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



Ends 7th November 2015.

In a country house ideal for a bunbury, young people fall into and out of love, watched over by an imperious aunt. Names and lost property are important, the line perhaps less so.

The handbagging is supplied by via the pen of Oscar Wilde, with David Suchet as Lady Bracknell and Adrian Noble directing.


Theatremonkey Opinion:

(Seen at the performance on 6th July 2015).

Philip Cumbus as Algernon comes in "all guns blazing" to open the performance on an overly-exuberant note. This causes Michael Benz (John) to react at the same level, and the arrival of substantial David Suchet as a near-pantomime Lady Bracknell threatens to sink the show before it really gets going.

Monkey advice is to "stick with it." It may be just down to early-run enthusiasm, or something director Noble needs to take a look at, but if it can gel with the second and third acts, this will rise from 4 to an easy 5 stars.

As (so women say) usual, it is down to the real ladies to take the show up several levels in class. Act 2 opens with the definitive Miss Prism in Michele Dotrice, and Chasuble, Richard O Callaghan, two acting veterans putting their all into beautiful performances. It is, though, the interaction of Imogen Doel and Emily Barber as Cecily and Gwendolen which truly engages the audience for the rest of the night. Their petulant squabble over Earnests is so perfectly played that the audience didn't want it to end. Ms Doel's deft lob (and delighted schoolgirl celebration of it) alone deserve a photograph in the programme.

It is after this that their suitors come into their own. By the end of the run, Cumbus may no longer be able to face a muffin, but for the moment, all the tea-party lacked was a... no... it actually had a pair of them...

Act three brings the whole together, and we also get the best of Mr Suchet. The problem, once past the pantomime element, is that he is actually bulky. Physically occupying a lot more of the stage than a woman perhaps should, at times. This is a delicate reading of the play - one of the cleanest of superfluous ideas the monkey has seen, so the central cross-dressing conceit seems all the more indulgent for it. Still, accept it; and anyone who can ignore a rather obvious - seriously scene ruining - sound cue deserves respect.

With Peter McKintosh providing well designed set and costumes, and reliable Howard Harrison on lighting and Gareth Owen on sound, it's every inch a sophisticated production justifying the West End ticket price.

Perfect for a warm summer evening, and the audience were enthralled. Do go, you will be too.


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

(2 reviews)

Stalls, seats H11 and H12. We were pleasantly surprised by the amount of legroom: we could actually stretch our legs out. The seats did seem to be slightly narrower than normal, though.

David Suchet in a dress will always be David Suchet in a dress. But just accept that, and enjoy yourself. All the players were superb. A really enjoyable afternoon which had the audience giggling and laughing throughout. The standing ovation at the end was well-deserved.

Roger Lovegrove.
22nd July 2015, matinee performance.

We popped up to see this last weekend (12th September 2015). Box C, lovely seats, sideways view, but very comfortable.

It is a little strange to have David Suchet playing Lady Bracknell, but he does it as well as any I have ever seen, and there have been many. I really enjoyed this, it is only a couple of months since I saw the touring production with Sian Williams, Nigel Havers and Martin Jarvis. Good as that was, it is nice to see some actors of a more appropriate age playing Jack and Algy.

I must also mention the superb work of Michele Dotrice, as Miss Prism, not a big role, but superbly played.

A weird one, but it works very well.


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

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

Monday to Saturday at 7.30pm
Wednesday and Saturday at 2.30pm and 7.30pm

Runs 2 hours 30 minutes approximately, with two 10 minute intervals.

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form.

Rows AY to O: £55 except
"Premium Seats" rows E to H seats 5 to 14: £67.50
Rows P to S: £45

Dress Circle
Rows A to K: £55 except
Restricted view seat G19: £25

Upper Circle
Rows A to F: £37.50
Rows G to J: £25

£55 per seat.


Some details may change. The monkey will update as available.


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:


Booking fees per ticket for online bookings:
No per ticket booking fee is charged. A £1 per ticket optional postage fee is also charged on all prices. No fee for printing tickets at home or box office collection.

