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Lyric Theatre, Shaftesbury Avenue

29 Shaftesbury Avenue, Soho, London W1D 7ES 0330 333 4812

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

Buying tickets online
This system allows you to select your seat AND check the view from it when you do so.

Booking fees per ticket:

About the show: SIX The Musical


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

When the box office does not have seats available, or you require an alternative choice of seats, the Theatremonkey Ticketshop, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), agency service offers tickets with booking fee of £13.90 on £63, £10.80 on £49, £9.10 on £41, £7.10 on £32, £6.10 on £23 seats. More than the box office, but well worth trying as it often has tickets when other companies do not! 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 offer tickets with booking fee of £9.45 on £63, £7.35 on £49, £6.15 on £41, £4.80 on £32, £3.45 on £23 seats.

Ticketmaster offer seats with booking fees of £12.50 on £63, £9.75 on £49, £8 on £41, £6.25 on £32, £4.50 on £23 seats.

Encore Tickets

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offers tickets with booking fee of £12 on £63, £10 on £49, £8 on £41, £7 on £32, £5 on £23 seats. A postage charge of £1.45 per booking, not per ticket may be applied to bookings made from UK addresses more than 5 days before the performance.

Quality and Value hotel / theatre ticket packages are also available.

London Theatre Direct offer tickets with booking fee of £12.75 on £63, £10 on £49, £8.25 on £41, £6.50 on £32, £4.75 on £23 seats. There is a £1 per booking, not per ticket, transaction fee for collecting tickets from the box office before your performance. Alternatively, if time allows, there is a postage to your home option, costing £2.95 (£4.95 to non-UK addresses) per booking, not per ticket. Optional Ticket Insurance is also available.

Discounts and Meal and Show Packages may also be available.

Box office information

Telephone: 0330 333 4812
Operated by Quay Tickets Agency 9am to 9pm daily, on behalf of the venue.

Booking fees per ticket for telephone bookings:

For personal callers or by post:
Shaftesbury Avenue, London, W1V 7HD
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 allows you to check the view from any seat selected.


This theatre does not have specific seats held "off sale" like other theatres have done, to enable "social distancing." Their system automatically takes adjacent seats off-sale as the booking is confirmed. There will be at least a metre front to back and there will be an empty seat between each booking bubble.


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



The Dress Circle overhangs the stalls at row N. The top of the stage is visible in all rows except Q and R.

A single block of seats face the stage.

Pillars intersperse the seats in rows N and Q.



About adequate in all seats, better in row AA and (with a compromised view) in row E seats 1 and 24, since these seats have nothing directly in front of them.

Choosing seats in general

The high stage often makes rows AA to A a bit of a neck strain for the shortest. At top price, some may wish to sit elsewhere.

Rows A to C normally offer acceptable views of the stage from all seats. The central seats offer a slightly better view - thus they are the best value.

One reader also noted that in row C she had a larger person in front...and thus missed some "centre stage" happenings. Though the monkey hasn't had the same problem, it feels that some may wish to know that the rake here isn't perhaps as good as it could be!

The first and last three seats in rows E to M are outside the proscenium and the view directly ahead is of the wall. If asked to pay top price for these seats, choose those situated more centrally in the row.

From row O back, some seats are behind a pillar. Choose these over similarly priced seats in any of the three circles for greater legroom. The price is fair for the view - BUT accept the view is not as great as it could be.

General hazard notes

Row O 3, 4, 14 and 15; Row P 1, 2, 12, 13; Row Q 1,2, 11,12 and row R 1,2, 4, 12,13 have commanding views of pillars supporting the circle.

The rake (slope of the floor allowing folk to see over those in front) isn't as steep as it could be - shorter folk suffer in the last six rows at least.

Changes for the current production

The front row is BB, at lowest price, a bargain.

Behind it, row A is at just one price up and another great deal.

"Premium" (but not outrageously so) seats run E to H 7 to 18. You could go rows either in front or behind for similar views, cheaper.

