Gillian Lynne Theatre
166 Drury Lane, London WC2B 5PW 020 3925 2998
- Where to buy tickets
- Best seat advice
- Seating plan/s
- Getting to the theatre
Buying tickets online
www.lwtheatres.co.uk - 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:
My Neighbour Totoro
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.
TheatreMonkey Ticketshop
My Neighbour Totoro
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 £28 on £140, £25 on £125, £19.90 on £99.50, £18.90 on £94.50, £15 on £75, £11 on £55, £7.90 on £39.50, £5.90 on £29.50, £5 on £25 seats Tuesday to Thursday and off-peak Friday / £32 on £160, £29 on £145, £21 on £105, £19.90 on £99.50, £17 on £85, £13 on £65, £9 on £45, £7 on £35, £5 on £25 Saturday, Sunday and peak Friday 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
My Neighbour Totoro
Another alternative is www.seetickets.com which charge £28 on £140, £25 on £125, £19.90 on £99.50, £18.90 on £94.50, £15 on £75, £11 on £55, £7.90 on £39.50, £5.90 on £29.50, £5 on £25 seats Tuesday to Thursday and off-peak Friday / £32 on £160, £29 on £145, £21 on £105, £19.90 on £99.50, £17 on £85, £13 on £65, £9 on £45, £7 on £35, £5 on £25 Saturday, Sunday and peak Friday seats booking fee per ticket, and £2.75 per booking (not per ticket) postal charge.
Ticketmaster
My Neighbour Totoro
Alternatively, Ticketmaster charge £27.50 on £140, £24.50 on £125, £19.50 on £99.50, £18.50 on £94.50, £14.75 on £75, £10.50 on £55, £7.75 on £39.50, £5.75 on £29.50, £5 on £25 seats Tuesday to Thursday and off-peak Friday / £31.25 on £160, £28.50 on £145, £20.50 on £105, £19.50 on £99.50, £16.75 on £85, £12.75 on £65, £9 on £45, £7 on £35, £5 on £25 Saturday, Sunday and peak Friday seats booking fee per ticket.
Encore Tickets
My Neighbour Totoro
Encore Tickets charge £27 on £140, £24 on £125, £19.50 on £99.50, £18.50 on £94.50, £15 on £75, £11 on £55, £8.50 on £39.50, £6.50 on £29.50, £5 on £25 seats Tuesday to Thursday and off-peak Friday / £31 on £160, £28 on £145, £20 on £105, £19.50 on £99.50, £17 on £85, £13 on £65, £9 on £45, £7 on £35, £5 on £25 Saturday, Sunday and peak Friday seats booking fee per ticket.
Discounts and "Meal and Show" packages may also be available.
London Theatre Direct
My Neighbour Totoro
Londontheatredirect.com charge £29.50 on £140, £26.25 on £125, £21 on £99.50, £20 on £94.50, £15.75 on £75, £11.75 on £55, £8.50 on £39.50, £6.25 on £29.50, £5.25 on £25 seats Tuesday to Thursday and off-peak Friday / £33.75 on £160, £30.50 on £145, £25.50 on £105, £21 on £99.50, £18 on £85, £13.75 on £65, £9.50 on £45, £7.50 on £35, £5.25 on £25 Saturday, Sunday and peak Friday seats booking fee per ticket. Optional Ticket Insurance is also available. Discounts may also be available.
Box office information
In-person bookings from 12 noon, on show days.
Telephone: 020 3925 2998
Operated by the venue, Monday to Saturday from 10am to 5:30pm.
Group bookings: 020 3925 2996
Operated by the venue: Monday to Saturday from 10am to 5:30pm.
Booking fees per ticket for telephone bookings:
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 3925 2998
Operated by the venue, Monday to Saturday from 10am to 5:30pm.
www.lwtheatres.co.uk 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 www.lwtheatres.co.uk allows you to check the view from any seat selected.
- Stalls
- Dress Circle
Stalls
Layout
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).
Legroom
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.
The monkey noted that B25 and 58 have no aisle next to them, but also nothing beside them on one side and nothing behind them either.
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 and a low rail, 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
My Neighbour Totoro
The standard layout is used, with some of the side block seating removed to allow beautiful orchestra areas to be created either side of the stage.
The front row is A. It is lowest price and offered as “day seats.” It feels them all to be well worth having. Stage is around eye height to a 5ft 7 monkey. Not the best for smaller people, but most will love the view, it feels. Be aware that A32 and 50 have legroom only for those up to around 5ft 4. The next seat has an inch more, the others in the row are acceptable up to 5ft 7 or so at most.
Row B 39 to 31 and 52 to 54, plus seats C26 and 57 have nothing in front, and a rather good, if sideways, view. Well worth it - C in particular.
