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

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


 

RICHARD III (play)
CONTAINS VIOLENCE, NOT SUITABLE FOR THOSE AGED UNDER 12 OR THE EASILY OFFENDED. ALSO CONTAINS SMOKING AND DRY ICE EFFECTS.
Ends 27th September 2014.

Richard, Duke of Gloucester wants the English throne... he also wouldn't mind widow Anne either. These are his machinations - and attempt to beat the curse of Elizabeth about his death at the Battle of Bosworth.


Jamie Lloyd directs Martin Freeman (Richard III) and Gina McKee (Queen Elizabeth) - both pictured above. Additional Cast includes: Simon Coombs (Tyrrel), Philip Cumbus (Richmond), Gerald Kyd (Catesby), Paul Leonard (Stanley), Forbes Masson (Hastings), Paul McEwan (King Edward IV/Bishop of Ely), Mark Meadows (Clarence/Lord Mayor), Lauren O’Neil (Lady Anne), Maggie Steed (Queen Margaret) and Jo Stone-Fewings (Buckingham).

Feature on Martin Freeman:


Design is by award-winning Soutra Gilmour, who previously collaborated with Jamie Lloyd on the first Trafalgar Transformed season. Lighting design is by Charles Balfour, with sound and music by Ben and Max Ringham and fights by Kate Waters.


The first in a new season of "Trafalgar Transformed" productions.


Website: www.trafalgartransformed.com
Facebook: www.facebook.com/traftransformed
Twitter: @traftransformed
 

Theatremonkey Opinion:
Not available. Reports are that the set is too cramped, the joke of setting it during the 1970s "Winter of Discontent" a little too far (though luckily not so far as to set it in the post-Christmas sales of a camping store - 'Now is the Winter of our Discount Tents,' luckily). Star attraction Martin Freeman doesn't annoy any professional reviewer very much. A few note a lack of charisma, more that he fits the director's concept accurately, and all hope he'll play more Shakespeare in the future.

For the rest, the violence is well done, but the cut text felt to move too quickly. There's praise for Gina McKee as a Queen Elizabeth who has to be restrained at one point. Also Lauren O'Neil as Lady Anne, Maggies Steed as mad Queen Margaret and Jo Stone-Fewings as Buckingham. Oh, and not forgetting the exit of Clarence (Mark Meadows) too.

Basically, it's inventive, and a new and energised approach hopefully interesting a new audience. Not perhaps for purists or scholars, but a brave venture, seems to be the verdict.

 

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

(2 reviews)

E 17 and 18 - Fantastic view of the stage, dead centre and eye level with the actors. The seats are quite uncomfortable though, with less than optimal legroom for those over 6 feet.

The theatre also gets ridiculously hot and stuffy so definitely wear comfortable, loose-fitting clothing on warmer days!

Nonetheless, worth the steep price as the view was great and allowed us to really become absorbed in the actors' incredible performance!
_____________________________________________________________

BB11 - stage seating.

Pros:
Thrillingly close to the action. The actors use the aisle to enter and exit, and you're right on the stage behind them for the performance.

Cons:
Inadequate legroom: I'm 5.3 and was cramped. A six-foot plus guy behind me had to sit with his knees in the aisle. Also, struts on the seat in front were in my way. Apparently this is the case for all Trafalgar's seating, though.

Not raked enough. I had heads blocking my view.

Restricted view: I believe the Trafalgar's site marks a couple of stage seats on the extreme ends as having restricted view. But with the set design for Richard III, they all do. Action on the extreme right or left at the front is invisible (a monitor is provided, but it was shoved behind part of the set for the second half, rendering it useless.) And the set itself blocks some scenes at front of stage.

You will miss some key reactions, as the actors have their backs to you. They do try to direct their performances to both sides of the audience, but it's obviously not always feasible.

Asthmatics watch out - several characters do smoke at the back of the stage, where these seats are placed. And there's dry ice, too.