Prices drop at row P, so take it before row O.

Rear stalls pillar seats are only worth taking once same price front stalls are gone, and if you can't be doing with the restricted legroom up in the circles.

A sound desk beside R6 and 7 should not bother anyone.


Readers comments

“Row BB: I had one of the runners up in Britain’s Fattest Man contest next to me, and the out-and-out winner just one seat along on the other side. Heaven knows how uncomfortable both of them must have been feeling!"

“BB5: “Cabaret” (2007) (A 6ft 6 tall reader). Second row from the front. Excellent view, legroom adequate. Being so close to the stage means that you get a lot of eye contact with the performers. This could be a positive or negative point given the nature of parts of this production, particularly when the Emcee (James Dreyfus) is on stage. Some people around me were clearly horrified to be addressed directly from the stage, others appeared to love it. You take your choice!"

"BB 12 and 13: "Thriller Live": We were offered stalls row BB seats for £35 instead of the usual £72.50 in March 2017, we grabbed them! We were sitting in seats BB12&13, the two end seats in that row. The view was excellent and sometimes the performers came right up to the front of the stage and engaged with the folks sitting in the front row, AA. Legroom was adequate and you could see the floor of the stage as it wasn’t set too high."

"BB13: "Thriller Live." Bought for £40 (via London Theatre January Sale). Good view of the stage with only a minor and partial obstruction of the person sitting in front (who was the same height as me). Being so close to the stage I had to crane my neck upwards which left me feeling sore. There is a walking aisle next to this seat where I could fully stretch my left leg out, whilst my right knee touched the back of the seat in front (I'm 6ft / 1.8m tall)."

"Row A: (Anthony). Strangely enough, this is actually the third row from the front. The view was good, we did not have to crane our necks to see the floor of the stage and although it might have been better to sit further back I am glad we did not because of the poor rake at this theatre. One further thing worth mentioning is that from where I was sitting the sound balance was undoubtedly the best of any musical I have even seen in the West End."

"A2: "Thriller Live." Firstly I wish that the front two rows started with "A and B" and not "AA and BB". This caused some confusion with punters sitting in the wrong seats. Why is the seating plan laid out like this anyway? It shouldn't make any difference if rows have to be added or taken away from a particular production - the front row should always be "row A"!
There is no rake in this part of the theatre, and although you have to look up my view was still partially obscured by the folks in front of me. I couldn't quite see the floor of the stage but had no problem in seeing the whole width of the stage. My seat itself wasn't especially comfortable and the sea cushion was quite low. Legroom was poor and there was not even much space to tuck your feet under the seat in front. I did like the actors interacting with the audience in the front couple of rows! Oh, I must mention the sound. It was excellent and not too loud, although others have disagreed!"

“Row B: (Paul). "I sat in row B the first time in seat 9 and 10 and the second time 6 and 7, and both were great. Did not miss a thing!"

“Row C: (Liz). It felt like the TV had come to life.”

“C15: A little too close to the action."

“D18: “Thriller Live” (rz). Was great for seeing the cast and choreography, but some of the side lightboards were cut off by the actual lights. I would note, also that the show is very loud and that patrons in the front stalls may wish to bring earplugs."

"E7 and E8: “Thriller Live” (Michael). E8 is next to the Monkey's Green seat on its plan, and we found it to be an excellent choice. Row 7 as there's an AA and BB here. Plenty of leg room and very much close to the performers."

"E12 and E13: Perfect view, good leg room compared to many other West End theatres, and just about the right distance from the stage."

"E18 and 19: “Cabaret”. The legroom was good (best I’ve had in a while), but the fabric of the seats became annoying on a hot summer evening. The view was good but set pieces sometimes obstructed my view."

"E19, 20, 21: “Thriller Live”, (Max G). I was initially concerned that it might be too close to the stage. However once the show started it was not a problem and you really get to see the actors expressions and of course dance moves. The only concern that I would have about the stalls is that the rake is very shallow and if you had some very tall people in front you may have a problem. We paid an average of £30 per seat (Kids Week) and at this price the show and seats represented excellent value."

