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

WYNDHAM'S THEATRE



 


JACKIE MASON - FEARLESS (stand up comedy)
13th February until 17th March 2012.


American stand up comedy, promising a take on both US and British politics along with the more everyday...



 
Theatremonkey Opinion:
Not available.
 


 

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

.



 

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 Friday at 8pm
Saturday at 3pm and 8pm (no 3pm performance 17th March 2012)


Runs 2 hours 15 minutes approximately.


 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

Stalls:
Rows A to R: £55 except
"Premium Seats" rows E and F 10 to 21, G 9 to 22, H 8 to 22, J 9 to 22, K 9 to 22: £75

Dress Circle:
Rows A to F: £55 except
"Premium Seats" rows A and B 7 to 24: £75
Row G: £40

Upper Circle:
All seats: £40

Balcony
All seats: £25

Boxes:
A, 1, 2, 3 and 4: £55 per seat if sold.
5, 6, 7 and 8: £40 per seat if sold.

Standing places: £10 per place if all tickets have been sold.




 

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

Buying Tickets Online:

Other Box Office Information

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
www.delfontmackintosh.co.uk provide their own service for this theatre.
This system allows you to select your own seat numbers.

Booking fees per ticket for online bookings:
£2 per ticket. pays for the chicken soup, thinks the monkey.

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

When the box office cannot help you, or you simply want to compare seat locations from another source before buying, the Theatremonkey Ticketshop is worth considering. It is a ticket agency, normally with some of the lowest service charges in the sector - £5.50 on £55 seats (£7.50 on £75 tickets). A little more than the actual theatre charges, but lower than other agencies. Note that this system will confirm exact seat numbers prior to purchase.

Another alternative is
www.seetickets.com / telephone 0870 830 0200 with offers £55 seats with an £5.50 per ticket booking fee (£4 on £40, £2.50 on £25 tickets); plus a £2 per booking (not per ticket) postal charge. (FREE call if using BT.com Calling Plan at your chosen times).

Another alternative is
Ticketmaster.co.uk who offer £55 seats with an £7.15 per ticket booking fee (£9.75 on £75, £5.20 on £40, £3.25 on £25 seats). A £3 per booking (not per ticket) handling charge is also added for ALL transactions. 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 £55 seats with a £15 fee per ticket (£20 on £75, £11 on £40, £7 on 25 seats). An optional UK postage of £1.50 per booking, not per ticket, available if time allows. 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 offer £55, £40 and £25 seats with a £2.50 booking fee per ticket. A £1.75 per booking (not per ticket) service charge also applies. 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.



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:
Telephone: 0844 482 5120
(020 7812 7498 if you cannot use the 0844 number)
Operated by the owners, Delfont-Mackintosh Theatres. At busy times / outside working hours - 9am to 8pm, See Tickets may answer on behalf of the venue.

Booking fees per ticket for telephone bookings:
£2 per ticket. pays for the chicken soup, thinks the monkey.

For personal callers or by post: Charing Cross Road, London. WC2H 0DA
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats on 0844 482 5137 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the Delfont-Mackintosh Theatre Group Helpline in London. See Notes.

www.delfontmackintosh.co.uk is the official theatre website.

 

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

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

This venue was refurbished in September 2008. Arrive early to admire the newly-cleaned ceiling art in the foyer, and the other tasteful pictures and architectural embellishments. Auditorium seating remains basically unchanged, with only the aisle from row A to P being removed. Without fully testing this new area, the monkey provides "first impression opinion" below, and welcomes comments to the usual email address.

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Balcony Notes
STALLS 
The Dress Circle overhangs the stalls at row K and cuts off the view of the top of the stage from row N back. Row R is set in an alcove at the back of the theatre, fenced in by row Q in front - quite a cosy arrangement, thinks the monkey.

Rows A to D are not raked, but the proximity to the stage makes them a favourite of theatremonkey's. The viewing angle of the first and last three seats in each row is a little annoying, so take more central seats first for the same price, but value for money is at least acceptable in all seats. Neck ache allergy suffers may want to sit further back, as might children if the height of the stage is a problem.

The stage corners are sharp in front of the end seats in row A - ending around or just above the average person's eyeline. This means looking steeply upwards, but no actual restricted view. Still worth avoiding for the shorter, perhaps.

