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London Coliseum


St Martin's Lane, London WC2N 4ES 020 7632 8310

  • Where to buy tickets
  • Best seat advice
  • Seating plan/s
  • Getting to the theatre

Buying tickets online

www.londoncoliseum.org, the theatre's own website provide the service for this theatre.

For the English National Opera and some other events not visible on the general site, www.eno.org goes directly to the relevant part of the website.

For the English National Ballet, www.ballet.org.uk leads to the relevant part of the website.

Booking fees per transaction:
A per ticket fee of between £1.80 and £2.25 per seat is made, depending on the event.

 

Other Online Choices (with genuine S.T.A.R ticket agencies): 
Ticket agencies offer an alternative way to buy tickets, with booking fees differing from those charged by the theatre box office itself. They may have seats available or special offers when theatres do not.

Ticket agency prices vary in response to theatres implementing “dynamic pricing”  - which alters prices according to demand for a particular performance. Prices stated here were compiled as booking originally opened, current prices are advised at time of enquiry.

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

Telephone: 020 7845 9300

Operated by the London Coliseum's own phoneroom from 10am until 6pm Monday to Saturday. Outside these hours the See Tickets agency answer calls on their behalf.

Booking fees per transaction for telephone bookings:
A per ticket fee of between £1.80 and £2.25 per seat is made, depending on the event.

For personal callers or by post:
St. Martin's Lane, London. WC2N 4ES
No booking fee for personal callers.

Open Monday to Saturday 10am to 6pm (8pm if there is an evening show starting at 6pm or later). Open Sunday if there is a show from 3 hours before starting time.
Closed on bank holidays unless there is a performance - in which case Sunday hours apply.

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 020 7845 9300.

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.

 

When buying tickets on the venue's website, www.londoncoliseum.org all seats have a "view from seat" function - just click on the photo when hovering over the seat selected.

 

A reader opines generally:
"the central stalls are good, the stage boxes have a one-fifth restricted view but are great for close viewing, the top balcony cheap with bars in the way but a value-for-money view of the stage for £5, and the sound and air-conditioning are variable! The Upper Circle seats are now spaced as well as the stalls, but the front row lacks legroom."

  • Stalls
  • Stalls Boxes
  • Dress Circle
  • Dress Circle Boxes
  • Upper Circle
  • Upper Circle Boxes
  • Balcony

Stalls

Layout

Split into a central and two side blocks. The rows are widest from B to H.

The dress circle does not overhang any seats.

Rows have steps rather than slope between rows.

No aisles at the outermost ends of rows from E back.

Row Q is in an alcove at the back.

 

Legroom

Row A has least legroom - tight for those over 5ft 6 or so.

In other rows, legroom is fine up for anyone up to around 5ft 11.

Seats B and C 1 and C 39 have nothing in front. The seats beside them - the next 3 in row B, just the one seat in C, may also have nothing in front, depending on the production.

Even with nothing in front, seats in row B has less legroom than the ones in C, as row B is much closer to the orchestra rail.

Choosing seats in general

There is a fairly noticeable difference in viewing angle between centre block seats and those just over the aisle in the side blocks if seated in the front five rows. After that, the perspective changes and it becomes more comfortable to take in the whole stage without constant head-turning required.

Don't expect the front row to feel intimate with the action. There is a vast orchestra pit (the width of two auditorium boxes) between the stage and front row. Indeed, the monkey attended one production set so far back it may as well have been performed at the Royal Opera House.

The view is clear from almost every seat, and for those who accept the legroom in row A, the centre block is acceptable. Given that seats are raised on steps, though, there's no real need to worry about being anywhere in that section - and feel free to drift over the aisles into the side blocks if the centre one is unavailable or "premium" priced. Just don't go more than around 4 seats off in the front 5 rows unless there is a discount.

In this auditorium, even centre block rows P and Q at the back feel close to the stage. Row Q is, admittedly, in its own alcove and may feel claustrophobic for some, but the view is acceptable.