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

When the box office does not have seats available, or you require an alternative choice of seats, the Theatremonkey Ticketshop, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), agency service can offer seats with a variable "per ticket" service charge - £9.50 per ticket on £55 seats (£11.50 on £67.50, £7.75 on £45, £6.50 on £37.50, £4.50 on £25 seats). More than the box office, but well worth trying as it often has tickets when other companies do not! Note that this system will confirm exact seat numbers prior to purchase. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases.

Another alternative is / telephone 0870 830 0200 which offers seats with a £5.50 per ticket bbooking fee on £55 (£6.75 on £67.50, £4.50 on £45, £3.75 on £37.50, £2.50 on £25 seats). A £2.75 per booking, not per ticket, handling fee also applies. (FREE call if using Calling Plan at your chosen times).

Alternatively, through Ticketmaster with a sliding scale of per ticket booking fees: £5.50 per ticket booking fee on £55 seats (£6.75 on £67.50, £4.50 on £45 seats). A £2.85 (£3.05 postage option if required and time allows) handling fee for your booking on top of that. This system allows you to choose your own seats from the selection the company has available.

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer a £15 per ticket booking fee on £55 seats (£18.50 on £67.50, £13 on £45, £10.50 on £37.50, £7 on £25 seats) per ticket. A postage charge of 95p 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. "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.
charge £7 per ticket booking fee on £55 seats (£5 on £45, £5 on £37.50, £3.50 on £25 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. charge £11 per ticket booking fee on £55 seats (£13.50 on £67.50, £9 on £45, £7.50 on £37.50, £5 on £25 seats). Collecting tickets from the box office before your performance is free, OR, if required and time allows, there is a postage charge option of of £2.95 (£4.95 to non-UK addresses) per booking, not per ticket applies to all bookings. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.


ALSO SEE for great value "hotel and theatre ticket" packages.

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


Box Office Information:
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
0330 333 4814
Operated by Quay Tickets Agency 9am to 9pm daily, on behalf of the venue.

Booking fees per ticket for telephone bookings:
No per ticket booking fee is charged. A £1 per ticket optional postage fee is also charged on all prices. No fee for printing tickets at home or box office collection.

For personal callers or by post: Strand, London. WC2R 0NH
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats and enquire about concessionary prices that may be available to them on a dedicated phone line. See Notes. is the comprehensive website about the venue, with a "view from seats" facility in the "booking" section.


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. has a "view from seats" facility in the "booking" section.


Seating Plan Diagram

Stalls Dress Circle Upper Circle Notes

The Dress Circle overhangs the stalls at row J making the top of the stage invisible from row M back.

Pillars are located at the sides of the auditorium around row N.

The rake (slope of the floor) begins at at around row C, and is most noticeable from row P back.

Good in almost all seats for those up to around 5ft 10 - any taller, and you can at least get your feet under the row in front, but knees will touch seat backs. Row L has least legroom.

Row A seats 1 to 4, 15 and 16, row B17 and 18 and row P17 have nothing in front of them (P17 has a pillar almost in front, though).

Seat P1 has nothing in front of 50% of the seat.

Seats Q18 and S1 have nothing in front of 5% of the seat - leg stretching space for one leg, the monkey feels.


Choosing Seats in General:
If seats in rows AY or AZ are sold cheaply, the monkey rates them highly, as does a reader, ‘with a low stage, "a steal" at the price.’ Be aware that with a higher and shaped stage / props like a table or other furniture in the way, the view diminishes.

The first and last two seats in rows A to G should be chosen last among the top priced stalls as they are outside the proscenium and have a slightly restricted view of the edges of the stage through lighting / sound equipment often strapped here.

The rest of rows A to J are prime value for money, once you are three seats off the aisle.

At top price rows K to O are a little overpriced, you could sit further forward for the money. The rake (sloped floor to help see over rows in front) however means the view is at least clear, and the theatre, being small, encourages an intimate feeling between stage and audience from all seats.

