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Gillian Lynne Theatre

166 Drury Lane, London WC2B 5PW 020 7087 7750

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

Buying tickets online - the theatre group's own website provide the service for this theatre. This site allows seat selection and provides a view of the auditorium too.

Booking fees per ticket:
A £1.50 per booking, not per ticket, postage fee applies - if required and time allows. No fee for printing your own tickets at home or collecting them on the day at the box office.

About the show: 

The Lion, The Witch and the Wardrobe


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 for great value "hotel and theatre ticket" packages.
Other Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.

TheatreMonkey Ticketshop

The Lion, The Witch and the Wardrobe 
When the theatre does not have the tickets you desire available, it is well worth trying the Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), charge £27 on £135, £25 on £125, £23 on £115, £19.90 on £99.50, £17.90 on £89.50, £15.90 on £79.50, £13.90 on £69.50, £13 on £65, £11.90 on £59.50, £11 on £55, £9.90 on £49.50, £9 on £45, £7.90 on £39.50, £7 on £35, £5.90 on £29.50, £5 on £25, £3 on £15 seats booking fee per ticket - moderate by agency standards, though higher than box office fees, worth trying as they often have an alternative choice of seats available! 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.

See Tickets

The Lion, The Witch and the Wardrobe 
Another alternative is which charge £27 on £135, £25 on £125, £23 on £115, £19.90 on £99.50, £17.90 on £89.50, £15.90 on £79.50, £13.90 on £69.50, £13 on £65, £11.90 on £59.50, £11 on £55, £9.90 on £49.50, £9 on £45, £7.90 on £39.50, £7 on £35, £5.90 on £29.50, £5 on £25, £3 on £15 seats booking fee per ticket, and £2.75 per booking (not per ticket) postal charge.


The Lion, The Witch and the Wardrobe 
Alternatively, through Ticketmaster with a sliding scale of per ticket booking fees: £26.50 on £135, £24.50 on £125, £22.50 on £115, £19.50 on £99.50, £17.50 on £89.50, £15.50 on £79.50, £13.75 on £69.50, £12.75 on £65, £11.75 on £59.50, £10.75 on £55, £9.75 on £49.50, £9 on £45, £7.75 on £39.50, £7 on £35, £5.75 on £29.50, £5 on £25, £3 on £15 seats.

Encore Tickets

The Lion, The Witch and the Wardrobe 
Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) charge £26 on £135, £24 on £125, £23 on £115, £19.50 on £99.50, £17.50 on £89.50, £15.50 on £79.50, £13.50 on £69.50, £12.50 on £65, £11.50 on £59.50, £11 on £55, £9.50 on £49.50, £9 on £45, £8.50 on £39.50, £7 on £35, £6.50 on £29.50, £5 on £25, £3 on £15 seats 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.

Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

London Theatre Direct

The Lion, The Witch and the Wardrobe charge £27 on £135, £25 on £125, £23 on £115, £20.50 on £99.50, £18.50 on £89.50, £16.50 on £79.50, £14.50 on £69.50, £13 on £65, £12.50 on £59.50, £11 on £55, £10.50 on £49.50, £9 on £45, £8.50 on £39.50, £7 on £35, £6.50 on £29.50, £5 on £25, £3 on £15 seats 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.

Box office information

Telephone: 020 7087 7750
Operated by See Tickets on behalf of the venue.

Booking fees per ticket for telephone bookings:
A £1.50 per booking, not per ticket, postage fee applies - if required and time allows. No fee for printing your own tickets at home or collecting them on the day at the box office.

For personal callers or by post:
Drury Lane, London. WC2B 5PW
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 7087 7966. is the official venue 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 official website allows you to check the view from any seat selected.

  • Stalls
  • Dress Circle



The stalls are often, but not always, divided into front and rear sections, separated by an aisle.

This is because the front section of the theatre is flexible and design depends on production. If the front section is used, seats can be on a flat floor or, more commonly, tiered on steps – six inches between each row.

