We tell you the seats to buy, which to avoid, and how to get them at the best prices

 

Donmar Warehouse Theatre

41 Earlham Street, London WC2H 9LX 0844 871 7624

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

Buying tickets online

www.donmarwarehouse.com
The theatre's own website provide the service for this theatre.
This system allows you to select your seat from all those available on an online seating plan.
 

Booking fees per ticket:
£1 per booking, not per ticket for postage. No fee if you choose "print at home" or "collect on the day" options.

About the show:

Natasha, Pierre & The Great Comet of 1812  

Backstroke  

Intimate Apparel

Tickets for productions at this theatre are usually sold only through its own box office. Please do not purchase tickets from any other source unless they are offered by a genuine S.T.A.R ticket agency.

Ticket agencies offer an alternative way to buy tickets, with booking fees differing from those charged by the theatre box office itself. They may have seats available or special offers when theatres do not.

Ticket agency prices vary in response to theatres implementing “dynamic pricing”  - which alters prices according to demand for a particular performance. Current prices are advised at time of enquiry.

Box office information

Telephone: 0844 871 7624 
Operated by the venue.

Booking fees per transaction for telephone bookings:
£1 per booking, not per ticket for postage. No fee if you choose "print at home" or "collect on the day" options.

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

Special Access Needs Customers: 
Wheelchair users and other registered disabled theatregoers can book their seats and enquire about concessionary prices that may be available to them on 020 3282 3808 or made to access@donmarwarehouse.com. At the moment Deaf patrons can reserve tickets using email. Then they can either buy the seats by visiting the theatre in person, ask someone to call to pay by phone on their behalf or alternatively contact the venue via Text Reply. PLEASE NOTE THAT THIS PARTICULAR PHONE NUMBER AND EMAIL ADDRESS ARE ONLY FOR ASSISTED PERFORMANCE USERS, AND ARE NOT TO BE USED FOR GENERAL PUBLIC BOOKINGS.

https://www.donmarwarehouse.com/visit/access/ has comprehensive details, plus a helpful "Visual Story" download for those on the autistic spectrum.

 

www.donmarwarehouse.com is the official theatre website.

Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.

  • Stalls
  • Dress Circle

Stalls

Layout

The Circle overhangs the stalls at row C, and may affect the view of the very top of the set in row D, plus C if lighting is suspended from the ceiling.

Four rows of raked (seats on steps to help see over rows in front) benches surround a large square stage on three sides.

Legroom

Seats B 8, 13, 29, 41 C 9, 11, 30 and D 10 have nothing in front of them. D9 has around 5% of the width free in front of it.

Choosing seats in general

Centre Block: 
The seats are raked and so close to the stage that the atmosphere created is incredibly intimate. Every seat has a good view of the stage. Choose those seats with maximum legroom first: otherwise, anything central should give you a decent view.

Some productions have a comfy wooden wall to lean against beside seats D 10 and 30.

A wheelchair space at C11 offers the best of the wheelchair space views in monkey opinion.

Side Blocks: 
Those seated in a side block nearest the back of the playing area will see a rear view of the actors most of the time.

Most seats here are now top price, so take those seats closest to the "centre block" first, if paying it...

The monkey would take B 3, 4, 36 to 38; C 3 to 5 and 35 to 38 and D 3 to 9 and 31 to 38 last, as they used to be second price. 

Further along, second price seats are cheaper for the same view, but they are now few and far between, so grab the ones closest to the centre and furthest forward first, but expect to see a lot of backs...

Once second price seats right next to the top price ones have gone, consider taking the more expensive seats or cheaper row B in the side circle instead. The aerial perspective compensates better for the side view in the monkey's opinion - though production designs can mess things up, the monkey notes, hence the stalls can be a safer bet. If you prefer stalls, then take remaining second price seats, remembering that those at the far end can again suffer due to thoughtless staging.

Some productions have a comfy wooden wall to lean against beside seats D9 and 30.

