Box Office Information:

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.

Theatre Box Office: Telephone: 0870 830 0200 (FREE call if using BT.com Calling Plan at your chosen times) Operated by See Tickets on behalf of the venue.   Booking fees per ticket for telephone bookings: £5.50 on £55, £4.50 on £45, £8.50 on £85 tickets. Pays for the candyfloss, thinks the monkey. A £2 per booking, not per ticket, handling fee is also added. For personal callers or by post: Charing Cross Road, London, WC2H 0HH No booking fee for personal callers. Special Access Needs Customers: Wheelchair users and other registered disabled theatregoers can book their seats on 0844 412 4648 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the See Theatres phoneroom helpdesk in London. See Notes.

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Theatre Seat Opinions:

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.

Seating Plan Diagram

Stalls

Dress Circle

Upper Circle

Notes

STALLS  The Dress Circle overhangs the stalls at row G. The top of the stage is not visible from row N back. In the front stalls the first and last three seats in rows C to L should be avoided as the viewing angle is not acceptable value from a top price seat. Pillars at the ends of row G affect the view of the seats in rows H to L directly behind. Rows A and B provide a fair view, though you should be willing to put up with neck ache and sometimes a limited view of the rear of the stage. Totally your call, thinks the monkey. With rows AA and BB added, accept that you'll look sharply upward from them - not great at top price, feels the monkey. For "All The Fun Of The Fair" (April 2010) the front row is AA. When AA is cheaper it's about fair, feels the monkey, who prefers it to rear stalls or upper circle at the same price. At top price, unless proximity to Mr Essex is a requirement, it's always worth sitting further back for comfort. For "A Little Night Music" (April 2009) a reader reports a problem with the very front row, "We always like to sit front row so booked row BB, appreciating that sometimes stages can be high. My daughter and I sat down (we are 5ft 1inch tall) and all I will say is that we could not see anything: no stage, no scenery except the very top where the scenery finished. It was as if somebody had turned off the light!! My Husband, who is 6ft, could see the last little bit of the scenery at the top. As it was impossible to stay there, we went to the box office and they exchanged them after a slight disagreement - so obviously nobody has told them there is NO view and that you would only hear the music. Nobody sat in the row. As they have extended the stage, why has nobody sat there and realized and taken out row BB? It's the first time we were all actually speechless!!!!" Luckily, the reader says on a second visit, "They have completely removed row BB. Behind it, row A was fine for us (but then we are front rowers); at one small point when they laid flat on the floor you couldn't see them, but that didn't bother us. We had a great night and are booking same seats again before it finishes." A reader says, "I booked front row seats for Zorro (closed March 2009), when extra row AA5 to 8 were available for £37. I was a bit apprehensive as people have said about the stage being high. The stage is high and people prone to neck ache, I suppose, will get it. I am only 5ft and I did have to look up, but I loved it - well worth the money. I would sit here again but will not pay full price. It did not bother me in the slightest. Sitting in the front row you are on the edge of your seat. A great experience." Reader John Lafferty reports, "My view was unobstructed and there was plenty of leg room for seats BB1 and BB2 in the stalls." Reader Bas agrees, "I sat in BB in the stalls (when second row) and the pitch was fine. You had to look up but were close to the action - recommended!" Another reader observed, "We had seats B2 and 3 in the stalls. The Garrick is an amazingly intimate theatre and these seats felt truly part of the action. There was a family seated in row AA, but the children couldn't even see the stage so they were luckily moved to row BB, which seemed to be OK." From the same row, another says, "B14: Enjoy being on the aisle, you don't miss anything and it's a great view." Behind, another says, "Sat in Stalls row C9-C12 for 'Zorro' (March 2009). I felt a little too close to the stage as I think you miss some things because you can’t see the entire stage without turning your head. Also, I had to look up quite a bit as there’s a high stage. However, I did get the tickets for £30 via TKTS and at this price they were very fair." During "Quick Change" artist Arturo Brachetti's November 2009 show, another reader observes, "C 15, 16 and 17 were good, but for this show I would recommend sitting a bit further back because we could sometimes see under his skirt and see part of the other costumes underneath, which spoils the magic a bit." In row D, reader Michael says, "D7 and D8: We were pleasantly surprised that this row was "offset", whereas all the rows AA to C were placed seat behind seat. This gave us a view between bodies/heads and feel that D6 to D13 could be GREEN as your row behind is. From our row, there was a real feeling that the performers were right on top of you when at the front of the stage, a nice touch in this theatre." One reader felt seat E8 was excellent. Another reader cautions, "I paid more for a better seat in the Stalls and was glad that I did. A final tip is that the stage is very high, rows D and forwards are below the action and people with these tickets have to look up all the time. Row E was excellent." Another reader agrees, "E9 to 12: Excellent seats: dead central and a full view of the stage." Endorsed by another reader, "E11: Got student ticket 45 minutes before for £20. E11 is a FAB seat! If you are gonna be paying full price for a ticket definitely go for something around this area of the theatre."   