3-5 Catherine Street, Covent Garden, London WC2B 5LA 0330 333 4810
This system allows you to select your seat AND check the view from it when you do so.
Booking fees per ticket:
£2.50 on all seats, except £2 on £20 seats, 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 the box office does not have what you require, the Theatremonkey Ticketshop telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), offers seats with £14.30 on £65, £10.60 on £48, £8.40 on £38, £4 on £20 per ticket booking fee. Slightly higher than the box office, but lower than most agencies. Worth checking if the box office cannot provide the exact tickets you might require. 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.
www.seetickets.com offers seats with £9.75 on £65, £7.20 on £48, £5.70 on £38, £3 on £20 per ticket booking fee. A £2.75 per booking, not per ticket, handling fee also applies.
www.ticketmaster.co.uk offers seats with £12.75 on £65, £9.50 on £48, £7.50 on £38, £4 on £20 per ticket booking fee. The site also allows you to select your own seats from those it has available.
Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offers seats with £13 on £65, £10 on £48, £8 on £38, £4 on £20 per ticket booking fee. 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.
Quality and Value hotel / theatre ticket packages are also available.
Londontheatredirect.com offers seats with £13 on £65, £9.75 on £48, £7.75 on £38, £4 on £20 per ticket booking fee. 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: 0330 333 4810
Operated by Quay Tickets Agency 9am to 9pm daily, on behalf of the venue from 9am to 9pm daily.
Booking fees per ticket for telephone bookings:
£2.50 on all seats, except £2 on £20 seats, per ticket.
For personal callers or by post:
Catherine Street, London. WC2B 5LA
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 0330 333 4815.
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 official website www.nimaxtheatres.com allows you to check the view from any seat selected.
Rows A to F are a single block curved in front of the stage.
The stalls are very narrow with the longest row only 29 seats.
For most productions, an centre aisle divides seats from row G to the back of the theatre.
For a few shows, mostly musicals, extra seats are installed in the centre aisle of rows G, H and J. In that case, the centre aisle runs from row K back.
The rake (sloped floor to help see over rows in front) in this theatre begins at row G.
The Dress Circle overhangs the stalls at row G.
Best in central row A, average in rows B to F (F 1 and 21 have more), better in rows G to O - one taller person remarks a bit cramped even there, though.
Centre aisle seats are available in row G (K for some productions) back allowing extra comfort along with a good view.
Seats are quite low, so be careful if tall, as the sitting position is a little odd.
It is normally worth avoiding the first and last four seats in rows A to E as their proximity to the stage and angle at which the row curves in towards the centre makes viewing the rear corner of the stage hard. If you are handing over good banana money the least one expects is to see the LOT
Those in row A and B in particular may look sharply up at the stage when it is high - some may wish to avoid neck ache and sit further back. The backs of seats in row A are also sloped back slightly to improve viewing angles.
If row A is cheaper, the monkey would pick seats 5 to 10 first, and notes that usually the way the show is staged sitting here and looking up may lose a little of the back / top of the stage at times.
If you are paying full price, row G is prime, then try H and J. Forward of these rows the view is fine, provided the person in front is short.
The view from the back rows is good enough to rate these seats value for your money too. For musicals the monkey might avoid N 9 and 10, O 9 and M 11 to 14 for being close to a sound desk, though.
Most productions have row N cheaper than row O - you get the same view for less one row back. Row O is OK, but sitting there it'd be hard not to feel a little hard-done-by knowing the seats in front are closer to the stage for the same cash, feels the monkey.
Row N Wheelchair users have a reasonable view from spaces at the ends of row N.
Don't bother with restricted view row N 1 and 29 - the saving is not worthwhile as you can have a decent seat only a little further back for the same or less money.
When the stage is high, rows A and B are a neck-ache experience.
Extreme ends of rows A to E miss nearside rear-corner stage action.
The very top of the set is not visible from row M back.
Pillars at the ends of row N make seats 1 and 29 ‘restricted view’ - luckily they are normally removed.
For musicals a sound desk occupies seats in rows N and O.
