| This theatre has flexible seating. For the current season this
is the
Seating Plan. On first viewing, the monkey gained the following impression. Obviously it
takes time for a new venue to "settle in", and reader comments are
particularly welcome: Contact Us.
Imagine the Donmar Warehouse Theatre indulging in a romance with a cute
little Edinburgh Fringe venue. The Trafalgar Studio Two is most certainly how
any offspring would look. A small, black painted room in space that was formerly
the rear stalls of the old Whitehall Theatre. The low ceiling was originally
that of the Whitehall dress circle, and is now the floor of Studio One above.
The cornflake box shaped space is compact, with attention focussed on a wide but
shallow stage space at floor level. The sort of space that any director would
want to try small but intricate theatrical experiments in, feels the monkey.
Like the Donmar Warehouse stalls, seating is on three sides of the action. It
comprises modestly comfy padded "tip up" benches that can be moved to suit
production needs. No arm-rests between seats, and each bench tips to provide two
seats - allocating about 50cm per person, guesstimates the monkey. Arrive early
to stake out your claim on your portion. There is a shallow but probably
sufficient rake to the seating, meaning that only an exceptionally tall person
in front of you is likely cause a problem.
Reader Kevin Hailes found a teething problem in December 2005 (since corrected!):
"We had row A seats 1 and 2 and ended up having a row with a woman who was
plonked right in the middle. Let me explain - the seats are pull down style and
each one is supposed to seat two people. The seat numbers are on the underside
of each pull down section. Rather bizarrely seats 1 and 2 on row A also have
number 3 on them as well - consequently 3 people on one pull down section
designed for two."
Beside him, reader Clive notes, at "Belongings" (June 2011),
"A3 and 4: A side view, but with a good view of everything as I usually
find in this intimate space. Legroom in the front row is impeded only by
any caution related to a desire not to trip up any actors straying too
close."
Next along the row, another reader says (for "Barbershopera"
January 2011),
"A5 and 6: I paid £10 through the GILT ticket offer (runs January to
March each year). Excellent legroom (though you can't stick you legs out
completely because otherwise you'll be in the performers space) and
excellent view, feels like you're part of the action! The seating is a
bit strange because each pull-down seat is meant for two people (with no
separating arm rest) which might be awkward if you're next to a
stranger. Even at full price (£20) these would be superb value for
money."
Behind them, at the same show, reader Clive adds,
"B1 to 4: The seats are exceptionally close to the action as usual in
this intimate space. The view is excellent even from the end of the side
row, especially for a show like this where the performers are constantly
moving around to face all sides. However the seats are a little
uncomfortable and the leg room is poor in this row."
There are no pillars or other obstructions to interrupt the view, the only
drawback is that at the extreme ends of the side blocks - rows A to D seat 1 and
row A22, B29 and C39 - the rows end not in an aisle but metal barriers. Some may
find this either claustrophobic or mildly irritating - the monkey didn't, but
thought others might like to know. Shortest people may find the corner end in
their eye line, it felt.
The central block of seats probably should be taken first purely as the
actors may choose to centre performances, but the side blocks most likely won't
miss out on anything, being such a small space. Prime in the centre block are
row A, row B seats 20 and 21 and row C 9 to 12 and 28 as they have the most
legroom. Nothing in front of any of these seats, take row A first, then B, then
C 28 or 12 to 9 in that order for maximum comfort.
Regular reader and observer James says of his first visit,
"I really really liked it - a bit like Jermyn Street but better as it's
been designed as a space rather than making the best use of an existing
space. It was big enough for some dancing, without fearing being kicked
in the face like at the Union, yet didn't lose the studio intimate feel.
However, the tip-up benches seem to me totally unnecessary and just a
bit weird - there really isn't enough space allocated for every person.
Luckily I'm not big and neither were those around me, but anyone even a
little large is going to be uncomfortable. For "State Fair" (the show I
saw in August 2010), the metal
barriers have been removed (replaced with fake wooden fences) but these
were low enough not to protrude into view really.
As regards sightlines etc., I'd say it's fine up to A19/B26/C26 then
A/B/C/D4 - but further towards the stage than this and you'll be seeing
a lot of backs of heads. As the stage is deeper than most studios with
this type of seating sitting on the sides is not such a problem."
