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

ST MARTIN'S THEATRE

 


THE MOUSETRAP (whodunnit)
Signed performance: 23rd May 2015 at 4pm


A thirties room and it is snowing outside. A murder and a stranger, add a red herring or three, and a whodunit lasting 50 years is the result. No mice are hurt during the run of this production.


 

Theatremonkey Opinion:
"The Mousetrap" has detractors, due to the long run. A fresh cast at least once a year, though, keeps the play alive. The now aged setting adds a patina not probably intended by the author originally, but very welcome in the current age of overly realistic murder mysteries.

It may be known as the 'Tourist trap' and imagined by Londoners to be filled every night with baffled non-English speakers (and Londoners are such polyglots, yeah, right) but this is a play worth rediscovering and a real alternative to the endless musicals and social realistic pieces on offer elsewhere. 

 

Your Reviews: Add your own by clicking here.
Important: Some reviews below can contain "spoilers" - please don't read if this bothers you! The monkey does promise that none reveal "Whodunnit" though...

The latest five are below. For earlier reviews, click here.
Some reviews refer to performers who have now left the cast.
________________________________________________________________

Went and saw the Mousetrap for the Matinee performance on 26th May 2009 and sat in the Dress Circle, Row A, Seat 8.

Although you feel the curve of the Dress Circle when sitting here, it is not enough to spoil the view and only cuts off a tiny slither of the right hand side of the stage. In addition, being on the aisle gives you some room to stretch out. At 5ft 8 I found that I could easily see over the balustrade, although this might be a problem for someone smaller.
__________________________

We saw 'The Mousetrap' last night (5th August 2010). Row C upper circle seats 4, 5, 6 and 7. The view was very good and it didn't feel so far from the stage as upper circles in other theatres. The metal bar does cross the view at front part of the stage but it doesn't take away from the enjoyment of play. Agree leg room dreadful and had to sit sideways to allow for knees!

Amanda Johnston,
Surrey
___________________________

We've just come back from having been in the front row of the dress circle, seats A16 and A17 on 2nd September 2011.

The view might have been restricted once upon a time, but it is not, now. The view is superb. There is no balustrade to get in the way anywhere along the front.

Legroom is slightly restricted so there was a lot of seat-changing during the interval. The seats with the best legroom are in the side blocks, where some of the aisle seats have no seats in front -so there is plenty of room to stretch. Grab one, if you can, at the start of the interval: wait until the interval has finished and there will be none left.
____________________________

We saw this show on Thursday 13th October 2011. We were seated in the Upper Circle, seats D1 and D2. To deal with the seats first of all - I was quite disappointed as it was very high and very steep and the bar at the front did obstruct the view somewhat (as did the some of the heads of the people on row A). My other half is 6'4" and had immense difficulty getting comfortable, in fact I don't think he managed it at all and kept fidgeting all evening (tsk!). I managed OK but it wasn't the most comfortable I've ever been.

Having read some reviews of the Mousetrap since seeing it (I didn't want to read them before we went in case of spoilers), I wish I'd read them first. My impression on leaving the theatre after the show was one of immense disappointment with a dated, tired play which could not maintain my interest. Having thought about it since, I realise that the show clearly hasn't changed since it began in the 50s and in those days, a night out in the West End would have been such a big event (not that it isn't now of course) and also, people's tastes were possibly less sophisticated then and they hadn't been spoiled with all manner of special effects etc that we have been these days. If you view it from this angle and imagine yourself to be in the 50s, I think you have a much better chance of enjoying it.

Sadly, I did not particularly rate the abilities of the current actors and it did come across as slightly "am-dram". Add into this the fact that the staff at the theatre seemed as tired as the production and not at all welcoming, plus the sad reality that the theatre was more than half-empty, it didn't make for an evening which provided the usual "West End buzz" that my partner and I are so used to having and have come to expect.

However, I think it would be a tragedy for this long-running, traditional English production to come to and end and I would urge the producers of 'The Mousetrap' to give it a re-vamp, get some big names in it and draw the audience in. I don't mean they should make it set in contemporary times or anything like that but give it some attention and stop neglecting it.

My favourite part of the show came at the end when one of the cast stepped forward and urged the audience to maintain the secret of 'The Mousetrap.' I certainly will, although I'm not sure I would want to go and see it again, sorry.
_____________________________

Lovely theatre, sat in G8 on the top shelf and had no sight problems at all and could hear every word.