The sightlines for this production are complicated, with many seats on one side of the theatre missing 5 minutes of the show, and others missing action on a high part of the set or even more. A chart showing this is available here.
The stage is high, and those in the first six rows won't see a bit of action behind a sofa. Doesn't matter, as no seat has a 100% view of all the action, the monkey thinks.
SPOILER ALERT: Row A is also a bit of a "splatter zone." Expect a few drops of water in your direction. SPOILER ENDS.
At top price the monkey would skip G and H 1, K to L 1 and 2, N2 and O1 for missing a bit on a raised part of the set.
Also at top price, the monkey would miss top price F19 to 21, G 21 to 23, H 22 and 23, J and K 23 and 24 as they are right next to seat which miss some staging. On the other hand, the £35 and £20 seats right next to these have to be a fair deal, and there are more of them, running from row F back. It would go for the £20 ones first (the £35 ones on L, M and N aren't worth the extra £15). Big cash saving for a small missed bit of the show, the monkey feels. Not for purists, but not bad at all. There is action missed, and some very good laughs - but not essential to following the plot. On the "low numbers" side, end pairs from F back are second price. The monkey would still miss these, as they miss far more of the show than the other side of the theatre.
Central rows E to J are "premium." Those in E and F seem a bit close to the monkey, but you'll get a 'close up' view, with fewer heads in the way. So, pay if you must. The less wealthy get the same views as always by sitting in the seats beside (monkey's first pick), in front or row L behind, for less cash.
Skip central row O, a long way back at full price, feels the monkey.
"Stalls: "The Play that goes Wrong" (September 2014), (ikelmay). The tickets were discounted (centre stalls with a perfect view)."
"A8: "Our Boys" (October 2012), (Taaljard). Bought a day seat for £10. A8 in the stalls. An excellent seat, stage is low and there is plenty of legroom so no need to look up."
“Row B: "The Secret of Sherlock Holmes" (August 2010). When Row A had been removed - as in this case - Row B was the front row. I was in Row B and it was quite a neck ache situation, and I am quite happy in the front row normally."
“B4: “Love Story”, (Mark). Got this on a £10 student offer. Excellent seats for the price I paid, but go a bit further back and central for top price."
"C1 and 2: "Love Story" (December 2010), (James – regular reader). Interestingly for this production, being at the end of the row doesn’t detract from the production or restrict the view. It’s an intimate show and it was great being so close, although I would have preferred to perhaps be a row or two further back just to avoid looking up at the stage as much as I did."
"C3 and 4: "The Play that goes Wrong" (September 2014). Excellent view. At first we thought seat number 3 and 4 would offer a side view, but there are fewer seats in the front rows. Just for comparison, C3 and C4 are at the same position as, say, F6 and F7. [spoiler alert!] Since we are almost level with the stage, we missed less than 1% of the act when an actress fainted behind the sofa. I wouldn't worry about that at all, as you can still figure out what happened in that scene. [spoiler ends]. In summary, these seats offer brilliant views!"
"C7, 8 , 9 and 10. "The Play that goes Wrong" (September 2014). Comfortable seats with a superb view (heights ranged from 5' 2" to 5' 11") and plenty of leg room. Be warned: the seats are lower than you might expect, which makes sitting down and getting up again a slight challenge for those of a less nimble disposition. No big deal, but just be aware of it if anyone in your party has real trouble with seat heights which are below average."
"C8 and 9: "The Play that goes Wrong" (September 2014). I totally agree with what is already on your site - perfect view apart from what goes on behind the sofa, we thought they were excellent - except for (as already stated) they are so low! Folding my 6'5" frame in was a challenge in itself, and once in I couldn't move, my knees were pressed up against the back of the chair in front, and became extremely painful by the end of each act. It's a good job the play was so entertaining! So I advise caution to those of a similar stature."
"E1 and 2: "The Play that goes Wrong" (September 2014). These were OK – decent leg room (but not as good as the end of F behind) but there’s virtually no rake so neck was feeling cricked."
"E13 to 16: "Sign Of The Times" (March 2011), (Clive). Excellent view of the whole stage and good leg-room. Fortunately no-one tall in front as there is no rake."