Wheelchairs can replace seats C31 and take space W0 beside seat D31. Both offer fair view and value in Theatremonkey's opinion, once C11 in the centre block has gone.

General hazard notes

The box office never sell "restricted view" tickets until sightlines are confirmed, so never worry that you will get a seriously bad ticket if booking way in advance. On the other hand, when the queried seats are released, there may be bargains to be had...

Changes for the current production

Will appear here.

Readers comments

"Stalls: "Henry IV" (October 2014). Even with the chair set up, they seemed to have a good rake."

"A5 : because the Donmar stage is below the stall's audience's knees the actors are really just performing to the stalls not to the theatre space as a whole. From now on it's stalls or nothing at the Donmar for me. The actors never looked up when I was in the circle, but then the theatre critics probably all sat in the stalls anyway."

"A7: "Splendour" (August 2015). Very restricted due to a piano stool placed there and whenever an actor is sitting there the rest of the action is blocked. My partner in A6 had a better view."

"A 16: "Teddy Ferrara" (October 2015). Seat A16 is a Barclays Front Row £10 ticket. This seat is on the right hand end of the row which runs along the front of the stage, so the view is superb. Only criticism is that the legroom in front of the seat is completely cut across, diagonally, by the step up to the aisle. This didn't affect me, firstly because I'm only 5'5" and secondly because there wasn't anyone sitting in A17 so I could move across, but for someone taller (or if the row was full, that might be a bit of an issue? Having said that, for a tenner, it was great value."

"A25: "One Night In Miami" (October 2016). Sat in stalls A25 (Barclays £10 front row ticket) and got personally serenaded by 'Sam Cooke' (aka Arinze Kene) who stroked my face as he sang to me ....... (Sigh)."

"A27 and A36: "City of Angels" (December 2014). I was fortunate to get front row seats. My friend and I swapped seats after the interval so we got to try out both. A great view from both. The stage was raised to calf level. Leg room was fine, slightly more in A36."

"A37 and 38: a great view of the actor in the last scene only about 6ft away. If I could only get the side stall seats again I would go a few more rows back, so it would be a bit more eye level to the actors, rather than getting a view of them just above the knee when they are close."

"B19 and 20: "Closer" (February 2015). The centre stalls block seats are staggered so that in row B you look between those in row A. An advantage over the side stalls. Legroom a bit more generous than in row A."

"B25: "Next To Normal" (August 2023). I can’t fault the seat, I would imagine there are very few bad seats in there. Perfect view and legroom OK. By tucking my feet under the chair in front I was actually quite comfortable. A perfect view of the action."

"B28 and 29: "Closer" (February 2015). A nice central view. B29 has a clear view but due to the angle of the aisle there is less legroom than in 29 so suitable for the shorter among us."

"B39: "Spelling Bee" (February 2011). good seat but would have preferred to be a bit more up the aisle to get a more central view. This was a free Donmar discovery ticket though (for students) so I couldn't complain! Also sat in A36 and A44, very good seats for the £10 preview price!"

“B40 and 41: “Julius Caesar,” (Chris B). This theatre, as always, feels incredibly intimate. However, this is heightened further for Julius Caesar as the entire theatre is made out to look like a prison, with a definite attention to detail. These seats offer a completely clear and unobstructed view of the while stage area. The usual benches have been replaced by grey individual chairs so you do get a little more space and plenty of legroom.” 

"B41: (Vicki). there was ample leg-room and the padded bench was surprisingly comfortable." 

"C1: "St Joan" (December 2016). £30 - good view - only thing that's obscured is maybe part of the screen on the back wall of the stage where images are projected but only the right hand one - not the main one in the centre of the wall, so nothing to spoil the plot. The stage revolves which gives everyone, no matter where you're sitting, a constantly changing view of the action. Tip for that particular seat ... rather than pushing past every one else in the row, go behind the black curtain and nip through the flap at the other end which is right behind the seat!! (great if you need the loo during the interval, or if you need to dash off straight afterwards!!!). Usual peeve is that it was cold in there, but a well placed scarf/wrap helped."