Out to the side blocks, from row E back there are no aisles at the ends of rows. Being pressed against the wall may again upset claustrophobics. Further, those at the ends of almost all rows in the side blocks will often lose the edge of the stage to lighting and sound equipment in view. 

The corners of rows A to D have some advantages. Often cheaper for restricted view, only the outermost seats in B and C miss much, the two beside them are total bargains usually, felt the monkey. Even though the end one may lose a bit, it has legroom... Seats B1, C1 and C39 have nothing in front. The three seats beside them in row B, and C2 and C38, may also have nothing in front, depending on the production. Those end seats in row B have less stretching space than those in C however, as row B is closer to the orchestra rail.

The other advantage of these corners is a private door to them - if you know how to reach it and can manage some stairs. From the stalls foyer, use the side corridors leading to the stalls boxes. Follow down the stairs and round to a big door just beyond them. Particularly useful for a quick exit at the interval to the bar, and at the end of the show. From row E back the seats are right against the wall, so no access to those.

General hazard notes

Seats are narrower than those in the dress circle.

The "restricted view" seats at the ends of rows are usually due to speakers / lighting in view. Rows back to H notice the issue most.

No aisles at the outermost ends of rows from E back.

A sound desk can be placed in the centre block behind row N5 to 9. It makes O5, P4 and Q1 worth avoiding for purists.

 

Changes for the current production

None.

Readers comments

"C5 and 6: "Chess" (May 2018): Found the sound really bad - could not hear the ensemble at all - the first person we could hear clearly was Alexandra Burke, apart from Michael singing Anthem at the end of the first act. The screens were so annoying and were out of sync so I spent most of the time looking down. The camera men were in our way as well. We had the back view of Michael when he was playing Chess. Also felt most of the artists were singing to the cameras and not projecting their voices to the audience. We were able to move to some empty seats in the centre at interval and the sound was better but still could not hear the ensemble clearly - thought they were singing in a foreign language."

"D3: "Bat Out Of Hell" (June 2017): In many ways I loved the seat, felt very up close BUT you did lose any action to the right of the stage which was blocked by a big speaker. Also, couldn't see everything that was going on in Raven's bedroom, though that was often picked up on the screen on the left of the stage."

"G3: "Bat Out Of Hell" (June 2017): Regular reader Tonyloco opines: "I was in G3 in the stalls for which I paid £65 although seats almost alongside were £75. There was a slight problem in that I couldn’t see the initial live scenes in Raven’s bedroom properly although they were of course visible in the videos but for me the sound where I was sitting could not have been better so I wasn’t really bothered by the occasional obstructed view." 

Stalls Boxes

Layout

Boxes A, B, N and O are in pairs at the sides of the orchestra pit, between stalls row A and the stage. 

Boxes C and M are about half way up the sides of the stalls.

Boxes D, E, F, G, H, I, J, K and L are at the back of the theatre behind the last row of the stalls. The circle above overhangs these.

Legroom

Movable chairs are used in all boxes, so legroom is ample - restricted only if anyone decides to adjust their chair to improve the view.

Choosing seats in general

Boxes A, B, N and O have a restricted view and are often priced similarly to corner seats in the dress circle. Considerably more comfortable than those seats but the view is less than three-quarters of the stage. The monkey would still take them as a way to be close to the action for little money.

Boxes C and M are often second price. Comfort and privacy make up for losing around a fifth of the stage nearest to them. Worth considering.

Other boxes are the same top price as the majority of the stalls. A little may be lost from the top of the stage, but they are raised above heads in front for the shorter theatregoer. About fair for the atmosphere and experience, but at the price the front stalls is probably better value. Take G and H, then F and I first.

 

General hazard notes

Boxes A, B, C, M, N and O have side views and miss the stage edges, as well as being near speakers and other equipment.

Circle overhang may restrict views of the top of the stage from boxes D to L.

Changes for the current production

None.

Readers comments

None.

Dress Circle

Layout

At the back of the auditorium, above and behind the stalls.

