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:
FOUR prices for this one. Aside from the usual rules about "paying
whatever, to avoid legroom issues," the monkey would add:
If you don't fancy the most comfortable but "premium" seats in row A,
or B20 and 21 (also two acceptable 'premium' seats),
then pay top price for A 3 to 6 and 17 to 20.
Unless your party consists just of wealthy dwarfs, without Ms White,
skip the other "premium" seats in row B
apart from B20 and 21 - you'll just pay extra for
the discomfort.
Only four seats at the sides are cheap. These are about fair if short.
Take D2 and C38 first - cheaper than the seats in front, for the same
view. Then take B28, C2 or C38. If possible, skip the single seats on
the end of rows C and D for view and comfort.
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."
