Name: Macbeth
Start: 2024-10-01
End: 2024-12-14
Location: Harold Pinter Theatre

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All Ages. Under 5s cannot be admitted. Anyone aged under 16 must be accompanied by an adult over 18. 

Macbeth - LON [39455] 

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Stranger Things: The First Shadow

Brought to life by a multi-award-winning creative team, who take theatrical storytelling and stagecraft to a whole new dimension, this gripping new adventure will take you right back to the beginning of the Stranger Things story – and may hold the key to the end.


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Why Am I So Single?

From the writers of SIX, Toby Marlow and Lucy Moss, Why Am I So Single? is a brand-new British musical where the lonely little lives of two BFFs are transformed into an all-singing, all-dancing extravaganza about dates, mates, and celebrating love in all its forms.


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Tina - The Tina Turner Musical

From humble beginnings in Nutbush, Tennessee, to her transformation into the global Queen of Rock ‘n’ Roll, Tina Turner didn’t just break the rules, she rewrote them. This new stage musical, presented in association with Tina Turner herself, reveals the untold story of a woman who dared to defy the bounds of her age, gender and race.

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The Tempest

The Jamie Lloyd Company presents a joyous and captivating season of Shakespeare in London’s iconic Theatre Royal Drury Lane.

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Mrs. Doubtfire - LON [24395]  Product Media

Wonderful news, poppets! The beloved family film [*Mrs. Doubtfire*](https://www.londontheatre.co.uk/show/24395-mrs.-doubtfire) about a cross-dressing nanny is just as joyful a watch in this new [stage musical incarnation](https://www.londontheatre.co.uk/theatre-news/news/everything-you-need-to-know-about-mrs-doubtfire-in-the-west-end), which had its Broadway premiere in 2020 and now looks set to become a popular West End fixture. Appropriately enough for a tale all about transformations – inside and out – it’s surprisingly inventive, refashioning the original just enough to make it thoroughly theatrical and a smart 21st-century show.    

Those tweaks include giving the women in the story more of a voice. The opening number, “That’s Daniel,” establishes struggling actor Daniel Hillard as the endlessly fun dad – but, by being a man-child, he piles pressure onto already-overburdened wife Miranda, as she explains to their therapist (Daniel has ditched their sessions). Not having boundaries is affecting their three kids, too: youngest Natalie is anxiously biting her nails, Christopher is getting poor grades, and Lydia wishes her dad would grow up.

That creates a more satisfyingly balanced narrative. Though she’s still a bit of a killjoy, Miranda isn’t the villain here; you sympathise with her making a difficult decision to divorce Daniel and break up the family, just as you then believe his sincerity in the sweet song “I Want to Be There,” in which he pleads with the judge to let him stay in his children’s lives.

Likewise, when Daniel first approaches his brother Frank for help in transforming him into an elderly Scottish woman, Frank’s husband Andre rightly calls him out on his shady plan to deceive Miranda. A later nightmare sequence, involving multiple Mrs. Doubtfires doing *Riverdance* (no, really), cleverly riffs on her name to point out that Daniel is “playing with fire.”

None of that takes away from the zany, high-energy farce in Jerry Zaks’s dynamic production; rather, it gives you permission to fully enjoy it. Gabriel Vick is simply astonishing in the title role, coming close to Robin Williams’s sheer genius as an impressionist, while also singing, dancing, managing numerous quick-changes, and putting in a strong dramatic performance. 

He’s both endearing and maddening, petty in his jealousy of Miranda’s new boyfriend Stuart, yet always a loving father, if misguided. The actual Mrs. Doubtfire latex mask is rather creepy, but Vick makes the character a lovely one: warm, a tad eccentric, but firm in her convictions and – unlike Daniel himself – a really good listener. She makes him a better man. 

The engaging adaptation by brothers Wayne and Karey Kirkpatrick and John O’Farrell features several contemporary updates (this *Mrs. Doubtfire* knows how to rein in the kids by switching off the Wi-Fi) and tailored British gags. Among Daniel’s impressions are Prince Charles squawking at a pen and Boris blustering about parties, while Glastonbury’s infamous loos get a shout-out.

When Daniel learns to cook by watching a video online, the host pops up in his kitchen and leads a lively tap number (exuberant choreography throughout by Lorin Latarro). A butter-stroking Nigella also appears – and is then interrupted by a commercial for IBS medication. It’s one of several instances where the creative team brilliantly finds a fresh theatrical, and modern, language for this familiar tale.

