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.
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.
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.
This theatre has flexible seating.
Imagine the Donmar Warehouse Theatre indulging in a romance with a cute little Edinburgh Fringe venue. The Trafalgar Studio Two is most certainly how any offspring would look.
A small, black painted room in space that was formerly the rear stalls of the old Whitehall Theatre. The low ceiling was originally that of the Whitehall dress circle, and is now the floor of Studio One above.
The cornflake box shaped space is compact, with attention focussed on a wide but shallow stage space at floor level. The sort of space that any director would want to try small but intricate theatrical experiments in, feels the monkey.
Like the Donmar Warehouse stalls, seating is on three sides of the action. It comprises modestly comfy padded "tip up" benches that can be moved to suit production needs. The layout can theoretically be changed... but the monkey hasn’t seen it happen... yet...
There is a shallow but probably sufficient rake to the seating, as seats are on steps. It is probable that only an exceptionally tall person in front of you is likely cause a problem.
Apart from the front row, and other seat numbers highlighted below, legroom in all other seats is extremely tight.
For someone 5ft 7 there is minimal gap between the edge of your seat and the one in front once sitting. For anyone much taller this could well become exceptionally uncomfortable quite quickly, especially when the auditorium is full.
The whole of row A, plus row B seats 20, 21, 22 and row C 9 to 12 and 28 to 30 have nothing in front.
Row B seat 23, and row C seats 8 and 13 have legroom for one leg. In B23 and C13 the space is on your right side, C8 on your left - check when booking that nothing has been altered, though, if such detail is vital to your comfort, as things can change in any flexible venue.
Row D is raised, with a bar to rest feet on, which some readers find uncomfortable.
There are no pillars or other obstructions to interrupt the view. Choose seats by central location first, and then by legroom.
The central block of seats probably should be taken first purely as the actors may choose to centre performances, but the side blocks most likely won't miss out on anything, being such a small space.
Prime in the centre block are row A, row B seats 20 and 21 and row C 9 to 12 and 28 as they have the most legroom. Nothing in front of any of these seats, take row A first, then B, then C 28 or 12 to 9 in that order for maximum comfort. Note that C 9 is right by the entrance door, and those in these 4 seats may feel a little "outside" the action, due to the viewing angle and aisle in front leading to the other seating.
Next for comfort are row C seats 29 and 30. These are at the top of an aisle, at a forty-five degree angle to the stage. If you are happy with the slightly different viewing angle, good hunting may well be found here, feels the monkey. In the side blocks, row B seat 22 also has nothing in front of it and should be your next choice, along with side blocks row A.
Row B seat 23, and row C seats 8 and 13 have legroom for one leg, as the row in front is "staggered," beginning half way across the width of these seats. In B23 and C13 the space is on your right side, C8 on your left - check when booking that nothing has been altered, though, if such detail is vital to your comfort, as things can change in any flexible venue.
Moving round to the side blocks, once past the legroom of row A, the other item of note is to be aware that row D has a sound control desk behind it. Once the "legroom lovers" and pedants have been satisfied, of the rest of the seats, the monkey would take centre block row B then C first, followed by aisle seats in the side blocks.
Another issue is that at the extreme ends of the side blocks - rows A to D seat 1 and row A22, B29 and C39 - the rows end not in an aisle but walls or metal barriers. Some may find this either claustrophobic or mildly irritating - the monkey didn't, but thought others might like to know. Shortest people may find the corner end in their eye line, it felt. A reader also noted that you miss some scenery if it is against the back wall. The monkey would add that if the scenery protrudes, you will also miss stage action.
No arm-rests between seats, and each bench tips to provide two seats - allocating about 50cm per person, guesstimates the monkey.
Arrive early to stake out your claim on your portion of bench...
No aisles next to extreme side block ends – not for claustrophobics.
Aisle ends may have scenery blocking views.
Row D is raised, shorter readers may find the footrest a problem.
Sound desk behind row D. Purists may dislike this, though it is high enough above the row not to bother any but the paranoid who may fear problems from "on high!"
A 11 and 12 are "premium package" seats. The monkey would ignore them in favour of any other seats with legroom at a lower price.
After press night, “premium package” seats aside, go for those with legroom and feel free to take the cheaper side block legroom seats before cramped more expensive centre block ones.
Remember that row D at second price is decent value - go for 8 down to 1 for the best view at that price level. Skip the more expensive row C in front if you like legroom or are happy for legs to dangle...