Really enjoyed this, was not sure what to expect but it actually is very difficult to solve while watching. The current cast pull the whole thing off very well indeed and I would highly recommend this to anyone who has not seen it.

Taljaard (November 2011).


 
 

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.

Monday to Saturday at 7.30pm
Tuesday at 3pm and 7.30pm
Saturday at 4pm and 7.30pm

No 8pm performances on 24th and 31st December 2014.
No performance on 25th December 2014.
Extra performances at 3pm on 24th, 26th and 31st December 2014 and 2nd January 2015.
 

Extra performance on 19th February 2015 at 3pm.

runs 2 hours 15 minutes approximately.


 

Ticket Prices:
View this information in diagram form


Stalls
Rows A to K: £45 except:
Row E seats 7 to 16 and G seats 6 to 17: £65
Rows L and M: £39.50
Rows N and O: £35

Dress Circle
Rows A to E all seats: £45 except
Restricted view Dress Circle seats: £39.50
Row F: £39.50

Upper Circle
Rows A to D: £26.50
Rows E and F: £22.50
Rows G and H: £17.50

Boxes
£45 per seat

 

 

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. Hotel package deals may be available click here.
Theatre Box Office:

www.the-mousetrap.co.uk
This site allows you to select your own seats from all those available.

Booking fees per ticket for online bookings:
In July 2014, no booking fee was charged. This may change. The monkey will update as available.

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

When you require a wider selection of seats than the theatre can offer, the Theatremonkey Ticketshop, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), is a good option. Run by LoveTheatre, this reputable agency offers a selection of seats with a modest booking fee per ticket - £6.80 on £45 tickets (£4 on £26.50 seats). Modest by agency standards, and only a little higher than box office prices, so worthwhile trying. 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.

Another alternative is www.seetickets.com / telephone 0870 830 0200 which offers £45 seats with a £4.50 (£6.75 Saturday Evenings) per ticket booking fee, and £2.75 per booking (not per ticket) postal charge. (FREE call if using BT.com Calling Plan at your chosen times).

www.ticketmaster.co.uk offer an option, charging booking fees of £4.50 on £45, £3.95 on £39.50, £2.65 on £26.50, £2.25 on £22.50 seats. A £2.85 handling fee per booking is also added. This site allows you to choose your own tickets from those available.

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer seats with a £12 booking fee on £45 (£17 on £65, £7.50 on £26.50, £5.50 on £17.50 seats). A postage charge of £2.25 per booking, not per ticket may be applied to bookings made from UK addresses more than 5 days before the performance. The "Flexiticket" Exchange Service, allowing FREE transfer / cancellation (credit note up to 12 months) of your booking up to 3 days before the performance is also available for £2.50 per ticket. Quality and Value hotel / theatre ticket packages are also available.

Lastminute.com offer £45 seats with a £3.50 booking fee per ticket (£2.15 on £26.50 tickets). NOTE: Seat numbers are NOT available in advance from this company. All seats booked in the same price group will, of course, be together or at the very least be in front or behind each other in the theatre. In the very unlikely event of this not being possible this company will call you and give you the option of cancelling your booking. However if booking in two or more price bands, you will not be sat together. Please DO NOT purchase if this is unacceptable to you, as all tickets are sold subject to this condition. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

Londontheatredirect.com offer £45 seats with an £5 booking fee per ticket (£5 on £26.50 seats). Collecting tickets from the box office before your performance is free, OR, if required and time allows, there is a postage charge option of of £2.95 (£4.95 to non-UK addresses) per booking, not per ticket applies to all bookings. Optional Ticket Insurance is also available. Discounts and Meal and Show Packages may also be available.

ALSO SEE Tickettree.com for great value "hotel and theatre ticket" packages.

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


 

Box Office Information:
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Hotel package deals may be available click here.
Theatre Box Office:
Telephone: 020 7836 1443 or 0844 499 1515
Operated by the theatre during the hours of 10 am and 7.30 pm. At busy times / when the theatre is closed, Ticketmaster answer on behalf of the venue.

Booking fees per ticket for telephone bookings:
In July 2014, no booking fee was charged. This may change. The monkey will update as available. At other times, Ticketmaster answer and charge the same fees as their system online: £4.50 on £45, £3.95 on £39.50, £2.65 on £26.50, £2.25 on £22.50 seats. A £2.85 handling fee per booking is also added.