A reader rated A15 and A16, "great."
Another opines,
"Seat A9. I would recommend sitting along the "front" rather than the
sides. At the production I saw in October 2009, it would appear people
at the far sides of the space would have missed out on a lot of the
facial expressions when he came forward. With every seat the same price,
definitely take the sides only if the front block has no seats left."
One regular reader reports,
"Studio 2 is such a wonderful, intimate space, it's almost like 3D TV,
although there is a problem with space and it was very stuffy. A group
of us sat in the middle of Rows A to C in the front block. A friend and
I were allocated B 12 and 13. I actually found the seats quite
comfortable despite there being absolutely no leg room to speak of.
Others sat in Row A seemed to get the best deal and I would certainly
recommend anyone taller than 5ft 9, to try and sit there. In terms of
sight lines, there is nothing to really worry about as the space is very
intimate and the actors are actually so close, you can almost touch
them. It was also very hot and stuffy and so I would recommend wearing
loose, comfortable clothing."
Reader Pip says,
"Sat in C27 and 28. The fact
that most the seats are a joint folded chair it was an amusing day. As
we were at the end at a stairwell we had lots of legroom but letting
people past was a nightmare. Because there was no legroom to get to the
other seats, you BOTH have to stand up at the same time so the seat goes
up, and then BOTH sit down at the same time otherwise the chair hits the
back of your legs as the other person leaves you standing. Of course the
view is amazing and you can see everything (it is a tiny venue). Lovely
to be so close and up personal with the cast. Comfortable seats but not
the best."
Next for comfort are row C seats 29 and 30. These are at the top of an aisle,
at a forty-five degree angle to the stage. If you are happy with the slightly
different viewing angle, good hunting may well be found here, feels the monkey.
In the side blocks, row B seat 22 also has nothing in front of it and should be
your next choice, along with side blocks row A.
Row B seat 23, and row C seats 8 and 13 have legroom for one leg, as the row
in front is "staggered," beginning half way across the width of these seats. In
B23 and C13 the space is on your right side, C8 on your left - check when booking
that nothing has been altered, though, if such detail is vital to your comfort,
as things can change in any flexible venue.
From C21, another reader reports,
"The two-seat fold-down benches just aren't big enough for two people.
You are literally rubbing shoulders and thighs with the people sat on
either side of you. The two seats next to me (C19 and C20) were occupied
by a married couple. One of them had to lean forward throughout the
whole play because there wasn't enough room for both of them to sit
back.
This was my first visit to this venue. Perhaps it was due to the setting
of this particular play, but the experience was akin to inviting a group
of actors round to perform a play in your living room - I liked it."
Moving round to the side blocks, once past the legroom of row A, the other
item of note is to be aware that row D has a sound
control desk behind it. Purists may dislike this, though it is high enough
above the row not to bother any but the paranoid who may fear problems from "on
high!"
Once the "legroom lovers" and pedants have been satisfied, of the rest of the seats, the
monkey would take centre block row B then C first, followed by aisle seats in
the side blocks.
Apart from the front row, and seat numbers highlighted in other rows, legroom
in all other seats is extremely tight. For someone 5ft 7 there is minimal gap
between the edge of your seat and the one in front once sitting. For anyone much
taller this could well become exceptionally uncomfortable quite quickly,
especially when the auditorium is full.
Regular reader Mark advises,
"If you are tall, go for a seat on the aisle. I am 6ft 2 and have never had any
real problems with leg room apart from in this studio."
Notes
Seats 98 approximately, depending on production
demands.
No food except Ice cream and confectionery.
Two bars; Foyer and Stalls. Foyer bar not always in use.
Barfly Lucy comments that:
"The Stalls bar was good, although tended to get a bit busy closer to
the show, it's almost like a 'holding pen' for people to wait before they go in because
there's not really a foyer."
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.
4 Toilets; Stalls leading from the bar: 1 gents 2 cubicles, 1 ladies 3
cubicles; At circle level near the entrance to the highest rear rows of the
theatre, there is another: 1 gents 1 cubicle, 1 ladies 4
cubicles.
The fabric covering the seats is bright red, being the favourite colour of
benefactor Christina Smith, without whose generosity this theatre would not have
been possible. The monkey salutes her here!
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