"Row F (end): (Lynne Hill). Good, but slightly sideways, view of stage, although having to look upwards doesn't help the experience!"

"K10 and K11: (James). Was lucky not to have anyone sat directly in front as a fairly shallow rake would have meant an obscured view. However, I was fortunate and could see clearly. I could see the whole stage clearly without turning from side to side and the sound was great too."

“K17: Good with excellent sightlines.”

“Row N: (Anne). Our friends in the centre of row N had difficulty seeing over the heads of those in front."

“Row O: … and backwards are most certainly not worth £42.50. At all. Good legroom though."

"O1: "Showstopper" (June 2017). Excellent value for money at a reduced rate of £18. There was plenty or leg room with a good clear view."

"Row O 13 and14 ("Thriller Live") ("Jack's Mum): Due to the shallow rake my 9 year old had trouble seeing some of the action, which is a shame as some of the dance moves e.g Moonwalk were lost on him. Also, the audience is encouraged to stand near the start and again at the end so he couldn't see a thing. I was worried the pillar in the row in front would be a problem but it didn't block the view of the stage. Good legroom. We purchased the tickets as part of 'Kidsweek' (seasonal offer where child tickets are free - editor) but I wouldn't pay full price if taking young children due to the restricted view."

"Q9: "Showstoppers!" (March 2016). Reduced to £20 and was well worth it. Good sight-lines and I didn't feel too far removed."

Stalls Boxes


Either side of the stage.

Boxes seat 3 people.



Acceptable as they have movable chairs.

Choosing seats in general

A moderate view, hovering at average value. Choose Dress Circle boxes L and E first – the height and distance from the stage improves the viewing angle.


General hazard notes

Nearest corner of the stage isn’t visible.

Changes for the current production

Not in use.

Readers comments

"Box M: Thriller Live. Possibly the worst theatre experience ever. This box has awful view (hindered even more by sound equipment). Dirty and badly maintained. Had to move. Avoid."

Dress Circle


The Upper Circle overhangs the Dress Circle at row C.

A single block of seats curve tightly towards the stage.

Pillars intersperse seats in row F.


Slightly cramped in many seats, better in the front rows except B. Readers rate row A and one rated legroom in row D as "great" - the monkey felt D "average," though.


Choosing seats in general

A clear view of the stage is offered from most seats in rows A to E if taller than 5ft 7 or so. Shorter folk suffer from the shallow rake here.

Worth avoiding are the first and last three seats in rows B and C, first and last four in row D and first and last five in row E because they are angled toward the stage, with a lesser view of the edges for the same price!

Row G seats 3 and 10 and row H seats 4 and 11 are directly behind pillars. Other seats in these two rows are ambitiously marked as top price. These rows should be ignored unless a real discount is offered.

If considering a seat behind a pillar, choose the stalls first for greater legroom, although the value is not too bad here.

General hazard notes

The two seats on the ends of row A often have lighting clamps in front.

The monkey received one comment from a reader complaining about people leaning forward in row A and obstructing the view for those in row B.

The curve of the circle cuts off the front of the stage for outermost seats in all rows.

The seating tiers are shallow, not much elevation over the row in front.

The view from row F back is compromised by pillars supporting the circle above.

Changes for the current production

"Premium" but reasonably price seats in central rows A to C. A 10 to 14 are worth a look.

Readers comments

"A3 and A4: The seats were excellent, perfect views."

“A10 and A11: I have absolutely no complaints at all. All I would say was that when we returned to our seats after the interval not one person got up to let us pass!! No manners at all!"

“A15 and 16: “Thriller Live,” (Chris B). The view from these seats is amazing, you can see the whole stage clearly with no restrictions (being the front row) and feel very close to the action. The sound is top notch and great for all the MJ classics. There is plenty of legroom too, I can’t recommend these seats highly enough. Don’t forget your dancing shoes!”