For personal callers or by post: West Street, London. WC2H 9NZ
No booking fee for personal callers.

Special Access Needs Customers:
Wheelchair users and other registered disabled people can book their seats on 020 7836 1443 or 0870 162 8787. The telephone line connects directly to the theatre box office in London during working hours 10am to 7.30pm. See Notes.

www.the-mousetrap.co.uk is the official play 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.

This theatre, thinks Theatremonkey, is a total timewarp - as eccentric as this monkey can be. The fabulous dark wood panelled auditorium with balustrade fronted circles is from another, more gracious, age. If Theatremonkey could buy or operate one theatre, this would be it.

Mousetrap fan reader Aitchy says, "Mousetrap seats: they are all cramped and wooden with little leg room and certainly no width; and their sweeping arch means its a gamble if you get legroom due to the seat in front being curved."

 

Seating Plan Diagram

Stalls Dress Circle Upper Circle Notes
STALLS 
Layout:
The Dress Circle overhangs the stalls at row J. For the current production 'The Mousetrap' the fact that the top of the set cannot be seen past row M is totally unimportant.

The Stalls is divided into front and rear sections by an aisle across the front of row G.

The rear section is divided into central and two side blocks by aisles.


Legroom:
Just about acceptable in all seats for all but the largest, best in row G.

A reader notes:
"I'm over six foot tall and was glad that I had booked an aisle seat although we could have sat in row G or anywhere else if we had wanted to move. My girlfriend is 5'4" and said that she could have done with a bit more legroom. I would recommend that if you get a chance reserve seats in row G."
 

Choosing Seats in General:
The front section consists of five rows curving in front of the stage. All seats offer a good view, select the central seats first to maximise your value for money return.

Take the end four seats in each row only after the central block of rows G to J have been sold.

Views of the stage are also clear from all seats in the rear section. Take the central block first, and note that row O seats 1 to 4 feels isolated.
 

General Hazard Notes:
Watch for that legroom away from row G.

Changes for the current production:
Part of rows E and G are at "premium" price. The monkey would skip row E unless short legged. If you must pay that extra fee, central row G at least gives a comfort advantage.

From 17th December 2012 row F 6 to 17 are added to the "premium" list - again, an "avoid" feels the monkey.
 

Reader Comments:
"Stalls: (Aitchy): The front centre stalls had better leg room, and you were right in the thick of it, but somehow, seeing the actors so clearly took away from my enjoyment of this show - Up close it all looks more real and as such its downfalls are magnified and you don't get the period feel with modern faces; from a height its almost time travel, as though you’re looking down on a show from 50 years ago."

“F14: (Barfly). The theatre's lovely, it's just like going back in time. Great view - but the people next to me had problems, being larger, they couldn't fit into the seats well so they move to the row behind because of the aisle."

 

DRESS CIRCLE 
Layout:
The Upper Circle overhangs the Dress Circle at row C, but does not affect the view of the stage.

Seats are split into central and two side blocks by aisles.
 

Legroom:
Just acceptable, cramped for the taller in most seats, very poor in row A.

A quirk of architecture gives a little more room to seats B 1 and 24, C 1 and 22 and E 1 - a reader notes you need to grab these early if empty, as they are gone by the interval. Centre aisle seats also provide stretching for one leg!
 

Choosing Seats in General:
Centre Block:
The central block offers clear views from almost all seats.

Row A is particularly worth a miss as the circle-front balustrades are still there, but the discount that used to allow for them isn't...

With the whole Dress Circle, except restricted view seats and row F at top price, monkey advice is central B to D if you wish to buy the most expensive seats, then the immediate seats next to the aisle in the side blocks, or else take stalls instead.

Monkey would skip row E, as for fewer bananas you get almost the same view in the row behind...

Row F seems far from the stage but at third price is fair value – especially compared to row E in front at top price.


Side Blocks:
It is worth avoiding all but the centre aisle seats in these blocks, unless all the stalls and the centre block of the Dress Circle are full.

Side blocks row A seats 1 to 4 and 24 to 26, and row B seats 1, 2, 23 and 24 are designated restricted view since the one fifth of the side of the stage is not visible. Avoid these seats, as at second or third price they are poor value.
 

General Hazard Notes:
Circle front balustrades restrict views for those in row A.