while another observes, "When walking to the Stalls bar which is situated at the rear of the seating area we happened to look back at the stage and realised exactly what other readers have commented on regarding the rear most rows of seats. You would miss quite a bit of action if it happened on a high level above the stage. We were in Row E (6 and 7) and found them to be excellent, perfect distance from the stage and enough legroom for a large lanky oaf like me." F 22 and 23 are designated restricted view. If sold at reduced price they are very much worth consideration, when sold (as usually happens) at top price, avoid. E21 and H 1 and 23 fall into the same category. In rows G and H, regular Theatremonkey seat commentator James comments for "Zorro" (July 2008), "Sat in Stalls G14 to G16.  I certainly wouldn’t want to be any further forward and even G16 was beginning to affect the viewing angle.  It’s definitely a show that you need to be as central as possible for but if you are on a side it’s probably best to be in the higher numbers due to where the action takes place on stage. From H11 and 12: Staggered seats and a good rake meant that the view was excellent.  For this show I’d probably sit a row or two further back just to see the whole stage without turning from side to side but that’s just personal preference." "All The Fun Of The Fair" (April 2010) sees "premium" priced seats in the centre of rows F to H. Monkey advice is take seats around them for the same view at lower cost. As a reader says, "F4, 5 and 6: I was sitting in F6 which had a really good view. Although I can see from the plan that for the production I saw it was a "premium" seat, I wouldn't pay more than I would for any of the surrounding seats. F4 and 5 were also good according to my friends. Even this far forward in the theatre, the rake is quite good, my view wasn't disrupted at all. Legroom was also very good." In row J, for "All the Fun of the Fair," (May 2010) reader Frances says, "J20 and 21: What excellent seats they were, and should definitely be green on Theatremonkey's seating plan. I was lucky enough to get my tickets on offer - £55.00 down to £27.00. The theatre was very comfortable as it was half empty; from my seat (J21) the next 10 seats were empty, so I had room to spread - and rows M backwards were completely empty and no one sat in front of us. Seats from M backwards were really not worth paying top price for as you can't see the back of the set or the top, and quite a few parts of the story are at the back of the set." From row L, reader James says, "Sat in L13 in the stalls, great seat but worth noting that from row J backwards to row N the seating is bizarrely not staggered  - so you will have someone's head directly in front of yours.  Would definitely agree about needing to see the top of the stage if using its height." In row M, another reader opines, "M9: Seat was very good." and a row behind, reader Steve Chalmers happily reports, "row N, good view." In row Q for "A Little Night Music" (March 2009) a reader reports, "Q17: Since the actions of this show were mainly at the stage level and the set was designed accordingly, I am happy to report that the view from my seat that is considered at the back section of stalls was not obstructed by the Dress Circle hanging at all." Pillars occur in the centre of the stalls next to seats N6 and 16, and R 7 and 16. This makes seat 7 in rows O, P, Q, T, U, V, W and X, seat 18 in rows O, P, Q, T, U, V and X  restricted view...worth missing. If you must take a restricted view seat, consider rows U to X seat 6, or row O seats 1, 23 and 24 - less view, but slightly improved on the central block pillars. Row N back sees the stalls divided into three blocks - centre and sides. In the central block the view is acceptable except in seats behind pillars. For "All The Fun Of The Fair" (April 2010) value is about fair in the centre of row V (8 to 10 - plus the rest of the row is the sound desk isn't something you'll worry about) where seats drop a price over those in front. Your choice whether you prefer the Stalls or cheaper Upper Circle. The monkey goes for the rear stalls for comfort, Upper Circle slightly for view compared to row W back, perhaps. A sound desk is placed at the back of the theatre for musicals - worth skipping V 7 to 11 and W and X 11 for purists. One reader also warns that if action is staged high up, as it was for "Zorro" when she saw it in 2008, "I thoroughly enjoyed the show... from the knees down! Why? Because the clever designers have maximised the limited stage space by building vertically. If, like me, you are in Row V (or in fact any stalls seat from N back); you will spend happy minutes during the show trying to work out whose knees belong to which character... and when the rest of the auditorium gasps, you will just be sighing with relief when actors make it into view!" Reader Lorna agrees, "We sat in row S of the stalls, unfortunately the view is not quite so good from back here as the dress circle roof cuts off the top of the stage ,so you miss a bit of the action. I'd say pay a little bit more and go for row L or forward." Side block seats Row N 3 to 5, 17 and 18, rows O to S 4 to 6, T to X 3 to 5 are also are acceptable, offering reasonable value for money (except where restricted view, when you should be pickier), though central stalls are preferable. Side block seats do not have aisles at the far ends - claustrophobics may prefer to sit elsewhere. Of N19, a reader says when obtained at a discount, "Just the top corner of the view is cut off by the balcony. This is often irrelevant for a play, and - with no row in front - the extra leg room more than made up for this. So though this is a red seat on the monkey