"F3 and 4..."The Play that goes Wrong" (September 2014), (Alison Clark). Good value for money. Just a few seats along towards the centre of the stage the tickets were approx £20 more!! I felt that the view from F3 and F4 was good value for money. Pleasantly surprised at the legroom. I don't feel I missed anything."
"F20: (Mark) Seat was very good, no complaints at all." He felt the same about F16 at another show, too.
"F22: "The Play that goes Wrong" (September 2014). I booked a restricted view seat to save money... and what a bargain it turned out to be. Just £19 for seat F22 in the stalls. End of the row, no seat in front so endless legroom ( in fact I could have laid on the floor and not disturbed anyone ! ) and a great view. There is a fireplace stage left which cannot be seen from this seat so I guess I missed a few fireplace related jokes. Made no difference to me....I missed loads more jokes simply because I was crying with laughter and gasping for breath!"
“G4 and 5: (Lizzie) …although the seats were a little cramped, the view was very good."
"G7 and 8: "The Play that goes Wrong" (September 2014) (Mary). Great seats. The view was perfect with the entire set visible. At around 5'5" (165cm) we were comfortable."
"G14: (Mark). Wow! Amazing seat, view was perfect, although seats in the Duchess aren't exactly the comfiest to sit in; they are a bit hard and not a lot of padding!"
"G23 and 24: “The Play That Goes Wrong” (September 2014). We sat in the stalls G24 / 23 discounted at £22 – good deal, but we couldn’t see the comedy action that took place on the extreme left of the stage by the fireplace in the first half. After the interval we moved up to G 20 / 21 which were empty and that was better."
"G24: “The Play That Goes Wrong” (September 2014), (Yorkshire Monkey). (Restricted view) - hold the front page: plenty of leg room in London Theatre! And a goodish view of most of the stage; and all for £20. It's not all good news though as there was no description of what the restricted view was and it turned out, for this play, that it was quite significant. Many of the visual gags on the left of the stage were hidden."
“H18 and 19: Good seats, but I wouldn't want to be any further back."
"H20 and H21: Masses of legroom and an excellent view."
"J 11 and 12: “The Play That Goes Wrong” (September 2014). Last row before centre aisle disappears. Clear central view. Row in front isn't much lower though."
"J13 and 14: “Love Story” (December 2010), (James – regular reader). Luckily we had no-one directly in front of us, as the rake is quite shallow. For this production I’d prefer to be a little closer (previously sitting in row C), to see everyone a bit more clearly but the seats were perfectly fine (especially at a discount) and the sound is great from here too."
"J21 to J24: "The Secret Of Sherlock Holmes" (July 2010), (Clive). The view was fine although the rake is poor. The seats were slightly cramped and a little uncomfortable. Leg-room was fairly average i.e. a little tight for my taste."
"K12 and 13: “Love Story”, (Annie Gross). Excellent seats, the row behind 'premium' and dashing good value."
"L11: "The Play That Goes Wrong" (September 2014). Got L11 stalls for £25 at box office about half an hour before the show. A great view, but slightly cramped."
"L17 and 18: “The Play That Goes Wrong” (September 2014). As recommended on Theatre Monkey) and we were surprised at how small the Duchess Theatre was."
"L18: Thought the seat was great. The Duchess is such a tiny theatre!"
"L27 and L28. “The Play That Goes Wrong” (September 2014). End of row, restricted view. VERY restricted I would say, although I have never tried them before. There was an awful lot that couldn't be seen, not just a 5 minute scene as implied by Theatremonkey." (All seats have variable views - editor).
"M9 to 14: "Love Story" (November 2010), (Clive). A good view and also good legroom. However there was not a great difference in height between the seats and the row in front. The sound booth was immediately behind but caused no distractions at all."
"M15: “The Play That Goes Wrong” (September 2014). Great seat on the centre aisle. It’s a small theatre, so you still feel reasonably close to the stage. Rake isn’t great though, so it’s an advantage to be able to crane your neck into the aisle so as not to miss any of the action - especially when it’s as crazy as in The Play That Goes Wrong!"