I also adored the ecstatically camp disco makeover number, inspired by Andre’s love for Donna Summers, which has winking fun with influential female icons – from Princess Di and Cher to Julia Child. Teenager Lydia gets an angsty rock song, buff  Stuart expresses his feelings while lifting weights (his gym buddies turn into earnest back-up singers), and Miranda, now a fitness wear designer, celebrates body positivity while leading a fashion parade. 

But the definite highlight is an uproariously over-the-top flamenco number that elevates the film’s infamous restaurant scene, with Daniel hopping between his two guises. Lisa Mathieson is an absolute riot as the singer lambasting the faithless ex who lied to her – further highlighting Daniel’s own dubious actions, but in a deliciously flamboyant way.

The whole company is strong here. As Miranda, Laura Tebbutt supplies powerhouse vocals; Cameron Blakely is hysterical as Frank, who involuntarily shouts when he lies (a fantastic farcical addition); and Marcus Collins is a showboating Andre, but also strikes a serious note when he talks of their struggle to adopt as a gay couple, while Daniel risks losing his own kids with his shenanigans. 

There’s also great support from Carla Dixon-Hernandez as a fiery Lydia, Samuel Edwards as sensitive hunk Stuart, Kelly Agbowu as Daniel’s suspicious case worker, Ian Talbot as the creaky kids’ entertainer Mr. Jolly, and Micha Richardson as a formidably humourless TV executive. On press night, Frankie Treadaway was very funny as Christopher, who seems to have inherited Frank’s panicked yelling, and Angelica-Pearl Scott was an adorable pipsqueak Natalie.

David Korins nods to the San Francisco setting with a stylish cityscape backdrop featuring the Golden Gate Bridge, and Catherine Zuber has a ball with the costumes. It all feels celebratory: of self-exploration and identity (although this is very clearly not a trans story, nor does it feel remotely prejudicial), of different types of families, and, finally, of honesty. Well, my dears, the truth is that *Mrs. Doubtfire* is this summer’s sizzling-hot ticket.

*Mrs. Doubtfire* is at the Shaftesbury Theatre. Book [*Mrs. Doubtfire* tickets](https://www.londontheatre.co.uk/show/24395-mrs.-doubtfire) on London Theatre.

[![Book Tickets CTA - LT/NYTG](//images.ctfassets.net/6pezt69ih962/3qAtGOdQq9x3k1WcHlaJnw/90ece91bbe47ed07e142c2e43c7a7a3f/BookTickets-250.png)](https://ticket.londontheatre.co.uk/booking/calendar?product_id=24395&content_product_id=24395&venue_id=127&product_type=show&qt=2)

*Photo credit: Mrs. Doubtfire. (Photo by Manuel Harlan)*

'Mrs Doubtfire' review – this exuberantly inventive musical adaptation is a sizzling-hot ticket

Read our four-star review of *Mrs. Doubtfire* in the West End, starring Gabriel Vick, currently in performances at the Shaftesbury Theatre.

**Shaftesbury Theatre** is an iconic theatre venue in the heart of London's West End. It's been a central part of London's theatre scene since its opening in 1911, boasting more than a century of remarkable performances. Widely esteemed for its architectural grandeur, it ordinarily retains a capacity of 1,400 seats that remain filled with regulars and tourists from around the globe. The theatre has primarily focused on musical-style performances but has also accommodated some premium works of drama over the years. Its historic record includes hosting some of the longest-running shows in London, like 'Hair’ and 'Hairspray'.

**How to get to Shaftesbury Theatre**

Located in the London Borough of Camden, Shaftesbury Theatre is easily accessible by various modes of transport. By Tube, the nearest station is Holborn, a short 6-minute walk away on Kingsway road. Alternatively, for those preferring to travel by bus, various routes stop near the theatre including numbers 1, 8, 19, 38, 55, 98, 242, and N98. If you're driving, parking facilities can be availed at Bloomsbury Square Car Park just 5 minutes away with a pre-booked parking space. If walking or biking, the theatre is within easy distance of several central London locations.

Shaftesbury Theatre - LON

Shaftesbury Theatre

The Shaftesbury Theatre is a historic London venue known for musicals, easily reached by tube and bus, with nearby parking.