And finally, when leaving after the performance, try not to slip on the 'blood' on the floor in the aisle, or touch the handrails! It's a very bloody play. I brushed the stair rail on my way out and got a 'bloodstain' on my top.

Conclusion:
If you fancy the idea of stage seating, get Row A centre if possible for the best leg room and view. If that's not possible, try for an aisle seat so at least you can stretch a bit. But watch you don't trip the actors!




 

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 7.30pm
Thursday and Saturday at 2.30pm and 7.30pm

No 2.30pm performance on 11th September 2014.

Runs 2 hours 45 minutes approximately.
 

 

Ticket Prices:

Offers May be available - Click Here

View this information in diagram form


Mondays:
All seats £15.
Half of these will be made available through a special outreach scheme, targeted towards schools and first-time theatregoers. The other half will be released monthly to the public on the first day of each month, and will be available online or at the Trafalgar Studios box office.


Tuesday to Saturday:
Rows AA to DD and A to M: £52.50 except
"Premium Seats" rows D, E and F 5 to 26, G 7 to 24, H 5 to 17 and J 1 to 12: £69.50
"Restricted View" seats AA 1A to 3 and 11 to 13; BB 2 and 15; CC 1, 2, 13, 14; DD 2 and 13, EE 3 to 14: £29.50
Row N: £29.50

Boxes:
B £52.50, D and F £29.50 per seat if sold.



Some details may change. The monkey will update as available.

 
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 seat from those available.


 

Booking fees per transaction online bookings:
£3 per booking, not per ticket is charged.
 

 

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

When the theatre does not have the tickets you desire available, it is well worth trying the Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), which offers £69.50 tickets with an £14.50 booking fee per ticket - moderate by agency standards, though higher than box office fees, worth trying as they often have an alternative choice of seats available! Note that this system will confirm exact seat numbers prior to purchase. A £1.95 per booking, not per ticket, handling fee may apply on some transactions by telephone. NO handling fee applies for online purchases.

Encore Tickets (telephone 0207 400 1253 / 0044 207 400 1253 if calling from outside the United Kingdom) offer £69.50 seats with an £18.50 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.

Londontheatredirect.com offer £69.50 seats with a £14 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.

 

ALSO SEE Tickettree.com for great value "hotel and theatre ticket" packages.

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 booking, not per ticket is charged.
 

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

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:
A single bank of seats, (the old Whitehall Theatre Dress Circle) with extra rows added at the front.

There is normally no raised stage, row A (or extra row AA in front) is on the floor level - a large area running from between the seats and past the old proscenium to the back wall of the original stage.

The front rows wrap around the stage area, defining it. Rows from AA to D back are in a single block, with rows AA, A, B, C and D split by a public entranceway in the centre.

Rows BB and CC are further seats at the sides of the stage, divided from the central seats by the main side aisles.

Legroom:
Normally excellent in row A and AA when they are at stage level with nothing in front of them, and acceptable in rows B to D to all but the tallest.

The box office rate row E too (as does a reader who feels it the best in the place), along with the ends of rows E to G where they curve round.

Legroom is EXCEPTIONALLY tight (even for the averagely dimensioned person, see above) in other seats. Narrow seats and lack of armrests compound the issue, alas.

Choosing Seats in General:
Beautifully designed sightlines, around a third of seating is below actor's eye level, a third at eye level and a third above it. Expect meaningful contact to be made here, thinks the monkey!

Row AA, consisting of six seats placed directly in front of row A are sometimes used. If they are used, those in row A, seats 3 to 7 particularly, should be aware that the view may be a problem for shorter people.

With row AA available cheap, monkey likes. The interaction with the actors will delight "total experience" theatre-lovers seated here, though those wishing to be less involved may prefer to be seated more centrally.

Further round to the sides, seating in rows BB and CC extends down the edges of the stage for some productions. An interesting view is guaranteed for those sitting here, it thinks - and good at a lower price too - take before row N for more legroom in fact.
In the central two blocks of rows A to C, aside from seats right next to the stairwell wall, views are fine, and the seats on the “curve” (see “Hazards”) aside, pretty comfortable.

