14 Whitehall, Westminster, London SW1A 2DY 0844 871 7632
Ambassador Theatre Group, the theatre group's own website provide the service for this theatre.
Booking fees per transaction:
A £3.50 per transaction (not per ticket) fee is made.
The National Theatre www.nationaltheatre.org.uk also has a small allocation of ticket for this production.
No fees from the National Theatre Box Office online. £2.50 per booking, not per ticket, by phone. Both by phone and online, a £1 per booking, not per ticket, postage fee applies if required and time allows.
Other Online Choices (with genuine S.T.A.R ticket agencies):
Ticket agencies offer an alternative way to buy tickets, with booking fees differing from those charged by the theatre box office itself. They may have seats available or special offers when theatres do not.
Ticket agency prices vary in response to theatres implementing “dynamic pricing” - which alters prices according to demand for a particular performance. Prices stated here were compiled as booking originally opened, current prices are advised at time of enquiry.
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:
£3.50 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.
The National Theatre 020 7452 3000 has a small allocation of ticket for this production.
No fees from the National Theatre Box Office online. £2.50 per booking, not per ticket, by phone. Both by phone and online, a £1 per booking, not per ticket, postage fee applies if required and time allows.
Special Access Needs Customers:
Wheelchair users and other registered disabled theatregoers can book their seats and enquire about concessionary prices that may be available to them on 0800 912 6971.
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.
Note that the following has now been revised to reflect the latest layout of the venue from 2017 onward.
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 C back are in a single block, with rows AA, A, B and C 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.
Normally excellent in rows CC, 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.
Note that A 1 and 2 angle towards each other, and legroom for A1 is not directly in front as there is a bar there - expect to move your legs to the side.
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.
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 R 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 Q and R 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 Q. Steep for a seat in row L back. Monkey advice is to skip anything from L to Q at top price and take cheaper ends of Q and R. Save cash for the same view (if offered row P or centre Q) for a start. Restricted view boxes may also be a more comfortable budget option.
Cheapest, the monkey likes row R too, if it can't get front seats in rows BB and CC.
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.
By seats A4 and 5 are a large bolt sticking out of the wall. Watch your arm on it.
Between seats A 1 and 2, 7 and 8, B 3 and 4, B 11 and 12, and C 4 and 5 and C13 and 14 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 really hated A 7 and 8, though.
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!
No current production.
"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!
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."
"AAA4: "Admissions" (March 2019). A row of 12 sandwiched in between the entrance steps and the stage. AAA 4 is on a padded straight bench (with backrest) immediately in front of the stage, level with AA and A behind. Not quite as comfortable as a proper seat but it's not the longest of plays. Once sat down the stage is at roughly neck height, so you have to look upwards a little for the most perfect right-up-close view of the actors, but not so much as to hurt my neck. The only thing I could not really see were some month names that were projected onto the floor of the stage at the beginning of each scene to set the timeline, but I don't think they were important other than to tell you that about two months pass between each scene. Being so close there was occasional need to play head tennis and continuously look from side to side in occasional scenes where the actors spoke from extreme sides of the stage. But on the other hand it's rare to get such a terrific chance to experience the actor's craft and study their faces quite so closely.
Occupants of the seats in AA might note that the insertion of AAA means that every single person that enters the auditorium will almost trip over your feet as the way to rows B and upwards is in between AAA and AA and it's quite tight."
“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."
"AA6: "The Grinning Man" (December 2017). There’s about 8 seats on the sides of AA and the benches behind them (I’m presuming BB) that they really need to just get rid of. They are practically perpendicular to the stage and the view from all of them is terrible - there was a tiny girl on the end seat next to the wall on the side opposite the seat I was meant to be in (AA6), all I could see was the top of her head over the wall that borders the stage, she can’t have been able to see a thing."
"AA7: "The Grinning Man" (December 2017). Bargain of the year for me at £15. Right in the action, was practically on the stage. Plenty legroom (though had to tuck my legs in at points when the cast walked past). A great view of all the puppetry from here. This seat is alone on this side of the auditorium, was slightly surprised! The performance was showing as sold out and this only became available when I checked at 17:30."