The rear section of the stalls is also divided into a central and two side sections, and is almost unchanged since "Cats" closed and the theatre reverted back to a standard format. 
The Dress Circle overhangs the stalls at row P, and does not affect the view of the stage from any seat.

Stairwells are let into the front of the central rear section, at the ends of rows I to M. 

New seating has narrowed the aisles slightly, and some rows have been raised a little as well, improving sightlines further.

When in step layout, all seats offers a good rake (seats arranged on steps to help see over rows in front). 


Good in almost all seats. Anyone under 5ft 10 will be comfortable almost anywhere in the stalls.
Row I has unlimited legroom, as do the famous row M 30, 31, 52 and 53.

H34 and 49 have slightly less legroom due to the row curving. Suitable for those up to around 5ft 6 at most.

Row G 32 and 51 are angled slightly, giving generous legroom for those up to 5ft 10. There is also space to put feet under the seat in front.

In the wheelchair users section, fixed theatre seats beside chair spaces have legroom suitable for those up to around 5ft 6 or so. Odd, as there is space to move them back, notes the monkey.

Row A varies by production, see "Changes for the current production" below.

Choosing seats in general

Front Section: 
Centre block rows D and E are prime, with a good view over those in front and central to the stage. Some readers appreciate being even further forward to become engrossed in the action.

The side blocks extend around the stage, with the outermost seats having a slightly lesser viewing angle, losing views of around an eighth of the nearside stage due to the angle of the set side wall.
Rear Section: 
Row I to L in the centre block have stairwells at either end of these rows but the view is fine. Actually, it's excellent!

Perhaps take the first and last few seats in N and M centre block second if you are shorter and are worried by a stairwell in front, but for everyone else these rows are a must, feels the monkey. The rail has gone and the view is excellent - comfortable legroom too.

Rows from R back may feel a fair way from the stage due to the rake. The very ends of these two rows may be disturbed by folk clomping up the aisle, but no good reason to miss them. The central view has been noted as highly desirable by many.

The rear section side blocks of the stalls have been re-modelled to give a better viewing angle. Instead of curving tightly around the sides, they are now set at an angle which faces the stage in a more “straight on” angle. The far outermost seats are still going to miss much action, but the majority should enjoy better views than before. The monkey estimates around four or so in each row can't see into the space behind the proscenium arch. 

In the front rows, while seats near the centre aisle are desirable, further out the prices drop and there are often bargains. The monkey notes that rows I to K are the ones to aim for if seeing cheap end of row deals - L and M don't have the same viewing angle.

Be aware that many centre block seats are priced the same, though, and try for them first.

Wheelchair users have a viewing platform behind P15 to 21 and should see well from there, though there is an overhanging circle above in view - not a worry for most productions. There are fixed theatre seats beside them, if required, though legroom there is only for those up to around 5ft 6.

O 61 to 71 may be in front of a sound desk, so not for purists.

General hazard notes

Row N seats 25 to 29 and 55 to 59 are behind stairwell walls. Thanks to generous legroom, the view is unaffected - the distance cancels out any issue - except for those under five foot tall, who will find the bar in front mildly annoying.

A rail behind the front stalls, over the aisle in front of row I 17 to 34 / 49 to 66 should not worry anyone - there are gaps in it in front of I 25, 30, 53 and 60.

Row I 35 to 48 is not raised particularly well to see over heads in row H.


Changes for the current production

The Lion, The Witch and the Wardrobe
The standard layout is used. The stage projects beyond the proscenium into the auditorium, with rows A to G curved to follow it.

The stage is high, those of 5ft 7 will find it at around eye-level in row A, those shorter may have a problem. Still a good view, though. Legroom is fine for those up to 5ft 10 or so EXCEPT in seats A25 and 57 - if they are on sale (the monkey will update as available). These are in the far corners and have space for one leg for anyone up to 5ft 4. Those taller will have a cramped evening.

Speaking of cramped, H34 and 49 are worth missing for being on the curve which cuts legroom to nil for anyone over 5ft 6.

The front section is on shallow steps, but as the stage is high it should not cause issues for anybody being unable to see over the rows in front.

