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

VAUDEVILLE THEATRE



Comes Out Swinging


FORBIDDEN BROADWAY (musical revue)
Ends 22nd November 2014.

There's a great white way, where the clouds are grey, and the best is merely OK... So the Forbidden Broadway team lampoon musicals old and new in witty parodies.

The cast is Christina Bianco, Anna-Jane Casey, Damian Humbley and Ben Lewis.


A transfer from the successful 2014 summer run at the Menier Chocolate Factory Theatre, with a few new bits added...



 

Theatremonkey Opinion:
(Reviewed at the Menier Chocolate Factory at the afternoon performance on 5th July 2014). Some actors have now left the cast.

The monkey has been an avid collector of the CDs (and even vinyl) from this show for decades, but it’s only now that it's actually seen the show “live.” And yes, it's glad it have.

The real joy was understanding how they stage the numbers it's so familiar with on disc. Sure, the sleeve photos are a pretty good indicator, but now it really “get” what it’s all about.

The show relies to a great extent on costumes. That’s obviously the easiest way to deal with so many sequences that would otherwise be unstagable. A few props, mostly cardboard boxes and handheld items like canes and musical instruments are all that is required…

… well, that an excellent pianist and a quartet of the most talented musical comedy actors they can find. Sophie-Louise Dann could be mistaken for Elaine Paige any time, or anyone else she cares to impersonate. You’ll never see Anna-Jane Casey and Liza Minelli in the same room together either. Ben Lewis and Joseph Prouse (Damian Humbley not being Merman, apparently) also managed to hoist everyone from Hugh Jackman to Mandy Patinkin on their own petards too.

Highlights were the “Matilda,” “Once” and “Spamalot” sequences, but hilarious arrows flew in all directions throughout. The monkey did object (unintentionally vocally, sorry) to a sick Apollo Theatre reference – far, far too soon, it felt; and there was a high proportion of old material in the show. Maybe a little naughty to present as fresh an old “Pajama Game” sequence, and it could swear the “Charlie and the Chocolate Factory” thing has appeared somewhere earlier too, albeit in slightly different form.

This is the show for musical theatre fans. No, not fans, “obsessives.” You do need to have seen every show parodied, and know your Broadway Theatre stars past and present to really get much from the show. There is a good deal for the more casual musical theatre fan, but those who get why ‘triple-threat tots’ are funny have most to gain.

It’s mostly very funny, always exceptionally well done. Well worth seeing. At least “Once” (provided you are not in that show, of course…).

 

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

(1 review)

A wonderful show!! So very funny, brilliant cast.
_______________________________________________________

(1 review from the Menier Chocolate Factory run in Summer 2014)

Just go! Better than therapy. You don’t need to be an obsessive but it helps to be a critical fan of the musical genre. Our 17 and 13 year olds were alarmed at how many musicals they’d seen, heard of, performed! Some of the older references inevitably went over their heads but they still cried with laughter.

We’re just thankful for the reminder of precisely why we don’t want to see the 'Miss Saigon' revival. Aside from the satire – some bits worked more than others and some appeared a little tired – go for the performances which are extraordinary in themselves. We saw the original cast of Sophie-Louise Dann and Anna-Jane Casey. The latter is still performing in the West End run and should be a treat. The new venue may also be more comfortable. The Menier can feel a little claustrophobic at the back when hot and packed - particularly in a show like this that belts out its numbers.



 

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 7.45pm
Thursday and Saturday at 3pm and 7.45pm
 

Runs 2 hours 5 minutes approximately, including an interval.
 


 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form.

Stalls
Rows AY to O: £46 except
"Premium Seats" rows E to J seats 7 to 12: £65
Rows P to S: £36

Dress Circle
Rows A to K: £46 except
Restricted view seat G19: £36

Upper Circle
Rows A to F: £36
Rows G to J: £21

Boxes
Not sold.



