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Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

TRAFALGAR STUDIOS TWO
(Formerly the Whitehall Theatre)
For TRAFALGAR STUDIOS ONE, Click Here.



 


SEX WITH A STRANGER (play)
Previews from 1st February, opens 6th February 2012. Ends 25th February 2012.

Adam is stuck in a relationship rut. His over-protective girlfriend keeps him on a tight leash but his mate’s birthday is an opportunity to spend a few hours free of the ball and chain, until a chance meeting in a nightclub offers the opportunity of excitement and a test for Adam’s resolve. Sex With A Stranger explores what happens when the ties that bind start to strangle us.

Phillip Breen directs Russell Tovey, Jaime Winstone and Naomi Sheldons in the world premiere of this new play by award-winning writer and comedian Stefan Golaszewski, presented by The Invisible Dot Ltd.


 

Theatremonkey Opinion:

Not available.


 

Your Reviews: Add your own by clicking here.
Important: Some reviews below can contain "spoilers" - please don't read if this bothers you!

(1 review)

An excellently crafted 80 minutes of theatre. The scenes are very short and although they flash backwards and forwards it is very easy to follow. The play is funny and at times sad. There are some brave lengthy pauses but they allow you to contemplate the dynamics of the relationships that unravel in front of you.

One scene in particular where a shirt is ironed in silence reminded me of the tea brewing scene done by John Malkovich in Burn This and was superbly done.

The cast are very good and the simple set combined with very inventive lighting allows the play to flow very well. Don't let the title of the piece put you off. What you get is a very well observed piece of theatre well executed.

Taljaard


 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

Performance Schedule:
The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.


Monday to Saturday at 7.45pm (6th February 2012 at 7pm)
Thursday and Saturday at 3pm and 7.45pm (no 3pm performance on 2nd February 2012)

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form



All tickets: £25 EXCEPT
1st and 2nd February 2012: all tickets £12


 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

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:
£3 per booking, not per ticket.

 

 

Other Online Choices (with S.T.A.R. genuine ticket agencies):

www.ticketmaster.co.uk offer an alternative with a slightly lower booking fee than via the venue. Online charges are a £2.50 per booking, not per ticket, handling fee. This system allows you to choose your own seats.
 

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:
£3 per transaction (not per ticket) fee is made.


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.

 

 
 
Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

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.

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!


 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions 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.

Plan your tube journey to this station using the button below:

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.

 

Top Performance Times Ticket Prices Where to Buy Tickets  Seating Plan Seat Opinions Getting Here

 

 

 

 

 

 

 

 

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