At all performances, U58 to 62 are fourth price and well worth taking. Clear view and cheaper than 57 next to it (take it last, or grouse the person beside you is paying less for the same view).
The sound desk behind O61 to 71 should bother nobody, feels the monkey. Likewise, a motorised light in front of N 25 to 28 and 56 to 59 should not be much of an issue.
Tuesday to Thursday and off-peak date Friday performances:
Premium seats run central D to M, with “premium plus” on rows G and J and "super-premium" on H and I (excluding limited legroom H34, 35, 48 and 49). Over the aisle, premium extends to 2 seats on D to F, the singles on G and four on I and J. Skip anything not in the centre block, and also row I 35 to 48 as you will have heads in the way. Not as bad as it is for some shows when the stage is lower, but not worth the extra. Also not H34 and 49 for the lesser legroom.
Take F, E, K, L, M at premium, G over J at “premium plus” as it feels more connected with the show. If you feel super-premium is for you, H is fine, but honestly there are the same views cheaper.
Around them, at top non-premium prices, the monkey would pick C then B in that order for being close but not at the mercy of the high stage. Central N to P are also fine. Those with the smallest children in tow may want to avoid N25 to 29 / 55 to 59 with the high wall in front. Anyway, it would always take the centre block first, then aisle seats nearest the centre block.
Skip central block S as row T behind it drops to second price - same view, cheaper. To be closer at second price, row I 26, 25, 24, 57, and the seats behind on rows J to L, then O 22 to 19 are first pick.
... BUT there are many excellent third price seats instead, well worth it feels the monkey. For a start, the ends of K to M have singles or pairs (there’s also a sneaky couple of seats on row C at fourth price as well). Do be aware that the shorter monkey may have a bit of metal rail in view if sat in sides row I back, though.
There are some worthwhile lowest price seats at the ends of rows. Take the row closest to the stage, and the seats nearest the more expensive ones first, and take high numbers side before low numbers side, feels the monkey. On checking more closely, it felt that the outer pairs of seats will miss up to 25% of the stage due to the set being in the way.
You can’t go wrong with row U in the centre block either, excellent views.
Saturday, Sunday and peak date Friday performances:
Extra premium seats are added, going back from row D to row O in the centre blocks.
Premium seats run central D, N and O, with “premium plus” on rows E, F, L and M, "super-premium" on G, H, I (excluding limited legroom H34, 35, 48 and 49), J and K. Over the aisle, premium extends to 2 seats on D to F, the singles on G and four on I and J.
Again, skip anything not in the centre block, and also row I 35 to 48 as it is hard to see over heads in front if seated there. Also not H34 and 49 for the lesser legroom.
Take D, N, O 31 to 55 at premium, F, E, L, M at “premium plus” as F and E feel more connected with the show. Do note that M 30, 31, 52 and 53 have nothing in front, which may be a benefit. Those with the smallest children in tow may want to avoid N25 to 29 / 55 to 59 with the wall, rail and light fixture in front.
If you feel super-premium is for you, H is fine, but honestly there are the same views cheaper, and J and K seem bit of a way back for those bananas.
Around them, at top non-premium prices, the monkey would pick C then B in that order for being close but not at the mercy of the high stage. Central P is also fine.
Anyway, at premium and top non-premium prices it would always take the centre block first, then aisle seats nearest the centre block.
As with weekdays, skip central block S as row T behind it drops to second price - same view, cheaper. To be closer at second price, row I 26, 25, 24, 57, and the seats behind on rows J to L, then O 22 to 19 are first pick.
... BUT there are many excellent third price seats instead, well worth it feels the monkey. For a start, the ends of K to M have singles or pairs (there’s also a sneaky couple of seats on row C at fourth price as well). Do be aware that the shorter monkey may have a bit of metal rail in view if sat in sides row I back, though
Again, you can’t go wrong with row U in the centre block either, excellent views.
There are some worthwhile lowest price seats at the ends of rows. Take the row closest to the stage, and the seats nearest the more expensive ones first, and take high numbers side before low numbers side, feels the monkey. On checking more closely, it felt that the outer pairs of seats will miss up to 25% of the stage due to the set being in the way.
Dress Circle
Layout
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.
Legroom
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.
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
My Neighbour Totoro
The standard layout is used, with the outermost side block seats on the "low numbers" side not on sale due to the location of the orchestra platform. The view generally is felt to be slightly better on the "high numbers" side due to this.
Centre block
Central row A is “premium price” Tuesday to Thursday and off-peak date Friday performances, rising to “premium plus” on Saturday, Sunday and peak date Friday performances. Central row B is “top non-premium” price, rising to “premium price” on Saturday, Sunday and peak date Friday performances.
Row A is worth a thought if you enjoy an overall view of the stage, though not as close as front stalls seats, meaning you will probably feel far less involved in the show.
