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Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

LYTTELTON THEATRE

 

In Repertoire:

ANGELS IN AMERICA, Parts 1 and 2 (play)
Ends 19th August 2017.
Part 1 runs 3 hours 30 minutes approximately.
Part 2 runs 4 hours approximately.
Captioned performances: 25th July 2017 at 7pm, 10th August 2017 at 1pm and 16th August 2017 at 7pm.
Audio-Described performances: Part 2 on 5th August 2017 at 7pm (touch tour available) and 7th August 2017 at 7pm.

 

 

OSLO (play)
Previews from 5th September, opens 11th September 2017. Ends 23rd September 2017.
Captioned performance: 16th September 2017 at 7.30pm.
Audio-Described performances: 22nd September 2017 at 7.30pm; 23rd September 2017 at 2pm (touch tour available).

 

 

JANE EYRE (play)
From 26th September until 21st October 2017.
Captioned performance: 14th October 2017 at 1.30pm.
Audio-Described performance: 21st October 2017 at 1.30pm (touch tour available on this date).

 

 

NETWORK (play)
Previews from 4th November, opens 13th November 2017. Ends 24th March 2018.
Captioned performances: 15th January 2018 at 7.30pm, 24th January 2018 at 2pm.
Audio-Described performance: 2nd February 2018 at 7.30pm, 3rd February 2018 at 2pm (touch tour available on this date), 10th March 2018 at 2pm (touch tour available).

 

 

PINOCCHIO (musical)
Previews from 1st December, opens 13th December 2017. Ends 7th April 2018.
Captioned performances: 20th January 2018 at 2pm, 12th February 2018 at 7pm, 13th February 2018 at 2pm, 28th March 2018 at 7pm.
Audio-Described performances: 16th February 2018 at 7pm, 17th February 2018 at 2pm (touch tour available on this date).
Relaxed performance: 17th March 2018 at 1.30pm.

 

 

Angels In America, Parts 1 and 2: 1980s New York. Reagan, greed and AIDS. A tale of America in two parts, starring Denise Gough and Nathan Lane. Marianne Elliott directs this Tony Kushner classic.

Oslo: How a pair of Norwegian diplomats brokered a handshake between Israel and Palestine in Washington in 1993. Bartlett Sher directs this Broadway transfer of a play by J.T. Rogers.

Jane Eyre: Poverty, injustice and betrayal. Bronte's classic heroine triumphs in a new version devised by the company. A return of the 2015 hit production.

Network: TV newscaster Howard is a failure, until his on-screen meltdown revives his career. Lee Hall adapts the Paddy Chayefsky film for Ivo van Hoe to direct.

Pinocchio: Yep, a new version of the Disney movie about the inflammable boy who skips off to Pleasure Island with an insect in tow. Give a little whistle... Martin Lowe adapts, John Tiffany directs.
 

Theatremonkey Opinion:

Angels In America, Parts 1 and 2: Part 1 (Seen at the afternoon performance on 12th July 2017). Three decades after AIDS was recognised, this stylish revival with a DNA / interlocking circles (pick your own metaphor) set by Ian MacNeil links lives and contrasts the "Straight Acting Gay," "Married Gay," "Out and Proud Gay" and all points in between... just as all of them are heading for annihilation (unless the First Lady can get you to onto the AZT experimental drug program). Tension builds in a way that physically sickens the entire audience as we can see the menace and can do nothing to warn - nor comfort - a single victim. Marianne Elliott's conveyor belt interpretation of Tony Kushner's text is unforgiving and utterly, utterly compelling. Nathan Lane's brash lawyer, Denise Gough as a crazed yet lucid Mormon housewife, Russell Tovey her husband, Susan Brown (neat performance) the mother-in-law, and couple Louis (James McArdle) and Prior (Andrew Garfield) - with a superb supporting team, make part 1 a black hole of pain that traps the audience. The monkey will see Part 2 later on, and can't wait. If you can get seats, go!

Oslo: Not available.

Jane Eyre: (From the 2015 run). Not available. Planks and ladders and ensemble playing make this 3 and a quarter hours fly, according to professional reviewers. Multiple voices deliver internal monologues for Madeleine Worrall's deeply studied Jane, Felix Hayes is equally praised for his emotional range as Rochester, and Laura Elphinstone for hers as Helen, Adèle and St John Rivers. Director Cookson gets plaudits for the constant physical movement and also keeping the story moving in the adaptation - now a single evening rather than the original two parts of the previous outside London production. One certainly for Bronte fans, but should also pick up a lot more theatre goers as well, for simply being an effective evening of story-telling meeting theatricality.

Network: Not yet available.

Pinocchio: Not yet available.

 

Your Reviews: Add your own by clicking here.
Important: Some reviews below can contain "spoilers" - please don't read if this bothers you!

Angels In America. (3 reviews):

Someone, or something keeps changing the subject of plays that I see. Take 'Waiting For Godot,' where Lucky makes a very clear speech regarding Bishop Berkeley, a satirist who "claimed" that matter does not exist and everything is only real in God's imagination. Therefore all the character's only exist in the mind of Heaven's guv'nor. However, most people have seen a drama where God doesn't appear but the various humans do.