Stranger Things: The First Shadow - LON Product Media

The Phoenix Theatre is a West End theatre situated in the heart of London, embracing a rich history of over a century. With a seating capacity of 1,012, the venue emanates elegance with refined gold and bronze interiors along with lush red velvet seats. Known for its magnificent portrayal of widely acclaimed arts from across the globe, the theatre has famously exhibited spectacularly thought-provoking plays and dramatic productions.

Since its inaugural production of Noel Coward's 'Private Lives' in 1930, Phoenix Theatre has circulated a diverse repertoire, from Shakespearean classics to rock musicals like 'Blood Brothers' that ran for 21 years. It also attracts an impressive roster of acting talents, including legendary artists like Dame Judi Dench and Ian McKellen.

**How to get to the venue:**

Phoenix Theatre is easily accessible, just a two-minute walk from the bustling Tottenham Court Road Underground station, which serves the Central and Northern lines. Multiple bus routes through Charing Cross road also connect it well with the rest of the city. Additionally, the nearest NCP car park is situated in Shaftesbury. It's recommended to use public transport due to restrictions on parking in the area.

**Additional Information**

Venue opens 1hr 30min before showtime.
Please arrive with plenty of time, latecomers will be admitted at a suitable point, which may be the interval.

Phoenix Theatre - LON

Phoenix Theatre

The Phoenix Theatre in London's West End showcases a diverse repertoire of theatrical productions, is easily accessible via public transport.

Ages 10+. Under 16s must be accompanied by and sat next to an adult (18+). Children under 3 years will not be admitted. 

Mean Girls - LON [35503]

Mean Girls

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IT’S NOT LIKE A REGULAR MUSICAL. 
IT’S A COOL MUSICAL. 

London's Savoy Theatre is one of the most renowned theatre venues in the heart of the city. This cherished venue exhibits a rich history that dates back to 1881. The Savoy indulges its patrons with a variety of performances, including plays, musicals, ballet, and concerts. The attractive architecture and interior details give the attendees a sense of a grand theatrical experience. The Savoy Theatre prides itself on having introduced electric lights to the theatre world. Remarkable luminaries such as Gilbert and Sullivan have graced its stage. The theatre has a seating capacity of 1,158, split between the Stalls, Dress Circle, and Upper Circle. Dedicated to providing full accessibility, the venue offers services for those with mobility, hearing, and visual impairments.

## How to get to the Savoy Theatre 
The Savoy Theatre is centrally located in London and is easily accessible by both public and private transport. The theatre is easily reachable by bus, tube, and rail services. The nearest tube stations are Charing Cross (Bakerloo and Northern lines), Embankment (District, Circle, Bakerloo, and Northern lines), and Covent Garden (Piccadilly line). For those who prefer buses, services 6, 9, 11, 13, 15, 23, 87, 91, 139, and 176 stop near the theatre. For patrons driving private vehicles, the closest Q-Park car park is available at the nearby Chinatown. The theatre also participates in the Q-Park Theatreland Scheme, offering a 50% discount on parking.

## Additional Information 

Venue opens 1hr 30min before showtime.

Please arrive with plenty of time, latecomers will be admitted at a suitable point, which may be the interval.

Savoy Theatre - LON

Savoy Theatre

The Savoy Theatre is a historic London venue offering diverse performances. It's centrally accessible by tube, bus, and car.

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Macbeth

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Matthew Byam Shaw, Nia Janis and Nick Salmon for Playful Productions, Wessex Grove, Donmar West End, Gavin Kalin Productions and Playing Field today announce the West End transfer of the Donmar Warehouse’s critically acclaimed production of Macbeth. 

David Tennant was born in Bathgate, West Lothian in 1971 and grew up in Ralston, Renfrewshire – just outside Glasgow. At age 16, he won a place at the Royal Scottish Academy of Music and Drama and studied there for three years, one of the youngest students they had accepted. [Read more about David Tennant's career in London here.](https://www.londontheatre.co.uk/theatre-news/west-end-features/david-tennant-on-stage-20-years-in-the-west-end)

On graduating, Tennant’s first professional production was in a production of *The Resistible Rise of Arturo Ui* with the 7:84 Theatre Company. Numerous television appearances followed, including the role of transsexual barmaid Davina in a Scottish TV sitcom, *Rab C Nesbitt*, and the manic depressive Campbell in *Takin’ Over the Asylum* in 1994.