AA10: "Apologia" (May 2017). Was able to buy this at around 4pm from TODAYTIX for £15. The lady next to me had bought her ticket at the box office around an hour before the show for the same price (unsold todaytix allocation I'm guessing). It's close. Perhaps too close, but great to feel such a part of the action. Neck ache is inevitable. I could have moved further back for act two but decided to stay put because of how engaging it was. You miss a few moments when they are sat behind the table but nothing major."
"AA14: "The Grinning Man" (December 2017). Sat in AA14 for act 1, and it really shouldn't be sold for any price. My right leg could almost fit, pressed right against the wall in front which is a lovely rough wood just to make it even more pleasant, but I could not have my left leg in the space at all. I had to turn in the seat so my legs were in a space that luckily existed at the side of my seat. This meant having my head turned throughout so I also got neck ache. I may count the view as even worse though. There's a curtain that doesn't pull fully back that blocked most of the view I may have had, and cast sat there frequently, pulling this even further forward. I spotted a seat and moved myself at the interval luckily. I noticed AA1, the equivalent seat on the opposite side, was also empty for act 2. If you're taller than 4 and a half foot, or bigger than a size 4, you will be ridiculously uncomfortable. But if you're shorter than 5'4, you'll struggle to see anything at all. Leg room wasn't as bad in the other 3 seats, and I don't think the view was as drastically blocked, but the first and last seat in AA should definitely be avoided."
"BB 6: "The Grinning Man" (December 2017). The little I saw of this last night I loved. However I gave in at the interval. My stupid mistake was booking seat BB6 which i thought had leg room and was at the end of a row. It was actually half a seat with the proscenium arch set cutting right through the middle of it. So avoid it at any cost."
“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."
"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."
“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!"
"A3: "Killer Joe" (June 2018). Very bad seat, difficult to see the whole stage. Very disappointed. It’s not higher than AA seats so not a great view."
"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).
"A8: "The Philanthropist" (May 2017). I would advise people to avoid seat A8 as it sits at a very awkward and uncomfortable angle to A7. There simply is not enough room for two adults. I think there are other "awkward couples" in the theatre. It was so cramped and uncomfortable I had to leave the performance before it had even started. I feel misled by the theatre, because the seating plan implies straight line seating."
“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."
"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."
"B4 and 5: "The Grinning Man" (December 2017). Paid £22.50 booking a few days in advance on the ATG website (excluding the booking fee). These are advertised as “restricted view” but they are not at all. True, there are a couple of (brief) moments you have to look to your side to see the actor who’s come into the audience, but I don’t see what you’d gain by being further back. You’re really close to the stage (in a good way) and have a clear view of the show at a lovely angle. The only problem is there is no legroom or bum room... I am a moderately chunky 6ft guy and we were all really crammed into our seats, touching legs, in a way I haven’t experienced in other theatres apart from certain seats at ROH. Anyway not day seats but certainly affordable and great view. "
"B6: "The Grinning Man" (December 2017). My seat had a rail running vertically through the centre of my field of view. This would also have affected C8, as well as B7 and C9 on the other side of the front-entrance stairs. A two-metre wide by one-metre deep platform has been built above the entrance between seats C8 and C9 and this is used as a second mini-stage at several points. The rails have been added to the side-walls to help the actors climb up and down from this stage. ATGtickets.com is (still) not flagging these seats as restricted view. The duty manager was unaware of the issue and seemed shocked when I showed her the photo at the interval."
"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.'"
"C10 and 11: "Apologia" (May 2017). Managed to get ‘green’ Theatremonkey seats! Great view. Nice to be so close to the actors. Terrible legroom as always but I’m not too tall so no problem for me. But there were problems the evening I was there: there was a party of Americans, several of whom were, ahem, enormous. As there are no armrests between seats and the seats are on the narrow side anyway, this led to some poor people (including one in my row), having a very large stranger spilling over into their space. It was so bad that lots of people asked to be moved. Fortunately, there were seats elsewhere available but it was all very uncomfortable to witness. I HATE seats without armrests. I’m so British, I feel the need to take up as little space as possible and armrests give me boundaries. Rant over."