Moving back to row D, the monkey isn't keen on D 11 to 17 for having a safety rail in front, (again, see “Hazards”).

The monkey is very keen on the view from many of the rows behind. The rake is wonderfully judged - steep enough to provide a good view to the back of the playing area, shallow enough to avoid that "falling forward" feeling.

Of the top priced bank of seats, it picks rows E 6 to 27 then F 6 to 25 at top price (one reader comments that the view is great, but the row E legroom is much more attractive - folk can move along the row without those seated having to stand up, he notes), with G and H behind that.

A few people comment that the seats feel a little high up, from row G back.

Once past row J or so you feel further from the action (and P and Q are physically a noticeable way back from the stage), but the sightlines are clear, with nothing in the way except that strangely placed central entrance door! The problem is the narrow seats and cramped legroom... if you can accept those, fair enough.

Some shows have top price back to row N. Steep for a seat in row L back. Monkey advice is to skip anything from L to P at top price and take cheaper Q and R. Save cash for the same view (if offered row P) for a start. Restricted view boxes may also be a more comfortable budget option.

Cheaper, the monkey likes row Q too.

New in 2011 row R behind that is also pretty decent.

General Hazard Notes:
Without a raised stage, those in the front row are close enough to the action to be sweated on / dodge the odd waving sword etc, etc.

In the central two blocks of rows A to C, a low wall surrounds the audience access doors. No interference with sightlines, but purists and claustrophobics might want to avoid the seat right next to the wall - note that there is no aisle here. Otherwise, monkey feels that these are the seats audiences should fight for.

Between seats B 2 and 3, B 11 and 12, and C 1 to 4 and C14 to 17 there is a small gap as the row curves around the stage. This means that the seats face each other very slightly. No problem on view - indeed, it adds to the intimacy of the experience, but those seated may find their legs slightly intertwined with those of a neighbour! One for a date, perhaps…

Row D 12 to 16 are directly behind the wall of the public entrance. A roller-coaster style safety rail in front of D 13 to 15 provides something to grip, and could annoy shorter people seated here. The monkey isn't keen on D 11 to 17 for this reason.
Tall safety bars behind row K protect those seated there from falling bodies and provides a place to dry washing during the performance. They cause no problems with the view, being behind the row, the monkey just thought it would remark on it!

Changes for the current production:
The venue is altered, with the stage raised and some rows at the front of the main block removed, and the rest given new lettering and a few seats added or removed.

Extra rows AA to EE now face the rest of the auditorium. At previous productions these have been benches or uncomfortable chairs. Also be aware that the outer ends of rows AA to DD are restricted view - the original stage arch prevents seeing the whole stage, and EE is also restricted. A reader also notes they are exceptionally uncomfortable - see comments below.

Rows A and B curve slightly at the outer ends around towards the central stage area.

There are no arm rests between seats and seats are narrow and audiences squashed, according to one reader.

The monkey will add details when it can, as it gets more feedback and a fuller chance to view more closely over time.

Much of rows A to J are "premium." With plenty of decent seats around them, the monkey wouldn't pay the extra, itself...

Row N is considerably cheaper than M in front - so take N first, the prices are significantly more different than the view, the monkey feels.

The old issues remain for comfort in the old section of the auditorium, but views are improved with the stage brought closer to the main seating block.