Pillars at the sides of the auditorium around row N add a claustrophobic effect but do not especially interfere with the view. It is worth avoiding the ends of the row though, just to get maximum value for money.

The price normally drops to second at either row P or Q. At second price either is worthwhile.

Even the back two rows of this theatre offer fair value for money allowing for the overhang of the circle affecting the view.

Rear rows at the same (or slightly higher) prices than the upper circle may be a more comfortable option than that balcony. This applies particularly for the taller. The seats in rows Q to S are also the older "round backed" type that many theatregoers find more comfortable than the slightly flatter backs of the seats in front.

Wheelchair users can use a stair climber to access a space made if M1 is removed. Not a bad view at all, same as any other seat at the side of theatre, feels the monkey.

General Hazard Notes:
The front 4 rows are not raked, the shortest may not see over heads in front.

Equipment strapped to the walls either side of the stage takes out the views of the outermost two seats in all rows from A back to E in particular.

Changes for the current production:
Low stage, so not a problem for anyone sitting there. A sofa is on the "low numbers" side for the first act, but doesn't detract from the view.

Central rows in rows E to H at "premium" prices are totally your call, feels the monkey, who notes that there are plenty of great seats around them at a lower price. Central D to AY depending on your preference for being close to the stage (the monkey likes B and A in that order, itself!) or the two seats beside the premium ones are great hunting.

The price drops at row P, making P 4 to 14 good value, the monkey feels.

Reader Comments:
"AY: In A Forest, Dark and Deep" (2011), (Taljaard). I bought a day seat for £10 and was on the front row. As the theatre has one of the lowest stages in the West End this was a fantastic bargain."

"AY: In A Forest, Dark and Deep" (Beth). We got day seats which were £10 and front row. They were brilliant views as the stage is very low, I don't think you could have asked for better seats. Comfortable seats with loads of leg room and a low stage. All excellent. However the play is quite an uncomfortable one and you are very close to the actors, they feel on top of you at some points - so beware if you are easily embarrassed!!"

“AY1 to 3: "Piaf" (October 2008). It was great to be so close and be part of the action."

“AY3 and 4: "Private Lives" (January 2010), (Thomas). We sat at first row,. First half was bit sore neck as it’s a balcony scene, and the stage was built-out. In the middle of the stage was a plant pot, so I wouldn't advise getting centre row seat as it's right in front of you. Second half was perfect as they used the whole stage and our seat is basically the best in the house I reckon. Comfortable viewing till the end."

"AY6: "Little Voice" (October 2009). Great value at £15. You miss some little bits of the action which take place in the "upstairs" of the house, but really only 10 minutes of the whole play take place up there, and most of it you can still see."

AZ: "Piaf" (October 2008). I sat in the second row AZ - it was close but not too close, e.g. I didn't get a sore neck!"

"A 1 to 3: "The Ladykillers" (July 2013). With all of us being over 6ft tall, we appreciated the vast empty space and extra leg room in front of us."

"A9: "An Ideal Husband" (November 2010). I paid £25 through the GILT ticket offer (runs January to March each year). I'm 6ft tall and and had excellent legroom and a fantastic view (note: no one was sat in front of me, but I doubt it would have been a problem if there had been). The stage is lower than other theatres I've been to, so while you do have to look up, it isn't uncomfortable. Overall, a wonderful seat and thoroughly deserves its green status!"

"B12 and 13: "Volcano" (August 2012), (Regular reader). We paid £22.12 per ticket through an online promotion. At 6ft tall my knee-caps touched the back of the two seats in front but there is plenty of space under those seats to stretch your legs and thus I would say it is fairly comfortable. The seats are perfectly staggered with the row in front meaning we had a perfect view of the entire stage. The stage itself is relatively low and therefore neither of us experienced any neckache luckily from being so close!"

"C8: "The Flying Karamazov Brothers" (June 2011). Just about the right distance back and a great view."

"C8 and 9: gave a super view of the stage and were very comfortable."

"C13 and 14: "The Importance of Being Earnest" (Juy 2015). Great seats, good clear view. Legroom good."

