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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.
The auditorium is 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 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.
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! This theatre is a real gem, and the monkey predicts
that actors and directors will fight to work here…
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. A fair
view from these extra seats, with a touch more legroom than central block seats
further back in the theatre.
Row AA, consisting of six seats placed directly in front of row A are sometimes
used - not for "Three Days In May" (November 2011).
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.
As one reader puts it,
"The seats we purchased for "Elling" (AA4 and AA5) were 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."
another says, when row AA isn't in use,
"We had seats in row A and were 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!"
Further round to the sides, seating in rows BB and CC extends down the
edges of the stage for some productions - not for "Three Days In May" (November
2011) though. 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.
A reader says of "Othello" in September 2009:
"Took theatremonkey advice and bought BB 6, 7, 8 and 9. 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."
another reader, acting on the above information, added,
"Following the advice of your contributor, I bought tickets for my girlfriend L
and myself in row BB seats 6 and 7. 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."
Worth seeking out when available, feels the monkey.
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.
"Three Days In May" (November 2011) does not have these cheap as "Day Seats."
When so, a bargain, feels the monkey.
In row A for "Educating Rita" (July 2010), reader Mark says,
"A5: 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).
In row B for "The Caretaker" (January 2010) one reader says,
"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."
In row C for "Shirley Valentine" (July 2010) and back with reader Mark,
"C10: 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.'"
The fun in rows A to C comes between seats B 1 and
2, B 11 and 12, and C 1 to 4 and C14 to 17. Between each of these pairs of
seats, 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…
A reader notes,
"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."
Moving back to row D, seats 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 reader Mark says,
"D15 - Great seat, could see and hear everything clearly."
From D8, though, another reader says,
"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!!!"
Reader Clive says of the same seat for "Educating Rita" (August 2010),
"D8 and 9: 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."
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. Tall safety
bars behind row K also protects 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!
Of the top priced bank of seats, it picks rows F 11 to 21 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.
Reader Jane confirms the feeling about row E,
" row E... great view and loads of leg room.
Reader Iain Campbell agrees,
"Sat in seats E 26 and 27. Excellent views with lots of legroom - no need to
stand to let others pass."
Behind her, reader Daniella C. says,
"I sat in Row F and had a good view as all the seats are raised."
Another reader agrees,
"F12 and 13. Fantastic seats - definitely take these if they are available
rather than premium as these are right next door."
For some productions, central seats in rows E and F - even G are at "premium"
price. Your call, feels the monkey, who would take row E (if someone else was
paying) for the legroom only. For "Three Days In May" (November 2011)
a small number were designated - D 12 to 17 and E 15 to 20. Take E over D if you
must... or go for cheaper seats with the same view either side of them..
A few people comment that the seats feel a little high up,
from row G back, too, and a reader notes that:
"In 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)."
May be worth dieting, thinks the monkey...though there
are more comments on legroom and width to come - so read on...
Another reader says, for "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."
Monkey regular seat connoisseur James agrees,
"Sat in H15 to H17 for a one-off cabaret performance. Excellent sightlines and
good acoustics from here."
at another performance, further along the row, he says,
"H23 and H24 for "End Of The Rainbow" -
perfect!"
while on another, his verdict is,
"J27 and J28 for “Dealer’s Choice” in December 2007. 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."
From the end of that row, another reader reports,
"I sat on the end of the row in J1 but this is a small venue and all seats have
a good view."
Reader Mark adds, for "End of the Rainbow" (December 2010),
"A good seat, if anything a couple of rows too far back, but still a great view,
the Trafalgar Studios is so intimate anyway."
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!
"Three Days In May" (November 2011) has top price back to row M. The monkey would
skip rows K to M and particularly take row N instead of M for a similar view at less cash.
Reader Carole says,
"I saw 'The Caretaker' (ran January 2010). 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."
In the same row, reader Graham adds,
"K26 to 30: 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."
From row P at "Three Days In May" (November 2011) a reader says,
"Row P: 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...
Reader Maia notes of row Q:
"I have absolutely no complaints at all about the
distance or view to the stage."
Reader Pip elaborates:
"Sat in Row Q in seats 5 and 6. 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."
Cheaper, the monkey likes row Q
too. New in 2011 row R behind that is also pretty decent.
All other seats appear to offer very, very decent views for the money, though
the monkey feels top price steep for rows L, M and N - fine when cheaper.
Some boxes are in use for the current production. They may offer legroom, but
part of the action is missed at the edges of the stage area For legroom
and chair width lovers more than most others.
Barfly Lucy comments:
"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!"
Regular reader Sean puts another view on the whole matter, though:
"I am 5foot 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!"
"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."
Another reader, Andy, adds more information:
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.
Legroom is normally excellent in row A 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; but EXCEPTIONALLY tight (even for the averagely dimensioned person, see above) in other seats - which seem unchanged from the
previous arrangement of the Dress Circle. Narrow seats and lack of armrests
compound the issue, alas.
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.
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