“C14 and 15: “Richard III,” (Chris B). If you are used to the main West End theatres such as Her Majesty’s, Wyndham’s or Queen’s then this will be quite a shock .This was my first time in this theatre and I was amazed at just how small and intimate it is, with only a couple of rows each of the three sides around the stage, and an even smaller circle above. Pretty much wherever you sit you feel close enough to reach out and touch the actors, especially as in this production they were walking in and out down the aisles. So therefore I think these seats are great, you get a ridiculously close, unobstructed view, and as the stage is the floor of the theatre you don’t miss a thing. This section of the seating does look straight on to the stage too, although they look around at all sides, so even if you are not technically face on, you won’t miss much. After a while you’ll start thinking of yourself less as a spectator and more of an extra in a working production!”

"C20: Great seat and could see everything perfectly, very different atmosphere than sitting in the Circle."

"C23: "Spelling Bee" (February 2011), (James, regular contributor) - great seat, no complaints!"

“C30: “Marys Seacole” (April 2022).    Seat I think would normally have fantastic leg room. For this production, most of "your" leg room is on a walkway used by the cast to wheel carts and things on and off stage as well as the cast running on and off. I felt like I had to keep my legs in so they weren't hit and I didn't trip anyone. That made me have less legroom than most seats. I would not advise sitting here for this production. The view was good and I could see everything. Comfort was fine.”

"D23: "The Weir" (May 2013), (Faris), Tt was fantastic - just as the green rating suggests. I have no problems with the Donmar benches. I'm actually quite fond of them and plenty of space to get in and out of seats."

"D37: "Committee" (July 2017), (Tonyloco). I know it is a fringe venue, but the Donmar is a ridiculously uncomfortable theatre. My full-price bench seat in the side stalls (D37) had no room for people to pass (even when I was standing up), and had an obstructed view of the closed circuit TV screen showing Camilla Batmanghelidjh when she was seated at her desk... which was most of the time..."

Dress Circle

Layout

Called the Circle in this theatre.

Two rows of raked seats face the stage, with a further three rows of seats to either side of the playing area. A reader notes that the benches are individual seats and that, "The seats are high in row C (my feet did not touch the floor) and deep, leaving about a leg width between the railing when pulled down. However, they are an improvement to the benches as they delineate your own seat and are definitely more comfortable to sit on."

The monkey agrees.

Legroom

Adequate throughout the circle, as new higher seats allow "dangle room" for everybody.

Row A is suitable for those up to around 5ft 8, with centre block seats having slightly more than the sides.

Row B should suit those up to 5ft 10 or so - a reader noted their 6ft tall companion was happy.

Row C is unchanged, a six-foot persons could comfortably stand if they wished - those under 5ft 10 will have legs dangling and knees against the wall in front, though.

In both rows B and C those under 5ft 5 or so may have to rest feet on the rail in front. The taller in central row B will also be able to rest arms on the padded rail in front of the seats.

Choosing seats in general

Centre Block: 
Centre block is best in the circle. The rake is good, and this monkey prefers row B to row A as the bar on the front of the circle is less annoying and it feels it's slightly more comfortable. The usual rules on arriving early apply.

Most do prefer centre block stalls row A over these, though, for proximity to the actors. Still, the monkey mantra runs (if legroom is not an issue for A in both levels) row A centre block first though, followed by circle centre block, then circle sides rows A and B or stalls rows B to D, and then stalls sides before circle row C.

Standing space behind row B is also fine for those with strong legs.

Side Blocks: 
Row A is the same price as the centre block. The monkey would go centre block first.

Row B, at third price, is a bargain - the monkey prefers it over stalls at this low price, though some readers like being that bit closer downstairs. Each to their own, feels the monkey on this one.

And then there is row C...

