"There is some inventive design work from a team that includes Brad Peterson (projections), David L. Arsenault (scenery) and Travis McHale (lighting). The actors perform on a traverse stage: that is, a long strip between two groups of theatergoers who face each other. Such staging does not allow for a traditional backdrop, so, instead, the designers have created a sort of up-drop, if you will. Lights and projections are shined onto a mirrored floor beneath the actors’ feet, and reflected back up onto a low ceiling. It’s simple but very clever, and the resulting washes of deep blue, hellish red and a cluttered snow upon both floor and ceiling help seal off the stage from the audience — a visual reminder of how trapped these stranded souls are."
-The New York Times
photos: Kevin Thomas Garcia, Brad Peterson, David L. Arsenault
A Charity Case
The Clurman Theatre, Theatre Row, NYC
Written & Directed by: Wendy Beckett
Scenery: David L. Arsenault
Costumes: Theresa Squire
Photos by: Kevin Thomas Garcia
The Diary of Anne Frank
Westport Country Playhouse, Westport, CT
Directed by: Gerald Freedman
Scenery: John Ezel
Costumes: Willa Kim
Winner: Connecticut Critics' Circle Award - Best Lighting Design
Travis McHale’s lighting design is so powerful that it illuminates the stage and then goes deeper into the set revealing the lights of passing prisoner trains, bombings, and sirens.
-Hersam-Acorn Newspapers, Joanne G. Rochman
There is subtle, growing tension in the play, accentuated by scenic designer John Ezell's set, which allows harsh light (compliments of lighting designer Travis McHale) to seep up from the factory below. The same harsh light is thrown against a scrim up-stage -- a light that is, at one time, the headlights of Gestapo cars on the prowl and at another time the headlight of the train bearing the Frank family away to captivity
-Westport News, Geary Danihy
Technical credits are top notch… especially Travis McHale's lighting, which travels from subtle to frightening, all contribute to an evening that is both a testament to evil and a reminder that hatred lurks around every corner. -The Hour, David A. Rosenberg
The production's other strengths are largely visual. Travis McHale's lighting is often subdued, rightly turning strident in the most urgent or confrontational moments.
-Hartford Courant, Susan Hood
Finally, but perhaps most effective in creating the experience, is the direction of Gerald Freedman. He coaxes winning performances from the actors and masterfully separates action taking place in one part of the attic from the day-to-day activities continued by others (the effect is aided by excellent lighting design by Travis McHale). The result is the creation of the audience as another entity in the drama taking place in the attic.
-Connecticut Arts Connection, Lauren Yarger
With lighting designer Travis McHale, the creators emphasize the dark, merciless confines of the cramped haven while still allowing the audience to satisfactorily see all that occurs.
-Hartford Arts Examiner, Andrew Beck
Scenic designer John Ezell’s cluttered attic is a marvel of detail and Travis McHale’s lighting cast shadows in all the right places.
-Milford-Orange Bulletin, Tom Holehan
…extraordinary lighting design by Travis McHale…
-On Connecticut Theatre, Marlene Gaylinn
Indeed, there is a gritty reality to the lighting...
-Hearst Newspapers, Irene Backalenick
Photos by: John Mosele
A Raisin In The Sun
Weston Playhouse Theatre Compay, Weston, VT
New England Tour
Directed by: Malcolm Ewen
Scenery: Russell Metheny
Costumes: Barbara Bell
photos: Tim Fort & Hubert Schribel
Northern Stage, White River Junction, VT
Directed by: Chad Larabee
Choreography: Keith Coughlin
Scenery: Ken Goldstein
Costumes: Karen Ledger
Lighting: Travis McHale
photos: Dave Kynor & Rob Strong
Summer of '42
Bucks County Playhouse, New Hope, PA
Written & Directed by: Hunter Foster
Choreography: Lorin Latarro
Scenery: David L. Arsenault & Wilson Chin
Costumes: Nikki V. Moody
photos: Mandee Kuenzle
The People vs. Mona
Ground UP Productions, June Havoc Theatre
Directed by: Kate Middleton
Scenery & Lighting: Travis McHale
Costumes: Elisa Richards
Director Kate Middleton keeps the comedy bubbling on Travis McHale's amusing and effective set (which doubles as bar and courtroom). -Variety, Steven Suskin
…the local juke joint, superbly designed by Travis McHale. Vinyl records and album covers dot the walls of the stage and auditorium; there's a jukebox in one corner; and various indicators of the sultry climate—a fly swatter, a "Honk If You Love Jesus" sticker—are interspersed among them. -Offoffonline.com, Edward Karam
…nicely designed by Travis McHale. -Theatre Mania, Brian Scott Lipton
Praise is also due Travis McHale, whose lighting and set design are Broadway caliber. -nytheatre.com. Martin Denton
From the moment the audience sees Travis McHale's set – a Tippo, Georgia juke joint called the Frog Pad, with its walls covered with LPs, pictures of 60s celebrities and electric guitars, and its small but swinging band – it's clear everyone's in for a rollicking good time. -New York Theatre Wire, Paulanne Simmons
photos: Kate Middleton & Randy Morrison
The Flight Theatre, Los Angeles, CA
Directed by: David Watson
Scenery & Lighting: Travis McHale
Costumes: Maggie Chieffo
Travis McHale's set and lighting design complement the production.
For ten years, Travis has been creating lighting from his home base in New York City. His award-winning design work has been seen on the stages of major regional theatres and off-Broadway, at Carnegie Hall and internationally on tour. The New York Times has praised his work as "striking...the unabashed star of the production" and "simple but very clever...inventive design work."