Most of row A is second price and worth taking - 36 to 46 first, unless you have shorter people in your group, in which case ends from C back are a better choice. Outer ends of A, if on sale, may be worth a look at lower prices (the monkey will update as available). 

Up at top non-premium price, the central block rows B to F, plus the 2 seats over the aisle in the side blocks are prime stuff, feels the monkey - who would actually take the pairs off the aisle over some rows in the rear section, for being closer to the action. G32 and 51 are solo seats for the anti-social and rather good.

Central row G is "premium" priced and H are "super premium" (and not really worth it, 34 and 49 in particular, it thinks). Take the ones next to them.

At the other end of the scale, ends of rows A to E are cheaper, with B25 and 58 bottom price for impecunious singles or those like the monkey who like a solo bargain.

In the rear section, premium seats run centre block rows I to L, except Monday to Friday before 4th September 2022, when row L drops a price. Fair enough, feels the monkey. Row I 35 to 48 has been adjusted to see over heads in front, but the monkey would still take a row behind just in case of someone tall in row H.

The rest of the centre block has a decent view, but the absolute bargains are in row U. No action is lost due to the circle overhang, and they are cheaper than the row in front. U 22 to 62 are the bargain "family row" for sure, feels the monkey. If you can't get row A or want a further perspective, this is the place. In front, row T is second price, take it over row S at top non-premium price (same view, cheaper) and after row U (same reason).

Out to the side blocks, a low rail behind row G should disturb absolutely nobody in row I. At worst, it cuts into the view about an inch off the stage floor. Still, if shorter and concerned you can always go a row or two back – the view is as good. Note that I 25, 30, 53 and 60 are behind gaps in the rail, if that helps. Also note that I 31 to 34 and 49 to 52 are often ambitiously "premium" seats. Very average, feels the monkey. Take the pairs of the second price seats beside them too.. it gets interesting after that..

Ends of rows go out at third to sixth price. When they go on sale (monkey will update as available), the absolute bargains for those not worrying about missing a small amount of stage nearest to them are I17, 18, 65 and 66. Lowest price, comfortable and with a stunningly close view. You can shuffle along the row and go up a price band or so and it gets even better, but these four leave change for an interval banana or five.

Moving back, the view diminishes slightly in the very end seats, so do pay a little more and go further along the rows in J and K.

Row L is about average. The viewing angle isn't the greatest from the outer ends.

Behind, do avoid the four outermost seats in row M - they miss the back of the stage, M8, 9, 74 and 75 in particular. 

Further back and closer to the centre block, rows N and O are a good alternative to central row T, row P a good alternative to central U for those wanting a close second / third price seat and who don't fancy row A, likewise Row M 24, 25, 56, 57 (second price) or 20, 21, 62 and 63 (third). Row P has an elevated view, feeling close to the stage.

The official notes (and the monkey agrees) are that A25 and 57 have limited legroom and a restricted view, 26 to 56 not suitable for shorter persons. There are side views from I 17 to 22, 61 to 66; J 13 to 20, 61 to 67; K 14 to 20, 62 to 68; L11 to 19, 62 to 70 and M8 to 17 and 66 to 75. Restricted side views are found in K12, 13, 69, 70; L9, 10, 71, 72; M 6, 7, 76 and 77.

The sound desk behind O61 to 71 should bother nobody, feels the monkey.




Readers comments

"Cinderella" (August 2021). Stage is high - above head height of some in front row of stalls, though this row is set back from stage by about 1m. Side seats in rear stalls restricted view due to the stage design. But most action front and centre. So more side view rather than lost view. Also one long scene where these seats have perfect view."

"D53 and 54: Cinderella" (August 2021), (Bob Pickett). Looking at my notes, when I’ve sat in other sections of the Gillian Lynne I’ve commented on how comfortable the seats are following the refurbishment.  Then we booked these seats for Cinderella, so we could experience that show’s ‘party trick’ with the stage.

I wish we hadn’t bothered.  The seats in the front section are SO uncomfortable!  20 minutes into the production, everyone (and I mean *everyone*) was fidgeting. They’re lacking in padding, very upright so you can’t get comfortable and lacking in legroom.  Oh, and the stage is quite tall so you’re angling head up.

