order - still a central view but further from the stage. Alternatively, explore circle seats rows A and B seats 33 to 51 - though be aware of the sound problems that occasionally emerge there. For the rest of rows D to R, all seats in these rows offer at least fair value for money. Side Blocks: At preview performances, try for central block seats as all seats in the side sections are the same price as those in the middle of the auditorium... Centre seats may also even have better sightlines at that time, since these are established and confirmed during that tryout period. At regular performances, all seats are second price, except for the innermost two - those near the wall and drop to the centre stalls – top price. All seats 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. In general, Theatremonkey rules that the Dress Circle is better since the viewing angle is more comfortable for the same money. The pairs of seats at top price are certainly a final choice once the better seats in both stalls and circle have gone. Of the second price majority, 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. Other second price seats are mostly 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. General Hazard Notes: Rows A to C are narrower and have no arm rests. Staging means that you may not get a full view of all the production from all seats. Side block seats have a wall with rails to the side of the innermost seats. Innermost side block seats have a long drop beside them, and no aisle. Not for vertigo or claustrophobia sufferers. Sound can be a problem in the side blocks, particularly for productions that don’t use microphones (more common during “Travelex Season” productions). Changes for the current production: For the "Travelex £12 season" each Spring / Summer: Centre Block: Rows A to C in the centre block are very cheap. Both rows B and C are O.K., with C slightly better, being a little further back (less neck ache on a high stage), but unless you like sitting close in, try exploring the identically priced side dress circle blocks first - they may well offer a good alternative. Behind these, feel free to take the rest of the central block at top price – in the usual row order. A prime view for those willing to pay. Be aware 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, feels the monkey. Side Blocks: Pricing follows the same pattern as "regular priced" productions. Fair value, 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. Reader Comments: “A30: “Galileo” (June 2006), (Sam – regular reader). 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." "B16: "Frankenstein" (February 2011), (Mark). Perfect view! Have booked the same area for when I see the other pairing." "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." "B27: "FELA!" (December 2010), (Mark). 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." "C11 and 12: "Frankenstein" (February 2011). £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." "E 43 and 44: (HB). They were good value and we could see brilliantly." "F25 and 26: "Beauty Manifesto + Gargantua (NT Connections - June 2011), (Clive). Comfortable seats with an excellent view (as always with the rake in the Olivier), this feels very close to the action." "F40: As ever the seat was perfect, very comfortable and I felt very much part of the action." "G 7 and 8: "Frankenstein" (January 2011). Good seats, but no left leg room due to a great wodge 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!" "H41and 42: “Major Barbara”, (Bas). The seats were good value, the view was excellent. I can't complain." “Row J (side stalls): "The Comedy of Errors" (December 2011). 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." "J6: "She Stoops To Conquer" (January 2012). 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." "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.” "J51 and J52: “Every Good Boy Deserves Favour” (January 2009), (James – regular reader). 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." "K43: had to keep twisting and turning to get a little relief from the pain I was feeling in my sitting-down region." "L35 and L36: (James – regular reader). Excellent rake ensured a great view." "L5 and 6: "The Comedy of Errors" (December 2011). 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." “M12: (Barfly). 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!" "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.” “M37 and 38: “She Stoops to Conquer,” (Chris B). These seats are towards the back of the stalls on the left hand side (as you look at the stage) but due to the good sized rake you get a good, clear view of the entire stage. You are plenty close enough to see facial expressions and gestures of the actors. The legroom is ample and can’t really fault these seats at all.” "M58 and 59: "Antigone" (July 2012), (Chris B). These seats are over to the very far left as you look at the stage although as the stage is fairly wide you do get a clear view of the majority, with only the very far left slightly restricted. They are at the back in a raised up section of the stalls, a sort of half-way house between the traditional stalls and the circle. There's plenty of legroom and the seats ate comfortable with the added bonus of M59 being an aisle seat. Would recommend these seats as a cheaper alternative to paying for top price tickets." "O21 and 22: “War Horse” (December 2008), (James – regular reader). An excellent rake and an expansive stage ensured a fantastic view." "P47and 48: "Frankenstein" (February 2011), (Clive). 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."     DRESS CIRCLE  Called the CIRCLE in this theatre. Theatremonkey became addicted to the Royal National Theatre in seat B4 so say hi to the hairy guy when he is in residence. Layout: There is only one circle in this auditorium, so nothing overhangs it. Seating 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. All seats are raked on steps, increasing noticeably from row D back. Legroom: Adequate in all seats for all but the tallest. Choosing Seats in General: Centre Block: 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). At regular performances, fair value is found in the top priced rows A to D. Choose your row in alphabetical order. 