Reader Comments (please remember that most comments refer to the previous layout - the monkey has put the "equivalent" rows in the 2013 season beside the entries in BOLD, and will highlight further comments for the current layout as they are submitted):
"BB11: "Richard III" (July 2014). Stage seating.
Pros:
Thrillingly close to the action. The actors use the aisle to enter and exit, and you're right on the stage behind them for the performance.
Cons:
inadequate legroom: I'm 5.3 and was cramped. A six-foot plus guy behind me had to sit with his knees in the aisle. Also, struts on the seat in front were in my way. Apparently this is the case for all Trafalgar's seating, though.
Not raked enough. I had heads blocking my view.
Restricted view: I believe the Trafalgar's site marks a couple of stage seats on the extreme ends as having restricted view. But with the set design for Richard III, they all do. Action on the extreme right or left at the front is invisible (a monitor is provided, but it was shoved behind part of the set for the second half, rendering it useless.) And the set itself blocks some scenes at front of stage.
You will miss some key reactions, as the actors have their backs to you. They do try to direct their performances to both sides of the audience, but it's obviously not always feasible.
Asthmatics watch out - several characters do smoke at the back of the stage, where these seats are placed. And there's dry ice, too.
And finally, when leaving after the performance, try not to slip on the 'blood' on the floor in the aisle, or touch the handrails! It's a very bloody play. I brushed the stair rail on my way out and got a 'bloodstain' on my top.
Conclusion: If you fancy the idea of stage seating, get Row A centre if possible for the best leg room and view. If that's not possible, try for an aisle seat so at least you can stretch a bit. But watch you don't trip the actors!"

"Row AA and BB" ("The Hothouse"): We just paid £65 per ticket for front row seats to see The Hothouse. We knew the seats might be on the stage, which is at ground level. What we did not expect is that the front two rows were not theatre seating at all, but a hotch-potch of individual kitchen chairs, uncomfortable and too close together. We couldn't even move them slightly as they were screwed to the floor. There was no warning of this on the ATG Tickets website. When I looked at the website again today there is now a vague warning: "This seat is part of the on-stage experience" - which doesn't explain anything."

"Main block: (Sean – regular reader). I am 5 foot 11 inches tall. If you pay £40 plus and sit in Rows A-F you might be fine, but any other seat should be avoided. But if you are a midget and get a cheaper seat then bring your binoculars, you are quite high and seem very distant from the action if you sit at the back (still expensive tix). I must stop, but this Theatre is an overpriced farce! (ROWS D TO F)

Row K
had less legroom than the last row of Upper Circles in the West End for me. It really is amazing how the Ambassadors can build a new auditorium within the old one and make the seating worse. I was so uncomfortable sitting for 3 minutes before the show that I pleaded with the person on the end of the row to move up one (it was group of A level students), thank God she did, but even these small women were uncomfortable. I was unable to sit back as there is no legroom, meaning my back was hunched throughout the play, my shins were in the back of the seat in front and my knees and legs were touching the head of the person in front of me. As for my feet, if I had not taken my shoes off I would have been unable to stand it. As it was I had to turn sideways for much of the play and was seriously considering leaving in the interval.
If I wasn't such a follower of the theatre I would make a rash promise to never enter the doors of the Whitehall again, but I can't! But I will dissuade occasional theatregoers not to casually see anything at this theatre."
(Row G)

“AA4 and AA5: "Elling". Superb - as they're right at the front. Also as the stage floor is at the same level as our seats there were times we had John Simms acting no more than an arms length from us."
(Not used for the 2013 season in the format given here)

"BB2 and BB3: "Macbeth" (March 2013). I wanted to warn you about restricted view from seats BB2 and BB3 - these are on stage seats under the new configuration. Saw 'The Scottish Play' last night: BB2 can only see two-thirds of the stage, BB3 marginally better - there's an ENORMOUS proscenium arch which restricts the view - may be the same the other side. When we bought these, they were sold at full price: we have emailed ATG this morning to complain. Not sure how the seating arrangements will change for the next production, but would recommend theatregoers to avoid the far edges of the on-stage seating unless sold as restricted."