The curve of the circle / box intrusion affects outermost side seats.
 

Changes for the current production:
None.

Reader Comments:
"A8: Although you feel the curve of the Dress Circle when sitting here, it is not enough to spoil the view and only cuts off a tiny slither of the right hand side of the stage. In addition, being on the aisle gives you some room to stretch out. At 5ft 8 I found that I could easily see over the balustrade, although this might be a problem for someone smaller."

"A16 and A17: The view might have been restricted once upon a time, but it is not, now. The view is superb. There is no balustrade to get in the way anywhere along the front. Legroom is slightly restricted so there was a lot of seat-changing during the interval. The seats with the best legroom are in the side blocks, where some of the aisle seats have no seats in front - so there is plenty of room to stretch. Grab one, if you can, at the start of the interval: wait until the interval has finished and there will be none left."

“A16 and 17: (Chris B). I don’t think I’ve ever been to a theatre that so perfectly mirrors the tone of the play being shown. You feel like you’ve walked directly into an Agatha Christie novel and it’s the ideal setting for the Mousetrap. The theatre itself is very quaint and intimate and makes the atmosphere of the show all the more intense. The seats are centrally located on the front row of the circle and offer a perfectly clear, unobstructed view, and you feel very close to the stage too. The legroom isn’t fantastic but is sufficient. I would highly recommend these seats.”

"C10: Sat here to watch Theatreland's most famous production. Plenty of leg room ensured no aching legs, however I was unlucky enough to have someone 6ft plus sat in front of me. As a result part of the stage was obscured, but this did not spoil the enjoyment."

“Rear Dress Circle: (Aitchy). God awful - no decent rake, no leg room and very stuffy.”

 


Dress Circle Boxes

Layout:
Boxes A and B at the sides of the stage at Dress Circle level.

Boxes C and D are at the rear of the Dress Circle.

Legroom:
Adequate, as movable  chairs are used.

Choosing Seats in General:
Boxes A and B have a quarter of the stage not visible. At second price there are better seats available.
Boxes C and D have a clear but distant view of the stage. Again, at second price, there are again better seats available.

1 wheelchair can use box C in the Dress Circle. From a wheelchair the view is adequate, better than wheelchair users are normally stuck with. A plinth can be added to improve the view over the wall for users.

General Hazard Notes:
Boxes A and B lose a quarter of the nearside stage.

Changes for the current production:
None.

Reader Comments:
None.

 

 

UPPER CIRCLE
Layout:
Seats are divided into two blocks by a central aisle.

End seats in rows B to D curve slightly away from the stage.
 

Legroom:
Cramped in most seats, worst in row A - as a reader agrees! Another, Amanda Johnston says, "had to sit sideways to allow for knees!"

Rows B to D seats 1, 2, 19 and 20, have a more generous amount, but those over 5ft 8 or so will still find them cramped.
 

Choosing Seats in General:
Front rows of this circle feels close to the stage, rear rows from F feel much further back for some reason.

Views in row A and B are slightly affected by a front rail.

The view from all other seats in the Upper Circle is clear.

Choose row E first since at a lower price the view is as good as the more expensive seats in front. If you must choose expensive seats, remember that the outermost seats in rows B to D have a tad more legroom.

Row G is cheaper still, and thus also worth a look, feels the monkey.
 

General Hazard Notes:
A metal bar runs across the front of this circle affecting the view slightly in row A (where the bar is high enough to peer under) but it is noticeable in row B.

Enthusiastic air-conditioning.

Potential vertigo for those prone to it in row G back.
 

Changes for the current production:
None.

Reader Comments:
"Row B: (Aitchy). The view was surprisingly the best of my 3 visits and was VERY cheap - though I was glad to be able to swing my leg into the aisle, and then swapped with the man on the other side for the interval so both legs got a stretch - worked for us both. The height gives it a slightly grander view and allows you to see the character rather than the actor - (which in something so full of stereotypes - lets you know where you stand)."

"Row C 4, 5, 6 and 7: (Amanda Johnston). The view was very good and it didn't feel so far from the stage as upper circles in other theatres. The metal bar does cross the view at front part of the stage but it doesn't take away from the enjoyment of play. Agree leg room dreadful and had to sit sideways to allow for knees!"