Reader Craig clarifies,
"Sat in row A seat 9 and 10. Seat 9 was marked as red on the seating chart, and I can kind of understand why. The stage rises slightly in front of this seat and A8 but to be perfectly honest the view from this seat was still superb with much of the action taking place literally two feet from me. You can see all of the stage from this seat apart form the back right, where nothing happens anyway. The seating in the stalls was great compared to other theatres - with the obvious sea of leg room in row A. Even though I had a (seemingly obligatory these days) very rotund person sitting next to me, the seats were wide enough for it not to be a problem."

More centrally, regular theatremonkey seat reporting reader Mark comments,
"Got a cheap student standby for row A. Great seat and could see everything, the stage (for "The Shawshank Redemption" September 2009) was quite low so could see everything very clearly."

From A 17 and 18, reader Alun says,
"had front row seats but with the Wyndham stage not to high, it was OK."

Reader Mark rated A19, "A bargain as a cheap day seat."

 

Another reader comments,
"
Sat in the centre of row A in the stalls. Being 6 foot, I still found this too close and would rather have been 4 or 5 rows back. However, at £15 (what I paid for the show I saw in 2009) it's great value."

Another opines at the same show and on the same deal,
"A11 and 12: GREAT seats. Right at the front of the stalls, and had great view! Only limited view is when the televisions come down, you have to really crane your neck up to look... But the actors, and actresses are dead in front of you - and all the looks and winks are amazing! Definitely worth the £20 I paid in 2009 per ticket!!"

For "Much Ado About Nothing" (June 2011) a reader says,
"Row A:  At a late date an extra row was put in at the front and we managed to get seats in the middle of row A - in the neck ache zone, but so fantastically close to the actors that we felt intimately involved in the production."
 

Reader HB says, a row back,
"B 22 and 23: the view and sound were great. You had to look up a little as the stage is high but you are extremely close to the cast."

Reader Phil Ellis notes:
"We sat in stalls C22 and C23 (for "As You Like It" - August 2005)...All the front stalls seats are very close to the action" 

Another row back, another reader in the front stalls opines,
"D9 to 11: A fantastic view, you could see everything and close enough to the stage to feel really part of the action. Legroom was OK – not much room to move but not nearly as bad as many. There is a "but" though – being on floor level, you are at the mercy of who sits in front of you. I had a pretty tall man in front of me which would have been a problem if I wasn't even taller. I shudder to think what sort of view the people had behind us. My wife had a small person in front of her and therefore had a perfect view. So overall, these are great seats if being close is important to you, but be prepared for the possibility of being slightly blocked by heads."

 

Central rows E to O offer the best overall view of the stage, with a fairly decent rake.

"Jackie Mason - Fearless" (February 2012) has rows E and F 10 to 22 and G to J 9 to 22, plus H8 for good measure, at "premium" prices. Attractive options are available nearby for less cash, feels the monkey.

A reader notes,
"E14 and 15: offered a super view of the stage and were comfortable enough even though slightly cramped."

Reader Avril says,
"Row G 9 to 12 had a marvellous view. Plenty of legroom, but altogether a feeling of being very close to everyone else."

Reader Simon reports,
"Row H of the stalls - quite frankly I can't imagine having seats any better."

A reader says,
"My seat K22 in the stalls was fine with a good view and adequate leg room."

In row N, regular monkey seat commentator James reports,
"I would have preferred to have been a bit more central, but it didn't feel too distant from the stage."

Rows Q and R at lower prices also offer fair value for money with the cheaper price compensating for the distance from the stage and lack of view of the top of it - though be aware some action may be missed (that is why there is often a discount). Just average without one, though. Sometimes, this largess extends as far as row O too - making O good value for being cheaper than N - so take this row over N if possible. Row Q is worth a thought for legroom if the upper circle at similar cost doesn't appeal. Do be aware you may miss something happening at the top of the stage, though... usually not much beyond set design, luckily.

Should Q and R ever be the same price as other rows, take those first... why pay the same as somebody 20 rows ahead of you, is the monkey feeling... "Jackie Mason - Fearless" (February 2012) being a case in point.