"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."
"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!!!"
"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."
D15: (Tall reader, Mark). Great seat, could see and hear everything clearly."
"D17: "Admissions" (April 2019). Fairly central with a very good view of the stage, thanks to the fairly steep rake and proximity to the stage. Legroom was ok in this seat, and marginally better than the seats in the centre of this row, which lose three or four inches due to a small wall and safety rail in front of them. The seats are somewhat narrow though, and the lack of arm rests made it slightly uncomfortable; luckily the production I saw wasn’t a particularly long one."
"D27: "Nine Night" (December 2018), (Taljaard). Excellent seat."
"Row E: (Jane). Great view and loads of leg room.
"E1: "The Grinning Man" (December 2017). £26.75: Aisle seat with a staircase hand rail on your right which you can lean on. The seat is slightly turned so that you legs are positioned partially into the the side of the person's leg next to you. Excellent view of the stage due to the stepped seating though you miss a little bit of the action at the side. I'm 6ft (1.8m) tall and had excellent leg room but the seat was uncomfortable to sit in for an extended period and the people next to me had the same complaint."
"E10: "The Grinning Man" (December 2017). Great View, plenty of leg room. Not on the curve. This is a pricier seat, but well worth it if I you can get a last minute discount. In general, one thing to be aware of is that action does take place in the audience, so on occasion you will find yourself looking backwards if you are in the middle of the front rows, (D onwards) it doesn't happen a lot but some might find this annoying."
“E26 and 27 (Iain Campbell). Excellent views with lots of legroom - no need to stand to let others pass."
“Row F: (Daniella C). I had a good view as all the seats are raised."
"F1: "The Grinning Man" (December 2017). Before the start of the performance I was upgraded to seat F 1, an aisle seat and, although this seat was much nearer the front and the view even better, the leg room was poor and I moved back to my original Q1 seat for the second half. The cost F 1 would have been £62.50."
"F12 and 13. Fantastic seats - definitely take these if they are available rather than premium as these are right next door."
"F23 and 24: "Apologia" (September 2017). Excellent view, close and intimate. Seat width and gaps between are narrow - as the seating curves around to the side, shoulder room is an issue. So not very comfortable: and being quite small I don't usually have a problem with theatre seats."
“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 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!"
"G10: "Equus" (July 2019). Fine for a clear view, but legroom minimal and very cramped on either side. Plus, the seats themselves are uncomfortable and poorly padded."
"G24: "The Grinning Man" (November 2017). My ticket was for R17, riiiight at the back next to the lighting board, because I'm a skinflint, but a nice young lady upgraded me to G24, which was definitely a big improvement. Both seats had plenty of leg room and I didn't feel crowded despite being a tall chubby chap. The seats do, however, have as near as dammit a 90 degree angle between seat and back which is a little uncomfortable. There's actual academic research on this, comfortable seats should have around 100 to 105 degrees. They could actually afford to lose some leg room to accommodate more ergonomic seating."
“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."
“H15 to H17: (James – regular reader) One-off cabaret performance. Excellent sightlines and good acoustics from here."
"H23 and H24: "End Of The Rainbow" (James – regular reader). Perfect!”
“J1: I sat on the end of the row, but this is a small venue and all seats have a good view.”
“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."
"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 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 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).
"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."
"M1 and 2: "Admissions" (March 2019). A bit high and distant but good legroom. On the PLUS side, sitting right by an exit so you can get out quickly, if that is important to you. On the MINUS side, several people walked out (!) which is disruptive when you are close to the exit. Also, audibility was a bit of an issue. Had to lean forward several times to hear. If you don’t have perfect hearing, you really need to be sitting much closer to the front."
"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 Q: (Maia ) "I have absolutely no complaints at all about the distance or view to the stage."