Honestly, unless the production you are about to see makes use of the revolving stage, sit further back (go for row I and back)."

J13: "Cinderella" (August 2021). Pick as central seats in your bracket as possible. Sat J13 end seat and you missed probably 50% of back of stage and a lot of ensemble blocking main characters too."

“M70 and 71: “Cinderella” (August 2021) (Bob Pickett). Well worth the money.  Very close to the stage, raised enough to make the view comfortable.  Only issue is you're at the side of the stage so the actors tend to be projecting front and centre.  But for all little stage geeks they're fun, as you can see the Orchestra "pit" up in the gods and you can see a tiny bit behind the scenes.”

"O23: “Cinderella” (August 2021). Legroom was good. View was great and totally clear. Seat is high enough that the tall man in front of me didn't impact my view at all. I did find the seat a bit uncomfortable after a while, but would absolutely love to sit here again. Excellent access to the gents."

“S54 and 55: “Cinderella The Musical” (August 2021), (Bob Pickett). The Gillian Lynne, being (a) a relatively modern theatre and (b) having enjoyed a refurbishment during lockdown gives good sightlines from pretty much anywhere in the theatre… once navigated the bewildering number of stairs (if you’ve seen Labyrinth, it feels like that, you climb endless stairs, only to find you’re not that far up).
Row S is a nice height and is on the same level as the door (which is handy for interval ice-creams).  S54 and S55 are quite central, just a little to one side, but give good sightlines - they lose the tiniest sliver of the top of the stage, I can’t envision a production (except perhaps “Kiss of the Spider Woman”) where this could ever be an issue.  The overhang from the Dress Circle does not interrupt. The rake is excellent; unless you get a basketball team in front you’ll not struggle to see over.  Legroom is decent, cushion comfort is supportive and fidget-free.  But for such a modern theatre, I did find the seats to be a little narrow - not uncomfortable, but more of a squidge - but my wife commented there is more than enough room, adding they’re amongst the most comfortable theatre seats she has sat in. Overall well worth the money, though if possible to get closer to the stage for the same money I would do so.”

Dress Circle


The Dress Circle is called the "Circle" in this theatre.

Nothing overhangs this circle.

The circle is split into a large central, and two side blocks, by aisles.

The central block has seven rows set on well-tiered steps.

Side blocks are also well tiered, with between 4 and 5 rows. 

Row C 3 to 6 can accommodate a wheelchair user and companion.


Very adequate in all seats. All up to around 5ft 10 should be comfortable in most seats. 

Row A is most comfortable for those up to around 5ft 6, row B for those up to around 5ft 8. B9 and 79 have extra space for one leg to move into.

Row A 25, 26, 63 and 64 have very limited legroom.

Row E21 and 67 are suitable for those up to 5ft 4, E22 and 66 up to 5ft 7 and E23 and 65 for those up to 6ft as the three seats slope at an angle from the row in front.

Row F is suitable for those up to 5ft 10 in 25 to 64.

Row G is fine for those to around 5ft 11.

Seats C1 and C87 have nothing in front.

Choosing seats in general

The monkey compared the feel of this circle with that of the Olivier auditorium at the National Theatre. If you are happy seated in rows D or E of that theatre, then F and G here are even better, it feels. 

NOTE that the following details are general observations about the auditorium. For specific information about the unique staging of “Cinderella” please see “Changes for the current production” below.

Centre Block: 
You will do fine in row B if row A is at a premium price – the view is the same, cheaper.

The outer two (three in row B) seats at either end of rows A to E may find an aisle end rail slightly in view at times. Heavily discounted, they are a bargain, take the seat in from the aisle. 

Alternatively, central row G is often the same price and an outstanding deal to get a clear over all view of any show, thinks the monkey. 


Side Blocks: 
Aisle end rails are limited, and few seat will find them blocking views. The monkey felt A14, 15, 74 and 75; B24 and 64; C7 and 81 would really find much to complain about. The seats in A also have very limited legroom.

