| 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."
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.
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. 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.
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."
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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