"Q1: "The Grinning Man" (December 2017) An excellent view of the stage, although it is at the back of the theatre.. The faces of the actors could be seen clearly. Leg room is also excellent and at 5' 10" I was very comfortable in the seat, which cost me £32.50. Before the start of the performance I was upgraded to seat F 1, another aisle seat and although this seat was much nearer the front and the view even better, the leg room was poor and I moved back to the original seat for the second half. The cost F 1 would have been £62.50."
"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."
R 1 and 2: "Nine Night" (December 2018). The very back row in the corner. The view was great and the set is angled so I didn't feel off-centre. Small bits of stage went missing when people in the row in front leaned forward, but really not an issue. Being in the corner meant plenty of space for bags and coats to the right of seat 1. Leg room was fine and, although the seats are narrow, seat 1 at least had space to stick a foot in the aisle if necessary.
It is quite high up (very steep rake) but that didn't affect my enjoyment of the play at all. In fact in some ways it enhanced the experience (there's something about looking down on a kitchen scene, where you can see the table from above, that I find quite compelling. Felt similarly at Ferryman where I had a better time up in the gods than when i saw it from the stalls). So I strongly agree with these being rated green: good value at £35 and a steal for £20 in the Friday rush."
"R 3, 4 and 5: "Killer Joe" (June 2018). I'm 6ft tall and had very little legroom to the point where I was fighting a cramp. I'm also overweight (17 stones) and was touching shoulders with both people left and right of me (who luckily were normal sized friends of mine!). The seats are narrower than most. Worst of all was the heat because it was uncomfortably hot in these seats as the air conditioners don't seem to reach up here. One nice thing was that the ushers gave us all paper hand fans (given back at the end of the show) to try and cool ourselves. However this has the consequence of causing a little noise when everyone is using them. In terms of the view I had a fairly good view of the stage. ( Tip: at the interval go and stand near L1 to get a nice blast of cold air from the air conditioning unit or go to the bar and stand under the air conditioner). Note: I don't recall there being a sound desk up here when we watched Killer Joe but it could be they move it depending on the production (we saw Killer Joe back in July/August)."
"R12: "Nine Night" (December 2018). The very back row with an excellent if distant view of the stage. However beware there are no arm rests so people spill over into each other's seats. I am small and felt unable to move due to larger people either side encroaching on my seat. There was reasonable leg room."
Mostly the original box locations of the venue are used.
Box A is the exception. it is an alcove recess beside row K. Two seats, 1 and 2 at the front rest on the cross-walk floor. Behind are three seats 3 to 5 on a high bench. One seat, number 5, has nothing in front of it.
Box B is above and beside the staircase for rows E to K. It has four seats running straight down parallel to the box front wall 1 being furthest from the stage, 4 the closest. Seats 5 and 6 are a bench against the box wall facing the stage. 5, nearer the open side of the box, has the better view, but neither are great.
Boxes C, D and F are above rows J to N at the sides of the theatre. Again, seats run parallel to the front wall of the box, with 1 being closest to the stage and 4 furthest but with the best view.
Box A seats 5.
Box B seats 6.
Box C seats 2.
Boxes D and F seat 4.
Decent, thanks to being movable chairs or high benches. Box A 1 and 2 have the most.
Boxes may offer legroom, but part of the action is missed at the edges of the stage area from all but box A, which instead looks through safety rails.
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.
Box A looks through safety rails - seats 1 and 2 in particular.
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.
Not on sale unless the production is particularly busy.
"Box A, Seat 5: "Richard III" (September 2014). I sat in seat 5 of Box A at the Trafalgar Studios on 20th of September 2014 to see Richard III. I bought my ticket on the website for £29.50 a couple of days before and the warning notice was 'Slight restriction due to safety rail and the seats were a padded bench'. The box, unusually, pretty much faces the stage and it has 2 normal seats in front (1 and 2) and a highly raked padded bench consisting of three seats (3 to 5) behind. I was in the far right corner of the bench (seat 5) and as such, a tiny bit of the right side of the stage was obscured by the box wall, however if I leaned forward (didn't need to much for this production) I obscured no one's view as we are all facing the stage (not side on like most boxes). The bench is pretty spacious compared with the rest of the theatre's seats.