"M17: “The Play That Goes Wrong” (September 2014). Since the theatre is rather small I had a good view. Legroom is not great, but adequate (I’m 6’2’’). After the interval I switched to empty seat L15. Heaven! I had two armrests for myself (L16 was also empty) and I could blissfully move my leg into the aisle. So if you can, get an aisle seat in row K or M."
"M23 and 24: "Fences" (June 2013), (Kev). Great view and decent value. Anywhere in the stalls from row G back is going to be perfectly fine, except maybe the very end of the rows. That said, rake is shallow and so anywhere in the stalls you run the risk of Tally Tall McTallpants blocking your view from the row in front."
“N13 and 14: "Krapp's Last Tape" (September 2010), (Clive). Perfect view with good rake and good legroom. The seats were comfortable but those of some fellow theatregoers were clearly very noisy."
"O6: “The Play That Goes Wrong” (September 2014). Generally an offer available for this current production so we got these seats for £20. Right at the back, but the Duchess is a cute little theatre so this is not an issue, and view was good. A little cramped legroom for the tall folk though."
"O15: "Love Story" (November 2010). The back row but still close enough to see well and feel involved. The Duchess theatre is small and intimate, just right for such a romantic play/musical. They really do need, however, to fix the seats in that row as when a rather large young couple sat down in seats O19 and 20 the whole row of seats rocked back three or four inches which was very disconcerting."
Called the Dress Circle in this theatre.
Three rows in the front section, then a wide cross-aisle, into which an extra row, D, has been grafted.
Behind row D is a wall and a further section of seats.
Variable throughout the circle.
Rows A and E have walls in front. Those up to around 5ft should be fairly comfortable, though E 1 and 20 have a bit less legroom, and neither row is great if you are under around 5ft tall and wish to see over the wall in front.
Row D and seats J21 and 22, have most legroom, with nothing in front of them.
Elsewhere most find it adequate, suitable for those up to around 5ft 9 or so in A to H, perhaps an inch or two shorter in J. Seat backs curve, creating an extra toe-space between seats - thus gaining an extra inch of legroom from that gap.
Readers find row A tight at the ends (moans from seats 1 to 4) and slightly better further in (praise from a 5ft 9 person in 15).
Judge Theatremonkey normally rules the stalls better value at top and second price, and the circle fair value for all or any cheaper seats. The view is fine up here, though.
If legroom is a factor, take either circle row D or the stalls row N or O (usually for less money than Dress Circle rows A to D too)... otherwise, there is little to choose between stalls and circle for view. Stalls are probably a bit closer, but circle is worth thinking about if there are lower price to attract.
In the rear circle, rows E to G are normally second price, with rows H and J at third. Skip E at top price – you can do better in either the rows in front or the stalls.
When only rows F and G are second price, the monkey takes into account both the distance from the stage and legroom between circle and stalls. Taller folk will be more comfortable downstairs, but upstairs is closer with less chance of a large head in the way. Your call, it feels. Remember that you can go one row back and save more cash for the same view, though.
For some productions, row J 5 to 18 is more expensive than seats next to it. The monkey would take the end four seats in the row first, simply on the principle that these are cheaper for pretty much the same view.
Row J21 and 22 are at the side of the theatre with only the aisle in front of them, these offer the cheapest priced maximum legroom option in the house, the only trade-off is the slightly more distant (but excellent) view of the stage. Also be aware that the step in front of them is short, so there isn't actually a space to rest your feet if you wish to stretch out - unless long legged enough to take advantage of the next step down, of course.
Row D has straight backed seats with flip-up arms... and ushers crossing in front of you during the performance.
Central rows E and F are top price - skip E, maybe F if you have to, but go for F 17, 18, 4, 3 in that order, or central G behind and save a few pounds. Skip central H at second price and go for J. Same view, cheaper. Those on the end of J have the extra legroom as well.
"A1 to A4: (Clive). The view from anywhere in this row is fine but legroom is tight. With such a narrow stage the side two seats with increased legroom due to the semi-circle shape may actually be better than the middle for some theatregoers."