“Auditorium: (James). I really really liked it - a bit like Jermyn Street but better as it's been designed as a space rather than making the best use of an existing space. It was big enough for some dancing, without fearing being kicked in the face like at the Union, yet didn't lose the studio intimate feel.
However, the tip-up benches seem to me totally unnecessary and just a bit weird - there really isn't enough space allocated for every person. Luckily I'm not big and neither were those around me, but anyone even a little large is going to be uncomfortable. For "State Fair" (the show I saw in August 2010), the metal barriers have been removed (replaced with fake wooden fences) but these were low enough not to protrude into view really.
As regards sightlines etc., I'd say it's fine up to A19/B26/C26 then A/B/C/D4 - but further towards the stage than this and you'll be seeing a lot of backs of heads. As the stage is deeper than most studios with this type of seating sitting on the sides is not such a problem."
"Auditorium: (Mark). If you are tall, go for a seat on the aisle. I am 6ft 2 and have never had any real problems with leg room apart from in this studio."
"Auditorium: "Out There On Fried Meat Ridge Road" (May 2017), (Taljaard). For some reason they have changed the layout of the auditorium to make it end on and to be honest it loses some of the intimacy that makes, in my opinion, Trafalgar Studio 2 one of the finest theatre spaces."
“A1 and 2: (December 2005), (Kevin Hailes). We ended up having a row with a woman who was plonked right in the middle. Let me explain - the seats are pull down style and each one is supposed to seat two people. The seat numbers are on the underside of each pull down section. Rather bizarrely seats 1 and 2 on row A also have number 3 on them as well - consequently 3 people on one pull down section designed for two. (A teething problem since corrected! – editor).
"A3 and 4: "Belongings" (June 2011), (Clive). A side view, but with a good view of everything as I usually find in this intimate space. Legroom in the front row is impeded only by any caution related to a desire not to trip up any actors straying too close."
"A5 and 6: Barbershopera" (January 2011). I paid £10 through the GILT ticket offer (runs January to March each year). Excellent legroom (though you can't stick your legs out completely because otherwise you'll be in the performers space) and excellent view, feels like you're part of the action! The seating is a bit strange because each pull-down seat is meant for two people (with no separating arm rest) which might be awkward if you're next to a stranger. Even at full price (£20) these would be superb value for money."
"A 7 and 8: "Stop... The Play! (June 2015). We went for front row seats - but all the seats will give a great view in this tiny theatre. Superb seats."
"A9: I would recommend sitting along the "front" rather than the sides. At the production I saw in October 2009, it would appear people at the far sides of the space would have missed out on a lot of the facial expressions when he came forward. With every seat the same price, definitely take the sides only if the front block has no seats left."
"A9: "Raz" (April 2016), (Taljaard). O the front row, not my first choice but I was someone's guest. Bit too close for me."
"A14: "Dark Sublime" (July 2019). On the front row and central, hence an excellent view of the performances and no problem about leg room. However given the nature of the stage the main concern was not stretching one’s legs out and risk tripping up one of the cast. The two-seat bench seating could cause issues depending on the size of your adjacent audience member; but I was lucky and had the seat to myself."
“A15 and 16: Great."
"A17: "As Is" (July 2015). Great seat right in the action. I'd say all seats other than last 2 in each of the sides give a good view in this show. Go for front row though. The horror stories about the double seats are unfounded... bit weird, but not too small. Book with a friend then you'll be fine."
"A17: "Raz" (March 2016) (thespyinthestalls.com). My favourite seat in the 'TS2' space. Always get a good view from here no matter what the production is. As mentioned before - TS2 has very odd fold down double seat - so be aware that if you're on your own, you may end up sat very closely to someone else. If it's a bargain show - sometimes worth considering buying the extra seat if you are uncomfortable with being close to strangers. Row A is in the stage space - so no problem with leg room - RAZ was fantastic and James Cartwright such a lovely guy - get to see him close up quite a lot in this show!"
"B1 to 4: Barbershopera" (January 2011), (Clive). The seats are exceptionally close to the action as usual in this intimate space. The view is excellent even from the end of the side row, especially for a show like this where the performers are constantly moving around to face all sides. However the seats are a little uncomfortable and the leg room is poor in this row."