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:
Shared between two companies at this venue:
www.nimaxtheatres.com or See Tickets

 

Booking fees per ticket for online bookings:
With See Tickets: with a £4.60 per ticket booking fee on £46 seats (£6.50 on £65, £3.60 on £36, £2.10 on £21 seats). A £2.75 per booking, not per ticket, handling fee also applies.

With Nimax Theatres Online: with a £1.50 per ticket booking fee on all prices. 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 - £7 per ticket on £46 seats (£10 on £65, £5.50 on £36, £3.25 on £21 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.

Alternatively, through Ticketmaster with a sliding scale of per ticket booking fees: £4.85 per ticket booking fee on £46 seats (£6.85 on £65, £3.75 on £36, £2.20 on £21 seats). A £2.85 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 £12 per ticket booking fee on £46 seats (£10 on £36, £6 on £21 seats) per ticket. A postage charge of £2.25 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.

Lastminute.com charge £5.50 per ticket booking fee on £46 seats (£7.50 on £65, £4 on £36, £3 on £21 seats). NOTE: Seat numbers are NOT available in advance from this company. All seats booked in the same price group will, of course, be together or at the very least be in front or behind each other in the theatre. In the very unlikely event of this not being possible this company will call you and give you the option of cancelling your booking. However if booking in two or more price bands, you will not be sat together. Please DO NOT purchase if this is unacceptable to you, as all tickets are sold subject to this condition. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

Londontheatredirect.com charge £9.25 per ticket booking fee on £46 seats (£13 on £65, £7.25 on £36, £4.25 on £21 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 Tickettree.com for great value "hotel and theatre ticket" packages.

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


 

Box Office Information:
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
Shared between two companies at this venue
Telephone: 0870 830 0200
(FREE call if using BT.com Calling Plan at your chosen times)
Operated by See Tickets on behalf of the venue.

OR

Telephone: 0844 482 9671
Operated by Quay Tickets Agency on behalf of the venue.

 

Booking fees per ticket for telephone bookings:
With See Tickets: with a £4.60 per ticket booking fee on £46 seats (£6.50 on £65, £3.60 on £36, £2.10 on £21 seats). A £2.75 per booking, not per ticket, handling fee also applies.

With Quay Tickets Agency for Nimax Theatres: with a £1.50 per ticket booking fee on all prices. 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 on 020 7087 7960 or 0844 412 4648 (Minicom 020 7087 7839) and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the See Theatres phoneroom helpdesk in London. See Notes.

www.vaudevilletheatre.org.uk 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.

www.vaudevilletheatre.org.uk has a "view from seats" facility in the "booking" section.

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Notes
STALLS 

Layout:
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.

Legroom:
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:
Those in the front row may get a "close encounter." Be aware, feels the monkey.

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 first, then J or C depending on your preference for being close to the stage (the monkey likes B, C, D in that order, itself!).

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

A sound desk makes R and S 7 and 13 and Q 7 to 13 avoidable by purists. Most others won't notice, though.

 

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."

“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."

"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."

 


DRESS CIRCLE 

Layout:
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.

Legroom:
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.

Row A is just about comfortable for someone of 5ft 7, with A 1 and 19 having stretching space to one side of them if you move your legs and are willing to accept missing the sides of the stage.

Row B 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, 2, 18 and 19 in all rows. Circle boxes intrude into views from end seats.

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 C back.

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.

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 if you are willing to move your body to one side.

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 C back.

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

Restricted view seat G19 is £36 - fair value and a tad more comfortable than an upper circle seat at the same price, but not as good as a stalls seat in row P (or even R back), again 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."

 

Dress Circle Boxes

Layout:
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.

Legroom:
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:
Not used.

 

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.

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

 



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

Layout:
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.

Legroom:
P
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 second price. B 1 and 18 with nothing in front will please the taller bargain seeker. Otherwise, it would take row P to S stalls at the same price first, for comfort alone. If single, there is also G19 in the dress circle to consider at the same price, the monkey notes.

Rows G to J are 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."

 

 

Notes
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)nimaxtheatres.com. 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 www.officiallondontheatre.co.uk, 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.

 

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

 

Taxi:
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 http://www.q-park.co.uk 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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