"A15: I have never had so much leg room in my life! There was over a foot of space in front of my knees, and I am by no means a midget at about 5'9 (neither do I have extremely short legs and a long torso). However, the front of the circle does cut off the actors from the knee down when they are at the front of the stage. This didn't matter that much for the production I saw because they were mostly standing around and having a chat, but if it was something with dancing or whatever then maybe not so good. But as a trade for losing feet you do get a really good close up view of the actors."
“Row B (Gavin Welch) View was good, legroom not too bad I thought."
"B15 and 16: "The Play That Goes Wrong" (September 2014), (Graham). Thought it was really lovely theatre. Not a large venue but big enough to create a great atmosphere. The circle is very well raked and the seats we sat in were very comfortable with very good legroom indeed and a very good view of the stage."
"C9 and C10: "The Hurly Burly Show" (August 2012). These seats were near the front of the dress circle so the view was quite good; we were able to see the stage well, with a good view without being too far away. I would not have liked to have been much further back than this. There was only one point where we couldn't see the action as one performer went into the front row of the audience, but it was only brief. I would recommend the seats as they are very good value for what you get."
"C18 and 19: "Fences" (July 2013). Bought these on offer at half price. Since it's a very intimate theatre, these seats still offer a reasonably close view so you can see facial expressions and set details. The front of the stage is slightly obstructed by the dress circle barrier, but not in any significant way - the actors never stood in any area we couldn't see."
"C20: "The Play That Went Wrong" (September 2014). A really good seat on the end of a row. I paid full price, but it had a clear view of the stage and there was plenty of leg room. This was my first visit to this theatre and on another occasion I would go for the seat the other end of the row (C 1) just because it has easy access to the foyer and toilets."
"D19 and 20: "Love Story" (December 2010), (Lordship Theatregoers). Although seated at the end of the row in seats 19 and 20 the view of the stage was fine; but theatregoers should be aware that the seats in this row are not the same as the remainder of the theatre and the row is still used by the ushers as a gangway (which it presumably was before the installation of the seats). Seats in this row are more upright and have very straight across backs as well as annoying flip-up arms which make them not as comfortable as the others. Leg room is very good. In future we would choose to sit elsewhere especially for a 1¾ hour show without an interval."
“F5 and 6: “The Pitmen Painters,” (Chris B). We actually paid for tickets a couple of rows back from these seats but got upgraded as there were some free seats in front. This is only a little theatre but the dress circle does feel quite high up. However, there is a good, unobstructed view of the relatively small stage due to a good sized rake, with sufficient legroom.”
"J9, 10, 11: "The Play That Goes Wrong" (September 2014): There are fairly steep steps to get up here, but these seats were an absolute bargain at £20 each. Central, lots of legroom, decent rake, unimpeded view except for slightly missing the very top when they were on the platform. Would sit here again without hesitation."
"J22: "The Wind In The Willows" (January 2014). The perfect location for anyone who arrives at the last minute, has long legs or both. There is nothing at all in front of it except the steps up to it (ditto J21) and any sense of being 'far from the stage' soon vanishes, especially if you've ever been in the back row of the Amphitheatre at the Royal Opera House (after that anything feels pretty close to the stage!). The excellent rake on the seats meant anyone else in that row can also see perfectly. Add to that the fact it is in the cheapest price band and it adds up to a real bargain."
Two boxes are bulges in the front outer corners of the Dress Circle, and two boxes at the rear of the Dress Circle behind row J.
Not often on sale as they are used for technical equipment.
Good in all seats as movable chairs are used. The front boxes have less of the two pairs, unless willing to sit back more from the front wall.
These offer a side view but are worth considering if no stalls are available at the same price, and a little more legroom is required than other circle seats can provide.
The view from both is unobstructed and the low price reflects the distance from the stage. These seats are worth considering as an alternative to rear circle tickets since they offer better legroom, often at a comparable price to the other cheapest seats in front.
Not bad, now they are lowest price, feels the monkey. Box E isn't sold (something in front of it is used in the show), and F has a restricted side view. B and C are be worth it for legroom at bottom price, but there are so many cheaper seats available (including dress circle unlimited legroom J 21 and 22), the monkey would take those before box seats.
Total 495 seats.