Angels In America was an "IMPORTANT" work about President Reagan and the AIDS epidemic of the 1980's. The subject has had to change. The current occupant of the White House is also a vacuous conservative but this time with the volume turned up to 11. No one feels particularly threatened by gays since it became apparent that there were worse people to spend time in a broken lift with than Stephen Fry. AIDS, so far as most theatregoers are concerned, is a disease that can be controlled. The fact that it was, and still is, a great play, with a resonance that extends a long way from the 1980s. It is also difficult to stage, being about eight hours long and involving some hundred scene changes.

It is of course the same play, but this time it is, perhaps, more obvious why it works on numerous levels. Most of the "action" occurs in the imagination of the characters and develops as the various fantasies begin to merge. This time the darkness is more obviously provided by a historical human, rather than the plague that killed him. Roy Cohn was, in real life, an associate of McCarthy, who probably broke the law to ensure that Ethel Rosenberg was executed for her Russian associations. Mr Cohn also died of AIDS , which was ironic as he claimed to hate homosexuals as much as red traitors. This didn't prevent him apparently having sexual relationships with some of his "sons" whom he assisted in their careers. One of the "sons" was Donald Trump. Of course, no one is suggesting that any potentially treasonable actions regarding Russia should lead to the electric chair this time.

At about seven and three quarter hours the play is quite a slog, although it is mostly a very accessible work. The odd speech almost outstays its welcome, but there are plenty of "Wow" moments. Despite the original subject matter, I can't say that there is anything particularly offensive, unless you are a Mormon. There were only three or four empty seats in the entire theatre once it came to both standing ovations so were few, if any, people walked out mid-show. It goes without saying that Marianne Elliot's direction is almost flawless and that the National Theatre sets are idiosyncratic.

Despite the sell out notices I bought a ticket for each part an hour before each show. One was a return whilst the other was an unsold seat in the slips. The National Theatre has a policy of selling standing tickets at the back of the circle (so you can see almost everything) once all tickets, including returns are sold. I am always happy to pay a £5 to stand if everything has really gone but I haven't had to for quite a long time.

Obviously, people watching "Angels..." would be on their feet for an hour at a time but I don't mind it too much as you can be pretty mobile so far as sight-lines are concerned and you can avoid people reading their messages. If any seats are available three hours beforehand, it is pretty safe to assume that you'll get something, although I go to the theatre on my own, making everything much easier!

Ms Lola Bear.
____________________________________________

Part One. Arrived at 6.40am and was 3rd in the queue. We were 12 at 9.30am when box office opened. Got 2 tickets front row (A12 and A13) for £18 each. Great show, want to see part 2!
____________________________________________

29th June 2017. Part 2: I arrived at 6.50am and was 8th in the day seat queue. We were 15 at 9.30am. Got 2 Upper Slips tickets (SL 29 & 30) which was disappointing - but amazing show! The view was good even on the side and far back, had to lean sometimes.





 

 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Performance Schedule:
The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

"Angels In America, Parts 1 and 2":
PART ONE
7pm: 28 July 2017; 4, 14, 18 August 2017.
 

PART TWO
7pm: 25, 26 July 2017; 2, 3, 7, 8, 9, 10, 16, 17 August 2017.

1pm: 10 August 2017.


TWO SHOW DAYS (Part 1 at 1pm, Part 2 at 7pm)
29 July 2017; 5, 15, 19 August 2017.

 

 

Oslo:
7.30pm: 5, 6, 7, 8, 9, 11, 13, 14, 15, 16, 18, 19, 20, 21, 22, 23 September 2017.

7pm: 12 September 2017.

2pm: 7, 9, 14, 16, 20, 23 September 2017.

 

 

Jane Eyre:
7pm: 26, 27, 28, 29, 30 September 2017; 2, 3, 4, 5, 6, 7, 9, 10, 11, 12, 13, 14, 16, 17, 18, 19, 20, 21 October 2017.

1.30pm: 28, 30 September 2017; 3, 7, 10, 14, 17, 21 October 2017.

 

 

Network:
7.30pm: 4, 6, 7, 8, 9, 10, 11, 14, 15, 16 November 2017; 18, 19, 20 December 2017; 3, 4, 5, 6, 8, 9, 10, 15, 16, 17, 18, 22, 23, 24, 25, 30, 31 January 2018; 1, 2, 3, 5, 6, 7, 8, 19, 20, 21, 22, 27, 28 February 2018; 1, 5, 6, 7, 8, 9, 10, 12, 13, 14, 19, 20, 21, 22, 23, 24 March 2018.

7pm: 13 November 2017.

2pm: 11 November 2017; 4, 6, 10, 17, 24, 31 January 2018; 3, 6, 28 February 2018; 7, 10, 13, 21, 24 March 2018.

 

 

Pinocchio:
7pm: 1, 2, 4, 5, 6, 7, 8, 9, 11, 12, 13, 14, 15, 16, 21, 22, 26, 27, 28, 29, 30 December 2017; 1, 2, 11, 12, 13, 19, 20, 26, 27, 29 January 2018; 9, 10, 12, 13, 14, 15, 16, 17, 23, 24 February 2018; 2, 3, 15, 16, 17, 27, 28, 29, 31 March 2018; 2, 3, 4, 5, 6, 7 April 2018.

2pm: 7, 16, 22, 27, 30 December 2017; 13, 20, 27 January 2018; 10, 13, 17, 24 February 2018; 3, 29, 31 March 2018; 4, 7 April 2018.