“C17 and 18: “Masterclass,” (Chris B). These seats are to the very far right as you look at the stage and a bit too close for my liking. There is the added bonus that there is only one row in front (unoccupied for our performance so a good coat rest) but you are looking to the left the whole way through and you might miss a very small sliver of the right hand side of the stage. There is good legroom too. But I’d recommend being further back and more central if possible. However, you do get an incredibly close view of the actors facial expressions etc. and these seats would be ok if you are seeing a play with few actors and a basic set, such as Masterclass.”

"D14: (Hannah M). A bargain at £20 on student standby an hour before the performance. The view was excellent as you were far enough back not to crane your neck whilst still being close."

"Row E: (That Fulham Couple). Very close to the action but no neck crick."

"E11 and E12: Very good seats with a full view of the stage."

"E11 and E12: (James – regular reader). Excellent."

"E15 and 16: (Avril). Great seats, with an excellent view and plenty of leg room."

"E18: “Forbidden Broadway” (September 2014). Was upgraded to this from Q18! A bargain for £15. Great seat, and though your view loses a bit of the stage towards the wings, it’s really not much compared with aisle seats in other theatres – and with Forbidden Broadway not a problem at all."

"H11 and H12: "The Importance of Being Earnest" (July 2015) (Roger Lovegrove). We were pleasantly surprised by the amount of legroom: we could actually stretch our legs out. The seats did seem to be slightly narrower than normal, though."
"J6 and J7: Perfect: excellent view, just the right distance from the stage."

“J11 and 12: : “What the Butler Saw,” (Chris B). These seats are nice and centrally located about halfway back in the stalls but as it is quite a small, intimate theatre, you get a good clear view and feel quite close to the stage. There is plenty of legroom and the stage is quite low so you have a good eye line with it. I would definitely recommend these seats as you are about the perfect distance from the stage, not too close, but not too far, just right, as a blonde girl once said.”

“J15 to 17: "What The Butler Saw" (March 2012). A clear view of the stage and not a bad place to sit at all. Small theatre so no-one will ever be that far from the stage whilst sat in the stalls."

"K3 and 4: (Daf). Were more than happy and could see most of the action."

“L9 and 10: Using an offer at the time, we paid £19 each to sit in Stalls (normally £46 a seat), where legroom was perfectly adequate for someone of height 5” 8” and the view was excellent. We thought this was an absolute bargain for a show of this quality."

"N11: "The Prisoner of Second Avenue" (June 2010), (Mark). Got for £12 through the Old Vic Young Persons' offer. Very good seat, although would obviously go for further forward if paying full price."

"Row L: "Handbagged" (April 2014) No problems with sound or vision."

"Row R: "Handbagged" (April 2014). Second from the back, it was at times a little difficult to hear what they were saying."

"Row S: "Master Class" (February 2012). The circle does overhang very low but for 'Master Class' you miss nothing. Plenty of leg room and quite comfortable. There is no amplification in this show, so as my father's hearing is not too good he had difficulty catching some dialogue - though mainly because of people fidgeting in creaky seats rather than projection from the actors."



The Upper Circle overhangs the Dress Circle at row C, affecting the view of the top of the stage from row F back.

A single block of stepped seats.

Pillars at the ends of row F.

Slightly cramped in all rows for anyone over 5ft 6 or so, worst in rows
C (despite slightly elevated seating in that row) and D. B is the next most cramped.

Row A is just about comfortable for someone of 5ft 7, with A 1 and 19 having maximum stretching space if willing to accept missing the sides of the stage. A 2 and 18 are also tolerable if someone isn't using 1 and 19, as you can twist a leg sideways into the space and also get a few millimetres of extra room anyway.

Row K is similarly just acceptable for those of 5ft 7 or less, the monkey felt.

G19 has the pillar directly in front, but enough legroom for somebody of 5ft 7, and a space to the left for a leg to occupy empty space between the pillar and seat in front.

Choosing Seats in General:
The front of the Dress Circle is enclosed behind what this monkey calls a wide picture frame. The depth of the frame causes the front of an extended stage to be invisible for those sitting in row C.