"B6: (Chris May). Seat was fine, view was fine, until fat man in front leans forward."

"B18 and 19: The Dress Circle has no rake and it was quite difficult to see the stage. The theatre was very hot and I was sweating more than the performers on stage. No Air-con obviously. I really am getting to the stage of not seeing many more shows as this experience has proven to me that a lot of theatre owners/producers are not interested in the patrons comfort.

High ticket prices with cramped seats where you can't see the stage, and unbearable temperatures inside the venue."

"C5 and C6: The seats have to be the worse we have ever sat in. Thanks heavens we only paid half price. It was impossible to see over the person in front."

"C13 and 14: (Cathy). Yes, we had a perfect view, but these have to be the most uncomfortable West End seats ever (other than the Upper Circle at the Palladium !). The upholstery was shot - so effectively sat on a wooden board the whole time"

"C22: Poor view due to the curving front of the balcony cutting off the left hand edge of the stage. I also couldn't see the centre of the stage due to the head of the person in front of me and had to keep moving from side to side."

"D7 and D8: I can't believe they charge £55 for these seats. The circle is so poorly tiered that, unless you're on the front row, you have no clear view of the stage and have to keep ducking and diving to see around the person in front of you. However, for £25 (discount offer), I suppose I can't complain."

"D 16 to 20: Not the best seats in the world but not bad for £17.50 (discounted) I suppose. It is quite a restricted view past about seat 19 onwards and the Royal Circle is rather an odd shape – like an inverted horseshoe almost, so it gives the impression that you are quite a way back from the stage, however the leg room is great."

"D22: Good view and leg room fine.

"Row E (centre): I had a badly obstructed view of the stage because of the heads of two normal-size people in front of me, thanks to the absence of a reasonable rake in the seating”

Dress Circle Boxes


Four on each side of the theatre at Dress Circle level between the stage and Dress Circle against the side walls of the auditorium.

Six boxes seat three people each, two boxes (D and K) have either two, three or four seats each, depending on production - being narrower, two seats is the preferred configuration though.



Acceptable, as movable chairs are used.

Choosing seats in general

All boxes offer good value at third price, average at second, considering the restricted views.

These are worth choosing for comfort over the rear stalls and Upper Circle at the same price. Pick boxes L and E first, then D and K, I and C and B and H in that order. price, the monkey would skip B and H, perhaps, unless legroom is required.

Boxes E, D and C can take a wheelchair each. Wheelchair users should take box E first, then D then C.


General hazard notes

The edges and back corners are missed.

Changes for the current production

Not in use.

Readers comments


Upper Circle


The Balcony overhangs the Upper Circle at row C. Views are not particularly affected by it, though E back can feel claustrophobic with a low ceiling.

The Upper Circle is split into a central and two side blocks by aisles.

Row A extends a long way down the sides of the theatre towards the stage.

Pillars intersperse centre block row D.


Confined in all seats, worst in row A.

A little more space is offered in row B seat 11 and row C seat 10 which have the seat in front slightly offset, leaving a small gap.

Choosing seats in general

Centre Block:
Clear views of the stage from all seats in rows A to C. Take B or C, and avoid A unless a housemate of Snow White’s.

The view from row E back is compromised by pillars supporting the circle above. Those seats directly behind it are very cheap... but there are better views from the Balcony above for the same money, the monkey feels.

Normally the rest of the seats in these three rows are usually cheaper. Only row E 13 to 16 should be considered, skip rows F and G and try for further forward for the same money.

Side Blocks:
An odd viewing angle is noticeable in all seats.

Row A is worth missing for legroom.

Row A seats 1 to 12 and 36 to 47 extend along the side of the theatre, above the boxes. The viewing angle is poor and these seats should be ignored unless you really MUST get into a sold out performance, in which case they will be the last to go and are worth asking for. Cramped, side view, have to lean forward to see much...