The big problems are the seats furthest round, nearest the stage. There is a good chance those at the extreme ends of rows A to C will see very little – perhaps two-thirds – of stage action at most, and then only what goes on front and centre. With bars to dodge too, it isn’t great.

D10, 11, 78 and 79 are also next to a wall with rails beside them, limiting views there too. 10 and 79 get the worst of it, but on the other hand they are nicely private and undisturbed.

General hazard notes

Rails at the ends of aisles may affect views of those directly behind.

There are steps up from the aisle to rows F and G.

The wall and rail next to D10 and D79.

Limited legroom in some seats.

Being too far around the sides for shows not taking place “in the round” will certainly limit the view of the stage.

Changes for the current production

The Lion, The Witch and the Wardrobe
Centre block
Bear in mind that with children, the circle is tempting due to the steps between seats. In this auditorium the stalls have the same step arrangement and are closer to the stage.

If sitting up here at top non-premium price, row A 33 to 56 or B 31 to 57 are prime if tall enough to see over rails in front.

Rows B to E do notice the rail in view – gets better from row C with E hardly noticing at all. Worth missing central D at top non-premium price, though, as it is cheaper a row or two back or off to the sides.

The views in the centre block are better from the cheaper seats at the outer ends of A to E and back rows F and G. The monkey would still take stalls, though.

Seats A28 and 61 are discounted bargains. A27 and 62 have rails clipping the view and are not, even at the same price.


Side blocks
The rails at the ends of aisles are an issue, as is the view of the stage from the outermost seats in the tiny blocks directly next to the stage itself.

Starting with the seats closest to the centre block, avoid A25, 26, 63 and 64 for limited legroom. A24 is worth a glance at fourth price, as are B22, 23, 65 and 66 and C21, 22, 66 and 67 for the same bananas. Better still, go B18, 19, 69 and 70 at fifth price if you fancy a circle view and stalls row I ends are gone.

Moving to the other end of this section, before the dividing aisle, there is a lot of metal around. A14, 15, 74 and 75 for the rail in view and limited legroom. B10, 11, 12, 76, 77 and 81 have two rails in view. C7 and 81 one rail each.

Over the aisle, if they are on sale (the monkey will update as available) the monkey would urge caution choosing the smallest side blocks. The view (except for one sequence) is proportional to the ticket price paid. If you are seeking seats at that price, take the ends of rows I to L in the stalls – the viewing angle is superior.

Nothing to commend sitting here at all, and if you must, then take C6 to 3 or 62 to 64 first. Bear in mind that row A end seats 9 and 80 were removed because the decorative proscenium blocks the view. That says it all about seats here for this show, feel the monkey.

Official notes are that there are side views from A 10 to 13, 16 to 26, 63 to 73, 76 to 79; B 6 to 9, 14 to 24, 64 to 74, 79 to 82; C 3 to 6, 13 to 23, 65 to 75, 82 to 85; D14 to 23, 66 to 75 and E22, 23, 65 to 67.

Restricted side views from A14, 15, 74, 75; B10 to 13, 75 to 78, C7 to 12, 76 to 81 and D78 and 79.

Safety rails may affect sightlines from A 27, 28, 61 and 62; B25 to 27, 61 to 63; C 24, 25, 63, 64; D24, 25, 64, 65 and E24, 25, 63 and 64.

There is less legroom and a side view in E21 and 67.

Readers comments

"Cinderella" (July 2021). Side seats in circle restricted view due to the stage design. But most action front and centre. So more side view rather than lost view. Also one long scene where these seats have perfect view."

"A43 to 46: "Cinderella" (July 2021). These seats would normally be perfect but, for Cinderella, be aware that some re-staging for one long scene at the beginning of Act 2 renders these views to be partly restricted during this scene. You can still catch most of what's happening but I would normally expect to see everything when paying these premium prices."

"D42 and 43: "Cinderella" (July 2021). Right in the centre. The view was really good and you don’t miss any of the action, it didn’t feel too far away, the seats are upright which makes moving along the rows easier, and they didn’t notice any issue with legroom so presumably it must have been good. Oh, and the queue for the ladies in the interval was still really long …!"