"Row D: The seats had NO legroom and I am only 1.72 m (5' 8"). Good view and could hear everything. The biggest problem was the heat. Everyone was peeling off layers, since the ceiling fan is only on before the show and during intervals. Would not buy these seats again. Noticed that Row A had much more legroom but restricted view with safety bar."

"D1 and D2: I was quite disappointed as it was very high and very steep and the bar at the front did obstruct the view somewhat (as did the some of the heads of the people on row A). My other half is 6'4" and had immense difficulty getting comfortable, in fact I don't think he managed it at all and kept fidgeting all evening (tsk!). I managed OK but it wasn't the most comfortable I've ever been."

"F3 and 4: Directly under massive fan – before we expired of hypothermia, we were all allowed to move forward because the theatre was half empty (a popular Monkey ploy, I think I remember). We ended up in A 8 and 9. The bar didn’t prevent us from seeing anything relevant in this production.

But if you were ever to add a section for recommended seats for menopausal women prone to hot flushes, F 3 and 4 and the equivalent on the other side of the aisle are probably more efficient than HRT..."

"G8: (Taljaard – regular reader). Had no sight problems at all and could hear every word."


 

 

Notes
Total 553 seats.

Air-conditioned auditorium.

Induction loop and infrared headsets available some signed and audio described performances. Guide dogs can be dog sat. Programmes can be enlarged on theatre photocopier. 1 wheelchair can use box C in the Dress Circle.  A plinth can be added to improve the view over the wall for users. Adapted toilet available, not gender segregated, but the theatre is trying hard. Fuller Details from www.artslineonline.com, or Artsline 020 7388 2227, artsline@dircon.co.uk. 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; Stalls, Dress Circle and Upper Circle.

6 Toilets; Stalls 1 gents 1 cubicle, 1 ladies 2 cubicles; Dress Circle 1 gents 1 cubicle, 1 ladies 5 cubicles; Upper Circle 1 gents 1 cubicle, 2 ladies 1 cubicle in each.

Don't forget to visit the mouse and script in a niche in the stairway vestibule to the right of the foyer.

 

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:
Leicester Square - Northern (black) and Piccadilly (dark blue) lines.

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 St Martin's Theatre.  It is marked "Charing Cross Road East" and "Cranbourn Street". When you leave the ticket gates, do a 180 degree "U" turn. This exit is hidden behind you, between the gates! Go up the first little staircase.

At the top are two options - Left is Exit 3, right is Exit 4. Take Exit 3 - Charing Cross Road East. For an alternate route from Exit 4, click here.

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 street. Do not cross to them! Turn to your right, pause to let those who took a wrong exit catch you....

If at the top of the underground stairs you see a narrow street with only a row of shops and offices in front of you, this is Cranbourn Street. You can either use the alternate walking route, or turn to your right and walk to the end of the street to follow this one. If you see the Hippodrome Nightclub on the opposite corner across a busy road, good. Do not cross the road to it! If you reach the end of the street and see a large restaurant, The Sussex on the opposite corner, wrong way. Once safely on Charing Cross Road, turn to your right.

Now everyone is together on Charing Cross Road.

Keep walking until Litchfield Street appears on your right on your side of the road:

Turn down this street:

Cross over to the other side of the Street as you walk down it. The St Martins Theatre and The Mousetrap sign are ahead of you.

 

 

Buses:
None stop outside the theatre. Number 1, 14, 19, 22, 24, 38, 55, and 176 stop on Charing Cross Road or Shaftesbury Avenue. As a starting point, stand in front of the Palace Theatre. Turn your back to it. Cross the road ahead of you to put yourself in front of the large Pizza Hut restaurant. Turn to your left and take the quiet side street next to the restaurant. This is West Street. Walk along it, the theatre is on your left. If you pass many bookshops on a busy road, wrong way.

 

 

Taxi:
A rank for Black taxis is at Charing Cross Station - some distance from the theatre, if you cannot hail one in the street. To hail one on the street, walking to the end of Litchfield Street and hailing one on Charing Cross Road is probably the best chance of catching a passing one.

 

Car Park:
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. Go straight on, entering the other half of Shaftesbury Avenue for a few moments. Look to your right for West Street. Walk down it and the theatre is clearly visible on your left, just past the Ambassadors Theatre. Cross the road to it.

The "Theatreland Parking Scheme" may be available. Call Q-Park car parks on 0870 442 0104 or see http://www.q-park.co.uk 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.

 

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

 

 

 

 

 

 

 

 

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