Sennheiser Infrared. Guide dogs can be dog sat. Wheelchair users can get down to the stalls and use spaces at N1 and N29 with the aid of an ATT Stair Climber. This must be booked in advance as it is not stored at the venue. Also note that the disabled toilet door opens INWARDS! Fuller details from Nimax Theatres on 0330 333 4815 (10am to 6pm, Monday to Friday) or email access(insert the @ symbol here)nimaxtheatres.com.
One reader says (May 2010),
"We had one in our party in a wheelchair, just as well there was only one. It was fascinating seeing them load him on to a caterpillar track contraption that very slowly climbed up the stairs on rubber tracks. It would have taken an age to have dealt with more than one. but the staff were extremely obliging and helpful."
No food except Ice Cream and confectionery.
Two bars, Stalls and foyer (for the Dress Circle drinkers).
5 Toilets in all. Stalls 1 gents 2 cubicles, 1 ladies 4 cubicles, 1 unisex disabled; Dress Circle 1 gents 1 cubicle, 1 ladies 3 cubicles. One reader rated these the best in the West End! In 2015 another reader wrote, "Cheers for Nica Burns and her loo refit (maybe she really understands) – always grateful to her!"
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.
All "peak" date performances
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.
Covent Garden - Piccadilly Line (dark blue).
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.
On leaving the station, turn right and walk into the large pedestrian plaza that is Covent Garden. If you see a long road with cars in front of you, wrong way.
On entering the plaza space, turn to your left and walk along the collonaded area (cut across if it is not raining). If you see Tesco Metro Supermarket or a bank, Wrong way.
Keep walking ahead as far as the collonaded area will allow (it forms the outer part of the market Square). Follow it to the right. At the end of the building is Russell Street. Walk along Russell Street, crossing one road, until you reach a street corner with the Fortune Theatre to the left and the Drury Lane theatre ahead of you on the opposite side of the road.
Take the road to your right, Catherine Street and walk on past the entrance of the Drury Lane theatre. If you do not pass the entrance doors, or pass the Fortune theatre, wrong way.
The Duchess Theatre is half way down the road on your right.
Also close to the theatre is Temple Station - Circle Line (yellow) and District Line (green).
This is closed on Sundays and some other times, so check before using.
If it is open, then leave the station turning left. If you see the river, wrong way!
Go up the steps and cross the road ahead of you. Keep walking straight on up Arundel Street (the road sloping upwards ahead of you). Make sure you are on the left hand side pavement.
At the top of Arundel Street is "The Strand" and The Aldwych", a busy road intersection and cluster of buildings. You should not cross the road. Just turn to your left and walk down the Strand.
Keep going until you come to another busy junction at the end of the buildings. Look to your right you see the Novello Theatre. Use the pedestrian crossings to get to it! The Duchess Theatre is in the road beside the Novello Theatre, to your left.
6, 11, 13, 15, all stop on the Aldwych. Walk towards the Strand Theatre and walk up the street next to it, the Duchess Theatre is on the left side of that street. If you see the Aldwych or Lyceum Theatres, wrong way.
A rank for Black taxis is at Charing Cross Station - a long distance from the theatre. Best chance of hailing one in the street is to walk down Catherine Street to the Strand / Aldwych.
Parker Street, under the New London Theatre. Exit the Car Park and stand with your back to the main foyer of the theatre. Cross the road ahead of you and turn to your right. The street corner is there ahead of you. If not, wrong way. At the corner of the street, Turn left into Drury Lane and walk along it. If you pass the New London Theatre, wrong way.
Walk straight on, crossing Great Queen Street. Continue down Drury Lane. Please cross to the other side of the street and continue, crossing over Broad Court and Martlett Court until you come to a four way crossroads.
Turn to your right at these crossroads. Do not cross any street. Just walk ahead down Russell Street. Cross Crown Court and continue straight on, changing to the other side of the street.
The end of this street has the Drury Lane Theatre as its corner. Turn to your left at this corner to walk past the Drury Lane Theatre entrance. This is Catherine Street and walking downhill, the Duchess Theatre is halfway along on the other side of the road. If you come to Covent Garden pedestrian piazza, wrong way.