Three main blocks face the stage. Either side of these, between the circle and the stage and just in front of / beside the dress circle boxes are four more short rows curving off to the sides of the auditorium. 

 

Legroom

Legroom is nil in most of row A, seats 1 to 3, 15 to 38, 70 and 71 in particular. A4 to 12 and 62 to 68 may be acceptable to those up to around 5ft 5, even 5ft 7 tall - if willing to use toe-room (not for the monkey, though).

Other seats in the main blocks from B to K are comfortable for those up to around 5ft 10, row K to 5ft 8, at least.

Side block aisle seats nearest the centre block have a little space for one leg to stretch into from row C back.

Row L end seats 1, 14, 15, 38, 39 and 52 have a step in front of them, allowing longer legs to dangle a bit.

Away from the three main blocks, rows B and C, except those with nothing in front, are OK to around 5ft 6 or so. Seats C2 and 51 have nothing in front. D1 and 53 are angled at 45 degrees to the stage, with no legroom for a quarter of the seat, unlimited for the rest. D1 is the slightly better angled of the two.

 

Choosing seats in general

In the main blocks, central rows B to K are the best combination of view and value. From row H back the surtitle screens at the top of the stage are not visible, row J loses more of the stage top and row L loses even more than that - not a place to sit if action is staged at a high level. The discounts to allow for these shortcomings make all of these worth considering.

Row L is on a higher step than rows in front. This is significant as some find the steps between rows shallow for seeing over heads. If short, either the nil-legroom row A or row L could be the way to go.

With the circle so far from the stage being off to the side blocks doesn't matter. When the four seats closest to the aisle in rows J and K are cheaper than centre block, they are good value feels the monkey. With all seats the same price, being central is obviously preferable but if the outer seats drop a price or two (as some musical theatre type shows do) then the seat next to the expensive one is always worth taking.

Out in the small extra blocks, if you must sit in row A, take 4 to 12 and 62 to 68 to maximise the minimal legroom, and be aware that you may be peering over or around technical equipment particularly in A 1 and 72. Close to the stage, though. For the less sociable, willing to sit at an angle, D1 is the better of the single seats. Between, rows B and C are nothing to get excited about, but are at least closer to the stage than the upper circle. The monkey would probably go for rear dress circle if the prices are similar, unless under around 5ft 5 where being close and not having to see over heads outweighs limited legroom.

 

General hazard notes

Row H can't see surtitle screens. Rows J back lose progressively more of the top of the stage.

Shallow steps between seats.

Seats A1 and 72 peer around technical equipment.

Seats D1 and 53 are at an odd angle with limited legroom.

 

Changes for the current production

None.

Readers comments

"A21: "Boris Godunov ": The front row of the Dress Circle was excruciatingly uncomfortable for 2½ hours of "Boris" without an interval. There is even less leg room than in A row of the amphitheatre at Covent Garden and the effect is rather like being clamped in a vice with no possibility to move one’s body or legs whatsoever.”

"B35 and B36: "On Your Feet" (August 2019). These were originally £126.50 each which we certainly wouldn't have paid normally but we got an email dropping the tickets down to £29.50 so bit of a bargain in the end. The view and legroom was great but the seats themselves were really uncomfortable which doesn’t help when the show is a bit slow and doesn’t get going to the second act."

"C44 and 45: "Sunset Boulevard" (April 2016). We chose £75 'restricted view' seats in the dress circle on row C (44 and 45). View was great even is it was off to the side a little bit - didn't miss anything."

"C44 and 45: "Swan Lake." Excellent view, very comfortable, and lots of leg room even for me at 6'2"."

"C51 and 52: "On Your Feet" (August 2019). Great view only missing slight left of stage. Legroom in 52 is a bit tight but as there are only 2 seats in the row and no one behind you can sit sideways and no seat in front of 51 means endless legroom."

