Phoenixville, PA

TREVOR
HERON

Lighting Designer

My goal as a lighting designer is to build a show that's tailored to the music and the emotion of the action on stage.

GO Work

Selected Work

Lighting Designer

Designer Credit

The Outsiders

Venue
Phoenixville Area High School, Fall Play
Dates
Dec 12 to 14, 2025
Role
Lighting Designer

My intention for this production was to evoke a dark and gritty atmosphere that is reminiscent of the streets of Tulsa, Oklahoma. The color palette predominantly featured hues of blue and orange throughout the design. Additionally, warm gold lighting was consistently used to reinforce the recurring "stay golden" motif in the show. One notable detail was my incorporation of an actual streetlamp, rigged as a practical light source. The light came from the prop closet and was patched into the lighting system to be used as a primary light source for various scenes. Furthermore, Ponyboy delivers numerous soliloquy-style monologues directed toward the audience. During these moments, all other lighting was dimmed, isolating him under a single white light while the remainder of the stage remained in shades of blue. After the Soc's death, side lighting cast elongated shadows across the stage, creating an eerie atmosphere. Backlighting was also utilized to enhance the visual impact of the church fire scene, enhancing the fear and emotions from the actors. Harsh lighting was avoided during most of the production, except during the hospital scene where Johnny is dying. The intent was for that scene to convey a sterile, dry, and cold environment, contrasting sharply with the raw emotion experienced as Dally's character is portrayed at that moment.

  • Practical street lamp patched in as a single source
  • Blue / orange base palette, recurring gold motif
  • Isolated white light for direct-address monologues
  • Side light for the death scene, backlight for the fire
Production Photos
Ponyboy reads a letter alone under the practical streetlamp A tense confrontation onstage under mixed lighting An actor on the stage floor lit in cool blue during a fight scene A wide shot of two groups of actors divided across the stage under cool light Close-up of an actor under warm and cool stage light A group of actors watching a scene unfold under warm and blue light
Magic Sheet
Hand-drawn magic sheet for The Outsiders showing channel numbers, focus positions, and color groupings The Outsiders lighting cue live on the ETC Eos console during tech
Show Clips
Designer Credit

Catch Me If You Can

Venue
Phoenixville Area High School
Dates
Apr 10 to 12, 2026
Role
Lighting Designer

This project presented a considerable challenge, largely due to the limitations of the space. The front ellipsoidal lights were restricted to 3000K, and the LED par cans lacked sufficient power to produce a broad spectrum of colors, so most color effects came from the cyc. Additional restrictions, such as the inability to reposition lights and the limited functionality of the moving light, further complicated the task of illuminating darker areas of the stage. Despite these constraints, the director and I met regularly during tech to troubleshoot these issues, largely by reblocking scenes. Since the production was staged in the district auditorium, we only gained access to the venue during tech week. Instead of programming live during cue-to-cue, as we had in the past, I pre-constructed a 3D model of the auditorium and its lighting fixtures and programmed the entire show remotely before entering the venue.

The lighting palette primarily consisted of shades of light blue and pink but varied largely from song to song. Given the show's 1940s setting, any incandescent lighting used was naturally warm in tone. I am particularly proud of the dramatic lighting shift during "Goodbye," which shows Frank Abagnale's return to reality, as well as numerous cues timed to musical hits or lyrics.

  • Front ellipsoidals capped at 3000K, cyc carried most of the color
  • Fixed rig with limited moving light functionality
  • Programmed remotely from a self-built 3D venue model
  • Warm, 1940s-appropriate incandescent tones throughout
Production Photos
The full company performs under a rainbow cyc wash during a musical number Close-up of the lead performer under blue stage light Ensemble members raise their hats under a blurred blue and pink wash
Magic Sheet
ETC Eos magic sheet for Catch Me If You Can showing channel numbers, positions, and color groups
3D Pre-Vis Model, Augment3D
Show Clips
Designer Credit

Jungle Book KIDS

Venue
Facetime Theatre, Phoenixville, PA
Dates
Jun 25 to 27, 2026
Role
Lighting Designer

In this production, with so many children on stage at once, my primary responsibility was ensuring proper lighting for each actor. While green served as the dominant color representing the jungle, I relied heavily on accent lighting to prevent the scenes from being boring or from actors blending into the background. For the character Kaa, I used a spinning gobo on one of the moving lights to create a hypnotic effect, which became one of the performance's highlights. During scenes depicting danger, I used red and orange to create a stark contrast to the safety of the green jungle. I used dark blue to outline the action in the center of the stage. The director wanted vibrant lighting for the musical numbers, so I programmed bold, flashy effects and incorporated hits on the moving lights to really enhance the energetic atmosphere of the show.

  • Green base palette for the jungle setting
  • Spinning gobo effect for Kaa's hypnosis
  • Red / orange breakout for danger scenes
  • Dark blue to outline center-stage action
  • Mover-driven lighting hits in musical numbers
Production Photos
Jungle Book KIDS production photo 1 Jungle Book KIDS production photo 2 Jungle Book KIDS production photo 3 Jungle Book KIDS production photo 4

Assistant Work

Assistant Lighting Designer

Assistant Credit

Shrek the Musical

Venue
Facetime Theatre, Phoenixville, PA
Dates
Feb 27 to Mar 15, 2026
Role
Assistant Lighting Designer

As my first experience with designing a musical, Shrek allowed me to have a deep understanding of the complexities involved in operating and programming moving lights, largely through troubleshooting. The overall color palette primarily featured swamp-like tones to reflect the thematic environment of the show and the Kingdom of Duloc. During Lord Farquaad's musical segments, we used vibrant, rapid color transitions to emphasize his arrogance and the theatrics of it all. I am particularly proud of the outcome of "Who I'd Be" and "I Know It's Today," which both benefited from the strategic use of movers to keep the lighting focused on the actors.

  • First hands-on mover programming and patching
  • Swamp-toned base palette
  • Flashy quick-changes built into Farquaad's numbers
  • Mover-driven follow highlighting in "Who I'd Be" and "I Know It's Today"
Production Photos
Shrek the Musical production photo 1 Shrek the Musical production photo 2 Shrek the Musical production photo 3 Shrek the Musical production photo 4 Shrek the Musical production photo 5 Shrek the Musical production photo 6
Morning Person, Stage + Console

Additional Experience

Board Operator

I've also run the board for a handful of Facetime Theatre's mainstage shows.

ProductionYearRole
Chicago2025Board Operator
Mean Girls2024Board Operator
James and the Giant Peach2024Board Operator
Rock of Ages2023Board Operator

About

How I Work

I don't want a show ever to feel visually boring, and my goal is to understand the emotions of the actors and their intentions as well as the show's composition to create an effective design.
350+ cues in a typical full-length production
100% self-taught, ETC Ion & Nomad