chart, I think I had my money's worth with a heavily reduced ticket." Further back, from row Q, regular contributor James notes, "Sat in Stalls Q5 and Q6 for “A Little Night Music” (April 2009). The view was good but they felt a little far from the stage for top price. For this show the overhang doesn’t cause a problem, but I can see it doing so for other shows. Legroom is also not great here." In row V a reader comments for "Zorro" (July 2008), "We had tickets in Row V, Seats 3, 4, 5 and 6 and we could only see about a third of the stage. The overhang blocked all the action taking place at the top of the stage. The pillar to the side of our seats also blocked our view of the actors to the left of the stage (audience left). We were lucky enough to move to better seats in the Dress Circle during the interval but I was bitterly disappointed in the quality of the seats in Row V. They are definitely restricted view." Legroom is fair throughout the stalls, best in row N seats 1 to 5 and 17 to 21, which have an aisle in front of them.   Stalls Boxes Boxes A is adjacent to the stage. The view is side on but acceptable at a low price. Seats 2 people.   DRESS CIRCLE  The Upper Circle overhangs this circle completely but is high enough not to affect the view. A metal bar runs across the front of this circle. This is slightly annoying in row A for the shortest, but otherwise does not affect the view from any seat. Apart from the first and last three seats in each row the view from all seats in rows B to E is unobstructed and fair value. Choose row B then C, then A or D depending if closeness to the action or no bar in front is your higher priority. Row E isn't cheaper, though the overhang feels too low for some. Central row A is at "premium" prices - your call, feels the monkey, who feels you can do as well in the row behind. Reader Rich notes for "Zorro" in December 2008, "We sat in B6 and 7. Good seats but go central because the front of the circle cuts off a little of the stage when sitting near the edge." The first and last two seats in rows B and C are at lower price, designated restricted view. In all cases a view with boxes intruding to make seeing the sides of the stage awkward is the cause. Think about boxes over these (and other end of row seats in the Dress Circle) for the same money or less. A reader comments for "Zorro" (July 2008), "I sat in Dress Circle E17 which ordinarily would be a good seat with plenty of leg room but the Upper Circle overhangs just enough to block the heads of the actors when they are on the top level of the stage set." Wheelchair users (if they can get down a step from a fire exit) can park at the end of Dress Circle row E. Theatremonkey rates these seats poor. See notes. Legroom is tending to uncomfortable in all seats for the taller, worst in row A centre. If taller than five foot six, try the stalls.   Dress Circle Boxes Boxes B and C are at Dress Circle level next to D and E, halfway between the main seating block and the stage. A fair view is offered at a lower price - expensive at top price, though. Boxes seat 2 people.   UPPER CIRCLE A disused balcony overhangs this circle but does not obstruct the view from any seat. A metal bar runs across the front of the centre aisle. This particularly affects the view from seats A 10, 11, B 11 and 12, C 13 and 14, D 12 and 13 and E 11 and 12, annoyingly, as it becomes double height at the aisle. The first and last few seats in rows A to E are designated restricted view. In all cases a view with boxes intruding to make seeing the sides of the stage awkward is the cause. These seats are poor value at £20 or more in the monkey opinion. At a pinch it might consider C4 and 24 or D 2 and 23 at less than that. For "All The Fun Of The Fair" (April 2010) it would add B3, C3, D3, E 3, 4 and 20 to that. Observation rather than recommendation, though. For the rest, if you decide on the Upper Circle rather than similarly priced front row or rear stalls, either take row C first at third price, then D then B (if the bar is to be avoided - if it isn't a problem, then take B before D) OR even consider central row E. Row A was often reduced in price in the past to allow for the bar in front - decide if legroom is important before buying a seat here - not for "All The Fun Of The Fair" (April 2010) though. The circle is fairly high up, but the view is clear enough to make the unrestricted view seats average value for money. Legroom is uncomfortable in all seats, worst in row A. Centre aisle seats offer a bit more, if you are prepared to compromise on the view.   Upper Circle Boxes J and H are best of these, then G and F. The view is adequate from all boxes, and pricing about acceptable to slightly high. Boxes seat 2 people. Notes Total 650 seats. Not air-conditioned, so avoid the rear stalls and circles on hot days as heat gets trapped here. Infrared system requiring headsets for deaf patrons. Best from row D back in the stalls. Those deaf and partially sighted get an extra, fun, choice to make here. Occasional signed performances. Occasional audio described performances for the blind, guide dog sitter available. Wheelchair users (if they can get down a step from a fire exit) can park at the end of Dress Circle row E. Adapted toilet is now available in the form of being able to use the women's toilet if able to leave chair. Specific information from  www.seetickets.com or 0844 412 4648 or e-mail customer.relations@seetickets.com. A "venue access guide" from the team who created book "Theatremonkey, A Guide to London's West End," is available to download in PDF format by clicking here. No food except Ice cream and confectionery. Three bars, Foyer, Stalls and Upper Circle. Six toilets in all; Foyer 1 gents 4 cubicles, 1 ladies 4 cubicles; Stalls 2 ladies 3 cubicles, 4 cubicles respectively; Upper Circle 1 gents 1 cubicle, 1 ladies 4 cubicles.