"D37: "Man Of La Mancha" (May 2019). This seat is on the aisle but still has a fairly central view of the stage.  The seats are offset to minimise the impact of heads in front (although I was lucky to have a clear view anyway as the seats in front of me were empty).  Legroom was adequate, even without the benefit of the aisle to stretch your legs into.  I’d be quite happy to sit in this seat again.

"H33: "Man of La Mancha" (May 2019). I originally purchased a seat at the back of the balcony for £15.00, however due to poor audience numbers on the night I went the Balcony and Upper Circle were closed so I was moved to this seat in the dress circle for the same price. Obviously the view of the stage was better and it was easier to see the expressions on the faces of the actors and the seats were were comfortable, but I still prefer the Balcony. The theatre is well raked, but I did not find the leg room very good and I am only 5' 10", so a taller person would have struggled."

Dress Circle Boxes

Layout

Boxes P and U are above boxes A, B, N and O, over the orchestra pit.

Boxes Q, R, S and T are either side of the dress circle, between the stage and circle front half way along the theatre side walls.

Legroom

Moveable chairs are used, so limited only by the position of the chair chosen to maximise view.

Choosing seats in general

Boxes P and U are above the orchestra pit, missing a fifth of the stage but enjoyably atmospheric. A way to be close to the stage for a reduced price.

Boxes Q, R, S and T have better viewing angles and are fair value - a bit of an experience, perhaps, as similarly priced central seats will offer a superior view. Still, worth the cash, feels the monkey.

 

 

General hazard notes

Boxes P and U miss up to a fifth of the stage, other boxes may also miss some side stage action.

Sound and lighting equipment may limit views and speakers could be loud if placed close to the boxes.

 

Changes for the current production

None.

Readers comments

None.

Upper Circle

Layout

At the back of the auditorium, behind the stalls, above the dress circle.

Three blocks face the stage. Either side of these, between the circle and the stage are boxes.

 

Legroom

Very limited in almost any seat for anyone over around 5ft 5.

Seats A1 and 43 have no legroom at all.

Seats B1, B51 and C56 have nothing in front, so have plenty of legroom.

Seat C1 is 60% clear in front, giving space for one leg.

 

Choosing seats in general

This is a circle for those who don't require legroom, but are tall enough to see over those in front - an insoluble conundrum.

As usual either go central or take cheaper side block seats right next to the most expensive. The monkey would take only the legroom seats B1, B51 and C56 if it HAD to sit up here.

The surtitle screens can't be seen from row H back and the overhang of the circle above reduces the view of the stage top from row J back. Add in the lack of comfort and the seats don't seem that attractive.

Frankly, the monkey would save cash and go for the balcony above - further away but a couple of inches more legroom.

 

General hazard notes

No legroom in most seats.

Fairly shallow steps between each row.

Row H back cannot see the surtitle screens.

Changes for the current production

None.

 

Readers comments

"B39 and 40: May I advise never to sit in B39 and 40 in the Upper Circle. I don’t know whether this applies to the rest of B row but those two seats were appalling. The people in front of us in the front row were not tall but they badly obstructed our view of the stage whether they sat back in their seats or whether the leaned forward over the front, which they did most of the time, often with their heads rested on the red velvet. I had the choice to book row A or row B and I chose the second row because your book notes restricted legroom in the front row. Well, as far as I could see, the view was totally clear from A row and the legroom looked no worse than it was in B row, which was quite tight. The people behind us in row C occasionally gave the backs of our seats a good kick, which indicated equally restricted legroom and was not conducive to enjoying the show. So if I ever go to the Coliseum again I think I will always opt for the Stalls. I am also usually happy in the Balcony for sight lines and sound – and price – but there are rails obstructing the front rows and it is rather a long away from the stage and a bit vertiginous for us oldies."

Upper Circle Boxes

Layout

Boxes V, W, X and Y are above dress circle boxes Q, R, S and T - either side of the upper circle, between the stage and circle front half way along the theatre side walls.

Legroom

Moveable chairs are used, so limited only by the position of the chair chosen to maximise view. 

