How Pub Theatres Create a Haven for Independent Performance in the United Kingdom

On a windy October day in 2021, I walked down a bustling street and up the dark, narrow steps of London’s King’s Head Theatre. I was there with two good friends to see the premiere of Buffy: Revamped starring Brendan Murphy, in which one man with a reasonable resemblance to Spike from the hit nineties television show recaps every episode in the span of ninety minutes. Unusual? Absolutely. Brilliant? Definitely.

The King’s Head Theatre is a pub theatre, and the second I stepped inside it felt like a haven of independent performance. Much to my own embarrassment, I had been living in the United Kingdom for four years by the time I finally visited my first pub theatre. What I lacked in previous attendance I made up for with enthusiasm; that one evening at the theatre made me realize that there were ways of bringing art to the masses that were not only exciting and inclusive but practical, too.

Theatre it isn’t always financially accessible for audiences or practical for those who make it. In the United Kingdom, the pub theatre makes theatre convenient for a broad range of audiences while allowing creatives to produce and perform their own work when funding options are limited.

The benefits of this collaboration are directly measurable through lower ticket prices, lower overheads for performers and creatives, and more theatre right in the heart of communities.

Shared Business Practices Make for Good Economics

The pub theatre is exactly what it sounds like: a theatre and a pub, combined. The pub—a classic British institution that brings in everyone from young families to business professionals—has its own income and clientele, as does the theatre, which is usually located in a small, intimate space directly above or behind the pub. In some instances, both streams of revenue are headed under one business, such as the Old Red Lion in London, which was sold to a new owner as a package pub-theatre deal. In other cases, the theatre space is rented out by the pub to theatre companies either indefinitely or on a show-by-show basis. Pub landlords are often motivated to offer these spaces for reasonable rent because of the business it will bring for food and drinks sales. What results is a kind of symbiotic relationship that advances both the pub and the theatre. The benefits of this collaboration are directly measurable through lower ticket prices, lower overheads for performers and creatives, and more theatre right in the heart of communities.

For example, the Stage reported in 2024 that, on average, the cheapest tickets to see a show in London’s popular West End were £24.58; these tickets also often suffer from interrupted views behind pillars or at the back of balconies. In comparison, the Bridge House Theatre, a well-known pub theatre in South London, has a packed 2025 schedule of various shows that sell clear-view tickets for £15 on average.

Pub theatre can be so affordable because the two businesses can share staff. For example, the marketing and web teams are often the same, meaning one media team can work across everything from online menus to show advertising and ticket sales.

In addition, the organizations boost each other. Audiences typically stop in the pub below before and after performances to have a drink, wait for the performers, and grab a bite to eat. In the same way, those who have stopped into the pub solely for a drink are often greeted with posters and marketing for the ongoing shows in the theatre, thus getting the word out and increasing audience attendance.

Both teams, therefore, feel motivated to support and promote each other. A heartwarming example of this can be seen on the Instagram of the Hen and Chickens Theatre Bar in London. The theatre team left a message of appreciation for the bar staff who served thousands of Camden Fringe guests.

Considering Physical Accessibility

I’d like to take a moment to note physical versus financial accessibility in contemporary pub theatres in the United Kingdom. While pub theatres make art more accessible through lower prices and running costs, many of these venues are physically inaccessible for people with disabilities, such as those who use wheelchairs or are unable to walk up stairs. Venues tend to be located on the second or third floors of older buildings without elevators or ramps.

However, there are some independent theatres that have shown their dedication to accessibility. The Citizens Theatre in Glasgow, for example, recently reopened after a renovation that includes new wheelchair accessible seating and rehearsal spaces, as well as hearing aid induction loops and wayfinding for blind or visually impaired patrons.

We can hope that other existing pub theatres will change locations or invest in accessibility-focused remodeling. And it is possible: According to a study done by the Society of London Theatre and UK Theatre, with the right amount of funding, 100 percent of theatres built in the Victorian era would be able to improve their physical accessibility in one way or another. In addition, new locations can open with a mind for accessibility by converting accessible buildings into functioning pub theatres or working with existing pubs to prioritize ground-floor theatre spaces. By improving accessibility, theatres ensure that both audiences and performers with a range of physical abilities can benefit from the creative output of pub theatres.

Suddenly, because of this humble local institution, the theatre world didn’t feel quite so out-of-bounds to me.