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Getting to this Theatre

Find this theatre on a Street Map

Nearest Underground Station

Buses

Car Park

Nearest Underground Station: Leicester Square - Northern (black) and Piccadilly (dark blue) lines. Plan your tube journey to this station using the button below:   The escalator from the platforms deposits passengers into a circular space with a number of staircases leading to the surface. Beside each staircase is a vast white panel listing the places accessible from that exit. So look for the one showing the Garrick theatre. It is marked "Charing Cross Road South" and is to the left when you leave the ticket gates. Go up the staircase. At the top, in front of you will be Charing Cross Road. On the opposite corner, notice the Hippodrome Nightclub and a wide pedestrianised street. Turn to your left. Wyndham's theatre is there. Walk past it and follow the curve of the road along to the Garrick Theatre. If at the top of the underground stairs you see a narrow street with only a row of small shops and offices in front of you, this is Cranbourn Street. Turn to your right and change to the other side of the road. Walk to the end of the street. If you see the Hippodrome Nightclub on the opposite corner across a busy road, good. Do not cross the road to it! Turn to your left. The underground exit you should have used is on your left. Walk past it and you are in front of the theatre.

Buses: 24, 29 and 176 stop on Charing Cross Road by the Garrick Theatre.

Car Park: Trafalgar Square Spring Gardens: From the car park, turn up the road on the left to bring you on to Trafalgar Square. Face Nelson's Column and cross the road towards it. In front of you is the National Gallery. You require the road to the right side of it - Charing Cross Road. Do not enter the Trafalgar Square area itself, but follow the pavement round towards the right corner of the National Gallery. Continue along so that you pass the National Gallery on your right and so that you enter Charing Cross Road. Cross Charing Cross Road where you can, the Garrick Theatre is visible to you on the other side of the road, to your right. Another alternative is Newport Place, China Town. On leaving, use Gerard Street to get you onto Shaftesbury Avenue. On Shaftesbury Avenue look to your right. The brown brick building to your right is the Palace Theatre. Don't bother crossing the road, but turn to your right on Shaftesbury Avenue and walk in the direction of it. When you come to the main road intersection in front of Shaftesbury Avenue, cross Charing Cross Road at the traffic lights. Now turn to your right and walk down Charing Cross Road, crossing Litchfield Street as you go. Next is Newport Street. Cross that too and head on, crossing Cranbourne Street towards Leicester Square Underground Station. Wyndhams Theatre is just beyond that on your left. Walk past it and follow the road as it curves round - The Garrick Theatre is just beyond the curve, to the left. The "Theatreland Parking Scheme" is in use in both car parks. Call Westminster City Council car parks on 0800 243 348 or see www.westminster.gov.uk/carparks for details. 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 72 hours using this scheme and it is endorsed by the Society of London Theatre. For a full list of car parks that participate in the 50% off theatreland scheme here see www.westminster.gov.uk/carparks/theatreland.cfm, and for a full list of theatres that participate in the scheme see www.westminster.gov.uk/carparks/theatres.cfm.