“BB6, 7, 8 and 9: "Othello" in September 2009. Took theatremonkey advice and bought these. Absolutely amazing!! Two of us on Stage Left and two sat on Stage Right. I knew the seats would be at the side of the stage, but I didn't know they'd be ON the stage!! We were right there in the thick of the action, on the same level, with actors often just a couple of feet away from us. Fight scenes took place right in front of us; Cassio, Desdemona and Iago ended up sprawled on the floor at our feet at various times, and of course Othello himself. We saw the sweat on their brows and felt the raw emotion of every word they expressed. We were rooted to our seats, determined not to move, when the action was taking place right near us, as we knew that any fidgeting movement could detract from the drama taking place. When the action was taking place on Stage Left (where my husband and son were sat), I could see the rapture and delight on their faces as they saw the action up so close. Now that we've sat in those seats, right on the stage, I don't think we'd want to sit anywhere else. And to think that those in the front row had paid double what we paid! It was absolutely amazing! I've never been so close to real live theatre, it's even closer than at Stratford."
(Not used for the 2013 season in the format given here)

"BB6 and 7: Following the advice of your contributor, I bought tickets for my girlfriend L and myself. They were reduced price tickets for what was laughably referred to as 'restricted view'. Given that we were on the stage I fail to see the restriction; yes, the view was slightly side-on but restricted they certainly were not. The atmosphere was fantastic, and we were right in the thick of the action, having to move our feet so as not to trip the actors up."
(Not used for the 2013 season in the format given here)

“Row A (when AA not in use): Surprised to find quite how close we were to the action... so close that an actor dripped sweat on my dress as he walked past!"
(Not used for the 2013 season in the format given here)

"A5: "Educating Rita" (July 2010), (Mark). Excellent seat, although did have to look up as it was on a raised stage rather than on the flat as it was for 'Holding the Man' (February 2010). (Not used for the 2013 season in the format given here)

“Row B: The Caretaker" (January 2010). I would recommend sitting in row B for this production; close to the stage; a high rake so no problem seeing over row A; and the bonus of extra leg room as compared to all the other rows behind."
(Not used for the 2013 season in the format given here)

"B1, B2, C1: We paid £25 each for our tickets through a web promotion. We had a fantastically unobstructed view of the entire stage which is on the same level as row A and really makes you feel like you’re part of the action (and also like you’re part of the stage being so close). B1 is great for legroom because of the aisle. However, a big warning for B2 is that it's at an odd angle because of the row curving and therefore when you sit down your legs are directly pointed into the legs of the person sitting in B3, which is both awkward and uncomfortable as I'm 6' tall. In the end I moved to C1 at the interval which was far better and again offered a great view."
(Not used for the 2013 season in the format given here)

"B17 to 20: "The Hothouse" (March 2013). We sat in B17 to 20 which were £65 premium seats, but we were shocked to find they were cheap kitchen chairs -- mine actually left marks on my clothing. In fact the whole of row A and B are kitchen chairs -- the 'proper' theatre seating begins at row C. There's nothing to warn you when booking online of this other than a note which says the seats are part of the 'on stage experience' - they're not in fact 'on stage', although they are close to the action; they are just the front two rows. The view is great but it would be just as good from row C if you want a bit of comfort."

"Row C" "The Pride" (November 2013). Seats in the first few rows (up to C at least) are very narrow with no arm rests and very upright backs. You might end up squashed up with your neighbour, or having to hold yourself in a tense and possibly awkward position to avoid spilling onto your neighbour's seat. I was in C7 but moved back a couple of rows after the interval to where there were three empty seats next to each other: luxurious space! An additional hazard appears to be an invasion of theatre mice. This slightly disturbed the performance I saw and at least one other I've heard of... front row to be avoided by musophobes!"