Experiencing the Pub Theatre Ecosystem

As a writer with a background in film and literature, I am still in the early phases of my career as a playwright and have found that breaking into this industry can be difficult for a variety of reasons. To get work produced, you need to provide evidence of past shows being put on. It’s a bit like applying for an “entry-level” job that requires eight years of experience—frustrating, to say the least.

Another reason it can be hard to find a foothold is the need for connections. While networking is a great and worthy enterprise that allows you to meet people you might be interested in working with, it’s not always easy when you’re starting from scratch. In my experience, pub theatres help with both of these common obstacles—and not just for writers.

My most recent experience of a pub theatre was on the creative side. I had a short play performed in July of this year at the Hen and Chickens Theatre, located just off a Highbury and Islington tube stop near a busy junction in North London. The theatre has a renowned history of promoting emerging creatives and stand-up comedians. In addition, it’s a favorite with locals because it stays open late and provides a welcoming, fun atmosphere for creatives and punters alike. Amazingly, I didn’t need prior connections or experience to have my work performed here. I submitted my play, It’s Not Like We Planned It, to Rebound Productions, a theatre company that runs regular showcases at the Hen and Chickens.

Because the independent theatre company was able to affordably run shows from this venue and people could actually afford to see them, my work was performed to two packed houses. Afterwards, I stayed behind in the pub and had a drink, where I got a chance to chat with the brilliant director of the show and the actors who brought my words to life. Suddenly, because of this humble local institution, the theatre world didn’t feel quite so out-of-bounds to me.

I wasn’t the only one who benefited from the show, either. Many of the actors who participated have since been approved for profiles on Spotlight—a key casting website in the United Kingdom—or even landed agents. In addition, the actors were able to build their confidence and skills through the rehearsal process of the show. As actor Angelena O’Selle reported: “I gained a toolbox of skills and a clearer vision for my future in the industry.” This kind of opportunity simply wouldn’t be possible if pub theatres like the Hen and Chickens weren’t available as feasible performance spaces for smaller production companies.

Bringing the Pub Theatre Model Stateside

As an American, I found myself considering this experience from the viewpoint of theatre in the United States. America boasts a range of brilliant theatre companies with modest budgets and small venue sizes. While some have compared the nature of the storefront theatres of Chicago to pub theatre culture in the United Kingdom, storefront theatre does not benefit from the financial robustness that comes from the combined business model of the pub theatre.

As the cost of living rises and many people find their disposable income dwindling, paying to see a show has become less and less viable for audiences. As a result, many independent theatre companies in the United States have found that producing shows simply isn’t feasible. For example, American Theatre reported that AstonRep, a storefront theatre in Chicago, closed its doors in 2023 due to the difficulty of raising enough money to cover costs, and other companies such as the Bay Area Children’s Theatre in Oakland, California named “insurmountable financial burdens” as the cause of their closure. But what if they had another source of income, one which could make shows easier to produce and bring more people through the doors?

The benefits of encouraging theatres and other businesses to work together, I believe, can be undeniable. Collaborations such as the Vortex Theatre and Butterfly Bar in Austin, Texas have already shown how joining forces with a bar or restaurant can help theatres to not only function but thrive. This symbiotic relationship can make independent theatre more viable, even in smaller cities and towns. Theatres in the United States could choose to work with an even wider variety of businesses as well, from art galleries and studios to breweries and coffee shops.

Securing a second source of income in another business sphere is a great way to make theatre more affordable. A $10 ticket is a lot more manageable than a $50 or $100 one, particularly for a new show or one people have never heard of.

Crucially, this combined business model could help theatre continue to be brave. In a world that offers the most support to recognizable shows with verified stars, producing groundbreaking or controversial theatre is a huge risk. Therefore, many independent companies often find it safer to stick to well-known and often-performed plays. With a second source of income beyond a small theatre bar frequented only by audiences, producing a wider variety of shows is much more achievable. From light-hearted, inventive plays like Buffy: Revamped (which is still touring as we speak) to strong personal pieces that tell heartfelt stories, companies could afford to prioritize work that shows audiences more of what theatre can really do.

In conclusion, pub theatres represent an interesting business model that benefits both creatives and audiences, and which could be an interesting case study for United States-based theatre companies that are thinking about additional sources of income. Understandably, there are a range of considerations both business owners and creatives would have to confront before beginning such a venture, but I truly believe it is worth it. Making independent theatre more robust, affordable, and feasible is something that can only ever benefit a society and its people as a result.