West Street, London WC2H 9NZ 020 7836 1443
www.the-mousetrap.co.uk the theatre producer's own website provide the service for this theatre.
Booking fees per ticket:
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.
When you require a wider selection of seats than the theatre can offer, the Theatremonkey Ticketshop, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), is a good option. Run by LoveTheatre, this reputable agency offers a selection of seats with a modest booking fee per ticket - £10.50 on £52.50 (£6 on £30 seats Monday to Thursday / £16 on £80, £11.50 on £57.50, £7 on £35 Friday and Saturday seats). Modest by agency standards, and only a little higher than box office prices, so worthwhile trying. Note that this system will confirm exact seat numbers prior to purchase. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases.
Another alternative is www.seetickets.com which offers fees of £7.87 on £52.50 (£6.57 on £42.50, £4.70 on £30, £2.92 on £19.50 seats Monday to Thursday / £11.50 on £57.50, £7 on £35 Friday and Saturday seats), and £2.75 per booking (not per ticket) postal charge.
www.ticketmaster.co.uk offer an option, with no booking fees or handling charges. This site allows you to choose your own tickets from those available.
Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer seats with a fee of £15.50 on £52.50 (£21 on £75, £12.50 on £42.50, £9 on £30, £5.50 on £19.50 seats Monday to Thursday / £27 on £95, £23 on £80, £16.50 on £57.50, £13.50 on £47.50, £10 on £35, £6.50 on £22.50 Friday and Saturday seats). A postage charge of £1.45 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 £1.99 per ticket. Quality and Value hotel / theatre ticket packages are also available.
Londontheatredirect.com offer fees of £10.50 on £52.50 (£6 on £30, £4 on £19.50 seats Monday to Thursday / £11.50 on £57.50, £7 on £35 Friday and Saturday seats). There is a £1 per booking, not per ticket, transaction fee for collecting tickets from the box office before your performance. Alternatively, if time allows, there is a postage to your home option, costing £2.95 (£4.95 to non-UK addresses) per booking, not per ticket. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.
Telephone: 020 7836 1443 or 0844 499 1515
Operated by the theatre during the hours of 10 am and 7.30 pm. At busy times / when the theatre is closed, Ticketmaster answer on behalf of the venue.
Booking fees per ticket for telephone bookings:
No booking fee is charged. This may change. The monkey will update as available. At other times, Ticketmaster answer and charge the same fees as their system online at the time of booking.
For personal callers or by post:
West Street, London. WC2H 9NZ
No booking fee for personal callers.
Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats and enquire about concessionary prices that may be available to them on 020 3034 2604.
www.the-mousetrap.co.uk is the official play and theatre website.
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.
The Dress Circle overhangs the stalls at row J. For the current production 'The Mousetrap' the fact that the top of the set cannot be seen past row M is totally unimportant.
The Stalls is divided into front and rear sections by an aisle across the front of row G.
The rear section is divided into central and two side blocks by aisles.
Just about acceptable in all seats for all but the largest, best in row G.
A reader notes:
"I'm over six foot tall and was glad that I had booked an aisle seat although we could have sat in row G or anywhere else if we had wanted to move. My girlfriend is 5'4" and said that she could have done with a bit more legroom. I would recommend that if you get a chance reserve seats in row G."
The front section consists of five rows curving in front of the stage. All seats offer a good view, select the central seats first to maximise your value for money return.
Take the end four seats in each row only after the central block of rows G to J have been sold.
Views of the stage are also clear from all seats in the rear section. Take the central block first, and note that row O seats 1 to 4 feels isolated.
Watch for that legroom away from row G.
Part of rows E, F 6 to 17 and row G, plus H on Friday and Saturday are at "premium" price. The monkey would skip row E unless short legged. If you must pay that extra fee, central row G at least gives a comfort advantage. Whether you want to pay the very high price at weekends is your choice - fine if you do, but don't bother with H at the lower premium price, there's no advantage.
Don't bother with central row L Monday to Thursday - M or the aisle seats over the aisle have the same view, cheaper.
Row A (just the ends on Friday and Saturday) are "day seats" at a decent price. Take the most central you can, but a total bargain, feels the monkey.
"Stalls: (Aitchy): The front centre stalls had better leg room, and you were right in the thick of it, but somehow, seeing the actors so clearly took away from my enjoyment of this show - Up close it all looks more real and as such its downfalls are magnified and you don't get the period feel with modern faces; from a height its almost time travel, as though you’re looking down on a show from 50 years ago."
“F14: (Barfly). The theatre's lovely, it's just like going back in time. Great view - but the people next to me had problems, being larger, they couldn't fit into the seats well so they move to the row behind because of the aisle."
The Upper Circle overhangs the Dress Circle at row C, but does not affect the view of the stage.
Seats are split into central and two side blocks by aisles.
Just acceptable, cramped for the taller in most seats, very poor in row A.
A quirk of architecture gives a little more room to seats B 1 and 24, C 1 and 22 and E 1 - a reader notes you need to grab these early if empty, as they are gone by the interval. Centre aisle seats also provide stretching for one leg!