The 'frame' also affects the view from seats 1 and 19 in all rows. They miss 5% or more of the stage nearest to them. Circle boxes intrude into views from end seats 2 and 18 - folk resting drinks on the front rests are noticable.

Pillars at the ends of row F add to the woes of these seat numbers from row G back. You can peer round the obstructions, but they are there.

Rows A, B, C, D and E, seats 3 to 17 offer the clearest view of the stage. Seats here are fair value for money, though watch for the legroom in rows B back to D, and C in particular.

Rows F to K are less good value at top price - take stalls instead. Got cheap, and if you don't require legroom or close-up views, K3 to 17 are a bargain at the price, feels the monkey - having a bit more legroom than the other rows.

Rows A and B seats 1 and 19, plus G 19 are designated restricted view due to being outside the picture frame opening. Row G seat 19 is squarely behind a pillar. All three are often discounted as leaning is required. Value for money is not outstanding in this trio, but as a way of seeing a sold out performance this monkey cannot do better. G19 has the better view, if willing to lean a little, A 1 and 19 are slightly more comfortable with legroom ahead.

Theatremonkey normally prefers the rear stalls to rear circle for the same money on grounds of view and legroom. As it says, if rows J and K are not cheaper, the monkey would take them second if stalls are available instead - again for view and comfort reasons.

General Hazard Notes:
The wide circle front restricts views of any extended stage front.

A wall and boxes jutting from the sides of the theatre block views from the end seats in row A.

Pillar block views from one seat in row G.

Legroom from row B back.

Changes for the current production:
The whole circle is a single price, the monkey would take row E, but go for stalls if taller than 5ft 6 or so, for comfort alone.

Restricted view seat G19 is cheaper than other seats. Worth a look, over the back upper circle at the same price, feels the monkey.



Reader Comments:
"A2 and 3: (Beth). They were absolutely brilliant seats, plenty of leg room (as I'm only 5ft 5) and amazing view of the stage. I would say beware of A1 though, no one was sitting there at my performance, but it would definitely be quite a restricted view."

"Row B12/13: (Alan). Afforded us an excellent view of the whole stage."

"C9: "Little Voice" (October 2009). Had a very good view of the stage BUT if I was shorter (I'm 6ft 1, so maybe for people 5ft 8 or below) I might have struggled to see, because there was quite a tall guy in front of me and his head was directly where LV stands for the start of her performance, I missed just the bottom of her legs but you would miss more if you were shorter. (Not something the monkey noticed, so further observations are welcome).”

"C11: "Master Class" (February 2012), (Taljaard – regular reader). Arrived at the theatre 40 minutes before curtain up and was offered C11 in the Dress Circle for £25. Fantastic seat with a perfect view."

"Row D: A couple of weeks ago I saw Volcano from Dress Circle seats in row D. I have long-ish legs and was comfortable throughout, but the people in front of us in row C had to move back during the interval because a couple of them were virtually sitting sideways because of the lack of legroom. Last night I went to see Paul Merton there and this time we were in row C and yes - very uncomfortable. A choice of sitting (a) with knees apart touching the people on both sides of me, (b) sideways with both knees to one side only rubbing against one neighbour but getting a twisted neck after a couple of hours, or (c) knees forwards and wedged in, ending up with a ridge gouged in my knees. Fortunately Paul was excellent, which eased the discomfort a bit."

"D7: "The Prisoner of Second Avenue" (July 2010). A good central seat, but I would rather be in the front half of the stalls, just to feel that bit closer to the stage."

"D16 and 17: "Swallows and Amazons" (December 2011). Our tickets cost £35 each through the Get Into London Theatre ticket promotion. I'm 6ft tall and felt I had comfortable leg room in D17. We only had children sat in front of us which give us a lovely and unobstructed view of the entire stage (apart from the few occasions the children stood up to better see the actors as they went among the audience but we didn't care about that because the show was so very good). Having now sat in both the Dress Circle and the Stalls of the Vaudeville I would prefer the central Stalls at the same price for the extra legroom and to feel closer to the action."