A reader says,
"Q16: The legroom and view were fine (I don't think anything was missed by not being able to see the very top of the set), although you do get streams of people filing past you at the interval (and spilling the occasional drink on you in my case!)."

Another, at "Much Ado About Nothing" (June 2011) says,
"Q19 and 20. Nice seats, plenty of legroom, not too close to the stage, but a good view and well worth second price."

In the same seats at "Driving Miss Daisy" (September 2011) another reader opines,
"Q19 and 20: Plenty of leg room and a reasonable view."

There is a little more space for someone in the aisle seat of central row R behind, but it is not as much as the width of two sets as the gap in some seating plans indicate (one of those unavoidable computer distortions alas!).

One reader comments of the new layout,
"From my seat near the back of the stalls, under the overhang of the Dress Circle, I found it quite difficult to hear some of the actors on stage in ‘Ivanov’ and 'Twelfth Night,' although others were perfectly audible. Also the seat was rather uncomfortable and the theatre was very stuffy."

Legroom is just acceptable in rows A to D, slightly better for all but the tallest throughout the stalls.

Cheap standing places at the back of the stalls are not bad either in the monkey view.

 

 

Stalls Boxes
Box A is behind row R in the Stalls. It offers a central view but without the top of the stage. Try boxes 1 to 8 at Dress / Upper Circle level first. This box is sometimes used to house the sound desk and is not always available to the public.

Legroom is good in all seats.

 

 

DRESS CIRCLE 
Called the ROYAL CIRCLE in this theatre.

The Upper Circle overhangs the Dress Circle at row C - a reader notes no loss of view, except for row G. Two new rails on the stairs beside rows A and B assist the less able to manage, and, along with aisle end rails, do not affect the view.

Rows A to F seats 7 to 24 offer the most central view of the stage. The rest of the seats at the ends of the row offer less value at the same price. A good rake ensures reasonable sightlines in all rows, though rows D back are hovering at the average mark at top price. One reader notes the good view from row A, worth the slightly tight legroom!

"Jackie Mason - Fearless" (February 2012) has rows A and B 7 to 24 at "premium" price. The monkey would take seats around them rather than pay the extra if a bit strapped for cash. Premium stalls also have more legroom if taking a tall corporate client, too.

In row A for "Clynbourne Park" a reader reports,
"A 27 and 28: From the end of the front row we could see all the stage perfectly with adequate leg room (I’m 6’1”). As we have an interest in getting the best seats for our members I took time to try other seats in the circle (except the ‘extra’ row G) and could see the entire stage to the full height even from the back row F."

Another reader contrasts, however,
"Row A, my friend is quite small and she said that legroom was dreadful up there!"

In row C for "Avenue Q" (March 2010) a reader opines,
"C16 and 17: Thought they were excellent seats. I know that I'm going to cause controversy here by disagreeing with the monkey that the 'Circle is nothing to get excited about here,' because I actually preferred it to the stalls, and didn't feel quite so squashed in and my knees weren't trapped either. The view was perfect from these seats and the sound couldn't be faulted, so you've probably guessed that I really rate these seats, although I would accept that all seats are pretty tight for room."

In the same row for "The Shawshank Redemption" (August 2009), another reader says,
"C 20 and 21: A good rake and slightly staggered seating towards the end of the row gives clear unrestricted views of the stage. I would happily sit here again."

From the edge of row D, a reader says,
"Sat in D3, 4 and 5. These seats were really good and you didn’t miss anything even though you were to the end of the aisle."

Another reader notes that,
"D15 and 16 were central (I like that), comfortable and warm but I understand the problem people with long legs would have - I tossed my head back at one point and encountered the knees of the guy sitting behind." 

Row G on it's own at the back of the Circle offers a fair, if distant, view at a reasonable price when there is a discount or it is low priced - but not otherwise - and can be considered over the Upper Circle for comfort. Be aware that there is a rail in front of these seats, except those most central, which will feature in the sightlines of the shortest.

Cheap standing places at the back of the Dress Circle are not bad either in the monkey view.

Theatremonkey cannot get excited about the Dress Circle here, Row G aside, the Stalls at all prices beats the Circle on comfort and view in it's opinion. At top price rear rows are just about average - try for seats further forward first.

