Is the Theatre Interval Becoming Obsolete?

For some, the theatre interval is a cherished part of their evening, a moment to refill their wine glass, discuss the plot’s twists, and make a quick restroom dash. For others, it’s an unwelcome interruption that prolongs the night and delays the journey home.

Remarkably, the divisive nature of the theatre interval is now causing producers to reconsider its inclusion in shows.

Increasingly, productions across London are eliminating intervals, from Slave Play at the Noël Coward Theatre to The Years at the Almeida Theatre. Experts suggest this reflects evolving audience preferences and a growing appetite for uninterrupted, immersive theatre experiences.

“It’s surprising considering that revenue from bar sales is crucial for many theatres, especially given recent financial pressures,” noted James Rowson, a lecturer in theatre and cultural policy at the Royal Central School of Speech and Drama. He attributed the trend partly to the pandemic, which disrupted regular theatre attendance habits. “Skipping intervals may be a strategy to lure back hesitant theatregoers and attract a new audience,” Rowson added.

The move could re-establish theatre as a more flexible night-time activity, blending it seamlessly into an evening of varied entertainment or simply allowing attendees to return home earlier.

Over the past four years, discussions around the relevance of intervals have intensified. Lyn Gardner labeled them an “outmoded, unnecessary theatre convention” in The Stage.

Following the lockdown, the Globe Theatre adopted a more relaxed stance towards intervals. Artistic director Michelle Terry noted that Shakespeare’s plays were “never written with intervals, so we won’t play them with intervals”.

Guardian theatre critic Arifa Akbar observed that no-interval shows emerged out of necessity during the pandemic due to smaller casts and shorter running times. “It serves as a safeguard against pandemic-related disruptions while appealing to a younger generation with its fast-paced energy,” Akbar identified. She added that for some productions, like The Years, an interval would disrupt their flow and intensity.

Theatre producer Kenny Wax, responsible for musicals like Six at the Vaudeville Theatre and Fantastically Great Women Who Changed the World at The Other Palace, emphasized that his motive for omitting intervals was artistic. “For shows running around 80-85 minutes, an interval would disrupt the narrative momentum,” Wax explained.

Wax also highlighted that such decisions often depend on the venue. For instance, The Play That Goes Wrong by the Mischief Theatre Company started as a one-act play but gained a second act for commercial touring purposes, given regional theatres’ financial reliance on bar sales. Some venues even charge a ‘no-interval financial penalty’ to compensate for lost bar income.

Only exceptionally strong shows, such as Six or Stephen Daldry’s acclaimed An Inspector Calls, have the leverage to negotiate these terms and usually feature high-profile stars like Kit Harington or Jodie Comer, who attract significant audiences.

Max Webster, directing Macbeth at the Harold Pinter Theatre with David Tennant in the lead, chose to skip the interval to immerse the audience fully. Attendees also wear headphones to enhance the engrossing experience. “By not providing a break, we create an intense and exciting atmosphere,” Webster explained.

Anecdotally, some theatregoers in London have complained about their experiences being disrupted by constant restroom trips from fellow audience members. Webster acknowledged the merit of intervals but ultimately believed the decision should reflect what best serves the play’s narrative. “Finding the best structure that suits the story is crucial,” he said.

Mark Hutchings, author of Approaching the Interval in Early Modern Theatre, pointed out that historically, intervals allowed for additional entertainment like music and dance. During the “Shakespearean” period, the structure of plays was often dictated by environmental factors like daylight for outdoor performances and candlelight for indoor ones.

Despite some critics dismissing intervals as buzz-killers, Hutchings values them for the social and physical break they provide, noting, “The interval is always more than just a gap; it’s a chance to reflect and even consider leaving if one so chooses.”

Here are five notable shows that currently run without intervals:

A Chorus Line at Sadler Wells Theatre until 25 August. Directed by Nikolai Foster, this show uses real-life testimonies to portray seventeen hopefuls auditioning for a Broadway musical in 1975.

Macbeth at Harold Pinter Theatre until 14 December. David Tennant and Cush Jumbo star in this immersive Shakespearean production, directed by Max Webster, lasting under two hours.

Slave Play at Noël Coward Theatre until 1 September. Directed by Robert O’Hara, this Tony-nominated drama explores historical racial violence within the dynamics of three couples.

Six at Vaudeville Theatre. A modern retelling of Henry VIII’s six wives’ lives as a singing competition.

Shifters at Duke of York’s Theatre until 12 October. This play follows two childhood lovers reuniting eight years after parting ways, written by Benedict Lombe.

Source: The Guardian, The Stage