The central block offers clear views from almost all seats.
Row A is particularly worth a miss as the circle-front balustrades are still there, but the discount that used to allow for them isn't...
With the whole Dress Circle, except restricted view seats and row F at top price, monkey advice is central B to D if you wish to buy the most expensive seats, then the immediate seats next to the aisle in the side blocks, or else take stalls instead.
Monkey would skip row E, as for fewer bananas you get almost the same view in the row behind...
Row F seems far from the stage but at third price is fair value – especially compared to row E in front at top price.
It is worth avoiding all but the centre aisle seats in these blocks, unless all the stalls and the centre block of the Dress Circle are full.
Side blocks row A seats 1 to 4 and 24 to 26, and row B seats 1, 2, 23 and 24 are designated restricted view since the one fifth of the side of the stage is not visible. Avoid these seats, as at second or third price they are poor value.
Circle front balustrades restrict views for those in row A.
The curve of the circle / box intrusion affects outermost side seats.
Be careful. Restricted view seats in row B are now top non-premium price. The restricted ends of row A are just about fair at third price Monday to Thursday, but missable at second price Friday and Saturday.
Monday to Thursday, central A is premium - go for the row B seats behind for the same view, or stalls for comfort. Other prices drop at D and again at F in the centre, C and E at the sides. Take the row behind at the lower price each time - same view and saves cash.
Friday and Saturday, most of the circle is the same price. Central A and B are "premium" - B cheaper than A, neither really worth it, feels the monkey. Stalls row G for comfort if you must, otherwise, why bother? Skip row E back anywhere at top non-premium price.
"A8: Although you feel the curve of the Dress Circle when sitting here, it is not enough to spoil the view and only cuts off a tiny slither of the right hand side of the stage. In addition, being on the aisle gives you some room to stretch out. At 5ft 8 I found that I could easily see over the balustrade, although this might be a problem for someone smaller."
"A16 and A17: The view might have been restricted once upon a time, but it is not, now. The view is superb. There is no balustrade to get in the way anywhere along the front. Legroom is slightly restricted so there was a lot of seat-changing during the interval. The seats with the best legroom are in the side blocks, where some of the aisle seats have no seats in front - so there is plenty of room to stretch. Grab one, if you can, at the start of the interval: wait until the interval has finished and there will be none left."
“A16 and 17: (Chris B). I don’t think I’ve ever been to a theatre that so perfectly mirrors the tone of the play being shown. You feel like you’ve walked directly into an Agatha Christie novel and it’s the ideal setting for the Mousetrap. The theatre itself is very quaint and intimate and makes the atmosphere of the show all the more intense. The seats are centrally located on the front row of the circle and offer a perfectly clear, unobstructed view, and you feel very close to the stage too. The legroom isn’t fantastic but is sufficient. I would highly recommend these seats.”
"C10: Sat here to watch Theatreland's most famous production. Plenty of leg room ensured no aching legs, however I was unlucky enough to have someone 6ft plus sat in front of me. As a result part of the stage was obscured, but this did not spoil the enjoyment."
“Rear Dress Circle: (Aitchy). God awful - no decent rake, no leg room and very stuffy.”
Boxes A and B at the sides of the stage at Dress Circle level.
Boxes C and D are at the rear of the Dress Circle.
Adequate, as movable chairs are used.
Boxes A and B have a quarter of the stage not visible. At second price there are better seats available.
Boxes C and D have a clear but distant view of the stage. Again, at second price, there are again better seats available.
1 wheelchair can use box C in the Dress Circle. From a wheelchair the view is adequate, better than wheelchair users are normally stuck with. A plinth can be added to improve the view over the wall for users.
Boxes A and B lose a quarter of the nearside stage.
Seats are divided into two blocks by a central aisle.
End seats in rows B to D curve slightly away from the stage.
Cramped in most seats, worst in row A - as a reader agrees! Another, Amanda Johnston says, "had to sit sideways to allow for knees!"
Rows B to D seats 1, 2, 19 and 20, have a more generous amount, but those over 5ft 8 or so will still find them cramped.
Front rows of this circle feels close to the stage, rear rows from F feel much further back for some reason.
Views in row A and B are slightly affected by a front rail.
The view from all other seats in the Upper Circle is clear.
Choose row E first since at a lower price the view is as good as the more expensive seats in front. If you must choose expensive seats, remember that the outermost seats in rows B to D have a tad more legroom.
Row G is cheaper still, and thus also worth a look, feels the monkey.
A metal bar runs across the front of this circle affecting the view slightly in row A (where the bar is high enough to peer under) but it is noticeable in row B.
Potential vertigo for those prone to it in row G back.
Monday to Thursday, the ends of row B back are cheaper, worth having. If you want a central view, take G, and remember G is cheaper than F, so skip F anyway - same view, lower price.
Friday and Saturday, only the ends of rows from D back are cheaper. Take the ends, or go H 4 to 7 and 12 to 15 if you want the lowest prices at the weekend.