Legroom is poor in rows A to F for those over 5ft 7 or so, particularly tight for the tall in row A, but just adequate in row G. One 6ft 1 reader disagreed, and found the end of row A acceptable, though a shorter reader found an inner seat in the same row tight.

 

 

Dress Circle / Upper Circle Boxes
Boxes 1 to 4 arranged in pairs either side of the stage between it and the Dress Circle. Boxes 5 to 8 above them at Upper Circle level.

All offer sideways views of the stage, losing around 15% or so. Be prepared to move your chairs around and lean for the best view possible here. Narrow access down three stairs to wheelchair space in box 3. See notes. Value at second price is not good, take these after stalls for the same money, and before the Dress Circle only if legroom is a factor. Choose boxes 3 and 4 first, then 7 and 8 then 1 and 2 then 5 and 6.

Reader Annie Gross says,
"Box 4, excellent view for 'Clybourne Park' (March 2011)."

Reader Sinead at "Much Ado About Nothing" (2011) reports,
"Box 8: After perusing the info about which seats were best, I ended up getting last minute tickets for Box 8. These seats were great for the price! Yes, be prepared to lean forward, but it is much closer to the stage, and its nice to have the space! I would recommend it heartily to those who want to pay less than premium but like to be close to the action on stage."

Legroom is good in all seats.

 

 

UPPER CIRCLE
Called the GRAND CIRCLE in this theatre.

This is far above the stage. Lighting can be mounted on the front of this circle, potentially intruding slightly on row A views.

Seats are fair value here, B and C seats 12 to 18 offering a central view of the stage and priced to take account of the distance from it. 

Standing space is acceptable, though one reader noted slightly less audibility on one occasion.

Row A seats 2 to 5 and 26 to 29, B 2 to 4 and 28 to 30, C 2, 3, 28 to 30 and D 2 and 29 are designated restricted view. Boxes and the curve of the circle take away maybe a one fifth segment of the front corner of the stage away at most from the very end seats. Further in, if at balcony prices, they are worth it for being closer for the same money. Most productions - though not "Jackie Mason - Fearless" (February 2012) - have these at cheaper prices. The monkey likes the look of them as a fair priced option - if you can nab the seats directly next to the expensive ones, then it's a decent alternative indeed. It would go central for Mr Mason's show as all seats are the same price, but being a single stand-up performance it expects that those preferring an aisle seat won't miss anything much.

Legroom is poor in all seats, worst in row A, for anyone over 5ft 7 or so.

 

 

BALCONY
This is situated behind the Upper Circle and very slightly above it.

A safety rail across the front of the balcony affecting the view slightly. Rails also run across the fronts of rows B and D, but don't affect the view.

The seats are split into two blocks by a central aisle. Seats A 5 and 26 are also split from the main blocks by aisle space.

All seats here offer a view in direct proportion to the price paid, the back rows looking downwards 'under the ceiling' of the theatre below. Value for money for those on a tight budget is very fair - you can see the stage through the bars and are not so far away as to require oxygen.

At "Driving Miss Daisy" (October 2011),  from row B a reader says,
"B22 and 23: even though quite a height, these still gave a decent view; so offered value for money."

For "Jackie Mason - Fearless" (February 2012) all seats are the same price. Take B first, then C or D - leaving A unless legroom isn't a consideration.

At other productions, where C is cheaper than B, those offered row B may like to ask if cheaper C is available instead - similar view for less bananas, feels the monkey. It would also consider boxes 5 to 8 for the same money.

Reader Lesley comments,
"We were seated in the seats furthest away from the stage - Balcony seats row D - and could hear everyone except for one person who obviously hasn't been trained to throw her voice as the other actors managed to do. Balcony seats were excellent value for money at £10."

At "Much Ado About Nothing" (June 2011) reader Laura opines,
"D10, D11 and D12: OK view for the price (the bottom of the left hand corner of the stage was cut off slightly but if you lean forward slightly it's OK - although based on the steep rake if you're not good with heights these may not be the best seats for you), but legroom not great - my friend and I are under 5'4" but we still felt squeezed in. Plus in comparison to other theatres in the area £25 a ticket seems a little steep, but if the price jump is too great to the next level - and frankly it feels like it is - then they are tolerable for a couple of hours if you stretch your legs in the interval. Were I a little earlier in getting tickets I might go for row C next time though."
 