The early 1990s also saw him performing with the Dundee Repertory Theatre before making the move to London in 1994. Here his career began to flourish, making regular appearances with the [Royal Shakespeare Company](https://www.londontheatre.co.uk/actor-profile/royal-shakespeare-company), beginning with the role of Touchstone in [*As You Like It*](https://www.londontheatre.co.uk/show/23078-as-you-like-it-shakespeares-globe) in 1996. Other appearances with the RSC include Jack Lane in *The Herbal Bed* (1996), Romeo in *Romeo and Juliet* (2000), Berowne in *Love’s Labour’s Lost* (2008) and the title role in *Hamlet* in 2008. The latter was adapted into a BBC film with Tennant reprising his role in 2009.

His most recent Shakespearean performances include Benedick in *Much Ado About Nothing* at the [Wyndham’s Theatre](https://www.londontheatre.co.uk/theatres/wyndhams-theatre) with Catherine Tate in 2011, and the title role in *Richard II* for a limited run at Stratford-upon-Avon before transferring to the [Barbican Theatre](https://www.londontheatre.co.uk/theatres/barbican) in 2013. He reprised the role of *Richard II* at the Barbican and in New York in 2016 as part of the RSC’s ‘King and Country’ cycle.

Tennant is probably best known for his television work, notably his performance in *Casanova* in 2005, as supervillain Kilgrave in *Jessica Jones* and as Alec Hardy in the hugely successful ITV drama series *Broadchurch* alongside Olivia Colman. His appearance as Barty Crouch Jr in the motion picture *Harry Potter and the Goblet of Fire* in 2005 is a fan favourite. 

Tennant’s [tenure as the Doctor](https://www.londontheatre.co.uk/theatre-news/west-end-features/a-brief-history-of-doctor-who-actors-on-stage) in *Doctor Who* solidified him as one of the nation’s most beloved actors. Taking over the role from Christopher Eccleston in 2005, Tennant became the tenth actor to portray the role and played the role for 4 years, his final appearance being aired on New Year’s Day 2010. He returned for a one-off guest appearance in the show’s 50th anniversary episode in 2013. Tennant had been an avid fan of *Doctor Who* and has said it was a childhood dream to step into the Doctor’s shoes.

In March 2017, David Tennant returned to the West End’s [Wyndham’s Theatre](https://www.londontheatre.co.uk/theatres/wyndhams-theatre) to play the title role in Patrick Marber’s *Don Juan in Soho*, a modern take on Molière’s classic *Don Juan*.

Tennant played John Halder in *Good* at the Harold Pinter Theatre. Tennant and his co-stars Sharon Small and Elliot Levey all received Olivier Award nominations for their performances. Following this, he will play the title role in *Macbeth* at the Donmar Warehouse.

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Don Juan In Soho [3491]

Don Juan In Soho

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Named after its founder and famed actor-manager Charles Wyndham, the **Wyndham's Theatre** is a classic London West End theatre that stands on Charing Cross Road in the City of Westminster. Opened in 1899, the theatre was designed by W G R Sprague, an architect who was also responsible for many other West End theatres. It has a strong reputation for high-quality drama, which is part of its charm and attractiveness. The exterior contains a beautiful portico in the classical style, while the interior is adorned with luxurious ornate plasterwork. Over its history, Wyndham's Theatre has hosted a wide variety of productions, including 'God of Carnage', 'Art', and 'Donkeys' Years'.

**Getting to the Wyndham's Theatre:**

Wyndham's Theatre is easily accessible by multiple modes of transport. The closest Underground station, Leicester Square, is just a two-minute walk away, offering connections via the Northern and Piccadilly lines. Several bus stop directly outside the theatre, including routes 24, 29 and 176. Limited on-street paid parking is available. National car park at St Martin’s Lane Hotel offers a discount to theatre patrons, but the venue encourages sustainable transport options where possible.

Wyndham's Theatre - LON

Wyndham's Theatre

Wyndham's Theatre, established in 1899, is a classic West End venue known for high-quality drama. It's easily accessible via public transport.

Recommended for ages 12+, no children under the age of 5 years will be admitted.

Good - LON [26063]

Good

Good - LON [26063] Product Media

What would it take for a seemingly good man to be seduced by such a vile ideology as Nazism – to the point of becoming an SS officer and an active participant in its worst atrocities? That’s the premise of CP Taylor’s 1981 play [*Good*](https://www.londontheatre.co.uk/show/26063-good-tickets), now revived in the West End with [David Tennant](https://www.londontheatre.co.uk/theatre-news/news/a-complete-guide-to-good-starring-david-tennant-in-the-west-end) playing the susceptible Halder.