"Row B: (Aitchy). The view was surprisingly the best of my 3 visits and was VERY cheap - though I was glad to be able to swing my leg into the aisle, and then swapped with the man on the other side for the interval so both legs got a stretch - worked for us both. The height gives it a slightly grander view and allows you to see the character rather than the actor - (which in something so full of stereotypes - lets you know where you stand)."
"Row C 4, 5, 6 and 7: (Amanda Johnston). The view was very good and it didn't feel so far from the stage as upper circles in other theatres. The metal bar does cross the view at front part of the stage but it doesn't take away from the enjoyment of play. Agree leg room dreadful and had to sit sideways to allow for knees!"
"Row D: The seats had NO legroom and I am only 1.72 m (5' 8"). Good view and could hear everything. The biggest problem was the heat. Everyone was peeling off layers, since the ceiling fan is only on before the show and during intervals. Would not buy these seats again. Noticed that Row A had much more legroom but restricted view with safety bar."
"D1 and D2: I was quite disappointed as it was very high and very steep and the bar at the front did obstruct the view somewhat (as did the some of the heads of the people on row A). My other half is 6'4" and had immense difficulty getting comfortable, in fact I don't think he managed it at all and kept fidgeting all evening (tsk!). I managed OK but it wasn't the most comfortable I've ever been."
"F3 and 4: Directly under massive fan – before we expired of hypothermia, we were all allowed to move forward because the theatre was half empty (a popular Monkey ploy, I think I remember). We ended up in A 8 and 9. The bar didn’t prevent us from seeing anything relevant in this production.
But if you were ever to add a section for recommended seats for menopausal women prone to hot flushes, F 3 and 4 and the equivalent on the other side of the aisle are probably more efficient than HRT..."
"G8: (Taljaard – regular reader). Had no sight problems at all and could hear every word."
"H9 (November 2017). High up but the whole play was easily viewable and followed, and because it was a quiet night I had most of the row to myself to stretch out and the aisle for legroom. At £17.50 a bargain choice if you've not seen the play and want to "tick it off" your West End list."
Total 553 seats.
Induction loop and infrared headsets available some signed and audio described performances. Guide dogs can be dog sat. Programmes can be enlarged on theatre photocopier. 1 wheelchair can use box C in the Dress Circle. A plinth can be added to improve the view over the wall for users. Adapted toilet available, not gender segregated, but the theatre is trying hard. Fuller Details from the box office on 020 3034 2604.
No food except Ice cream and confectionery.
Three bars; Stalls, Dress Circle and Upper Circle.
6 Toilets; Stalls 1 gents 1 cubicle, 1 ladies 2 cubicles; Dress Circle 1 gents 1 cubicle, 1 ladies 5 cubicles; Upper Circle 1 gents 1 cubicle, 2 ladies 1 cubicle in each.
Don't forget to visit the mouse and script in a niche in the stairway vestibule to the right of the foyer.
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.
Please note: The seating plans are not accurate representations of the auditorium. While we try to ensure they are as close to the actual theatre plan as possible we cannot guarantee they are a true representation. Customers with specific requirements are advised to discuss these with the theatre prior to booking to avoid any confusion.
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. So look for the one showing the St Martin's Theatre. 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 are two options - Left is Exit 3, right is Exit 4. Take Exit 3 - Charing Cross Road East.
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 street. Do not cross to them! Turn to your right, pause to let those who took a wrong exit catch you....
If at the top of the underground stairs you see a narrow street with only a row of shops and offices in front of you, this is Cranbourn Street. Turn to your right and walk to the end of the street. If you see the Hippodrome Casino on the opposite corner across a busy road, good. Do not cross the road to it! If you reach the end of the street and see a large restaurant, The Sussex on the opposite corner, wrong way. Once safely on Charing Cross Road, turn to your right.
Now everyone is together on Charing Cross Road.
Keep walking until Litchfield Street appears on your right on your side of the road.
Turn down this street:
Cross over to the other side of the Street as you walk down it. The St Martins Theatre and The Mousetrap sign are ahead of you.
None stop outside the theatre. Number 1, 14, 19, 22, 24, 38, 55, and 176 stop on Charing Cross Road or Shaftesbury Avenue. As a starting point, stand in front of the Palace Theatre. Turn your back to it. Cross the road ahead of you to put yourself in front of the large Pizza Hut restaurant. Turn to your left and take the quiet side street next to the restaurant. This is West Street. Walk along it, the theatre is on your left. If you pass many bookshops on a busy road, wrong way.
A rank for Black taxis is at Charing Cross Station - some distance from the theatre, if you cannot hail one in the street. To hail one on the street, walking to the end of Litchfield Street and hailing one on Charing Cross Road is probably the best chance of catching a passing one.
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. Go straight on, entering the other half of Shaftesbury Avenue for a few moments. Look to your right for West Street. Walk down it and the theatre is clearly visible on your left, just past the Ambassadors Theatre. Cross the road to it.
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 4 hours after 12 noon, using this scheme and it is endorsed by the Society of London Theatre.