... Row C is located on the sides of the circle behind rows A and B. It is a bench, but some sadist has screwed it half way up a wall and put a wall in front of the row to lean on. Gymnastics are involved to get onto and stay on the seats, and the row is so narrow that you get to know fellow members of the audience very well while clambering to your seat. Even cheaper than row B, so worth grabbing.

C 12 and 35 have a bit of metal on one side, that works as an arm-rest, if required. Be careful getting off these two seats, though, as there is quite a drop if you misjudge it and land on the staircase.

Notwithstanding these comments the view is often very good and offers exceptional value for money. Theatremonkey notes, however that sometimes staging means you lose a part of the view, and also that esteemed members of the silverhaired community do sometimes have real problems sitting here.

A further issue is that prime row C seats 10, 11, 12, 35, 36 and 37 are now second price. About fair, feels the monkey. You can sit a row further forward for the same bananas. Worth doing as you should always be aware that you could well miss action on the nearside 2 metres of so of stage in row C.

A wheelchair can also be given space in the Dress Circle, but the view is not good, so choose stalls C11 then C31 or W0 instead.

Standing space is behind row B. A reader points out that it isn't suitable for those under around 5ft 10 or so. On a visit in 2015, the monkey observed one 5ft 2 person having problems indeed. A kindly usher suggested that they stand at the side of the theatre instead. Beside row B 13 and 34 is a small area with a rail in front. The view isn't great (missing action at the front near corner of the stage and looking through the circle corner bars) but it is raised and doesn't look over heads.

General hazard notes

A thick bar runs around the front of this circle, which like the stalls, surrounds the stage on three sides. This bar is treble height at the corners affecting the view from row A seats 12,14,33 and 35. For musicals, TV screens are also suspended in front of this bar, further affecting views. A further bar runs across row B, but does not affect the view at all. 

Folk leaning forward blocking views from rows behind.

The comedy location of row C.

Missing around two metres of the front or side of the playing area.

Be aware that row I on the seating plan is a standing place, not a seat.

Changes for the current production

Will appear here.

Readers comments

"Row A: "The Recruiting Officer" (February 2012). We sat at the low numbers end of row A. Admittedly it's not totally comfortable but leg room was fine, and we didn't feel we lost much due to the rail. At £15 they were a bargain really, worth a bit of bottom wriggling towards the interval!"

“A8 and 9: “Berenice,” (Chris B). This theatre is incredibly intimate and atmospheric and the circle is very close to the stage area. These front row seats offer an incredible unobstructed view, close enough to practically touch the actors. They are officially side on but as the actors face all four sides of the theatre this doesn't detract at all. The legroom is plentiful too. It's worth noting that there are no armrests and individual seats aren't clearly defined as the seating is padded benches.” 

"A9 and 10: on the side but a pretty decent view and no real problems space-wise. In fact they were the most comfortable bench seats I have ever sat on in a theatre."

"A 14 and 15: (HB). The seats offered good value for the £22 paid but the view is restricted when the cast are at the front of the stage."

"A 20 and 21: "Anna Christie" (September 2011). Central row seats.  Sounds perfect, but in reality the bar, the wire mesh panel and the lights rigged in front of us meant we were constantly having to shift around to get an unobstructed view of the first third of the stage. Really wish Donmar would install clear glass/plastic panels to make viewing easier. As always with upstairs seating at the Donmar, uncomfortable and with a very long first half quite a lot of numb bums by the interval. Side stall seats are better value for money."

"A26: (Mark). Got this through the student free ticket scheme at the Donmar. I prefer the side circle row B for the money you save, especially as now they are only £10. This seat was good though, wouldn't mind sitting here again."

"A38 and 39. Apart from the actors' bow at the end we never saw the actors' faces. Second time I sat in the stalls, it was like seeing a different play."

"A38 and 39: "Henry IV" (October 2014). Was pleasantly surprised by both the view and comfort of seat. Unlike the stalls which have hard plastic chairs the circle had individual padded seats. Being only 5 ft 3 I found I could sit back in my seat to view the entire show. The couple of times action was below me. I discovered I could see beneath the bar. A bargain at £10."