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EXTRA EVENTS:

Friday 24th and Saturday 25th September 2010

Neil Eckersley and Paul Spicer for Speckulation Entertainment present:

JASON ROBERT BROWN
featuring Anika Noni Rose.

Multi-award-winning Composer Jason Robert Brown Makes West End Concert Debut.

Following sell-out concerts in New York, Tony Award-winning composer Jason Robert Brown will make his West End concert debut for two nights only on Friday 24th September and Saturday 25th September at the Garrick Theatre.

He is joined for the first time outside of the US by Anika Noni Rose, the Tony Award-winning star of 'Caroline, or Change,' the motion picture Dreamgirls, and the voice of the Princess in Disney’s 'The Princess and the Frog,' who makes her West End and UK debut alongside him.

The pianist, singer, and critically acclaimed composer will be performing brand new, previously unheard material, as well as a selection of songs from his shows Songs for a New World, Parade, The Last 5 Years and 13. Jason will be accompanied by his own band The Caucasian Rhythm Kings, as well as a fabulous four-strong French horn section.

Jason Robert Brown is best known for spearheading the new generation of contemporary American musical theatre composers. His four major musicals as composer and lyricist are: '13,' a musical written with Robert Horn and Dan Elish, which began its life in Los Angeles in 2007 and opened on Broadway in 2008; 'The Last 5 Years,' which was cited as one of Time Magazine’s 10 Best of 2001 and won Drama Desk Awards for Best Music and Best Lyrics; 'Parade,' a musical written with Alfred Uhry and directed by Harold Prince, which premiered at Lincoln Center Theatre in 1998, and subsequently won both the Drama Desk and New York Drama Critics’ Circle Awards for Best New Musical, as well as garnering Jason the Tony Award for Original Score; and 'Songs for a New World,' a theatrical song cycle directed by Daisy Prince, which played Off Broadway in 1995, and has since been seen in hundreds of productions around the world.

Anika Noni Rose won a Tony Award for Best Featured Actress in a Musical, a Theatre World Award and the Lucille Lortel Award for Outstanding Featured Actress for her role as Tonya Pinkins' daughter Caroline, in the critically acclaimed Broadway production of Caroline, Or Change. In 2006, Anika starred as Lorrell Robinson alongside Beyonce Knowles, Jennifer Hudson and Eddie Murphy in the groundbreaking movie Dreamgirls and most recently became Disney's first African American Princess when she voiced the pivotal central character of Tiana in major motion picture, The Princess and the Frog.

Produced by Neil Eckersley & Paul Spicer for Speckulation Entertainment, 'Jason Robert Brown' has lighting design by Mike Henderson and sound design by James Tebb.

For more information on Speckulation Entertainment, visit:
www.speckulationentertainment.com

Performance Time:
8pm

Ticket Prices:
£50 (premium seats), £39.50, £29.50, £25.00, £15.00

Box Office:
By Telephone: 0870 830 0200 (booking fee applies)

Other Online Choice with a STAR Official Ticket Agency:
Encore Tickets offer £39.50 seats with a £10 booking fee per ticket (£7.50 on £29.50, £6.50 on £25 seats) - plus optional UK postage of £1.50 per booking, not per ticket, available if time allows. Discounts may also be available - the system will advise at time of enquiry.
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Friday 17th and Saturday 18th September 2010

Neil Eckersley and Paul Spicer for Speckulation Entertainment present:

LYNDA CARTER: AT LAST

The Legendary star of TV’s Wonder Woman sings solo in West End for first time in 30 Years to celebrate her solo album, 'At Last.'