1.30pm: 17 March 2017.

1pm: 29 January 2018.


 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

This theatre uses "Dynamic Pricing" with prices changing according to demand.

"Angels In America, Parts 1 and 2"
SINGLE PERFORMANCES
Monday to Thursday:
Stalls
rows K to P 8 to 29: £60
"Premium Seats" rows E to J 8 to 29 £65
row E 5, 6, 7, 30, 31, 32; rows F to P 4 to 7 and 30 to 33, rows R to U: £52
row V: £41
rows A to D: £15

Dress Circle
rows A and B: £60
rows C and D: £52
rows E and F: £41
rows G to J: £29
Dress Circle Slips £15

 

Friday and Saturday:
Stalls
rows E to P 8 to 29: £65
row E 5, 6, 7, 30, 31, 32; rows F to P 4 to 7 and 30 to 33, rows R to U: £56
row V: £46
rows A to D: £18

Dress Circle
rows A and B: £65
rows C and D: £56
rows E and F: £46
rows G to J: £31
Dress Circle Slips £18

 

TWO PERFORMANCE DAYS - PRICES ARE FOR A TICKET TO BOTH PARTS OF THE PLAY
Monday to Thursday:
Stalls
rows K to P 8 to 29: £120
"Premium Seats" rows E to J 8 to 29 £130
row E 5, 6, 7, 30, 31, 32; rows F to P 4 to 7 and 30 to 33, rows R to U: £104
row V: £82
rows A to D: £30

Dress Circle
rows A and B: £120
rows C and D: £104
rows E and F: £82
rows G to J: £58
Dress Circle Slips £30

 

Friday and Saturday:
Stalls
rows K to P 8 to 29: £125
"Premium Seats" rows E to J 8 to 29 £130
row E 5, 6, 7, 30, 31, 32; rows F to P 4 to 7 and 30 to 33, rows R to U: £108
row V: £87
rows A to D: £33

Dress Circle
rows A and B: £125
rows C and D: £108
rows E and F: £87
rows G to J: £60
Dress Circle Slips £33

"DAY SEATS": 20 seats are available to personal callers at the box office before the performance on the day from 10am, priced £18 and £15 each on single show days, £33 / £30 on "two show" days - tickets on those dates cannot be split. May be limited to 1 or 2 tickets per person. Note: If you have previously bought 2 tickets for either part at any time, you will NOT be able to buy day seats on a "double show" day. You will also NOT be able to buy tickets on a single show day, if you already have 2 tickets booked for that particular part. Illustrated information.

"BALLOT": Hundreds of tickets will be available in a weekly ballot, priced £20 each. More details will be announced nearer the production date.

NO "Friday Rush" tickets will be sold for this production.

 

 

"Oslo" and "Jane Eyre":
All performances EXCEPT Friday and Saturday Evenings and previews:
Stalls rows E to U £52, except
"Premium Seats" rows E to L 8 to 29: £60
Row V £41, rows A to D £15
Dress Circle row A: £60, rows B and C £52, rows D to F £41, rows G to J £29
Dress Circle Slips £15

Friday and Saturday Evening performances:
Stalls rows E to U £56, except
"Premium Seats" rows E to L 8 to 29: £65
Row V £46, rows A to D £15
Dress Circle row A: £65, rows B and C £56, rows D to F £46, rows G to J £31
Dress Circle Slips £15

All previews, except the first two preview performances:
Stalls rows E to U £36, except
"Premium Seats" rows E to L 8 to 29: £45
Row V £27, rows A to D £15
Dress Circle row A: £45, rows B and C £36, rows D to F £27, rows G to J £22
Dress Circle Slips £15

First two previews:
Stalls rows E to U £32, except
"Premium Seats" rows E to L 8 to 29: £39
Row V £25, rows A to D £15
Dress Circle row A: £39, rows B and C £32, rows D to F £25, rows G to J £20
Dress Circle Slips £15

 

Network:
All performances except previews
Monday to Thursday, and Saturday Afternoons:

Stalls
"Premium Seats" rows E to O 8 to 29 £62
row E 5, 6, 7, 30, 31, 32; rows F to P 4 to 7 and 30 to 33, rows R to U: £54
row V: £44
rows A to D: £15

Dress Circle
rows A and B: £62
rows C and D: £54
rows E and F: £44
rows G to J: £31
Dress Circle Slips £15

 

Friday and Saturday Evenings:
"Premium Seats" rows E to O 8 to 29 £67
row E 5, 6, 7, 30, 31, 32; rows F to P 4 to 7 and 30 to 33, rows R to U: £58
row V: £48
rows A to D: £18

Dress Circle
rows A and B: £67
rows C and D: £58
rows E and F: £48
rows G to J: £34
Dress Circle Slips £18

 

All Tuesday to Thursday previews except the first two:
Stalls
"Premium Seats" rows E to O 8 to 29 £47
row E 5, 6, 7, 30, 31, 32; rows F to P 4 to 7 and 30 to 33, rows R to U: £38
row V: £29
rows A to D: £15

Dress Circle
rows A and B: £47
rows C and D: £38
rows E and F: £29
rows G to J: £24
Dress Circle Slips £15

 

First two previews only:
"Premium Seats" rows E to O 8 to 29 £45
row E 5, 6, 7, 30, 31, 32; rows F to P 4 to 7 and 30 to 33, rows R to U: £36
row V: £28
rows A to D: £15

Dress Circle
rows A and B: £45
rows C and D: £36
rows E and F: £28
rows G to J: £22
Dress Circle Slips £15  

On stage seats, priced £95 and £75, including a meal, will also be available via a ballot. See online for details.