It’s an urgent question that we are all facing in a time where the far right is once again resurgent, as is anti-Semitism, and democratic norms are being eroded across the world. Dominic Cooke has mounted a pacey production, and Tennant is joined by two excellent co-stars in Sharon Small and Elliot Levey. However, Taylor’s play keeps us at arm’s length before finally gripping in a stronger second half.

Halder is a literature professor in 1930s Frankfurt with a wife and three kids, and a mother with visual impairment and advanced dementia. He’s a bit of a loner – Jewish psychiatrist Maurice is his only friend – and he expresses his frustrations with caring for his mother in a pro-euthanasia novel (which Hitler later praises as being written “from the heart”). He begins an affair with his young student, Anne, while also becoming involved with the Nazi Party.

Taylor’s big dramatic idea is to demonstrate Halder’s fatal detachment from reality – which suits the Nazi purpose, as he is able to distance himself from humanity to the extent of extermination – by having him constantly hear music. So he might be talking to Maurice, but he’s also listening to a dance band and carrying on an internal monologue. Maurice doesn’t quite seem real to him; no one else does, except perhaps Anne. The music turns iconvenient reality into fantasy.

Taylor makes the sinister point that it’s passivity, rather than an active enthusiasm for evildoing, that is the real insidious force in society – people turning a blind eye to the persecution of others if it makes their own lives better. Halder personifies that, drifting into horrors while finding a new justification for each step; his casual moral equivocation is chilling.

It’s a harrowing demonstration of how quickly we can adjust to “the new normal” – like Halder and Anne carrying out a loving domestic conversation while she helps him into his SS uniform – and the banality of evil, like Halder sighing when he's summoned for Kristallnacht because he was happily pottering in the garden. Plus there’s an extra charge in this production – with all the actors using their natural accents – from the casting of lovable Doctor Who star David Tennant; surely he could never become a Nazi officer?

But because we spend much of the play essentially in Halder’s mind, switching between past and present, memories and ponderings, the audience is also detached from the supporting characters, who only appear in brief snapshots. That issue is exacerbated by Small and Levey multi-roling (although very ably), further blurring them together, so Halder’s mounting betrayals don’t land with as much as force as they should.

There is also the issue, particularly in early scenes, that Halder never really seems like a “good” person – however reductive that constantly used term might be. He’s too self-absorbed to be a decent friend, and he resents his wife for not being better at childcare and cooking; he even speculates she might have brain damage because she doesn’t conform to that housewife role. His mother is certainly difficult, and the fraught scenes between them are among the play’s most affecting, but it’s still a leap to legitimising mercy killing. 

However, Tennant superbly captures Halder’s latent vanity and self-serving rationalisations, and does well with both the odd moments of humour (including a folk dance) and vulnerable reflections. Though his route to Nazism is hazy – for example, it’s never quite clear whether his career is at stake if he doesn’t join the Party, or if he’s more ambitious – Tennant gives the latter stages, when Halder has walked too far down a dark path to turn back, an icy resolve.

Small is impressively versatile, flipping between Halder’s terrified mother, absentminded wife and alluring lover, plus a bluff SS major. Levey brings pathos to Maurice, whose understandable fears are shrugged off by Halder, although it’s hard not to compare with his recent Olivier Award-winning turn as Herr Schultz in the  more emotionally powerful *[Cabaret](https://www.londontheatre.co.uk/show/23939-cabaret-tickets)*.

Cooke’s production imprisons us in Halder’s psyche by having minimal set (a bleak stone cell from Vicki Mortimer) and flipping between scenes swiftly via Zoe Spurr’s lighting changes. There are no props, just sound effects for something like Halder and Maurice clinking glasses – or, later, the terrible shattering of glass. Panels in the wall slide open to reveal horrors like the flames awaiting the burning of books. It’s a strong framing, and there are striking, resonant messages within this work, but as drama it unsettles when really it should devastate.