"G8: Felt a long way from the stage, but the sightlines are good, and I had a £15 bargain ticket, so I was happy with this."

"J12: "Oppenheimer" (April 2015), (Mary). Very happy with these seats. The view was perfect with the entire set visible. At around 5'5". (165cm) I was comfortable but taller people might find the legroom wanting; it was a squeeze moving past people."


Dress Circle Boxes

A, B, C and D are in pairs either side of the theatre between stage and Dress Circle at Dress Circle level.
Boxes A and C seat 3, boxes B and D seat 4.

Acceptable, as seating is on movable chairs.

Choosing Seats in General:
All boxes offer a clear but sideways view of the stage with an eighth of the edge of the stage not visible.

At second price value is moderate and those who find Dress Circle legroom tight should consider these seats after the stalls are full.

Box C can take two wheelchair transferees. The stalls alternative is better.

General Hazard Notes:
Side views with a small edge of the stage missing.

Lighting / speakers may be placed nearby, noisy.

Changes for the current production:
Box B is not in use, but has a technical desk in it.

The rest are about average at top price, feels the monkey.

Reader Comments:
"Box C: (Annie Gross). Sideways view, but for the play we saw it was an excellent view. Most of the action took place centre stage, so the box was ideal for comfort and view." A second and third visit to other productions confirmed her feeling about it being her favourite box in this theatre. On a second visit to "The Importance of Being Earnest," (August 2015). lovely seats, sideways view, but very comfortable."

“Box C: "An Ideal Husband" (December 2010), (Mark). Got £10 day seats in box C, view very good and missed nothing."


The Upper Circle is called the GRAND CIRCLE in this theatre.

This seems higher up than the monkey expects for such a small theatre, but is odd. The front few rows feel quite close to the stage, the back ones a long way away...

Seats are a single stepped block, that doesn’t curve noticeably towards the stage like most other circles elsewhere do.

Row J is extra elevated on a step.

oor in all rows for anyone over 5ft 6, worst in rows A and D to F. A tiny bit more legroom in the centre 6 seats of rows B back, perhaps, but not much.

Seat B1 has nothing in front, and B18 is 98% clear of anything in front... the only problem is that the view has a rail in it.

Choosing Seats in General:
Like the Dress Circle the first and last two seats in each row suffer a poor view of the stage.

In all rows seats 4 to 16 offer the clearest view of the stage.

Those in row B used to lose some view of the stage / have lean forward thanks to a bar in the way - with a reduction proportional to that. New blocks under the seats should make a difference. If sitting there and having to lean, consider those in row C behind and try not to upset their view.

The monkey would take row F last, perhaps, as for less money you could sit a row behind (in G) and get roughly the same view - but that is just as an aside thought really...

Rows H and J feel far from the stage, but are priced accordingly.

These seats are priced to provide exactly fair value - you get the view you pay for in each case.

Seats in the rear stalls (often at the same price) may be a little more comfortable for the taller. Even if stalls are a little more expensive, the long legged may even feel it worth paying a little more for that. If on a budget and tall, B1 and B18 are the ones to opt for, the trade off of comfort for view is worth it, feels the monkey.

General Hazard Notes:
A rail across the front of the circle, particularly where it hits double height in front of A1 and 16...

...Folk leaning forward to see over the circle front bar.

Changes for the current production:
Rows A to F are third price. B 1 and 18 with nothing in front will please the taller bargain seeker.

Rows G to J are cheapest in the venue, and very fairly priced - may as well take central G first, as best for the money, feels the monkey. Cramped, though...

Reader Comments:
"A16: "In A Forest Dark And Deep" (March 2011). Was alright, if a bit restricted due to the bar. However at least the bar was not directly cutting through the stage as it would the rest of the front row. It kind of raises higher, and with some good head tilting you can see the whole stage clearly through this gap."

"H1: "The Duck House" (November 2013), (Taljaard). Not too high and a clear view, no bars in the way. Could have done with a little more legroom but otherwise not a bad seat at all."