 

Pinocchio:
All performances except previews:

Stalls
"Premium Seats" rows E to O 8 to 29 £62
row E 5, 6, 7, 30, 31, 32; rows F to P 4 to 7 and 30 to 33, rows R to U: £54
row V: £44
rows A to D: £15

Dress Circle
rows A and B: £62
rows C and D: £54
rows E and F: £44
rows G to J: £31
Dress Circle Slips £15

 

All previews:
Stalls
"Premium Seats" rows E to O 8 to 29 £47
row E 5, 6, 7, 30, 31, 32; rows F to P 4 to 7 and 30 to 33, rows R to U: £38
row V: £29
rows A to D: £15

Dress Circle
rows A and B: £47
rows C and D: £38
rows E and F: £29
rows G to J: £24
Dress Circle Slips £15

 

 

All productions EXCEPT: "Angels In America, Parts 1 and 2":
"FRIDAY RUSH TICKETS." Every Friday at 12 noon, a number of £20 seats will be released online and by phone for the following week's performances. A limited number of £15 or £18 "Day Seats" are also sold on the day of performance to personal callers at the box office from 10am (doors to the building open at 9.30am).

NOTE: £15 tickets for any production not included in the "Travelex Season" will be limited to 2 per customer, per production. The only exception is that two extra £15 tickets may be purchased for accompanying under 18s.

 

 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

 
Buying Tickets Online:

Other 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:
www.nationaltheatre.org.uk
operated by the venue itself.
For most productions, the system also allows you to select an exact seat in the theatre, and also view the auditorium via photographs taken from various positions within it. Note that the tickets offered may differ between phone and online sources.

When collecting tickets, the automatic ticket dispensing machines don't work if you collect your tickets within around 40 minutes of the performance time. This is because the theatre print out uncollected tickets around that time, and you have to collect them from the theatre's information desk instead. So, if the machine won't print them, go to the Lyttelton Information Desk (NOT the general box office) and they should be there.


Booking fees per ticket for online bookings:

There is no fee for online bookings, except for a £1 charge levied per booking to cover postage. Avoid it by booking in person, collecting your tickets on the day, or enclosing your own stamped, self addressed envelope with a postal booking as no fees are charged with those methods. Reader CC notes that the Box Office don't mind this last, though points out that you don't get the smart envelope, nice bit of cardboard and pretty leaflets with tickets, well worth the extra few pence, if you send your own. All cheaper than the £2.50 fee per booking, not per ticket, fee made for phone bookings - to which the optional £1 postage fee also applies.

 

Other Online Choices (with S.T.A.R. genuine ticket agencies):

Theatremonkey Ticketshop, Encore Tickets, Londontheatredirect.com and www.ticketmaster.co.uk all sometimes have allocations for productions in this venue. A booking fee will apply, indicated at time of enquiry.

www.Seetickets.com Offer seats for many, though not all, National Theatre productions, with a 10% booking fee per ticket and £2 per booking, not per ticket, service charge.

Other Independent S.T.A.R. ticket agencies may also offer an alternative choice of seats.


 

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: 020 7452 3000. fax: 020 7452 3030
Operated by venue itself.

A £2.50 fee per booking, not per ticket, fee is charged for phone bookings. An optional £1 charge is also levied per booking to cover postage. This is more expensive than booking online, where only the optional £1 postage charge applies.

When collecting tickets, the automatic ticket dispensing machines don't work if you collect your tickets within around 40 minutes of the performance time. This is because the theatre print out uncollected tickets around that time, and you have to collect them from the theatre's information desk instead. So, if the machine won't print them, go to the Lyttelton Information Desk (NOT the general box office) and they should be there.

 

For personal callers or by post: Lyttelton Theatre, Royal National Theatre, South Bank, SE1 9PX
No booking fee for personal callers.

By post, the optional £1 per booking, not per ticket, postage charge applies, unless you are enclosing your own stamped, self addressed envelope. Reader CC notes that the Box Office don't mind this, though points out that you don't get the smart envelope, nice bit of cardboard and pretty leaflets with tickets, well worth the extra few pence, if you send your own.

A reader notes about "Day Seats" in 2011:
"I got to the box office about 9:30am and there was already a pretty longish queue outside (they don't let you move inside and start selling until 10, not great if it's raining). The queue took about 45 minutes so I'd suggest you take a book/ipod for the wait. The seats for the evening performance were all taken by then but there were still plenty of standing seats available. I was still able to get a seat for that day as there was a matinee performance with seats spare (Matinees are generally easier to get tickets for)."

 

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 a dedicated phone line. See Notes.

www.nationaltheatre.org.uk is the official theatre website.

 

 
 
Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

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 Notes
STALLS 

Layout:
The Dress Circle overhangs the stalls at row O making the top of the proscenium invisible from row T back if the whole height of the stage is used.

A single block of seats face the stage.

Rows A to D are on a flat floor. All other seats are tiered with steps between each row.