"A44: Good view in general but the bar is so annoying! Much prefer Row B where (for some reason) you can see things a lot better."

"Row B: "Anna Christie" (August 2011), (Gary). Excellent view from row B centre circle."

"Row B: "Privacy" (April 2014). The bench seats in Circle at the sides have now been replaced with pull-down individual seats. I always sit in row B, usually to the left of the stage (from the actors view). The new seats are high (my feet did not touch the floor) and deep, leaving about a leg width between the railing when pulled down. However, they are an improvement to the benches as they delineate your own seat and are definitely more comfortable to sit on."

"B5: (Mark - regular contributor). Great seat and what a lovely venue. You miss little bits of the action but then in a space like this every seat does."

"B6 and 7: "Welcome Home Captain Fox" (April 2016) (thespyinthestalls.com). This was (surprisingly) my first visit to the Donmar so wasn't sure what to expect. The seats in the sides of the circle are (as mentioned before) quite high (as in high above the stage and quite high themselves). For the seat issue you can rest your feet on the bars in front, for the height above the stage, not much you can do but hope that row A don't lean forward. Alas for me two ladies in front (one who had also kindly brought along her Itsu lunch to eat) with enormous hair kept leaning forward. So whereas I'd probably have missed a small amount of action stage left, I missed quite a bit. The seats themselves didn't seem overly comfortable to me and due to the solid bars in front it's quite tight if anyone wants to pass. Unless the seats are a real bargain, I'd avoid the sides of the circle again and either go row A circle middle section or the stalls."

"B7: (Mark - regular contributor). Was pretty comfortable, being only 5'6 I could make good use of the rails in front of me and sit with feet up or down, mainly the up option. From this side of the playing area you get a very good view of Mr Thaxtons amply filled underwear in the first scene. (worth the ticket price alone). (Not always an extra that will be available, the monkey notes)."

"B8: "Spelling Bee" (February 2011), (Mark). As always excellent value for money, with a great clear view."

"B12 and 13: "Private Lives" (April 2023). Good legroom (although avoid if you have a bad back because you rest your feet on the railings rather than flat on the floor) and decent view. It was comfortable enough for me. I think the 6’ man was fine too (he often isn’t).  A little of the front of the stage is cut off (not cured by leaning) but nothing too essential to the plot happens there. Would definitely recommend sitting on this side rather than the other for this production."

“B14: “Private Lives” (April 2023), (Broadway John). Had perfect view when they were in the balcony. Had to lean sometimes when they were on the main floor. Aisle seat."

"B20 and 21: "Henry V" (February 2022). Very comfortable with good leg room and an excellent view of the production."

"B23 and B24: plenty of leg room, the back rest was too upright for me, we was last to be seated and the people on each side had left enough room. A good view of the stage, apart from the front end was blocked by the bar that you mention. but, there was not much happening there, so it did not spoil the play I saw. I would recommend the Domar to anybody that would like to see their favourite actor close up. A very nice intimate theatre!"  

“B33: “The Human Body,” (Broadway John). Good view. Tolerable legroom.”

"B 38 and 39: 'Passion' (September 2010), (Lee). If you are going for Circle seats and have to take a side block, an important scene took place right below the circle on the side we were sitting. We were in the Circle row B seats 38 and 39 which for most scenes was an excellent view but for this scene the people on Row A leaned forward blocking some of the action."

Reader agrees,
"B43: (David Hurrell). is fine."

As a day seat, another reader says,
"B45 (paid £15). Note this is the furthest seat on the edge, but I didn't feel I missed out. At one or two times through the play my ears kind of zoned in on a slightly annoying buzzing noise (lighting, thinks the monkey) coming from my left, sounded like some sort of air cooler but could only really hear it in the very quiet parts. If you have a bizarre sense of hearing I can imagine it becoming quite annoying. It didn't really bother me though."

"C6: "Limehouse" (February 2017). Bargain for £10. These will be my go to seats at the Donmar now - no need to pay more."