Most of the remainder of the centre block is top non-premium price. Tuesday to Thursday and off-peak date Friday performances the price drops at row E and down to third price at row F. Skip central E and take F or G as they have a similar view for the same bananas.
Saturday, Sunday and peak date Friday performances the price drops are at F to second price with only G at third price. Again, the monkey feels G is the better choice as there is no difference in the view.
Worth knowing, if bringing shorter people, is that central rows C and D are almost foolproof for seeing over heads in front and getting a great overall view of the stage. The seats have high backs, meaning all but the exceptionally tallest head is below eye-level to the row behind. With high steps between rows, and maybe a booster seat, this is the place to sit if bringing a young family. Take C28 to 59 first, as central as you can, then row D behind it, advises the monkey.
End pairs in rows A to E drop to fourth price A to D, third in E (and F Saturday, Sunday and peak date Friday performances) . Take A28 and 61 first - the aisle seat gets a rail for the cash, this duo don't. Ends of C to E are also a good bet. The circle front rail in view gets better from row C, with E hardly noticing at all, so take E first, then more expensive C, then D.
In general, the views in the centre block are better at the outer ends of A to E and back rows F and G.
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 block 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 and 65 are worth a glance at fourth price, as are B22, 23, 65 and 66 and C21, 22, 66 and 67 for the same bananas.
Anything at fifth price is astonishingly good - particularly the seats closest to the more expensive ones. C69 to 72, B68 to 71, C19 to 16, B20 to 17 in particular are an outstanding pick.
On the other end of this section, the highest numbered seats section drop to sixth price. Monkey advice is that these are more hearing than viewing seats.
You do best in B79 and 80, A76, 77 in that order. They see more than 60% of the stage. The rest of A sees far less. C82 and 83 see about 20% of the stage. The rest of the seats in C and D get around 10% - you will have to guess what is going on at the back.
Official notes are that 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."
"A12 and 13: "The Lion The Witch and the Wardrobe" (July 2022), (Bob Pickett). What a strange set of seats reside in the Gillian Lynne. 4th time now, sat in very different locations each time… and the seats couldn’t be more different! These seats are tall and upright. You wonder if they’re going to be uncomfortable, but truthfully they’re a nice place to sit. They’re comfortable (nary a fidget), but legroom is just about acceptable (to let someone past, it might be better to exit the row altogether)
Being in the front row (and with a steep rake), there was no guilt over leaning forward from time to time to see the right side of the stage (obscured by rail and lighting gantry). They are to the side, so the actors are rarely facing you, but you’re right on top of the action. These seats are marked as restricted view, but for the right price I’d happily sit here again."
"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."
“B25 to 27: “Standing At The Sky’s Edge” (March 2024). End of a row, close to the door, fairly central view, great rake, reasonable legroom. You get a warning about a safety bar for these seats but it wasn’t an issue at all. Great seats at a comparatively reasonable price.”
"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!”
“E46 to 48: “Standing At The Sky’s Edge” (March 2024). Central, enough legroom, clear view, fantastic seats.”
"E63 and 64: "The Lion, The Witch and the Wardrobe" (July 2022). These were advertised as having a safety rail in view and whilst there was one in sight (just skimming the front of the stage), it didn’t detract or distract from what was on stage. Plenty of legroom and right next to the aisle and exits. Quite a steep rake so view unaffected by rows in front. No complaints at all!"
"F49: "Crazy For You" (July 2023). Good view, good legroom, really comfortable. It's a really great seat for seeing large dance numbers, and you aren't so far away that you can't see facial expressions. The air-conditioning vents are right above this row, which you may either love (me) or hate (party next to us changed rows)."
"F50 and 51: "Standing At The Sky's Edge" (February 2024). No complaints except for the very strong air conditioning. We came prepared with jackets (and kept them on throughout). People in front who lean can be annoying but people are generally well behaved."
"G35 to 37: "Crazy For You" (July 2023). Seats were perfect view and no seats behind us either.
It's the first theatre I have been to that has escalators in, I think there is a lift but from where we were sitting it did seem a lot of flights of stairs to go down once we left; so something to bear in mind if you have mobility issues (I did hear some guests complaining about the amount of steps). [there is a lift, but it has to be accessed from backstage - ask staff for details - editor].
The auditorium itself is nice but the foyer/stairwells are just an ugly monstrosity. It felt like being in a multi storey car park. I was surrounded by bare concrete, really makes you appreciate the details and chandeliers etc of the older London venues."
“G45 to 47: "Crazy For You" (July 2023). Central, clear view, plenty of legroom, great seats.”
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 www.lwtheatres.co.uk 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.
CLICK SEATING PLAN TO ENLARGE IF REQUIRED. USE "BACK" BUTTON TO RETURN.