Legroom:
Good in rows E to V for those up to around 5ft 10 or so and A for those up to around 6ft. It is just adequate in rows B to D for those over 5ft 5. The very end seat on each end of rows B to D have space for at least 1 leg to stretch out fully - both legs if willing / able to sit slightly over to one side. B 5 and 31 are almost 100% clear in front.

Choosing Seats in General:
Rows A to D are narrower, have no armrests and are not raked. At bottom price row A is good value, rows B to D fair. If there is anyone tall in front of you in rows B to D... you won't necessarily see very much at all, alas.

Avoid the first and last four seats in rows A to D as they are either outside the proscenium or offer inferior views from a strangely side on viewing angle. No further reduction is made when this happens, so choose a more central location where possible. Dress Circle level slips edge these for view at some productions.

At top price, the prime stalls seats are in row H. Most are now "premium price" and expensive, so go for the normal top price ends of H to L, or central M if you don't want to encourage such pricing. Theatremonkey also recommends considering Dress Circle rows A to C at the same non-premium price for a better view than rear stalls.

Rows M to U at top non-premium price are comparatively poorer value, being further from the stage for the same money. Strongly consider the cheaper Dress Circle again with stalls rows O and P 9 to 30 and over row R back, too.

For captioned performances, rows L to S provide the clearest views, according to the box office.

At second price, choose Dress Circle row D and E before row V. The rear stalls feel far from the stage at the price charged, in the monkey view.

Also think seriously about choosing Dress Circle row G too, at a lower price, before taking the rear stalls seats of T to V.

Wheelchair users get four spaces at the ends of row V. The view is fairly poor. Transferees can move to any aisle seat. Rows G to L are commended to them.


The reason for this advice is that although the distance from the stage is about the same, there is no overhang to contend with. Vertigo sufferers and stalls lovers generally might prefer the rear stalls still, and the monkey has no quibble with that, it just states here its preferences for the record.

General Hazard Notes:
A reader notes that in the past, the front stalls suffered noise from machinery and the nearby exit doors.

Row A to D seats have very low backs, not comfortable for an adult.

Set designers often create “rooms” on stage. This means that any seat that isn’t central won’t see into every room. Be aware of this if sitting in the first 8 seats in all rows. Sometimes the box office will let you know if your seat has a particular problem, too, which is helpful.

Changes for the current production:
"Angels In America, Parts 1 and 2": Central stalls rows E to J are "premium" and H and J 8 to 29 the monkey feels are best at the price. Central seats drop to top-non premium price at row K - making K and L 8 to 29 first pick for the monkey. Prices drop again at row R, and again in row V. The monkey honestly rates all seats fair value for the prices charged - noting that the outermost 4 in all rows from E to U may have a slightly restricted view and are priced to account for that.

"Network": Central stalls rows E to O are "premium" and H and J 8 to 29 the monkey feels are best at the price. Central seats drop to top-non premium price at row P, and again in row V. The monkey honestly rates all seats fair value for the prices charged - noting that the outermost 4 in all rows from E to U may have a slightly restricted view and are priced to account for that.

There will be seats on stage, offering a "dining experience." The monkey will add more as available.

"Pinocchio": Central stalls rows E to O are "premium" and H and J 8 to 29 the monkey feels are best at the price. Central seats drop to top-non premium price at row P, and again in row V. The monkey honestly rates all seats fair value for the prices charged - noting that the outermost 4 in all rows from E to U may have a slightly restricted view and are priced to account for that.

 

Reader Comments:
"A25: "Great Britain" (August 2014). Got this through Entry Pass (for young people) for £5, so this felt like I had won the lottery. Cannot fault the view, not too far off to the side, eyeliner is pretty much at the level of the actors feet, and my feet had lots and lots of room to stretch out. Small speakers are in front of you but aren’t very loud so the sounds really good, and the actors obviously are heard crystal clear as they’re right in front of you."t;t;

"B4 and 5: "Travelling Light" (May 2012), (Chris B). On the end of the second row back (B4 is the aisle seat) and these seats feel more cramped with far less legroom than further back. There are no arm rests either so you feel very close to the people next to you. Coincidently arm rests start row E backwards. Personally I felt too close to the stage and as it such a wide stage you feel very distant from the left hand side. It's always nice to feel so close to the actors but a bit further back would appreciate the set a little better. However as the first few rows are the £12 seats you can't really complain."

"B10: (Mark). Fine. Apparently (for "Rocket to the Moon" in March 2011) you miss a bit of action in the corridor if you sit here for this show. I didn't feel it made a difference though.

"B27: Seat was great view wise. The comfort in the front rows of the National leave a lot to be desired."

"B27: "The Suicide" (March 2016). There's already a review of this seat which I totally agree with .. good view but an uncomfortable seat. The chairbacks are really low, zero legroom (even for me at 5'5") and no armrests but at £15 you cant really moan. Just two points though ..... there was one very visual joke in the play that, sitting in that seat, was totally lost as the view of it was obscured by the set and other actors in the way. Also, it was a signed performance and it struck me that, if you were relying on the subtitles, you'd need to sit in the back half of the stalls to stand any chance of reading the screens and watching the action at the same time?"

"C8: "Ma Rainey's Black Bottom" (March 2016). Got up close and friendly with people sitting next to me ... no arm rests so you are squashed together a bit. Zero leg room too, so I was thankful to only be 5' 5'' !! However .... view outstanding and for £15 an absolute billy bargain. Only downside was, because lots of the action takes place literally at the edge of the stage, with the actors spread the whole width across, I did feel a bit like I was at a tennis match."