"C10: "Shirley Valentine" (July 2010), (Mark). Great view, and on a really good level with the stage when it is an actual stage rather than floor as it was for 'Holding the Man.'"
(Not used for the 2013 season in the format given here)

"C16 and 17: From the seating plan these look as if there are no seats in front of you. Not the case - as the seating curves round the stage the seats are level. Very cramped space. I was almost sitting on the stranger on my right's lap. Luckily my long-legged husband was on the end of the row so could stretch his legs. There are no arm rests so it makes the proximity of your neighbour even worse. Everybody near me was complaining about the squash. It's a good job the play was so good that it made up for the lack of space."
(Not used for the 2013 season in the format given here)

"C29 and 30: "The Hothouse" (June 2013). I wish I could be as enthusiastic about the venue it was performed in as the play. Not bad seats to be fair but far too expensive at £49.50 each. They should be priced at £25.00 maximum. Leg room was okay, but I am not sure what it would be like for other performances as we had free standing chairs in front of us which allowed us more room. The view was superb but it all comes down to being an overpriced venue and to be honest this is the first and last visit we shall make. Programmes are the most expensive we have brought as were the two (warm) glasses of wine. A rip off. This place needs to re-think its pricing structure and get real. It was only two thirds full and they should be asking themselves why. We took the risk having read other negative reviews because we wanted to see the play. One last thing...what happened to the air conditioning? The cast and play deserve a far better venue than this."

"D8: I was impressed by the stage but, wow, was 'it in your face.' Almost like walking into someone’s lounge, as the stage is so close! Being 6ft 3” the seat was so uncomfortable - and leaning forward didn’t help. It was extremely cramped and much too close to the stage for my liking even for a D row. What a strange way to build a theatre. I think they call it “intimate”! I also notice that the Theatremonkey states in the book that on Valentine’s Day these seats in the first few rows sell for more, I can fully see why and your knees are almost touching whoever is seated by you. What a shame Kate Hudson, Kylie or Hilary Duff didn’t park themselves by me on that occasion!!!"
(Not used for the 2013 season in the format given here, but this is located where row A is for the current productions)

"D8 and 9: "Educating Rita" (August 2010), (Clive). Excellent seats – comfortable with an excellent view of the whole stage from just above stage level. The leg room was good and the rake quite exceptional."
(Not used for the 2013 season in the format given here, but this is located where row A is for the current productions)

D15: (Tall reader, Mark). Great seat, could see and hear everything clearly."
(Not used for the 2013 season in the format given here, but this is located where row A is for the current productions)

"Row E: (Jane). Great view and loads of leg room.
(Row B)

"E17 and 18: "Richard III" (July 2014). Fantastic view of the stage, dead centre and eye level with the actors. The seats are quite uncomfortable though, with less than optimal legroom for those over 6 feet. The theatre also gets ridiculously hot and stuffy so definitely wear comfortable, loose-fitting clothing on warmer days! Nonetheless, worth the steep price as the view was great and allowed us to really become absorbed in the actors' incredible performance!"

“E26 and 27 (Iain Campbell). Excellent views with lots of legroom - no need to stand to let others pass."
(Row B)

“Row F: (Daniella C). I had a good view as all the seats are raised."
(Row C)

"F12 and 13. Fantastic seats - definitely take these if they are available rather than premium as these are right next door."
(Row D)

“Row G: it wasn't the leg-room that was the problem, but the width-room...I have seldom been so uncomfortable in my life. Fortunately the friend I took fled at the interval he was so uncomfortable, which of course made the second act far better for me! (and which I duly enjoyed much more).
(Row E)

"Row G: As a 5ft 2-er I was delighted to find that it was irrelevant as to how tall the person sitting in front of me was because I'd still be able to see! It was fantastic! I didn't notice any problems with the room in front or either side of me in row G, though admittedly I'm a very small fly. I won't hesitate to re-visit if there's a show on that I want to see, a good 'intimate space' and a fantastic view!"
(Row E)

“Row H (centre): "Holding The Man" (May 2010).”I found it pretty comfortable as I'd never been to the Trafalgar Studios before. One bank of seating with a good rake and sightlines. We were sat in the centre of Row H and perfect, as far as I'm concerned."
(Row F)

“H15 to H17: (James – regular reader) One-off cabaret performance. Excellent sightlines and good acoustics from here."
(Row F)

"H23 and H24: "End Of The Rainbow" (James – regular reader). Perfect!”
(Row F)

