英国社会剧院的风格也从复兴演变到摄政时代。下面的班级被分配到画廊，坑和箱子文化。十七世纪最引人注目的戏剧模式和风格是由雷恩创作的露天剧场。这最初是为了成为学术会堂而建造的。在露天剧场进行戏剧表演的学生帮助它获得了新的声望。 Wren的Killigrew新剧院大约57英尺宽，150英尺长（Mullin，1970）。充满了画廊和箱子，这个地方装饰着镀金的精心制作。为了实现这个景观，英格兰的剧院试图在百叶窗出现时将百叶窗拉出来。这与Wings and Shudder Systems的法式风格相似（Robinson，2010）。他们使用画在翅膀上的家具或与服装相结合的家具以及更多达到场景背景的家具。剧院的赞助人被尊为剧院，演员需要他们的职业生存。他们对建筑进行了修改，如在皇后剧院（Mullin，1970）中所看到的。这里为顾客增加了一个大型的大堂。有入口foyers和沙龙。因此，一旦戏剧结束，赞助人就能够进行社交。在内部的沙龙提供壁炉为顾客的舒适。
The style of theatres in the English society was also evolving from the Restoration to the regency era. The pit and the box culture were present where the lower classes were assigned to the galleries. The pattern and style of theatre that was most notable in the seventeenth century was the creation of the amphitheatre by Wren. This was initially constructed so as to be an academic assembly hall. Students who conducted theatre plays at the amphitheatre helped it earn a new reputation. The Killigrew new theatre by Wren was around 57 feet wide and was 150 feet long (Mullin, 1970). Filled with galleries and boxes, this place was decorated with a form of gilded elaboration. For achieving the scenery in context the playhouses of England attempted to draw shutters and thrust them out when there was a scene change. This is similar to the French style of the Wings and Shudder Systems (Robinson, 2010). They used furniture that was painted on wings or coupled with clothing’s and more that achieved the context for the scene. The patrons of the theatre were revered as the theatre and the actors needed them for their professional survival. Architecture modifications were made for them, as seen in the case of the Queen’s Theatre (Mullin, 1970). Here a large lobby was added in situ for the patrons. There were entrance foyers and a salon. The patrons were hence able to socialize once the play was over. The salons within were provided with fireplaces for the patrons comfort.
The playhouse design that was used by the English was more focused on the type of audience as compared to the designs that were used by the Italians and the French who were more focused on the play itself. The architectural characteristics of the Renaissance theatre/ playhouse reveal that it is tied up with the classical and medieval at the same time. On the other hand, the playhouses of the eighteenth century were more focused on how to give the audience better viewing of the play. Also the elements included on the stage proper aid the actors of the play, hence brought a wholesome rendition to the audience.