C27, C26, C16: (Mark). Can't go wrong with row C of the Lyttleton at the price they are, Legroom tight as always but manageable."

"D27, D18, C9: (Mark). All excellent seats, although quite uncomfortable. For £10 (Or £5 Education Programme tickets) a steal!"

“Row E: Good seat, plenty of leg room."

"E9 and 10: “Habit of Art” ( November 2009). I would rate the seats green - a great view and close enough to hear every word the actors say, even when they are talking with their back to the audience."

"F25: (Mark – regular reader). On a £10 student standby! Very good clear view of the stage."

"G10: "One Man, Two Guvnors" (May 2011), (Taljaard – regular reader) Perfect view."

"J1: "Angels in America - part 1" (April 2017). Being quite tall it's not a usual problem for me, but there was somebody tall sat infront here and it did mean a bit of head bobbing at times since it was right in the centre of the stage. Good view of the stage though, the Lyttelton seats are rather uncomfortable generally."

"J30 and 31: "Misterman" (May 2012)
, (Chris B). Comfortable seats with ample legroom, plenty close enough to make out actors facial expressions (or actor for Misterman) it is a very wide stage and the view is clear although you are much closer to the left side, the right does feel a little distant. I didn't feel you miss any of the left side either."

" K12 and K13 “The Pitmen Painters” (January 2009), (James – regular reader). Excellent seats, very comfortable with good legroom and a good rake. I would prefer to have been one or two rows further back as it’s quite a wide stage, but the view was very good from here in any case."

"K20 and K21: "One Man, Two Guv'nors" (June 2011). I do love a seat in the stalls! Excellent seats, (brown velour - did think of Theatremonkey, who I know has a chocolate fixation, only they weren't chocolate more kind of dairy milk). Good clear central view of all action on the stage and highly recommended. (Not as good as the New London Theatre seats for rake or view though!). Once again, the Monkey was involved in this transaction, as we had the choice of sitting in two rows, we opted for the row the Monkey said was 'green'."

"L7 and 8: "Last of the Haussmans" (July 2012)
, (Chris B). Good clear view of the stage with enough of a rake to see over the heads in front, you feel very close to the actors and can make out all facial expressions. Seats are comfortable with ample legroom. Wide armrests just about wide enough for two arms."

"M22: 'Season’s Greetings' (December 2010), (Clive). Excellent seat centrally situated with perfect view of the stage and good legroom."

"M32: “Ballyturk” (September 2014). Great seat. Thought I’d be miles from the stage but it didn’t feel that way. Could even see facial expressions pretty clearly from here."

"R16: (Hannah M). Has a very good view and leg room." ot;

"S10: Got for £10 on the day, was a great seat - could see everything."

"T33: (Clive) It felt a little remote from the stage but despite this was still a good view. Good legroom."

 

DRESS CIRCLE 
Called the Circle in this theatre

Layout:
Nothing overhangs this theatre circle.

A single block faces the stage. Two “slips,” one either side of the main block, are raised above it.

The rake is steep giving all seats a clear view of the stage.

Legroom:
A
dequate in all seats for all but the tallest over 5ft 10 or so, though one reader felt it cramped.

Choosing Seats in General:
Prime seats in the whole theatre are rows A and B seats 6 to 31. The National have realised this (the monkey suspects they’ve read this page), and raised row A to "premium," with B and C at top non-premium price again from a brief and wonderful period at second. The monkey would certainly still sit there, and take any seat in B or C (and A if feeling wealthy) over rear stalls from O back for the same money.

At second price the value for money is fine in D. If offered F, it would take G instead if available - cheaper with similar sightlines.

That said, though, all seats in rows D to G are preferable to the rear stalls row T back. G in particular is better value under the price structure used.

In all rows seats numbered between 6 and 31 are the ones to aim for - for the usual reason: pay the same price, so you may as well be centrally seated.

With the current pricing structure Rows H and J (beloved haunts of the monkey for years), now become poorer value. Some distance from the stage, it is greedy to charge third price for these tickets. Never before the reign of Mr Nunn had these seats been offered at anything but bottom price. Stalls row A, seats 10 to 26 should be considered before these seats. The price is lower, the view a little worse, but better value overall than the overpriced rear circle. The last 3 rows are about fair during the week, but really pushing it at the prices on Friday and Saturday Evenings, the monkey feels.

 

General Hazard Notes:
The exit doors are at the front of the theatre. Those right by them may be distracted by “comings and goings.”

Seating isn’t that well offset to see around the heads in front.

Set designers often create “rooms” on stage. Occasionally this means that any seat that isn’t central won’t see into every room. Be aware of this if sitting in the first 4 seats in all rows. Sometimes the box office will let you know if your seat has a particular problem, too, which is helpful. This problem mostly affects stalls rather than circle seats, though.

Changes for the current production:
"Angels In America, Parts 1 and 2,"
"Network" and "Pinocchio:"
Prices are fair throughout the circle, go as central as you can, and take row J last at fourth price, just because it is a fair way back compared to rows in front for the same cash. Remember that prices drop in rows C, F and G, so take those over B, E and F as you will get the same view for less cash.

