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The Curious Incident of the Dog in the Nighttime

"Stunning set, lighting and video design, working to create a totally unique world for Christopher.

Some fabulous details in the theatre too – all emergency lighting and exit signage is switched off for moments when a total blackout is required, to great effect."

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Sunday in the Park with George, 2005

"This was the first seamless blend of high and low tech. At the Menier Chocolate Factory in 2005, Sam Buntrock brought together David Farley (set and costumes) and Timothy Bird (projection) to realise Stephen Sondheim’s shimmering tribute to the pointillist Georges Seurat. Against an acid-green background, a white curtain was turned by video animation into a tree, washed with lime-coloured light, its branches picked out in dark strokes. Cartoon dogs capered on mini screens. Seurat’s painting came together as a background landscape, then as a framed object. The wit looked effortless."

The 10 best theatre designs – in pictures / The Guardian 

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The Magic Flute at the Met. Set Designer George Tsypin 

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Imaginary Spaces Es Devlin and the psychology of the stage. By Andrew O’Hagan for The New Yorker

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"The dance concert “Music, Dance, Adventure!” is a new understanding of contemporary scenography. Scenography is no longer seen as just a stage decoration but rather as a tool for the creation of various spatial situations. The stage space of the opera is 32-by-32 feet and has been divided into the smallest basic elements. The very flexible dimensions can now be used to create various space scenarios for specific dance performances. The space can remain a homogeneous base, it can become open from two sides, or contain one central element, such as a tree, or several distributed elements, such as a forest. The vertical elements are made of translucent plastic tubes, which draw in the light and scatter it homogeneously along their total length."

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"Rockwell Group followed deBessonet’s interpretation of the play’s fairies and forest as ancient entities, creating a set of gnarly trees (constructed of steel and wood), their limbs reaching towards the ground. They appear at once both stylized and naturalistic, with netting, hanging moss, and applied-fabric foliage. Almost characters themselves, the trees are animated, allowing the actors to move them and create seating areas."