Further back, choose the seats closest to the centre aisles in rows D and E only if you must, and they are cheaper than central block.

If seats here are cheap they just hover into "fair value" range, feels the monkey... but really only just. It opts for a good box then a seat in the rear stalls first, or saves money by paying less for central Balcony seats in the level above.


General hazard notes

Legroom, particularly row A. So poor it is repeated again here...

Seats at the outermost ends of the row may also have rails or equipment in view.

Row E seats 10, 11, 18 and 19, and rows F and G seats 5, 6, 12 and 13 are directly behind pillars.

There are no aisles at the extreme ends of any row in the side blocks. Claustrophobics may like to avoid these!

Changes for the current production

The centre block back two rows are reasonable at a lower price if all the same-price stalls have gone.

Take balcony rather than upper circle slip seats for the same cash unless particularly short.


Readers comments

“A32: (Sam). I know this site is strongly recommending against them, but I just wanted to add a first-hand experience. I am 174cm tall (around 5' 10''). If you are around that height DO NOT sit in those seats AT ANY COST. The view is not awful, but the legroom is CATASTROPHIC!!. I survived the show only because the seats near me were empty, so I sat the whole show sideways".

“D10: “Smaller” (April 2006). Just thought I'd let you know about my recent experience. It was hell! I purchased seat number D10 in the Upper Circle for a performance of "Smaller" (April 2006). Oh the irony at even mentioning the name of the play! Unfortunately, the seat I sat in was not the one I had paid for. I found that I had to sit sideways, not only due to the non-existent leg room, but also due to the seats being extremely narrow.

As a slightly broader theatre-goer (size 18 and 5ft 8), I never expect to be sitting in a seat that is vastly wider than myself, but i do expect to be able to fit into the seat. Imagine my mortification to find that I couldn't! I initially tried by sitting sideways, but found this unbearable as there was no leg room and both seats either side of me was occupied. in the end I spent the first half of the play standing at the back, and managed to find an unoccupied aisle seat to sit in for the second half, which I still had to sit in sideways but was able to stretch one leg out into the aisle. However, I now find that I have bruises on my left leg which was unfortunately wedged against the seat in front.

As the two leads of the play I saw were both role models for the larger lady, I would be amazed to discover I am the only person with this complaint. It is debatable whether Alison Moyet would be able to squeeze into the seat, while Dawn French wouldn't have a hope! I have been told that if I had purchased a seat in the stalls or Dress Circle I wouldn't have had this problem. Unfortunately, I couldn't afford these, so am in effect being punished for being overweight! Isn't it about time theatres realised they need to update their seating arrangements for the 21st Century audience?!"

“Row E: Perhaps not the best seat to comfortably enjoy a show from especially when knees are jammed hard against the seat in front."



The balcony is split from row E back into three blocks, centre and two sides.


Poor in all seats, row A the worst.

Choosing seats in general

Seats here are high above the ground, but not vertigo inducing.

Views from almost all seats are clear, except for the first and last two seats in rows B and C. C2 and 24 are officially "restricted view," the others are just to be safe. The monkey doesn't condemn particularly, just notes that other options might be better...

Row F back feels a very long way from the stage - skip G back if possible unless cheaper than rows in front.

When all seats are the same price, choose centre block A to G over sides for the best view and value. Then take the seats just off the centre aisle in E to G before central seats in row H, then aisle side block H, then centre block J or side block aisle J depending on personal preference.

With two or more price bands, take front central seats first, then those side block seats just off the centre aisle in rows E to G, before accepting centre block seats further back than row E.

General hazard notes

In the rear side blocks there are no aisles at the extreme ends of the row. Claustrophobics may like to avoid these!

A rail tucked behind the end seats in row C upsets some in row D7 and 20.

C2 and 24 are “restricted view.”

Changes for the current production

The end pair of seats in rows A, B and C is cheaper. B and C are worth a look, feels the monkey. Further forward, even if you do miss the side stage action.