Choosing seats in general

The view and comfort make these worth considering. Only drawback being that they can be ambitiously priced the same as the boxes below them - in which case those at dress circle level are preferable for being closer.

Otherwise, if cheaper, the view is similar if a little more distant and they represent an enjoyable experience.

General hazard notes

Sound and lighting equipment may limit views and speakers could be loud if placed close to the boxes.

Quite high above the ground, not suitable for vertigo sufferers.

 

Changes for the current production

None.

Readers comments

"Box X: "Chess" (May 2018). We made sure we were on the left side of the theatre so could see Michael Ball's face. The view was very good although quite far away but good seats. The sound was better and they had managed to sync the sound and the screens and the screens seemed smaller and not on all the time. However the ensemble were still difficult to understand though we did hear the odd English word."

Balcony

Layout

At the back of the auditorium, high above and behind the stalls, dress circle and upper circle.

Five main blocks face the stage. Either side of these, between the circle and the stage and just in front of / beside some unused boxes are three more short rows curving off to the sides of the auditorium. 

A double rail runs across the front of the circle, affecting the views in rows A and B.

Legroom

Originally just high concrete steps, seats have been placed on them.

In the five main blocks this provides height for legs to "dangle" and those up to around 5ft 6 will find rows B to J in the main three blocks acceptable. Row A, though, is very cramped.

Row K is higher still - should be acceptable for those up to 5ft 9 plus. End seats in row K - 1, 6, 7, 19, 20, 32, 33, 45, 46 and 51 have no arm rest on the aisle side, allowing further spread.

The small side blocks rows A to C have very little legroom in any seat.

 

Choosing seats in general

Skip rows A and B, and the mini outer block rows A to C. All have restricted views and legroom issues. Some may accept central row B at a lower price if willing to accept the limitations.

As with the levels below, going central offers good value. Taking the cheaper blocks either side of the main ones can often produce a very decent view at a lower price. Even the outermost of the five main blocks has an acceptable angle on the stage.

For the cheapest view in the house, the monkey would take row K. Not entirely uncomfortable, even if it is distant. The height of the row makes it easier to see over those ahead, and the price allows for what you will miss.

General hazard notes

The height will bother vertigo sufferers.

Limited legroom in the small corner blocks and row A. 

The front and side corners of the stage may not be visible, depending on the production.

 

Changes for the current production

None.

Readers comments

None.

Notes best seat advice

Total 2358 seats.

Air-conditioned.

Assisted sound system via headphones - Sennheiser / induction loop. Occasional signed performances. Guide dog sitter available. 2 wheelchair spaces in the stalls, 2 in stalls boxes, 4 in the Dress Circle. Lift to all levels. Adapted unisex toilets on all levels except the upper circle. CD, Braille and Large Print marketing materials available. Call the London Coliseum on 020 7845 9300, 020 7379 1264 (fax), 020 7845 9300 (typetalk) or email: access (put the @ symbol here) eno.org. eno.org/your-visit/access/ has full details.

One restaurant. Ice cream and confectionery also available.

Four Bars, at Stalls, Dress Circle, Upper Circle and Balcony level. 

Twelve toilets in all. Stalls 1 gents, 2 cubicles, 1 ladies 9 cubicles, 1 unisex disabled; Dress Circle 2 ladies 8 cubicles, 1 gents, 2 cubicles, 1 unisex disabled; Upper Circle 2 gents 2 cubicles, 1 ladies 3 cubicles; Balcony 1 gents 2 cubicles, 1 ladies 5 cubicles, 1 unisex disabled.

General price band information

Theatres use "dynamic pricing." Seat prices change according to demand for a particular performance. Prices below were compiled as booking originally opened. Current prices are advised at time of enquiry.

Based on paying FULL PRICE (no discount!) for tickets, site writers and contributing guests have ALSO created the colour-coded plans for "value for money," considering factors like views, comfort and value-for-money compared with other same-priced seats available.

For a full discussion, opinions, reviews, notes, tips, hints and advice on all the seats in this theatre, click on "BEST SEAT ADVICE" (on the left of your screen).

