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.
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.
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.
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.
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.
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.
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.
"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. "