“J1: I sat on the end of the row, but this is a small venue and all seats have a good view.”
(Row M)

“J1: "End of the Rainbow" (December 2010), (Mark). A good seat, if anything a couple of rows too far back, but still a great view, the Trafalgar Studios is so intimate anyway."
(Row M)

"J27 and J28: “Dealer’s Choice” (December 2007), (James – regular reader). The seats are quite narrow and the legroom isn’t great, BUT, the view is fantastic. Even being just two seats from the end of the row, you don’t feel like the viewing angle makes you miss any action and the excellent rake ensures that your view is not blocked by the person in front."
(Row M)

“Row K: “The Caretaker” (January 2010), (Carole). There were three of us - all of middle height 5"4 to 5"7. We all found the seats incredibly uncomfortable. We had tickets for row P, but were moved forward by staff due to low number of tickets sold, therefore I'm not sure what row we were in, but I would guess row K. The leg room was adequate, but the seats are narrow (I'm a size 12, my friends were both smaller - I wouldn't want to be sitting next to a stranger) and the chairs are extremely uncomfortable - we all had back pain and spent the second half twitching around trying to get comfortable. The only good thing that we could say was that it was nice that the rake was so high, all having suffered before from having tall people sitting in front of us ruining our view at other venues."
(Row N)

“Row K: (Andy). I visited the Trafalgar Studios last night for the first time - being 5ft 6 inches tall I thought the leg room comments (above) would not be a problem. But From Row K on the aisle I have to say that to paraphrase from Sweeney Todd "these must be the worst seats in London.....". They are horribly narrow, no arms, and awful leg room. It really is incomprehensible given the recent redevelopment. A guy in front had moved, as "...a large lady had overflowed onto half his original seat". It is such a shame, as the venue is otherwise wonderful - superb sight lines to the stage even from seat K1 and good acoustics". (The monkey has downgraded rows K and L due to this problem, and can only advise the front six rows to those for whom it may be a real issue).
(Row N)

"K26 to 30 (Graham): We thought they were going to be a problem - but have to say they weren't too bad at all. We had a very clear view of the action and, apart from a few numb bottoms, we found the seats to be pretty comfy. Looking at the seating plan, the seats we had appear to be right off to one side - but in reality they are on the end of row but you don't feel any further away than anyone else. Although obviously not central, I wouldn't worry if I had to sit in these seats again."
(Row N)

"Row P: "Three Days In May" (November 2011). Just a couple of rows from the back - but the rake is so steep that it would perhaps be more appropriate to say that it's a couple of rows from the top. The view was superb and, looking around at the other seats, I couldn't offhand see a single one which looked as if it would have a bad view. Sound was good, too. Legroom was cramped - 'knees against the seats in front' stuff. I was saved by the fact that the seat next to me was vacant, so I could twizzle sideways into a reasonably comfortable position. Now for a puzzle. The auditorium was almost full, so how likely is it that the whole of the row in front of us (Row N) was unoccupied by pure chance? Not very, it seems to me: and the staff were directing people along it as if they were used to using it as a permanent walkway. I suspect that the management, realising that it would be virtually impossible for people to squeeze their way past those who had already arrived, have a policy of keeping that row free. So here's a tip: if you find yourself booking towards the top of the auditorium then go for row P: it was as good as the front row of a dress circle. (The monkey doesn't know if this holds for all dates and productions, but it's interesting anyway...).
(Row L)

“P19 and 20: “Three Days in May,” (Chris B). These are the second tier priced seats and although you feel fairly high up, the theatre is so small that this doesn't affect the quality of the view. They are three rows from the back, but you are still just about close enough to see facial expressions etc and also get a good overview of the whole stage. It feels almost more like a lecture hall than a traditional theatre. These seats are on the far left of the seating with the bonus of P20 being an aisle seat so you can stretch out, but there is ample legroom. The seats are new and comfortable and there is a very steep rake so seeing over the people in front is no trouble, however there are no armrests.” (Row L)