On the plans below:
Seats in GREEN many feel may offer either noticeable value, or something to compensate for a problem; for example, being a well-priced restricted view ticket. Any seats coloured LIGHT GREEN are sold at "premium" prices because the show producer thinks they are the best. The monkey says "you are only getting what you pay for" but uses this colour to highlight the ones it feels best at the price, and help everybody else find equally good seats nearby at lower prices.

Seats in WHITE, many feel, provided about what they pay for. Generally unremarkable.

Seats in RED are coloured to draw attention. Not necessarily to be avoided - maybe nothing specific is wrong with them, other than opinions that there are better seats at the same price. Other times there may be something to consider before buying – perhaps overpricing, obstructed views, less comfort etc.

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.

CLICK SEATING PLAN TO ENLARGE IF REQUIRED. USE "BACK" BUTTON TO RETURN.

By value for money:

London Coliseum generic seating plan

 

-0.1277398, 51.511498

Nearest underground station

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

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. 

Look for the one showing the London Coliseum. It is marked "Charing Cross Road East" and "Cranbourn Street". When you leave the ticket gates, do a 180 degree "U" turn. This exit is hidden behind you, between the gates! Go up the first little staircase. At the top of it, turn right, taking the "Cranbourn Street" exit (to your right, exit number 4). Go up the stairs. In front of you will be Cranbourn Street with a row of shops. Cross the road to them, and turn to your left. Follow it round and the shop curves into St Martins Lane! The Noel Coward Theatre is ahead of you. Walk past it and the Duke of York's Theatre is the next one along. The London Coliseum is the huge theatre opposite.

If you take the other staircase at Leicester Square station then 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. Walk all the way across the front of it. At its far corner is St Martin's Court, a wide pedestrian alleyway of small shops and dustbins. Walk down it. You will pass the shared stage door of Wyndham's and Noel Coward theatres (say hi to the cast). At the end of the alleyway, turn right. The London Coliseum is on your right, on the other side of the road, just past some shops and offices.

An American visitor puts it this way: "Exit Leicester Square tube station via the most leftward exit, up the stairs, turn an acute angle left at the top, placing you in an alley with the shared Wyndham/Noel Coward stage doors straight ahead. This alley is L-shaped to the right. Taking that turn, you face two big red phone boxes and, across another alley, J. Sheekeys. Turn left in front of J. Sheekeys, right again at the street, walk along it and you are in front of the Duke Of York's Theatre. You will have walked the equivalent of just over one block." Facing it, over the road, is the London Coliseum. Well put and great advice. The only warning the monkey would add is that the alley is a dark and unsavoury place at night. The monkey prefers a "street" route itself.

Buses

24, 29 and 176 stop on Charing Cross Road. Walk to the Wyndham's Theatre. Go down St Martins Court (the alleyway at the right hand side of the building). At the end of the alleyway, turn right. The Duke of York's theatre is on your right, just past some shops and offices. The London Coliseum is facing it.

Taxi

A rank for Black taxis is at Charing Cross Station - a short distance from the theatre if you cannot hail one in the street or just down the road on Trafalgar Square / Charing Cross Road.

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 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. At the junction of roads just by this corner of the National Gallery, cross the road. You should have Charing Cross Road to your left and be facing towards the same side that St Martins Church is on. Walk a few steps past the building on your left and see how the road curves round. This is St Martin's Lane. Turn left into it and keep walking, the Duke of York's Theatre is clearly visible to your right on the other side ofthe road.

An alternative is 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. Before you reach the station, though, turn left into Cranbourne Street. Follow it round and the shop curves into St Martins Lane. The Noel Coward Theatre is ahead of you. Walk past it and keep going - the Duke of York's Theatre is beyond it, on the other side of the road, on your right.

The "Theatreland Parking Scheme" may be available. Call Q-Park car parks on 0870 442 0104 or see 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.

For a full list of car parks and theatres that participate in the 50% off theatreland scheme see www.q-park.co.uk.

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