Ignore central F to H at second to bottom price - you may as well save a few pounds in the rows behind for the same view - or explore the side blocks where centre aisle seats will give you similar views for less cash.

Rear central rows H and J are just about "fair" value, sides a little more expensive considering the view. Not for the vertigo sufferer or comfort seeker, though.

Readers comments

"D7: Has a safety rail in front (running around the back of row C and turning into a handrail to go down to the steps to row C) making it a quite restricted view splitting the stage in half, I imagine its the same for D20 the other side."

Notes best seat advice

Total 959 seats.

Air-conditioned auditorium.

Infrared headsets available, Guide dog sitter available, or dog can remain with owner if the owner is seated in a box - boxes E, D and C can take a wheelchair each. Accessed via level ground through a fire exit, the 'Royal Entrance' apparently. The adapted toilet is next to the Royal Entrance. A fair stab is made at the Lyric. Fuller details from Nimax Theatres on 0844 482 9677 (10am to 6pm, Monday to Friday) or email access(insert the @ symbol here) 

Four bars; Foyer (for Dress Circle), Stalls, Upper Circle and Balcony.

No food except Ice-cream and confectionery.

9 Toilets; Stalls 2 gents 3 and 1 cubicle respectively, 2 ladies 2 cubicles in each; Dress Circle 1 gents 1 cubicle, 1 ladies 6 cubicles, 1 Unisex Disabled; Upper Circle 1 gents 2 cubicles, 1 ladies 2 cubicles

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:

Lyric Theatre, Shaftesbury Avenue value seating plan


By price:

This theatre does not have specific seats held "off sale" like other theatres have done, to enable "social distancing." Their system automatically takes adjacent seats off-sale as the booking is confirmed. There will be at least a metre front to back and there will be an empty seat between each booking bubble. As a result, locations may vary.

Lyric Theatre, Shaftesbury Avenue price seating plan




A reader reminds everyone that legroom in the front Upper Circle is very limited.

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.

-0.1357495, 51.5112944

Nearest underground station

Piccadilly Circus - Piccadilly (Dark Blue) and Bakerloo (Brown) lines.

The escalator from the platforms ends in a large circular underground area. 

After leaving the barriers, turn to your left, and follow the curve of the barriers around until you see an exit to your right with the sign "Subway 4" over it. Walk under this sign.

Walk through this tunnel and take the first staircase to your right, marked "Shaftesbury Avenue", take the stairs up to the street.

At the top of the stairs, take a very sharp "U Turn" through 180 degrees to your left. Look forwards and upwards for the huge advertising screen. Walk forwards towards it.

The busy road to your left is Shaftesbury Avenue. If you see the Prince of Wales Theatre, and Trocadero centre, wrong way.

For the Lyric Theatre cross the road and turn to your right, walk under the covered area where the cash ATM's and street artists are. Walk straight on, crossing Denman Street, Great Windmill Street, Archer Street and Wardour Street. The Lyric is the first theatre on Shaftesbury Avenue.


14,19,22B, 38,53,88,94,159 To Shaftesbury Avenue.


A rank for Black taxis is at Charing Cross Station - a long distance from the theatre. Best chance of hailing one is in the street outside.

Car park

Newport Place, China Town. The "Theatreland Parking Scheme" may be available. Call Q-Park car parks on 0870 442 0104 or see for details. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost. Spaces CANNOT be reserved at these prices, so choose whether you would prefer to book and pay more, or use this scheme.

If you choose the "Theatreland Parking Scheme", you must get your car park ticket validated at the theatre's box office counter (the theatre attendant will insert the car parking ticket into a small machine which updates the information held on the magnetic strip on the reverse, thus enabling the discount). When you pay using the machines at the car park, 50% will be deducted from the full tariff. You may park for up to 24 hours using this scheme and it is endorsed by the Society of London Theatre.
For a full list of car parks and theatres that participate in the 50% off theatreland scheme see

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