Reader Comments:
"A3: “After The Dance” (2010). The view was extremely good, with all the beautiful set visible other than a very small part at the back right hand side, but you don't miss anything. Happy to pay full price for this seat."

“Row B: (Bas). We sat on the second row of the circle. You could see everything well (although you are far away) and the pitch was adequate."
Row B (centre): The view was fine, but leg room is limited. The rake is good, but the seating is not offset so you have the possibility of a big head in the way if there is someone tall in front".

"B1: “Ballyturk” (September 2014). Good view of whole stage but as a glasses wearer, I struggled a bit with facial expressions from here – saw the show again from stalls M32 and found the view better from there. In future I’d probably go for stalls back as far as row P before considering front circle again."

"B 1, 2 and 3: "Jane Eyre" (December 2015). Modern theatres have their advantages – I wandered about during the interval and the view from all areas seemed good. In Row B, we had good seats, a good view, and sufficient legroom for Tall Daughter’s 5’11 and my 5’7. A star prize to the very helpful staff who were lovely when we arrived late and whooshed us in at the first scene change, while we watched the opening of the show on a screen outside. Theatre could perhaps do with some extra ladies toilets, however … arrive earlier than we did if you need to use the facilities before the show starts!"

“B5 and 6: “Greenland” (February 2011), (Clive). Good view of the whole stage but the lights obscured part of the back wall on which written information was shown. Seats were comfortable however by the end of such a long production with no interval, even these relatively comfortable seats had lost their attraction. Leg room was OK.”

"B6: Lovely wide seats, plenty of leg room and good view. There is no need to lean forward in row A, but alas man in front of me kept doing so which does obscure view a bit."

"B31: (Sam). I just want to confirm Theatremonkey’s assessment. Very good seat. Excellent legroom".(Conflicting views of the same row, notes the monkey, who feels the truth on legroom rather depends on the individual).

"C12 and C13: “Season’s Greetings” (December 2010), (James – regular reader). Excellent. Definitely worth sitting in the circle for this production as the set means that action takes place at various levels and would probably save some neck strain in the stalls."

"C18 and 19: "The Last of the Haussmans" (July 2012). At the upper end of the National Theatre’s pricing structure at £38 each, but they were excellent value nonetheless. Monkey rates them green and so would I. Decent legroom for my 6ft 1 inch frame (a rarity in the West End), good sightlines, and plentiful toilets all made for an enjoyable evening. While the auditorium is far from being aesthetically pleasing, it works as a place to view theatre - which is surely what it is for. The seats run in straight parallel lines (no curved rows here) and even the seat backs are flat rather than curved. They are well padded though, so are comfortable."

E13 and 14: "A Taste of Honey" (March 2014), (Taljaard). Great seats with clear view. The only comment was that The Lyttleton became quite warm during the afternoon."

"E18: "Ma Rainey's Black Bottom" (March 2016), (Taljaard). Good view but the seat was quite uncomfortable."

"G9: (David). Enjoyed comfort and leg-room without feeling divorced form the action."

"H10: "Angels In America Part 2" (May 2017), (Mark). This seat was great value for money and I 100% agree with the monkeys green rating. A great overall view of the production."

“Back Row: (James). We had back row of the Circle and the seats were fine with a really good view and a decent rake so we weren't disturbed by heads."

 

Dress Circle Slips

Layout:
Two narrow ledges above and at the side of the circle outside the proscenium.

Nine seats on each side, first three on one level, then six behind that on another. They are arranged on behind the other with no noticeable rake.

Legroom:
Adequate in all seats for all but the tall, though one reader felt it cramped. The monkey noted that 6 and 9 have less legroom.

Choosing Seats in General:
The view is sideways to the stage and in seats 1 to 5 and 28 to 32, distant. You will miss the outer sliver of stage nearest your side too, if the full width of stage is used.

Take these seats only when all the rest (including the worst in the front stalls) have been sold. Choose 7 and 34, then 6 and 33, then 9 and 36, then 8 and 35 in that order. Finally accept 5 to 1 and 32 to 28 when you really MUST get in!

Under the latest price policy, these are sold on the day only; like the monkey said, a real last resort!

General Hazard Notes:
Side and distant views.

No rake on most seats.

Low backrest could be painful for some.

Changes for the current production:
None.

Reader Comments:
"Seat 7: (2008), (Rob). Right side of the auditorium (facing the stage) – Loads of legroom – good view for only £10"

"Right 7 (2011): £12 seat in the upper slips. Was a great view and very comfy since the seat was a proper arm chair (placed at an angle towards the stage so you didn't have to twist your neck)."

"Right 7: "3 Winters" December 2014. Fine for £15 if you don't mind a bit of discomfort. Great for the single theatregoer as you essentially get a place to yourself. View of stage is OK (if distant) but I found the ledge at the wrong height for my viewing angle - either it dug into my upper arm or I had to lean my arm up onto the ledge (not hugely comfortable either). I moved to a spare seat, front dress circle, at the interval. I might take slips again for a shorter production, but by preference would generally aim for the same price in front stalls."

"Left 29 and 30: "Angels In America" (June 2017). Upper Slips tickets. The view was good even on the side and far back, had to lean sometimes."

 



Notes
890 Seats 

Air-conditioned auditorium.