By value for money:
My Neighbour Totoro
By price:
My Neighbour Totoro
Day Seats: £25 each. Visit lwtheatres.co.uk from 10am on performance days. Seats are available, first come, first served. Maximum of 2 per customer. Not refundable and not exchangeable.
Notes
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 www.officiallondontheatre.co.uk, 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.
Buses
1, 68, 91, 168, 171, 188, 501, 505, 521, X68 all stop on Kingsway. Walk up Parker Street to the theatre.
Taxi
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.
If you choose to use another car park in the West End, the "Theatreland Parking Scheme" may be available. See www.q-park.co.uk for details and to book. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost for entry after 12 noon and for a maximum of 4 hours (after that parking is at the normal rate).
If you choose the "Theatreland Parking Scheme", you must book in advance at www.q-park.co.uk and have a theatre ticket stub dated for a theatre performance on the day you are parking there.
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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Readers comments
"The Wizard of Oz" (August 2024). Really great seat at the front row, and could see everything perfectly."
"Standing at the Sky's Edge" (February 2024). Great seat close up to the stage. Theatremonkey was spot on with side view seat recommendations at a great price ??."
"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."
“C33 and 34: "Crazy For You" (July 2023). Front row of the stalls and too close to the stage for me. You can’t always see feet which isn’t great for a dancing show but it is very immersive to be so close. It reminded me of a “4D experience” with the thumping and vibrations every time anyone tap danced. Plenty of leg room, no complaints but I would rather sit at the back of the circle if picking a cheaper seat.”
"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)."
"F45 and 46: "Crazy For You" (July 2023). So nice and helpful. No day seats at 12:20 but they sold us Stalls F45 and 46 for £35 each. Wonderful perfect view."
"G32 and 51: The perfect seat for a solo theatre trip! An aisle seat … and yet no one to push past you if they’re late or need a wee!"
Saw 'Standing At The Sky's Edge' last night (20th March 2024) with 1/2 price tickets courtesy of a special offer link on your ever invaluable Website.
"I33/34: "Standing at the Sky's Edge" (February 2024), (Chris Biggs, A View from the Stalls). Front row of the main section before the 'sunken' area, separated from the central section by the stairs aisle. Absolutely fantastic seats (perhaps though not for those under 5ft due to the barrier. Wouldn't hesitate to sit there again. Having sat right at the far end for 'School of Rock' and in the middle of the same section for 'Cinderella' there is no bad seat, and if happy to have a side view (but really close up) then the end seat can be an absolute bargain."
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."
“J14 to 16: “Standing At The Sky’s Edge” (March 2024). Sold as side view of the stage but for the Sky’s Edge it’s really not a problem. You are very close to the stage but a comfortable distance at the same time. Good rake, clear view, plenty of legroom, fantastic seats, bargain for £20.”
"J21 and 22: “The Lion, The Witch and the Wardrobe” (July 2022), (Bob Pickett). What a strange theatre is the Gillian Lynne. I've been there five times since it was refurbished, sitting in a very different areas... and each is such a different experience in terms of comfort and view. It's a good view from here (if off to the side), legroom is just about OK, but they're fidget-inducing (not as bad as the agonisingly bad seats further forward). If you want to be close to the action go for this row (believe me, the front section is agony), but if you want show-long comfort with a decent view go further back in as central a location as possible - see my review of S54 and 55.”
“L65: “My Neighbour Totoro” (April 2025), (Broadway John). This was an aisle seat for this show. Legroom was good. View was quite restricted. My friends in 64 and especially 63 had better views. Could also hear the usher talking on his headset and hear backstage noise and voices. Wouldn't recommend sitting here.”
"M14 and 15: "Crazy For You" (July 2023), (Bob Pickett). Good seats. To the side, you see the stage from about three quarters round. Decently close, but when the full stage is used you lose part of the back and a sliver of the side. This is counterbalanced by being able to take a sneak peek into the wings.
Decent level of comfort and reasonable legroom (and if you have bags, there is space behind you can stash them). For the money I would consider M70 and 71 directly across. Despite being directly opposite, they seem to sit a little further back but lose less stage than M14 and 15 (the Gillian Lynne is a bewildering venue in terms of views, stairs and differing comfort levels despite a very recent refurbishment."
“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.”
“N25: “The Lehman Trilogy” (February 2023), (Broadway John). View was very good as it is impossible for heads to block you as you are over a stairwell. The bars wouldn't be in your view unless you were maybe a child. Legroom was good.”
"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."
“R58: “Standing at the Sky's Edge” (March 2024), (Broadway John). Exceptional full view. Excellent legroom. Seat was very comfortable. Wouldn't mind being a few rows closer but no complaints and would love to sit here again.”
“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.”