"J9: "The Prisoner Of Second Avenue" (June 2010). (Taljaard – regular reader). Felt a bit distant, but could hear every word."



Total 700 seats.

Air-conditioned auditorium.

Hearing aid loop - Infra-red headsets available, system by Williams Sound. Patrons should ask at the Stalls Bar / Concession counter which is located to the left of box office. There is no deposit required at this time, though patrons are required to leave a name, address and phone number as a security against loss of the equipment. It should also be noted that they have a limited number of headsets and they are therefore subject to availability. An ATT Major stair climber is available take wheelchair users down to the stalls, where space can be made replacing seat M1. Please arrive at least 45 minutes before the show to use this equipment. No adapted toilet on site - there is an arrangement to share the one nearby in the Adelphi Theatre. Guide dogs can stay in the theatre and watch the show though. Fuller details from Nimax Theatres on 0844 482 9677 (10am to 6pm, Monday to Friday) or email access(insert the @ symbol here) 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; Foyer, Dress Circle and Upper Circle.

5 Toilets; Stalls 1 gents no cubicles, 1 ladies 6 cubicles; Dress Circle 1 gents 2 cubicles; Upper Circle 1 gents 1 cubicle, 1 ladies 2 cubicles.

American visitors in particular should note that this theatre does not actually stage vaudeville acts, despite its name. It is known for plays. The name came from a long previous incarnation. 

Since Theatremonkey has the privilege of owning the site he wants to record that he finds the staff in this theatre are among friendliest in the West End. For encouraging this young monkey as a teenager by putting the best value tickets his way, and making him feel at home in the auditorium, thank you all.


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:
Charing Cross - Bakerloo (brown) and Northern (black) lines. Also Main rail network terminus.

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, via the theatre's listing page on that site.

Leave the station by following signs from the platforms to the STRAND street exits. Walk straight ahead into the underground shopping arcade and keep going straight on into the light. If, underground, you pass Davenports Magic shop, turn around and walk the other way.

Take the left-hand staircase up to street level. In front of you is a very busy road, the Strand. Brook Street Employment Agency must be on your right as you face the road.

If you see a sidestreet, with Brook Street Employment Agency on your left, turn around and walk towards the busy road instead - you took the wrong stairs.

Turn to your right and walk past Brook Street Employment Agency, keep walking towards the pedestrian crossing. The theatre is on the other side of the road, past the Adelphi Theatre. The neon sign above the door, showing the play title is clearly visible as you walk.

If you pass the main station and see a large space full of taxis, you are going the wrong way. Turn around and head for Brook Street Employment Agency.


6, 9, 11, 13, 15, 30, 77A, 176. All stop outside the theatre.


A rank for Black taxis is at Charing Cross Station - a short distance from the theatre. Best chance of hailing one is in the street outside.


Car Park:
Trafalgar Square Spring Gardens.

From the car park, turn up the road on the left to bring you on to Trafalgar Square. Face Nelson's Column and turn to your right. Cross Whitehall and Northumberland Avenue (you'll pass a branch of Tesco and a bookshop), and walk on towards Charing Cross Station, passing more shops on the way.

Once past Charing Cross station forecourt, cross at the next pedestrian crossing. The theatre is on the other side of the road, past the Adelphi Theatre. The neon sign above the door, showing the play title is clearly visible as you walk.

The "Theatreland Parking Scheme" may be available. Call Q-Park car parks on 0870 442 0104 or see for details. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost. Spaces CANNOT be reserved at these prices, so choose whether you would prefer to book and pay more, or use this scheme.

If you choose the "Theatreland Parking Scheme", you must get your car park ticket validated at the theatre's box office counter (the theatre attendant will insert the car parking ticket into a small machine which updates the information held on the magnetic strip on the reverse, thus enabling the discount). When you pay using the machines at the car park, 50% will be deducted from the full tariff. You may park for up to 24 hours using this scheme and it is endorsed by the Society of London Theatre.


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






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