[*Good is running at the Harold Pinter Theatre through 24 December. Book tickets for Good on London Theatre*](https://www.londontheatre.co.uk/show/26063-good-tickets)

*Photo credit: David Tennant in Good at the Harold Pinter Theatre. (Photo by Johan Persson)*

'Good' review – David Tennant is chilling as a professor who drifts into Nazism

The Harold Pinter Theatre, established and adorned with Victorian architecture in 1881, is one of the most notable theatre venues in the heart of London. Originally known as the Royal Comedy Theatre, it later adopted the name of 'Harold Pinter', honouring the famous playwright. The theatre is situated conveniently in the centre of the bustling West End, an ideal location for tourists and locals alike. The interior is decorated with an impressive array of original features aligned with its historical era of inception, creating an aesthetically pleasing atmosphere for theatre-goers. The theatre has an audience capacity of 796 people across four levels, with the seats divided into Stalls, Dress Circle, Royal Circle and Balcony. Over time, it has been home to many outstanding performances, including shows like 'The Homecoming', 'Moonlight', and 'Betrayal'. The Harold Pinter Theatre undoubtedly offers a memorable and culturally enriching experience for all those who visit.

### How to Get to the Venue 

Harold Pinter Theatre is accessible and well-connected, located at Panton Street in the City of Westminster. The closest Underground stations are Piccadilly Circus and Leicester Square, both within a short 5-minute walk. Numerous buses service the area regularly, making it straightforward to reach using public transport. For those driving, the MasterPark at Whitcomb Street and NCP at Denman Street are the nearest parking options.

Harold Pinter Theatre - LON

Harold Pinter Theatre

The Harold Pinter Theatre is a historic venue in London's West End, known for hosting many notable performances. Convenient and easily accessible by public transit.

David Tennant - Stars on Stage | London Theatre

David-Tennant-124x124px

Cush Jumbo is set to star in *[Macbeth](https://www.londontheatre.co.uk/show/39455-macbeth)* alongside David Tennant at the Harold Pinter Theatre in October 2024. The pair first starred in the show at the Donmar Warehouse in 2023.

Jumbo has been nominated for two Olivier Awards: her first was for Phyllida Lloyd's all-female *Julius Caesar* at the Donmar in 2012, when she played Mark Antony, and her second was for the role of Hamlet at the Young Vic in 2021. She has also won a Critics’ Circle Theatre Award, UK Theatre Award, Evening Standard Theatre Award, and Ian Charleson Award.

Some of her other theatre credits include *Brixton Stories* at the Lyric Hammersmith Theatre, *Liquid Gold* at the Almeida Theatre, *Love's Labour's Lost* at Shakespeare's Globe, and *Josephine and I*, Jumbo’s debut one-woman play, which premiered at the Bush Theatre in 2013.

On screen, she is best known for playing attorney Lucca Quinn in drama series *The Good Wife*, opposite Julianna Margulies and Josh Charles.


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Cush Jumbo - Stars on Stage | London Theatre

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Harold Pinter LON

Harold Pinter Theatre - TodayTix

The Harold Pinter Theatre opened on 15 Oct. 1881 as a comic opera house. Its name on opening was the Royal Comedy Theatre, though its ‘Royal’ epithet was dropped in 1884.

The Comedy Theatre helped establish the New Watergate Club in 1956, a society which helped overturn the stage censorship enforced by the Lord Chamberlain’s Office. The formation of the Club meant that the plays banned by the Government could be performed at this venue as it was now being run as a private club rather than a commercial entity. Notable plays in this category include Arthur Miller’s *A View from the Bridge* and Tennessee Williams’ *Cat On A Hot Tin Roof*. The censorship was finally overturned in 1968. 

Harold Pinter's works were often performed here: *The Homecoming*, *The Caretaker*, *Moonlight*, *No-Man’s Land* and *The Hothouse* all enjoyed successful runs, and Pinter directed a production of *The Old Masters* here in 2004. After his death, it was thought fitting to bestow the honour of naming a theatre after him, and the name was officially changed on 13 Oct. 2011 to the Harold Pinter Theatre. The Ambassador Theatre Group own the Harold Pinter Theatre.

## Harold Pinter Theatre Seating Information

The auditorium has four levels – Stalls, Dress Circle, Royal Circle and Balcony. The top three levels are a horseshoe shape around the stalls.

The Stalls is a single block of seats, and offers good sightlines. Some seats are impaired by supportive pillars and the overhang of the Dress Circle.

The Dress Circle doesn’t offer a great raking in the seating, but the view is not affected by the overhang of the Royal Circle. 

The Royal Circle seats curve towards the stage more noticeably than the Dress Circle.

The Balcony feels very high in this theatre.

Harold Pinter Theatre - London Theatre

Opened in 1881 as the Royal Comedy Theatre, it became the Harold Pinter Theatre in 2011. It features four seating levels and hosted notable uncensored plays.

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Harold Pinter Theatre

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