It has a large safety rail in front, but it is across the gangway and I am used to looking around small pillars, so I found it a pretty good view. The problem was, was that the bench is really uncomfortable, I am around 5ft and the rail to put your feet on is underneath the seat and the angle of the seat and the back sometimes makes it hard to stop yourself from sliding off. I think it would've been better to have a foot rail on the back of the seats in front so you can push against it and stretch your legs. Some teenagers beside me were also having problems with sliding off. Occasionally I gave in and stood to stretch my legs as it wasn't affecting anyone's view behind or beside me. Not bad for £29.50 for a sold out show, but I do think the Trafalgar is a little expensive anyway."
"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 B, Seats 5 and 6: "Constellations" (July 2015). Very good seats for the £19.50 each we paid; you do have parts of the lighting rig within view on the left diagonal position, but it didn't really matter for this production as the actors were mostly centre stage throughout."
"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!"
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." Another agrees, in 2014, "I have vowed never to go to the Trafalgar Studios again after my last visit...what a horrid experience, both in the seating (OMG so squashed up and I'm not super large) and temperature. I couldn't wait to get out and felt angry to have paid for a such a horrid experience, even though the play was excellent."
Another opines in 2019, "Nice well-kept theatre with a couple of reasonably spacious bar areas and easy to find toilets. A lot of stairs and twisty corridors to reach your seat though!"
No food except Ice cream and confectionery.
Guide dog sitter available. Induction loop, Sennheiser infrared and Sennheiser Mobile Connect. Wheelchair users can transfer to seats at the ends of some rows. There are a number of doors and stairs to negotiate into the theatre. Lift to Studio 2 and Studio bar. Stair lift to Studio 1. More information is available from the theatre helpline 0800 912 6971.
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.
Theatres use "dynamic pricing." Seat prices change according to demand for a particular performance. Prices below were compiled as booking originally opened. Current prices are advised at time of enquiry.
Based on paying FULL PRICE (no discount!) for tickets, site writers and contributing guests have ALSO created the colour-coded plans for "value for money," considering factors like views, comfort and value-for-money compared with other same-priced seats available.
For a full discussion, opinions, reviews, notes, tips, hints and advice on all the seats in this theatre, click on "BEST SEAT ADVICE" (on the left of your screen).
On the plans below:
Seats in GREEN many feel may offer either noticeable value, or something to compensate for a problem; for example, being a well-priced restricted view ticket. Any seats coloured LIGHT GREEN are sold at "premium" prices because the show producer thinks they are the best. The monkey says "you are only getting what you pay for" but uses this colour to highlight the ones it feels best at the price, and help everybody else find equally good seats nearby at lower prices.
Seats in WHITE, many feel, provided about what they pay for. Generally unremarkable.
Seats in RED are coloured to draw attention. Not necessarily to be avoided - maybe nothing specific is wrong with them, other than opinions that there are better seats at the same price. Other times there may be something to consider before buying – perhaps overpricing, obstructed views, less comfort etc.
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.
Note: Legroom is tight in many seats. Rows H to L (in the present layout) have logged the most complaints to the monkey, though the view from them is not a problem. Also please note that all rows to C curve, meaning that apart from the front row, all seats will have seats in front of them.
Please note: The seating plans are not accurate representations of the auditorium. While we try to ensure they are as close to the actual theatre plan as possible we cannot guarantee they are a true representation. Customers with specific requirements are advised to discuss these with the theatre prior to booking to avoid any confusion.
Charing Cross - Bakerloo (brown) and Northern (black) lines. Also Main rail network terminus.
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 side street, 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.
3, 11, 12, 24, 53, 77, 77A, 88, 91, 139, 159 and 453 stop nearby.
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.
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 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.