"Standing: (Taljaard). The standing at the Donmar is in the circle and there is a rail to lean on, so it was fine and an absolute bargain!"
"Standing: "Anna Christie" (August 2011). The £7.50 standing tickets are the bargain of the West End if your bladder and your legs can last. The standing tickets don’t allocate you a specific place at the back – it’s first come first served. So if you want to stand in the middle rather than towards the sides, you should get there sharp."

Notes best seat advice

Total 252 seats. Some standing places also sold at box office discretion.

Air-cooled auditorium. Not as effective as proper air conditioning, so be prepared for a hot and uncomfortable time in the height of summer, alas. To minimise the effects, seating in the front stalls is normally coolest as heat rises - and is also trapped in Circle overhangs. Just a bit of advice from someone in the theatre industry who has a grasp of physics...

Induction loop system and Sennheiser infrared. Signed performances regularly, occasional audio described performances. Guide dogs welcome in auditorium or dog sitter available. Wheelchairs have a ramp offers access to the narrow foyer corridor, with a lift to all levels. The adapted toilet is in the circle when the most used adapted seat / wheelchair space is in the stalls!

Wheelchair users and other registered disabled theatregoers can book their seats and enquire about concessionary prices that may be available to them on 020 3282 3808 or made to access@donmarwarehouse.com. At the moment Deaf patrons can reserve tickets using email. Then they can either buy the seats by visiting the theatre in person, ask someone to call to pay by phone on their behalf or alternatively contact the venue via Text Reply. PLEASE NOTE THAT THIS PARTICULAR PHONE NUMBER AND EMAIL ADDRESS ARE ONLY FOR ASSISTED PERFORMANCE USERS, AND ARE NOT TO BE USED FOR GENERAL PUBLIC BOOKINGS.

https://www.donmarwarehouse.com/visit/access/ has comprehensive details, plus a helpful "Visual Story" download for those on the autistic spectrum.

No food except confectionery and Ice Cream.

Two bars, Stalls and Circle.

Six toilets. All unisex. Ground Level, 5 cubicles. Stalls 1 with 1 cubicle, 1 with 2 cubicles; Circle 1 with 1 cubicle, 1 with 5 cubicles, 1 adapted unisex.

General price band information

Theatres use "dynamic pricing." Seat prices change according to demand for a particular performance. Prices below were compiled as booking originally opened. Current prices are advised at time of enquiry.

Based on paying FULL PRICE (no discount!) for tickets, site writers and contributing guests have ALSO created the colour-coded plans for "value for money," considering factors like views, comfort and value-for-money compared with other same-priced seats available.

For a full discussion, opinions, reviews, notes, tips, hints and advice on all the seats in this theatre, click on "BEST SEAT ADVICE" (on the left of your screen).

On the plans below:
Seats in GREEN many feel may offer either noticeable value, or something to compensate for a problem; for example, being a well-priced restricted view ticket. Any seats coloured LIGHT GREEN are sold at "premium" prices because the show producer thinks they are the best. The monkey says "you are only getting what you pay for" but uses this colour to highlight the ones it feels best at the price, and help everybody else find equally good seats nearby at lower prices.

Seats in WHITE, many feel, provided about what they pay for. Generally unremarkable.

Seats in RED are coloured to draw attention. Not necessarily to be avoided - maybe nothing specific is wrong with them, other than opinions that there are better seats at the same price. Other times there may be something to consider before buying – perhaps overpricing, obstructed views, less comfort etc.

Please remember that cheaper seats often do not offer the same view / location quality as top price ones, and that ticket prices are designed to reflect this difference.

By value for money:

Natasha, Pierre & The Great Comet of 1812 / Backstroke / Intimate Apparel

 

 

By price:

Natasha, Pierre & The Great Comet of 1812

Those aged 16 to 25 can apply to the Donmar Warehouse Mailing List to buy tickets for £20 at all performances. I.D. is required when collecting tickets.

