Buying Tickets Online:	Other Box Office Information
Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.

Theatre Box Office: Ambassador Theatre Group, the theatre group's own website provide the service for this theatre. This site allows you to select your own seats from those available.   Booking fees per transaction for online bookings: A £3 per booking, not per ticket, transaction fee applies.     Other Online Choices (with S.T.A.R. genuine ticket agencies): www.ticketmaster.co.uk operate another alternative, with a £1.50 per ticket booking fee and the same £3 per booking, not per ticket, handling fee as the box office charge. This system allows you to choose your own seats from the selection the company has available. When the box office does not have what you require, the Theatremonkey Ticketshop telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom) offers an extra selection of £20 seats with a £3 per ticket booking fee. Slightly higher than the box office, but lower than most agencies. Worth checking if the box office cannot provide the exact tickets you might require. Note that this system will confirm exact seat numbers prior to purchase. Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer £20 seats with a £6 booking fee per ticket. 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. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available. Lastminute.com offer £20 seats with an £3 booking fee per ticket (£4.50 on £30 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 £20 seats with a £5 booking fee per ticket. 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.   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. Offers may be available click here.

Theatre Box Office: Telephone: 0844 871 7632 Operated by the Ambassador Theatre group's own phoneroom from 9am until 10pm (Sundays 10am until 8pm). Outside these hours the Ticketmaster agency answer calls on their behalf. Booking fees per transaction for telephone bookings: A £3 per booking, not per ticket, transaction fee applies.   For personal callers or by post: Trafalgar Studios Theatre, Whitehall, London. SW1A 2DY No booking fee for personal callers. Special Access Needs Customers: Wheelchair users and other registered disabled theatregoers can book their seats on 0871 297 5477 and enquire about concessionary prices that may be available to them. The wheelchair users line connects directly to the theatre chain central phoneroom in London during working hours. See Notes.

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Seating Plan

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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.

Seating Plan Diagram

Notes

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. STALLS  Layout: 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. The layout can theoretically be changed... but the monkey hasn’t seen it happen... yet... There is a shallow but probably sufficient rake to the seating, as seats are on steps. It is probable that only an exceptionally tall person in front of you is likely cause a problem. Legroom: Apart from the front row, and other seat numbers highlighted below, 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. The whole of row A, plus row B seats 20, 21, 22 and row C 9 to 12 and 28 to 30 have nothing in front. Row B seat 23, and row C seats 8 and 13 have legroom for one leg. 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. Row D is raised, with a bar to rest feet on, which some readers find uncomfortable. Choosing Seats in General: There are no pillars or other obstructions to interrupt the view. Choose seats by central location first, and then by legroom. 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. 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. 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. 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. Another issue 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. A reader also noted that you miss some scenery if it is against the back wall. General Hazard Notes: 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 of bench... No aisles next to extreme side block ends – not for claustrophobics. Row D is raised, shorter readers may find the footrest a problem. Sound desk behind row D. 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!" Changes for the current production: Row A central seats 7 to 16, B 8, 9, 20 and 21 are £10 more than all other seats. Once A 3 to 6 and 17 to 20, plus the few other seats with good legroom are gone - or if you just want a central view - the monkey feels it just about worth paying, but notes it is far more expensive than usual. Outermost side seats are not discounted, so take central seats first, then whatever remains as the furthest away from the end of the row for the price, it feels.   Reader Comments: “Auditorium: (James). 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." "Auditorium: (Mark). 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." “A1 and 2: (December 2005), (Kevin Hailes). We 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. (A teething problem since corrected! – editor). "A3 and 4: "Belongings" (June 2011), (Clive). 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." "A5 and 6: Barbershopera" (January 2011). I paid £10 through the GILT ticket offer (runs January to March each year). Excellent legroom (though you can't stick your 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." "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." “A15 and 16: Great." "B1 to 4: Barbershopera" (January 2011), (Clive). 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." “B12 and 13: (Regular reader). 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." "B20 and 21: “Cabaret Sauvignon” (September 2012). We paid £10 each using the ATG Theatre Discount card. Excellent legroom as there is no seat directly in front and we had a perfect and unobstructed view of the actors in this small theatre. The seating is shared (i.e. two seats per one pull- down bench) which isn't much of a problem if you're in an even numbered group." "C21: 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." "C27 and 28: (Pip). 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." "D1: "The Promise" (December 2012). I don't think you mention on the site that the whole of row D is at "Bar Stool" height with a metal bar under the seats to rest your feet on. I found this OK but a lady of mature years on the row had big problems. At this play, from D1 the view of the centre of the stage is fine, but you can't see anything of the wall at the rear of the stage or the entrances and exits. So it was a bit of a surprise to me at the interval to realise there was actually a set! Felt to me that this seat should be sold as restricted view, you are missing about 1/3 of the stage. Most of the action was played in the centre, but still a bit annoying."   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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Getting Here

Getting to this Theatre

Find this theatre on a Street Map

Nearest Underground Station

Buses

Car Park

Nearest Underground Station: Charing Cross - Bakerloo (brown) and Northern (black) lines. Also Main rail network terminus. For a photograph illustrated version of this walking route, click here. Leave the station by following signs from the platforms to the STRAND street exits. Walk straight ahead into the underground shopping arcade and keep going straight on into the light. If, underground, you pass Davenports Magic shop, turn around and walk the other way. Take the left-hand staircase up to street level. In front of you is a very busy road, the Strand. Brook Street Employment Agency must be on your right as you face the road. If you see a sidestreet, with Brook Street Employment Agency on your left, turn around and walk towards the busy road instead - you took the wrong stairs. Now facing the busy road: Walk to it and turn to your left. Walk towards Trafalgar Square - the big open area in front of you! You'll cross the front of Charing Cross station as you walk there, so mind out for the taxi entrances. Go straight on, and follow the street as it curves. Use the first  pedestrian crossing that you come to to cross Northumberland Avenue. Once over it, turn slightly right (so you face into Trafalgar Square) and follow the path around the big building in front of you.  Once around it, bear left at the next street you come to. Use the pedestrian crossing to cross to the theatre, which will be ahead of you to your left down the street called Whitehall.

Buses: 3, 11, 12, 24, 53, 77, 77A, 88, 91, 139, 159 and 453  stop nearby.   Taxi: A rank for Black taxis is at Charing Cross Station - a short distance from the theatre. Best chance of hailing one is in the street outside or walk up to Trafalgar Square.

Car Park: Spring Gardens. On leaving the car park walk into Trafalgar Square. The first major road you come to is Whitehall. Turn down it and the theatre is clearly visible in the same side of the road. 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.

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Performance Times

Ticket Prices

Where to Buy Tickets

Seating Plan

Seat Opinions

Getting Here

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