“B12 and 13: (Regular reader). Studio 2 is such a wonderful, intimate space, it's almost like 3D TV, although there is a problem with space and it was very stuffy. A group of us sat in the middle of Rows A to C in the front block. A friend and I were allocated B 12 and 13. I actually found the seats quite comfortable despite there being absolutely no leg room to speak of. Others sat in Row A seemed to get the best deal and I would certainly recommend anyone taller than 5ft 9, to try and sit there. In terms of sight lines, there is nothing to really worry about as the space is very intimate and the actors are actually so close, you can almost touch them. It was also very hot and stuffy and so I would recommend wearing loose, comfortable clothing."
"B20 and 21: “Cabaret Sauvignon” (September 2012). We paid £10 each using the ATG Theatre Discount card. Excellent legroom as there is no seat directly in front and we had a perfect and unobstructed view of the actors in this small theatre. The seating is shared (i.e. two seats per one pull- down bench) which isn't much of a problem if you're in an even numbered group."
"B 27, 28 and 29: "Ticking" (October 2015), (thespyinthestalls). Studio 2 is a funny old place - seats are those odd double up things (so book two or go with a friend otherwise you could end up very chummy with someone you don't know). For this production, B27 was right against part of the set - and for B27 and B28 some of the action was missed. However, this was reflected in the pricing. View from seats differs enormously depending on the actual production in the space so beware. Mid numbers central row A probably safest if not sure."
"C21: The two-seat fold-down benches just aren't big enough for two people. You are literally rubbing shoulders and thighs with the people sat on either side of you. The two seats next to me (C19 and C20) were occupied by a married couple. One of them had to lean forward throughout the whole play because there wasn't enough room for both of them to sit back. This was my first visit to this venue. Perhaps it was due to the setting of this particular play, but the experience was akin to inviting a group of actors round to perform a play in your living room - I liked it."
"C27 and 28: (Pip). The fact that most the seats are a joint folded chair it was an amusing day. As we were at the end at a stairwell we had lots of legroom but letting people past was a nightmare. Because there was no legroom to get to the other seats, you BOTH have to stand up at the same time so the seat goes up, and then BOTH sit down at the same time otherwise the chair hits the back of your legs as the other person leaves you standing. Of course the view is amazing and you can see everything (it is a tiny venue). Lovely to be so close and up personal with the cast. Comfortable seats but not the best."
"C37: "Vanities The Musical" (September 2016) (Taljaard). Very much a side view. Went to the box office at 5pm and was offered it for £15 which was nice. For that price it was a good seat."
"D1: "The Promise" (December 2012). I don't think you mention on the site that the whole of row D is at "Bar Stool" height with a metal bar under the seats to rest your feet on. I found this OK but a lady of mature years on the row had big problems. At this play, from D1 the view of the centre of the stage is fine, but you can't see anything of the wall at the rear of the stage or the entrances and exits. So it was a bit of a surprise to me at the interval to realise there was actually a set! Felt to me that this seat should be sold as restricted view, you are missing about 1/3 of the stage. Most of the action was played in the centre, but still a bit annoying."
This was so good on the first preview, when they get to opening night if will be sensational. Such energy in the performances. I was exhausted. It's only got a short run so book asap!
"D2: "Disco Pigs" (July 2017), (Taljaard). A bit on the side but the set is minimal so nothing missed."
Seats 98 approximately, depending on production demands.
Induction loop, Sennheister Infrared and Sennheiser Mobile connect. Lift to Studio 2 and bar.
No food except Ice cream and confectionery.
Two bars; Foyer and Stalls. Foyer bar not always in use.
Barfly Lucy comments that:
"The Stalls bar was good, although tended to get a bit busy closer to the show, it's almost like a 'holding pen' for people to wait before they go in because there's not really a foyer."
4 Toilets; Stalls leading from the bar: 1 gents 2 cubicles, 1 ladies 3 cubicles; At circle level near the entrance to the highest rear rows of the theatre, there is another: 1 gents 1 cubicle, 1 ladies 4 cubicles.
The fabric covering the seats is bright red, being the favourite colour of benefactor Christina Smith, without whose generosity this theatre would not have been possible. The monkey salutes her here!
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.
In this venue, all seats in rows B and C - EXCEPT those coloured green on the "value" plan above - have very limited legroom available. Row B seat 23 and C seats 8 and 13 has partial legroom, as the row in front is "staggered" allowing half these seats access to extra legroom.
Some details may change. The monkey will update as required.
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.