Es Devlin's Mirror Maze: 'I'm looking at the man in the mirror...'

Image by Victor Frankowski from Dezeen. 

I used to live near Peckham, and when I walked its streets I remember an assault on the senses. The interchangeable smells of raw meat and fish, booming bass boxes fighting against one another, strip lit hair salons bubbling with chatter and shops bursting with lurid cheap goods.

The art of saying yes; Phillipe Quesne and his melancholy dragons.

'Would you like me to show you?'

On Set Design in the The Trial, Young Vic.

When you put a conveyer belt on the stage, people often say things like; Why did they do that? I think the more appropriate question is; Why wouldn't you do that? English audiences are very suspicious of set design, they feel it is too tricksy, an add on, a bit of frou frou. I heard several complaints as I left the theatre after watching 'The Trial' at the Young Vic (all, I observed, from middle aged men and women, though don't ask me to reflect on this) about the set and the costumes. 'What was the point?', 'Too weird', 'What's wrong with just normal theatre and normal staging?' Were there similar comments being made after the introduction of the revolving stage in Les Miserable? I don't know, I wasn't there, but maybe.

Sensing Space, Royal Academy, London.

Kengo Kuma's installation smelt of Tatami Mats and Hinoki wood.

Last week I visited the 'Sensing Spaces' exhibition at the Royal Academy of Arts. I admit that I have no knowledge of architecture, other than as a frequent user, so I am reflecting upon the experience as a theatre maker instead.