Normally, pick rows B to D seats 9 to 22 first, then the others, as reader Taljaard says for "Clybourne Park" (February 2011),
"D3: Went to the box office at 5pm and was offer a seat in the front row of the stalls at £25 or the back row of the balcony at £20.50. Took the latter (D3) and it was fine. Clear view and not too high for me. Could hear every word crystal clear and missed 90 seconds due to sight lines."

 

Also consider the cheap new nests A 5 and 26:

A reader reports of A26,
"I was in A26 of the balcony, which is marked both on theatremonkey and by the box office as "restricted view" due to the lighting rig that obscures part of stage right (audience left), so I only paid about £20 for it. That was a great price for the view I got - I could see some facial expressions (not too well but some) and the lighting rig didn't take away from ANY of the action as most of it takes place on stage left anyway and the light only took up at most 1/10 of the stage. I was next to the safety pole so that wasn't a problem, and I had the balcony rail right in front of me that didn't obscure the view at all, only gave me a place to put my programme and ice cream and to lean my elbows on as I watched the show. I was sad that at times some of the actors had their backs to me as I was in the curved to the left section of the balcony, but otherwise it was a great view."

This seat, and A5 opposite, have been turned into miniature padded private "nests" - as the monkey has christened them. Facing the stage is still a narrow ledge seat with a straight back, but to the side is a deeper triangle of padded seat. If willing to look sideways at the stage, you could sit here (if of average hip width) and stretch your legs horizontal with the circle wall. The monkey rather likes this new arrangement but management have informed it that any sign of permanent residence (i.e. banana skins, cable TV installation etc) will result in an indefinite ban from the venue.

At "Much Ado About Nothing" (June 2011) a reader says,
"A26: I just wanted to thank you for the information posted on your site about the balcony seats in Wyndhams Theatre, especially the details about the two "nest" seats. The seat was just great! I wasn't disappointed. I had a clear view and was pretty comfortable in that seat (I'm slim, average height, and pretty flexible, so I was able to find a number of creative ways to use the space, and had a lot of room to put my stuff)! Well worth the £22.75 to see the production. Also, it's a quick hop at intermission to the loo or the bar -- bonus!"

Another plus indeed, feels the monkey.

Also at "Much Ado About Nothing" (June 2011) another reader says, from the seat on the other end of the row,
A5: I booked it for the 31st August 2011 performance, and it was a huge bargain. I am 6 feet tall, so while, admittedly, I sometimes did need to move around to keep the blood going, my view was of more than 90% of the stage, I had some privacy to myself, and got to lounge in that oddly shaped seat! Recommended to anyone who is fit and able!"

 

There are several flights of stairs up to this circle, and it is fairly high up, so consider health and vertigo at time of purchase.

Cheap standing places at the back are not bad either in the monkey view, but try for stalls / Dress Circle ones first at the same price.

Legroom is tight in all seats for the taller over 5ft 9 or so, worst in row A. except 5 and 26 (if slim and creative - as one 6ft reader found). A reader says of row A in 2009,
"I am a regular theatre goer, and I regularly sit in the 'cheap' seats.  In fact I always choose the front row of the balcony or upper circle despite the monkeys advice that usually they are a bad or restricted view!!  I like to be in the front and have nobody else in front of me, plus I can rarely afford more expensive seats!!  Hence I felt compelled to write after sitting in the Balcony at the Wyndhams theatre, Row A, seats 10 and 11.  All I can say is that never have I sat in more uncomfortable seats than these!  The backs are so upright that you simply cannot relax.  Plus, there is leg room, however there is no space under your chair, so if you have a bag with you, as I did, there is then no leg room as your bag takes up the space.  I sat with my feet on top of my bag!!  OK, we only paid £10 for the tickets, but even at this price, I wish I had splashed out an extra £15 for better seats.  Or if nothing else, that I'd sat in Row B, as they had space under their chairs for bags, though they still have the upright straight backs to the chairs, and so are probably still quite uncomfortable, but they cannot have been as bad as Row A!  I just wanted to write to advise readers that I would honestly advise NOBODY to sit in Row A of the Balcony at Wyndhams, and this comes from somebody who regularly sits and doesn't mind sitting in Row A of the balcony!!!!"  