Row Q: (Maia ) "I have absolutely no complaints at all about the distance or view to the stage."
(Row M)

"Q5 and 6: (Pip). It's a steep view, but not restricted at all. Totally worth the price. The only problem I would say with these seats are that if you have a comedy and people are laughing, you miss some of the lines at the back because they didn't use microphones at the previous production we saw. But obviously it's not just row Q, so it's fine. And may I note row N is £10 more expensive and there is no difference in view."
(Row M)

“Q9 and 10: “Yes, Prime Minister,” (Chris B). These are the second tier priced seats and although you feel fairly high up, the theatre is so small that this doesn't affect the quality of the view. You are still just about close enough to see facial expressions etc and also get a good overview of the whole stage. It feels almost more like a lecture hall than a traditional theatre, but these centrally located seats are new and comfortable and there is a very steep rake so seeing over the people in front is no trouble. There is ample legroom too but worth noting no armrests either." (Row M)

 

Stalls Boxes

Layout:
The previous theatre’s boxes are left at the side (Box B) and back (Boxes C, D, E and F) of the main seating.

Box B seats 4.

Box C seats 2.

Boxes D, E and F seat 3 people each.

Legroom:
Decent, thanks to being movable chairs.

Choosing Seats in General:
Boxes may offer legroom, but part of the action is missed at the edges of the stage area.

They do offer greater comfort than rear rows, and are often cheaper too. If willing to sacrifice view for distance to the stage, think about them. B is closest, but most expensive (not a bad view, though). Worth paying a little more for, if you can manoeuvre your seat to the best angle.

Don’t discard any other boxes either, if you are happy to trade the view from main block seats for legroom and chair width. Not perfect, but in that case they are a worthwhile option if available.

General Hazard Notes:
Box B misses action at the sides of the stage.

All other boxes have a lesser viewing angle to centre stage than seats in the main block.
 

Changes for the current production:
Boxes C and E are not sold.

Other boxes provide a little more legroom than other seats at the same price.

Extra seats have been added in Box B, and Box A may be on sale.

Reader Comments:
"Box B, Seat 1: "Ghosts" (January 2014), (John from the USA). I was concerned what the new seating would be like and wanted to have adequate legroom. Arrived first and was able to position my chair with an optimal view of the stage, although the ladies that joined me didn’t complain at all about their views from the box."

"Box F: "Macbeth" (February 2013). We had two of the four seats in Box F at £24 plus £6 fees each. They are in a line, so rather like slips, perched just above the heads of those in the stalls. The chairs are movable, and not apparently numbered (though it was dark in there!). We chose the two further back from the stage, and I think we were positioned facing the ends of the rows three or four from the back.

So - movable chairs, a padded ledge to lean on, and enough space that the chairs weren't touching each other. It was very pleasant to be able to change sitting angle from time to time! There was a good quarter of the stage which required leaning, but we didn't seem to get in each others' way too much. Maybe we were fortunate in our companions.

I was glad I jumped in quickly when these came up. Definitely worthwhile, we felt, to see a hot-ticket production for considerably less than most seats.

There was the inevitable detachment caused by distance. but personally I didn't feel the need to be at the front for this one and have people screaming in my face and dripping blood. Each to their own!"


 

 

 

Notes
Seats 399 maximum.

Air-conditioned auditorium, officially, often not functioning though...and gets hot when it is not working! A reader reports in 2010,
"As mentioned, the air conditioning does not work and it got extremely hot. In March! I can't imagine what it will be like in the summer. We all agreed that we would not see another play at this venue."

No food except Ice cream and confectionery.

Guide dog sitter available. Infrared system using headsets for the deaf. Wheelchair users can transfer to seats at the ends of some rows. There is not direct access for users, however, as there are a number of doors and stairs to negotiate into the theatre. More information is available from the theatre helpline 0844 8717 677. 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.

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.

 

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.

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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