Audio described and signed performances regularly. Headset system available. Guide dog sitter available. All printed information available in large print, on tape and in Braille. For captioned performances, rows L to S provide the clearest views, according to the box office. Minicom at the box office. Access to Lyttelton is level from the lift. Free car parking in centre car park for orange badge holders (get endorsement stamp at information desk). Lifts from car parks to all levels. Adapted toilets (unisex, sadly) throughout theatre. Fuller details from www.nationaltheatre.org.uk, the theatre on 020 7452 3000 (Minicom 020 7452 3009) or Artsline 020 7388 2227. 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.

Coffee shop at Stalls level and formal restaurant and buffet in complex. Ice cream and confectionery from vendors just outside auditorium.

Bars at Stalls and Circle level.

Toilets in Stalls and Circle, one gents and one ladies. Unisex disabled toilet at stalls level.

 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Getting to this Theatre
Find this theatre on a Street Map
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Waterloo - Bakerloo Line (brown), Jubilee Line (silver gray), Northern Line (black). Also a main line station.

A PHOTOGRAPH ILLUSTRATED VERSION of this walking route is available by clicking here.

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.


This station has multiple exits, not clearly marked, so be careful! The best route is as follows:

IN NOVEMBER 2015 THE "York Road" station exit closed until 2018. THIS MEANS THAT YOUR ROUTE IS NOW TO FOLLOW SIGNS FROM THE PLATFORM TO THE MAINLINE STATION EXIT. This will bring you into the middle of the station concourse.

Turn left and head for the main exit - a grand archway with steps down to street level.

At street level, turn to your left, and walk towards the main road. Ahead to your left is a huge silver steel rectangle. No, the monkey does not know what it is either. To the left of it, and behind, is a pedestrian passageway called "Sutton Walk";  which goes under a bridge. Take it.

At the end is a fountain ahead of you. You are now on "Concert Road Approach". Turn to your left. The Royal Festival Hall is ahead of you. Walk towards it. 

Facing it (note the cafe in front of you) - stand on this paved area (Belvedere Road) and turn to your right. A roadway and bridge are ahead of you. Cross the roadway, walk under the bridge. 

On the other side of the bridge, the Royal National Theatre is ahead of you to the left. Also to your left is a roadway. Walk along it to the end.

Either use the revolving side door just before it to enter the coffee shop foyer, going straight on into the Lyttelton Foyer down some steps. OR, if this door is closed:

Turn right at the corner of the red building. Keep it to your right and go straight on.

There is a round sculpture to your left too.

The main theatre complex entrance is in the centre of the building, to your left.

The Lyttelton Theatre is at the ground level inside the building to the right.
___________

If you have the misfortune to leave the station by the "Waterloo Road" exit, fear not. You can either walk through Waterloo mainline station and leave by the York Road exit, or take this route - CONSIDER YOUR PERSONAL SAFETY.

On leaving the glass doors, turn left. Walk to the corner, and turn left into "Mepham Street". Walk all the way to the end of it, avoiding the temptation to go under any bridges.

At the end of the street is York Road. Cross it. Ahead of you, to the left, is "Sutton Walk", the pedestrian road under the bridge. Take it.

At the end is a fountain ahead of you. You are now on "Concert Road Approach". Turn to your left. The Royal Festival Hall is ahead of you. Walk towards it. 

Facing it (note the cafe in front of you) - stand on this paved area (Belvedere Road) and turn to your right. A roadway and bridge are ahead of you. Cross the roadway, walk under the bridge. 

On the other side of the bridge, the Royal National Theatre is ahead of you to the left. Also to your left is a roadway. Walk along it to the end.

Either use the revolving side door just before it to enter the coffee shop foyer, going straight on into the Lyttelton Foyer down some steps. OR, if this door is closed:

Turn right at the corner of the red building. Keep it to your right and go straight on.

There is a round sculpture to your left too.

The main theatre complex entrance is in the centre of the building, to your left.

The Lyttelton Theatre is at the ground level inside the building to the right.
_____________

Another visitor suggest this route: Take the tube to the Embankment station and walk across the Hungerford  footbridge to the south bank, then walk past Festival Hall complex and under Waterloo Bridge.

The Royal National Theatre is ahead of you to the right. 

Noted are the " Gorgeous views both up and down river on a good day or evening.". The monkey endorses this comment, especially at twilight!

 

Buses:
1, 4, 68, X68, 168, 171, 176, 188, 501, 502, 513 to Waterloo Bridge.

Get off on the Bridge and look for the large advertising board on the roof of the National Theatre, facing the Thames. Take the stairs on this side of the bridge down to the ground. A safe crossing of the bridge can be made by taking the stairs down to first level and walking under it on a walkway linking the staircases either side of the bridge.

On the correct side staircase, leave it, turn to your right. The entrance is in the centre of the building, beyond the round sculpture ahead of you. The Lyttelton Theatre is at ground level inside the building to the left.

 

Taxi:
A rank for Black taxis is at Waterloo Station - a fair distance from the theatre. Best chance of hailing one in the street is to walk on to Waterloo Bridge.

 

 

Car Park
Under the theatre. Take the elevators in the centre of the car park to the correct level. Theatremonkey advises parking near the exit ramps for a fast getaway after the show, and strongly recommends you note the compass point, colour band and number of the nearest pillar you park by. Banquo's ghost has nothing on the haunted souls who wander the underground space, wailing for their transport each night. Some have been there since the place opened in the 1970's.

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