For all performances EXCEPT on Press Night: Every day at 10am, a number of tickets at all prices will be released for the corresponding day the following week, bookable by phone 020 3282 3808 or online www.donmarwarehouse.com.

 

Backstroke / Intimate Apparel

Those aged 16 to 25 can apply to the Donmar Warehouse Mailing List to buy tickets for £20 at all performances. I.D. is required when collecting tickets.

For all performances EXCEPT on Press Night: Every day at 10am, a number of tickets at all prices will be released for the corresponding day the following week, bookable by phone 020 3282 3808 or online www.donmarwarehouse.com.

 

 

 

Notes

The Dress Circle is called the "CIRCLE" in this theatre.

 

Please note: The seating plans are not accurate representations of the auditorium. While we try to ensure they are as close to the actual theatre plan as possible we cannot guarantee they are a true representation. Customers with specific requirements are advised to discuss these with the theatre prior to booking to avoid any confusion.

-0.1280831, 51.5139331

Nearest underground station

Covent Garden - Piccadilly (dark blue) line.

Leave the underground station and turn to the left. Walk straight on to a road called Long Acre. Neal Street, the road you will want is to the right. If instead of a road you see a pedestrianised area, Wrong way, turn around. 

Cross Long Acre to the other side of the road from the underground station. Turn to your right. Keep walking, the first turning on your left is Neal Street - as the picture above indicates. Take it. If instead you come to Langley Street first, wrong way.

At the end of Neal Street is a three-way road junction. Look and turn to your left. The middle road is Earlham Street. Go down it. The theatre is a tiny shop doorway about two-third of the way down, on the left side of the road, with a neon name sign above. If you enter a pedestrian zone, or Shelton Street, wrong way.

 

Buses

None stop outside the theatre. Number 14, 19, 24, 29, 38 and 176 stop on Charing Cross Road or Shaftesbury Avenue. As a starting point, stand in front of the Palace Theatre - home of Les Misérables. 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 walk past the restaurant to Shaftesbury Avenue. This is the only road to have traffic divided by heavy railings in the centre of the road. Got it, good. Turn right into Shaftesbury Avenue, Cross over West Street, then notice the next road, Earlham Street, right next to it. Walk down Earlham Street, passing the Mountbatten Hotel. At the top of the street is an open space with a column monument in the centre of it. The Cambridge Theatre is behind this. Careful - in the absence of kerbstones cars and pedestrians mix on the cobbles of this junction. Cross the road to the Cambridge Theatre and take the road to the left of it, Earlham Street. Walk along the side of the theatre and pass entrances to a shopping mall. The Donmar is beyond the mall, a tiny neon signed doorway.

Taxi

A rank for Black taxis is at Charing Cross Station - a good distance from the theatre. Walk up Earlham Street to Charing Cross Road to increase your chances of hailing a taxi in the street.

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. continue up it, crossing West Street. Just past that is Earlham Street. Turn into it and walk to the end, crossing Tower Street. Ahead of you is an open space (Seven Dials) with a pillar in the centre of it. The Cambridge Theatre is clearly visible behind that.
Careful - in the absence of kerbstones cars and pedestrians mix on the cobbles of this junction. Cross the road to the Cambridge Theatre and take the road to the left of it as you faced it across the square, Earlham Street. Walk along the side of the theatre and pass entrances to a shopping mall. The Donmar is beyond the mall, a tiny neon signed doorway.

The "Theatreland Parking Scheme" may be available. See www.q-park.co.uk for details and to book. At this car park, parking under the "Theatreland Parking Scheme" allows a 50% discount in cost for entry after 12 noon and for a maximum of 4 hours (after that parking is at the normal rate).

If you choose the "Theatreland Parking Scheme", you must book in advance at www.q-park.co.uk and have a theatre ticket stub dated for a theatre performance on the day you are parking there.

For a full list of car parks and theatres that participate in the 50% off theatreland scheme see www.q-park.co.uk.

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