Lynda Carter: At Last is a rare musical evening with a living legend. Join Lynda as she infuses some of her favourite music with her own inimitable passion and style. In a true homage to her musical heroes, this critically lauded singer, whose successful sell-out concerts throughout America are second only to her global status as part of a true TV phenomenon, is backed by a live band on stage, showcasing her vocal talent at its very best.

Arriving in the West End ahead of any other international dates, Lynda Carter: At Last will be seen for the first time outside of America, offering Londoners a truly special experience.

Lynda Carter is an American actress best known internationally for playing the title character in the 1970s TV series Wonder Woman. She has been singing since she was fourteen years old, and was first recognised globally as a singer in the late 1970s when she released her first album Portrait, and sang two of its songs in the 1979 Wonder Woman episode, ‘Amazon Hot Wax’. In the same year, she sold out the London Palladium within hours of tickets going on sale. She released her second solo album At Last thirty years later, with it reaching number six in the USA Billboard charts, and has recently toured the US playing venues including Feinstein’s at Loews Regency and Lincoln Center in New York and the Kennedy Center in Washington DC. In addition, she has produced and starred in five Emmy Award winning TV specials in the USA that have showcased her singing talent.

Produced by Neil Eckersley and Paul Spicer for Speckulation Entertainment, Lynda Carter: At Last has musical direction by Paul Liem.

www.lyndainlondon.com is the artist's website.
For more information on Speckulation Entertainment, visit:
www.speckulationentertainment.com

Performance Time:
8pm

Ticket Prices:
£39.50, £29.50, £25.00, £15.00

Box Office:
By Telephone: 0870 830 0200 (booking fee applies)

Other Online Choice with a STAR Official Ticket Agency:
Encore Tickets offer £39.50 seats with a £10 booking fee per ticket (£7.50 on £29.50, £6.50 on £25 seats) - plus optional UK postage of £1.50 per booking, not per ticket, available if time allows. Discounts may also be available - the system will advise at time of enquiry.
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Monday 27th September until Sunday 3rd 2010

Neil Eckersley and Paul Spicer for Speckulation Entertainment and Stuart Piper and Jon Bath for Cole Kitchenn present:

CAROLINE O'CONNOR: THE SHOWGIRL WITHIN

Following sell-out seasons in New York and Sydney, the international multi-award-winning musical star of stage and screen Caroline O’Connor returns to the UK in her one-woman show.

Caroline O’Connor: The Showgirl Within celebrates the culmination of Caroline’s years of stage and screen experience. A uniquely versatile performer whose triple threat talents in acting, song and dance transcend traditional boundaries, Caroline is joined by an exhilirating ensemble of dancers and her own on stage band for her first ever musical solo show in the West End.

Caroline O’Connor: The Showgirl Within is helmed by visionary powerhouse pairing Michael Gracey and Ashley Wallen, who between them are responsible for the creative direction and choreography of leading music artists including Will Young, Alesha Dixon, Kylie Minogue and the Sugababes. Featuring standout musical theatre anthems, and classic songs that have shaped her illustrious career, this is a one woman show like no other.

Caroline O'Connor is a multi award-winning singer, dancer and actress who regularly graces the stages of Broadway, the West End, the Royal Albert Hall and Sydney Opera House. As Nini in Baz Luhrmann's Oscar-winning film Moulin Rouge, Caroline came to the attention of music lovers all over the world. Caroline O’Connor is also one of very few actresses to have been nominated for both the Olivier Award for Best Actress in a Musical for Mack & Mabel and the Olivier Award for Best Actress in a Play for Bombshells.

www.theshowgirlwithin.com is the production website.
 

Performance Times:
Monday to Saturday at 8pm (29th September 2010 at 7pm)

Ticket Prices:
£39.50, £30, £25.00, £15.00

Box Office:
By Telephone: 0870 830 0200 (booking fee applies)

Other Online Choice with a STAR Official Ticket Agency:
Encore Tickets offer £39.50 seats with a £10 booking fee per ticket (£7.50 on £29.50, £6.50 on £25 seats) - plus optional UK postage of £1.50 per booking, not per ticket, available if time allows. Discounts may also be available - the system will advise at time of enquiry.
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