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

(Formerly the Whitehall Theatre)


Ends 3rd June 2017.

JD is a hillbilly living in a remote West Virginia motel. Mitchell has lost everything and finds himself sharing JD's room. When JD, Mitchell and co find themselves in a situation, the comedy unfolds.

A West End transfer for this play first seen at the White Bear Theatre in January 2017.

Auditorium photograph and interviews about the show:

Theatremonkey Opinion:
(Seen at the afternoon preview performance on 4th May 2017).

"There shouldn't need to be a word for kindness," is the beautiful guiding philosophy of gentle JD (Keith Stevenson, in his own play). This warm-hearted actor / writer gives us an humane, deeply human and frequently hilarious hour or so of pure American entertainment. The pay-off alone is worth the ticket price, but there are only things to love until it happens and the whole work resolves with the sudden clarity of a "Magic Eye" picture.

Joining JD in the dingy motel they call home, unlucky Mitch (Robert Moloney) clings to his manliness (just) and makes rapid adjustments to the situation unfolding around him. These are variously caused by paranoid poet Tommy (Alex Ferns), a stocky performer with wonderful stage-filling energy and Meth-addicted girlfriend Marlene (Melanie Gray), a compelling cane with whip-like intelligence buried under grubby victimhood. Motel owner Flip (Michael Wade) is your original redneck, yet with a streak of compassion and given wonderfully sympathetic life in this performance.

Director Harry Burton keeps every second of the 70 minutes motoring, finding top gear as required near the end. Simon Scullion's motel room extends around the auditorium, and Jai Morjaria manages to keep it lit in such a way that the monkey found itself looking up to double check it wasn't just the decorative lights being used. Impressive.

There's more expensively cast and staged plays elsewhere in the West End. There are very few, however, with this combination of imaginative script, beautifully filled out characters and a sense of pure dignity. Go, is the monkey advice. Oh, and there are apparently two sequels to this... over to you, producers...


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

(1 review)

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.

The play at 65 minutes is a lovingly formed gem. There was plenty of laughter and a couple of moving moments as well.

Well worth a visit.



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

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

Monday to Saturday at 7.45pm (4th May 2017 at 7pm)
Thursday and Saturday at 3pm and 7.45pm

Runs 1 hour 10 minutes approximately.



Ticket Prices:

Offers May be available - Click Here

View this information in diagram form

Rows A and B: £30 except
"Package Seats" row A 5 and 6: £45
Rows C to E: £25
Rows F and G: £20


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

Buying Tickets Online:

Other Box Office Information

Tickets offered differ between outlets. Outlets also may offer different seats via their phone and online systems. Offers may be available click here.
Theatre Box Office:
Ambassador Theatre Group, the theatre group's own website provide the service for this theatre.
This site allows you to select your own seats from those available.

Booking fees per transaction for online bookings:
A £3 per booking, not per ticket, transaction fee applies.



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

When the theatre does not have tickets available, it is worth trying the Theatremonkey Ticketshop agency, telephone 020 7420 9778 (0044 207 420 9778 if calling from outside the United Kingdom), which offers £30 seats with a £4.25 (£3.50 on £25 seats) booking fee per ticket. Moderate by agency standards, though higher than box office prices, but worth trying! 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 £25 seats with a £7 booking fee per ticket. A postage charge of £1.45 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 £1.99 per ticket. Discounts and "Meal and Show" packages may also be available. Quality and Value hotel / theatre ticket packages are also available.

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:
A £3 per booking, not per ticket, transaction fee applies.

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 a dedicated phone line. 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.

This theatre has flexible seating. For the current season this is the Seating Plan.

For "Out There On Fried Meat Ridge Road" in May 2017, the layout changes to this:

Auditorium photograph (and interviews about the show):


Seating Plan Diagram


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.

Choosing Seats in General:
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.

General Hazard Notes:
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.

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!"

Changes for the current production:
A change in layout for this venue, with all seats in a single block facing the stage; the ones in the front rows feeling part of the room, and indeed the walls extend into the auditorium, adding atmosphere. For reference, the auditorium is orientated with the usual D 1 to 8 in the normal position, and all rows set on plinths descending down to the stage from that.

The seats are the usual red "double benches." They are arranged to "offset" a little so folk can see between those in front. The rake (step raising up to see over heads in front) between rows is nil between A and B, but does exist (in shallow form for rows back to E), see below.

Legroom outside of row A, plus B1, D1 and F1 is fine for those up to 5ft 8 or so, up to 5ft 10 should be OK too, and G should accommodate those up to 6ft with ease.

Watch for the seat numbers. They are tiny stickers on the metal hinges at either end of the seat when it is in the upright, not flipped down, position. Highest numbers are on the aisle. Low numbers are against the far wall, with no aisle next to them.

Row A is at stage level, with unlimited legroom. A1 gets very close to the action and may miss faces occasionally, as will other end seats on rows back to around E.

Row B is on the same level as A. B1 has nothing in front, but does face a jutting bit of set. Even though B is "offset" slightly, the monkey feels you will see actors from the waist up, mostly, so not one for the short.

Row C drops a price and is raised about 4cm above B. Still, the monkey feels D a better bet as it is raised that bit higher still. D1 has nothing in front, too.

Row E is fair, but F behind it is cheaper, so take that first. F is raised on plinths, giving it an extra 2cm advantage for the short. F1 has nothing in front.

The monkey liked G at the same price as F. G has the "high seats" that are normally row D in this venue. Not suitable for those who can't climb easily, the raise above everyone in front and lowest price make it worth it, feels the monkey. Just be aware a technician is behind - but it won't bother most.


Reader Comments:
“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."

“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) ( 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."


Seats 98 approximately, depending on production demands.

No food except Ice cream and confectionery.

Two bars; Foyer and Stalls. Foyer bar not always in use. 
Barfly Lucy comments that:
"The Stalls bar was good, although tended to get a bit busy closer to the show, it's almost like a 'holding pen' for people to wait before they go in because there's not really a foyer."

A "venue access guide" from the team who created book "Theatremonkey: A Guide to London's West End," is available to download in PDF format by clicking here.

4 Toilets; Stalls leading from the bar: 1 gents 2 cubicles, 1 ladies 3 cubicles; At circle level near the entrance to the highest rear rows of the theatre, there is another: 1 gents 1 cubicle, 1 ladies 4 cubicles.

The fabric covering the seats is bright red, being the favourite colour of benefactor Christina Smith, without whose generosity this theatre would not have been possible. The monkey salutes her here!


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

Getting to this Theatre
Find this theatre on a Street Map
Nearest Underground Station Buses Car Park
Nearest Underground Station:
Charing Cross - Bakerloo (brown) and Northern (black) lines. Also Main rail network terminus.

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.


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.


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 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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