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 centre block rows F and G centre. Central rows F, and G in particular, are poor value at second price - considering the distance from the stage. Save many bananas by picking innermost side block circle row G (roughly similar views for less cash) instead; or comparably priced front stalls if you don't object to a lack of armrests. Side Blocks: The National Theatre have realised just how good those seats just over the aisle from the centre block really are... At previews, all seats in A to D are the same price as centre ones. Go centre block A to E first, then side block seats nearest the centre aisle. At third price, rows E and F just of the aisle are also acceptable, as are the cheapest row G seats directly behind them. At regular performances 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 are top price. Still seats the monkey likes, and would happily pay for (the two near the aisle safety rails less so, but otherwise, fine). 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 either 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 row G seats 17 to 25 and 59 to 70, sold at bottom price, offer a similar view for less cash. 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 much of the back of the Dress Circle, 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. General Hazard Notes: Safety posts at the ends of all rows irritate but don’t affect views much. The monkey doesn’t see the point of them, though, as they got through three decades without... Sound can be a problem in all blocks, particularly for productions that don’t use microphones (more common during “Travelex Season” productions). 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. 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. A few people find that this descending angle to the stage triggers vertigo in row G, even though it isn’t high. Changes for the current production: For the "Travelex £12 season" each Spring / Summer: 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. 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. All seats in rows E to G are a very long way from the stage for the same money as side circle and even side and cheaper front stalls. Some may feel that the front stalls rows A to C may be preferable if only circle E to G are left In all cases your choice is either centre or sides first, depending on your hearing and the National's amplification policy. Reader Comments: “Front Row: "Collaborators" (April 2012), (Taljaard).I paid £12 for a great seat on the front row of the circle." A 42 and 43: “13,” (Chris B). Centrally located in the circle, these seats offer a good, clear view of the entire stage, and it is a very wide stage. The circle, however, does feel quite a way back from the stage and I would recommend the stalls as you seem to get more of the atmosphere there. But I can’t really fault these seats, with good legroom and an unobstructed view.” "C19: (Mark). Very good as far as the circle seats go and definitely worth it for the £10 season." "C19 and 20: "London Road" (July 2012). Comfortable with very good legroom. At £12 they are an absolute bargain. Green at £12, but probably green at three times that price too. I’ve paid £60 in other London theatres for seats inferior to these." "C77: (Mark). Very good seat, no complaints." “D10: View is very clear. No complaints whatsoever. However, it felt just little bit far. Legroom is very good. For £10 only, a bargain” “D18 and 19: “The Comedy of Errors,” (Chris B). These seats are fantastic; you are so close to the stage you almost feel part of it. They are raised enough over the seats in front to clearly see the whole stage. They are centrally located and there is sufficient legroom. I would recommend these seats.” "D20: Very good clear view of the stage. In a longer show, seats are comfortable and spacey enough not to get too distracted." “D26 : "Hamlet" (October 2010), (Mark). Great value at Travelex prices, very good view of the whole stage and plenty legroom!" "E15 and16: (Alun). Seating: was OK except you feel very high up and the stage looks like you are hovering above it." "E45 to 48: “Danton’s Death”, (Clive). (As before) the view was good with a pronounced rake, comfortable seats and good legroom." "E46 to 51: 'Welcome To Thebes' (July 2010), (Clive). (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." "F24: "She Stoops To Conquer" (January 2012), (Taljaard). 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." "G66: (Mark). Definitely worth considering for the normal shows, but would definitely go for something closer in the £10 Travelex season." "G68: (Hannah M). 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." "G81: "Danton's Death" (November 2010), (Mark). 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."     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. In 2012, a reader says, "The circle bar was so understaffed that I stood there for 10 minutes without the queue even moving and in the end my thirst went unquenched. Staffing issues aside, service times at the bar were not helped by the slow processing of card payments. What’s wrong with making theatre bars cash only to allow more people to get served?" Toilets in Stalls and Circle, two gents and two ladies. Unisex disabled toilet at stalls level.

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Getting Here

Getting to this Theatre

Find this theatre on a Street Map

Nearest Underground Station

Buses

Car Park

Nearest Underground Station: Waterloo - Bakerloo Line (brown), Jubilee Line (silver gray), Northern Line (black). Also a main line station. 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. 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. The big red "The Shed" building appears to your right. Either use the side door just before it to enter the coffee shop foyer, going straight on into the Lyttelton Foyer down some steps. OR, if this door is closed: Turn right at the corner of the red building. Keep it to your right and go straight on. There is a round sculpture to your left too. At the end of the red building, turn right. The main theatre complex entrance is in the centre of the building, to your left. 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. 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. The big red "The Shed" building appears to your right. Either use the side door just before it to enter the coffee shop foyer, going straight on into the Lyttelton Foyer down some steps. OR, if this door is closed: Turn right at the corner of the red building. Keep it to your right and go straight on. There is a round sculpture to your left too. At the end of the red building, turn right. The main theatre complex entrance is in the centre of the building, to your left. 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.

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Where to Buy Tickets

Seating Plan

Seat Opinions

Getting Here

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