Immersive theatres have emerged since the turn of the millennium as a popular form of performance. Intricate and elaborate, they interweave playfulness into the relationship between performer, audience, and performance space. This paper contributes to the widening of this discussion by considering the work of Iwan Brioc and his sensory labyrinth theatre (s.l.t). The path the audience follows has a separate entrance and exit point so that the walker never retraces their steps, but otherwise follows a meandering pattern similar to the classical labyrinth