An honest summary, feels the monkey.

Rows B to D seats 15 and 16 offer the central aisle to stretch one leg out into. Take advantage of this combination of space and view. Row D seats are also slightly wider than those in front. Row C seats rest on a ledge rather than being "flip down" variety, and are a bit deeper than average (but happily won't actually quote philosophy at you).

 

Notes
Total 780 seats.

Air-conditioned auditorium, but the balcony still gets very hot in summer according to many.

Infrared system using headsets for the deaf, plus some signed performances. Some audio described performances for the blind, and guide dogs allowed in theatre or dog sat outside. Narrow access down three stairs to wheelchair space in side box. The box has a very restricted view and is poor in theatremonkey's opinion. It has a private toilet, too narrow to take a wheelchair, but better than nothing, which is the usual alternative in the adapted toilet department. Tries hard, given the constraints of the building. The "registered disabled" concessionary price policy here is generally (though can be subject to change) for a quota of accessible best seats to be made available at the lowest regular price charged. This quota is increased for designated performances such as signed / audio interpreted. Check with the box office at time of booking. Fuller details from the theatre group dedicated phoneline on 0844 482 5137 or www.delfontmackintosh.co.uk or Artsline 020 7388 2227 email artsline@dircon.co.uk. 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. Bar snacks also available.

Four bars; Stalls, Dress Circle, Upper Circle and Balcony.

8 Toilets; Foyer 1 gents 1 cubicle, 1 ladies 4 cubicles; Stalls 1 gents 1 cubicle, 2 ladies; Dress Circle 1 gents 1 cubicle; Upper Circle 2 ladies; Balcony 2 ladies 2 cubicles.


 

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:
Leicester Square - Northern (black) and Piccadilly (dark blue) lines.

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

The escalator from the platforms deposits passengers into a circular space with a number of staircases leading to the surface. Beside each staircase is a vast white panel listing the places accessible from that exit. So look for the one showing the Wyndham's theatre. It is marked "Charing Cross Road South" and is to the left when you leave the ticket gates. Go up the staircase. At the top, in front of you will be Charing Cross Road. On the opposite corner, notice the Hippodrome Nightclub and a wide pedestrianised street. Turn to your left. Wyndham's theatre is there.

If at the top of the underground stairs you see a narrow street with only a row of small shops and offices in front of you, this is Cranbourn Street. Turn to your right and change to the other side of the road. Walk to the end of the street. If you see the Hippodrome Nightclub on the opposite corner across a busy road, good. Do not cross the road to it! Turn to your left. The underground exit you should have used is on your left. Walk past it and you are in front of the theatre. 

 

Buses:
24, 29 and 176 stop on Charing Cross Road by the Wyndham's Theatre.

 

Taxi:
A rank for Black taxis is at Charing Cross Station - a fair distance from the theatre. Best chance of hailing one is in the street outside or walk down to Trafalgar Square.

 

Car Park:
Newport Place, China Town. On leaving, use Gerard Street to get you onto Shaftesbury Avenue. On Shaftesbury Avenue look to your right. The brown brick building to your right is the Palace Theatre. Don't bother crossing the road, but turn to your right on Shaftesbury Avenue and walk in the direction of it. When you come to the main road intersection in front of Shaftesbury Avenue, cross Charing Cross Road at the traffic lights. Now turn to your right and walk down Charing Cross Road, crossing Litchfield Street as you go.

Next is Newport Street. Cross that too and head on, crossing Cranbourne Street towards Leicester Square Underground Station. Wyndhams Theatre is just beyond that on your left.

An alternative car park is 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 cross the road towards it. In front of you is the National Gallery. You require the road to the right side of it - Charing Cross Road. Do not enter the Trafalgar Square area itself, but follow the pavement round towards the right corner of the National Gallery. Continue along so that you pass the National Gallery on your right and so that you enter Charing Cross Road. Cross Charing Cross Road where you can, and keep walking, passing the Garrick Theatre. The Wyndhams Theatre is ahead of you, to your right.

The "Theatreland Parking Scheme" is in use in both car parks. 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.

 

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