“E22 and 23: “Cinderella” (July 2021), (DJW). The seats are in the last row of the Circle, but you really don't miss seeing or hearing any action. The seats are comprised of a short set of 3, but they're separated from every other row, so it's almost like you have your own private box, with plenty of room. Getting in/out of the seats superb, as you're on the end, so don't have to bother anybody else. Might be a bit pricier on a fully-seated performance, especially if it's the weekend, but certainly ones worth going for compared to the main block of the circle, as the price can jump up dramatically, for not much extra viewing experience!”

Notes best seat advice

Formerly New London Theatre.

1293 seats plus wheelchair places.

Air-conditioned auditorium.

Infrared headsets and hearing aid loops available from front of house staff on arrival - the box office will advise the best place to sit for strong signal reception. Occasional signed, captioned and audio described performances. Guide dog sitter available. Two accessible toilets - one at upper foyer level, the other by door 4 near the accessible wheelchair platform in the stalls.

Access to auditorium for chair users is via a lift 140cm deep, 110cm wide. Wheelchair platform at row P of the stalls for 2 chairs plus 2 companions. Dress Circle row C 3 to 6 can accommodate a wheelchair user and companion. Transfer to row S in the stalls from a chair is possible. 114 steps from street level (24 from a lift) to the dress circle. Theatre bars and VIP areas are step-free from the lift. Specific information from or 020 7087 7966.

No food except confectionery and Ice cream.

Two bars at stalls level.

8 toilets in all; Stalls level foyer 1 gents 2 cubicles, 1 ladies 6 cubicles; Stalls 1 gents 1 cubicle, 1 ladies 4 cubicles, 1 unisex disabled. Dress Circle 2 gents 1 cubicle each, 2 ladies 3 cubicles each.

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.


By value for money:

The Lion, The Witch and the Wardrobe

Gillian Lynne Theatre value seating plan
Monday to Thursday performances until 4th September 2022 only.
Gillian Lynne Theatre value seating plan
All other performances.

By price:

The Lion, The Witch and the Wardrobe


Gillian Lynne Theatre prices seating plan
Monday to Friday performances until 2nd September 2022


Gillian Lynne Theatre prices seating plan
Saturday and Sunday performances until 4th September 2022
Gillian Lynne Theatre prices seating plan
Wednesday to Friday performances from 5th September 2022
Gillian Lynne Theatre prices seating plan
Saturday and Sunday performances from 10th September 2022


Gillian Lynne Theatre prices seating plan
All performances from 22nd to 30th October 2022 and 17th December 2022 to 1st January 2023


Some details may change, the monkey will update as available.


The Dress Circle is called the "Circle" in this theatre.

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.

-0.124838, 51.5152706

Nearest underground station

Holborn - Piccadilly Line (dark blue) and Central Line (red).

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, via the theatre's listing page on that site.

There are two exits from this station. 

If you see, on leaving the station, a branch of McDonalds ahead of you on the opposite side of the road then do not cross this road, just turn left and walk to the four way crossroads. If you come to a three way cross roads, wrong way.

If you leave the station and see ahead of you on the other side of the road a glass building with a "Sainsbury" sign ahead of you.... turn right and walk to the four way crossroads a few paces away. Then...

At the crossroads, Cross straight over the road and walk straight on passing the glass "Sainsbury" building. You are now on a street called "High Holborn". If you pass a church or the Shaw Theatre, wrong way.

The next street you come to is Newton Street. Turn left into it and walk along it, changing to the other side of the road when possible. Cross Macklin Street when you come to it and continue to the next corner with Parker Street. Turn right at this corner into Parker Street and walk straight on to the Gillian Lynne Theatre, which is on the right hand side of the road.


1, 68, 91, 168, 171, 188, 501, 505, 521, X68 all stop on Kingsway. Walk up Parker Street to the theatre.


A rank for Black taxis is on Drury Lane, 20 yards from the theatre, if you cannot hail one in the street.

Car park

In Parker Street, under the theatre. 

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