Theatre Designer & Visual Artist
Amanda Mascarenhas is a London based Designer. She works in all performance and design genres, from Devised Performances to Event Design. She prides herself on her ability to design and make for interesting and unsual spaces and pieces. Her main field of expertise is with immersive projects, creating tactile and dynamic work. She is very hands on in approach and builds set, costume and prop pieces.
She is also a community artist and workshop facilitator, working with people from all backgrounds and abilities. Ranging from creating art pieces and theatre productions together to teaching them arts to specialist crafts, as well as teaching groups about her trade as a Theatre Designer. She regularly works with people learning and physical disabilities, young migrants and people in sheltered housing. She very interested in how community, theatre and art work together.
She is the designer of the west end transfer of Coming Clean, and is designer of the offie nominated opera, La Traviata and Elixir of Love.
She is also Associate Artist to Kazzum Arts and The Kings Head Theatre
As well as Trustee member of The Kings Head Theatre.
For reasons that remain unclear
Despite my reservations about the play itself, the production is well-nigh faultless. Amanda Mascarenhas has turned the entire auditorium and stage into Patrick's opulent hotel suite, complete with balcony overlooking the Piazza. It's the most original and successful use of this tricky space I've yet seen. Alun Hood- Whats on Stage
The boy and the mermaid
"The nautical, DIY aesthetic is hugely appealing, and consistent across the set, costume, and puppets. Each puppet character is charmingly replicated in two different sizes, as is the town. The mermaid is particularly beautiful, though the fisherfolk portrayed with wellies is an utter delight. Fishing nets, lanterns and wooden creates are a precarious, moveable landscape that constantly surprises with its versatility. It’s simple yet detailed; Amanda Mascarenhas’ set is a great balance of thought, appearance and functionality." Laura Kressly
'On Amanda Mascarenhas’ meticulous set, crammed with early-1980s detail' The Stage
'Amanda Mascarenhas' vividly dingy set – the cramped, messy Kentish Town flat of lovers Tony and Greg – comes complete with wall mounted dial phone, old school record player (and vinyl records), 1980s West End theatre posters (anyone remember Amadeus at Her Majesty's before Phantom moved in apparently forever?), grotty wallpaper and beaded curtain. It's simultaneously homely and vaguely disgusting.' Whats on stage
'It starts with Amanda Mascarenhas’ set which is meticulous in design and really evokes a home of the early 1980’s. This attention to detail extends to the costumes and I have to say Robert’s Walkman cassette player – an early iPod for the youngsters out there – was great to see. Coupled with the scenery' Londontheatre1
'Set designer Amanda Mascarenhas's contribution is key to the production. The dark-red Chesterfield sofa dominates the side of the stage, and it becomes the centrepiece of the characters' sharing of tears and laughter. The lived-in flat conceived by her comes alive with Spreadbury-Maher's direction' Broadway World